#Yurchak | Explore Tumblr Posts and Blogs

fabiansteinhauer · 2 years

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Mein Viertel

Rund um die Metrostation Приморская, links und rechts vom Kanal der Smolenka, das heißt auf der Insel, die auch den Василеостровский район bildet, das ist mein Viertel. Das, was an meinem Herzen russisch ist, ist hier groß geworden, fastforward. Hier bin ich am orthodoxen Ostern 1993 nach einer zweitägigen Zugfahrt aufgeschlagen, bald ist Jubiläum. Aus Scheu, angesprochen zu werden, habe ich in den ersten Wochen noch Kopfhörer aufgesetzt, von Kassette die sechste Symphonie von Tschaikowsky und die Sonaten von Skriabin und irgendwelche Klavierstücke von Rachmaninov gehört. Größenrealistische Wohnkomplexe mit Ansätzen zum Größenwahn sollen auch erstmal übertönt werden. Das waren die letzten Wochen meines gelben, wasserdichten Sony-Walkman, Baujahr 1984 mit gummiüberzogenen Knöpfen, der immerhin neun Jahre gut funktioniert hatte. Der hat mir zum Abschied diesen Stadtteil mit jener Musik verschmolzen, tolles Abschiedsgeschenk.

Ende der Walkmanära, d.h. endgültig Schluss mit den Achtzigern. Gleichzeitig betrieb jemand in dem Wohnblock, in dem ich auf der achten Etage wohnte (Block 1, Aufgang 1, mit Blick aus dem Schlaf- und Arbeitszimmer auf den Kanal und die Kreuzung neben der Metro) einen Piratensender mit seinem C-64 und einem Videorekorder. Die mussten noch weiterarbeiten. Der sendete ab und zu Star Wars, Mad Max, Hitcher - der Highwaykiller, Gremlins, Terminator, Alien: nur beste Auswahl, wie um die Achtziger zumindest videotechnisch doch nicht enden zu lassen.

Dann wieder sah man eine Stunde lang oder mehr nur den blauen Startbildschirm seines C 64 auf diesem Kanal: Hellblau auf dunkelblauem Grund: **** Commodore 64 Basic V 2 ****

64 K Ram System 38911 Basic Bytes Free

Ready.

In meiner Kindheit schaute ich heimlich Testbildschirm, äußerlich so, wie ein Kaninchen die Schlange anstarren soll, innerlich zufrieden, begeistert, wartend. So schaute ich auch jetzt manchmal dem C 64 beim Blausein und dem Cursor beim Blinken zu. Manchmal tippte der Betreiber dort aber auch etwas. Wolodja, Haus 23, Block 2, Aufgang 5, Wohnung 234 verkauft 30 Flaschen nicht-raffiniertes Sonnenblumenöl. Nicht raffiniert, dafür aber trübe. Dazu noch Charakter, also Sonnenblumenöl wie mit Jahrgang und Terroir. Feine Sachen wurden über den Kanal vertrieben, Autoreifen auch. Kleine Anzeigen, live getippt , live gelöscht und heute nicht mehr wahr. Die Großmutter von Olga, mit der ich in einer WG lebte, sagte, wenn es wieder soweit war: er tippt mal wieder was. Lief weder sein Kanal noch die öffentlichen russischen Sender dann lief MTV, aber da lief in dem Jahr nur Pet Shop Boys und das war zum Nichtaushalten.

Habe ich Piratensender gesagt? Hegel schreibt 1802 in einer Kritik an der Reichsverfassung und der Staatsrechtslehre: Deutschland ist kein Staat mehr. Dieser Satz wird einer der zahlreichen berühmten Eingangssätze, die im Kontext deutscher Staatsrechtslehre scheinbar auch ein Biotop gefunden haben.

Die Sowjetunion war für immer, bis sie nicht mehr war (Yurchak). Wenn Deutschland 1802 schon kein Staat mehr war, dann ist schwer zu sagen, was Russland 1993 gewesen sein soll. Unter anderem die Unterscheidung zwischen Piratensendern und öffentlichen Sendern erscheint dann auch entweder leicht gewagt, etwas abwegig oder aber wie man so etwas eben so sagt, so eine Art How are you? in L.A.

#St. Petersburg

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gorogues · 1 year

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Spoilers for My Adventures With Superman in this post!

purplecyborgnewt replied to your text post: I've actually even seen this screenshot before, and yet still briefly thought it's a fanart for the book series I'm currently into, and, like, why is that suddenly on your Rogues blog?… oh, right, that's MAWS!Heat Wave, not Gideon Nav. (Who is a muscular young woman of colour with red hair and golden eyes, so no wonder I got confused for a bit.)

Heh, I guess it's that anime style, or maybe that kind of character archetype! I looked up Gideon Nav and they do look alike :)

belphegor1982 replied to your text post: Oh she's cute! Are there other Rogues getting gender-swapped?

I haven't heard if they are, but maybe it's still early yet. The guest stars that have been announced are:

Zehra Fazal as Livewire Catherine Taber as Silver Banshee Lucas Grabeel as Mist David Errigo Jr. as Mister Mxyzptlk Jeannie Tirado as Lana Lang Michael Yurchak as Winslow Schott Michael Emerson as Brainiac Jake Green as Parasite Laila Berzins as Heat Wave Kiana Madeira as Supergirl André Sogliuzzo as Monsieur Mallah Jessie Inocalla as The Brain

#purplecyborgnewt #belphegor1982 #words #spoilers

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gregarnott · 2 years

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An interesting list back in 1985 showcases artists banned in the Soviet Union for different reasons. Its existence has been revealed in a book, “Everything Was Forever, Until It Was No More,” by Russian emigre and author Alexei Yurchak.

The Soviet government had a reputation of being extremely strict in those days, but the reasons why the musicians got banned from the radio is what will surprise you the most.

The blacklist, titled “The Approximate List of Foreign Musical Groups and Artists, Whose Repertoires Contain Ideologically Harmful Compositions,” was drawn up by Komsomol, the Communist Party’s Youth Wing. It was written in the obscure and verbose language of Soviet bureaucracy and riddled with classic Cold War paranoia.

Despite their left-wing street-cred in the West, the Clash were banned for “punk and violence,” as were, among others, the B-52s, the Stranglers and Blondie.

Heavy Metal acts such as Black Sabbath, Nazareth, Iron Maiden and Judas Priest were blacklisted for supposed offences including religious obscurantism, violence, racism and anti-communism.

Talking Heads joined the list for “myth of the Soviet military threat” and Pink Floyd were blacklisted for “distortion of Soviet foreign policy.” But more mainstream acts also fell foul of the communist authorities. The Village People were deemed “violent,” Tina Turner was banned for “sex,” Summer for “eroticism” and several artists, including Iglesias and 10cc, for “neofascism.”

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glassworlds · 4 months

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The terrible story of the "Iron Cage" begins with the hero of the guide - Matthew York. He is based on Michael Yurchak, who was Obito's voice actor.

Matthew has worked for Dub Works since 1981. When the company was busy dubbing the anime “Naruto,” he got the role of Obito. He didn’t particularly like the character, but he did his job properly and was on good terms with his superiors. Disagreements began when his boss and comrade Richard Corll put forward a project according to which the rights to this work would be acquired from the author of Naruto and a number of themed establishments would subsequently be opened. Due to the then popular restaurants that used animatronics, namely ShowBiz Pizza Place and Chuck E. Cheese's, Richard got the idea to do something similar. Matthew did not support the idea, but took part in the work on the project. After a number of incidents, which he would rather forget, he didn't even want to hear anything about Naruto for a long time. And then his daughter went missing and, willy-nilly, he had to go back in time and figure out what was happening in this company and how his boss was involved in it , coworkers and their children

#naruto #fnaf #au #art #iron cage #obito uchiha #crossover #five nights at freddy's

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latestflix · 2 years

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youtube

Eva the Owlet

Release Date: March 31, 2023 | Apple TV+

SYNOPSIS:

“Eva the Owlet” stars Eva, a creative, cheeky owlet who lives next door to her best friend Lucy in the woodland world of Treetopington. With big ideas and an even bigger personality, Eva goes on high-flying adventures, expressing herself in her diary along the way!

REVIEW:

As the mother of a 4yr old and as someone who’s read these books aloud, teaching my son to read, I think the series will be an ideal accompaniment to them.

CAST: Vivienne Rutherford, Jessica DiCicco, Dino Andrade, Leith Burke, Antonio Raul Corbo, Pressly James Crosby, Romy Fay, Evie Hsu, Jon Olson, Sarah Vattano, Sasha Yurchak, Kenna Ramsey

#youtube #latestflixofficial #latestflix

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musicletter · 2 years

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Zaino in spalla, il tour della pianista ucraina Yulia Yurchak

Read the full article

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markwatsonsbooks · 2 years

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#Amreading: The Post-Apocalyptic Sci-Fi and New York Times Bestseller...

Battlefield Earth: A Saga of the Year 3000 by L. Ron Hubbard

Audie Award Winner Earphones Award Winner Best of 2016 Science Fiction Audiobook

Battlefield Earth is an enormous epic of adventure set in the year 3000, when the future survival of what's left of the human race is at stake. When Jonnie Goodboy Tyler decides to venture out of the small and dwindling community of humans barely surviving in their Rocky Mountain retreat, he has no thought of challenging the order that for a thousand years has held the earth prisoner to the oppressive alien race of the Psychlos.

The Psychlos and their vast intergalactic mining corporation have dominated and exploited all known galaxies for centuries, ruthlessly destroying races who dare to resist. How one man - with the aid of a few surviving Scotsmen—tackles the greatest malignant power in the universe makes for a sprawling adventure of thrilling heroics, full of dangerous underground work, interplanetary wars, intergalactic financial intrigue, monster races, and complex political manipulation spread across a vast canvas of epic scale.

Experience the unabridged audiobook in fully immersive HD sound of the story that changed the shape of science fiction forever. Performed by over 65 actors playing 198 characters with 150,000 sound effects.

“The sheer scope of this production of the epic sci-fi adventure Battlefield Earth is breathtaking.” (Stefan Rudnicki)

“This futuristic tale, featuring aliens and humans fighting for survival, comes across as compelling and believable.” (Booklist)

“It's like a full-blown feature film inside your head.” (Audiobook Heaven)

“A vivid movie of the mind!” (Audio File Magazine)

Unlike any other audiobook ever produced. A fully immersive experience, this unabridged audiobook features more than 65 actors including Grammy Award-winning audiobook producer and narrator Stefan Rudnicki.

This state-of-the-art audio engineering has created a wholly cinematic soundtrack with:

47½ hours of pulse-pounding drama and action professionally recorded with high-definition sound.

A gorgeous cinematic soundtrack with full orchestral compositions and more than 150,000 sound effects.

A cast of more than 65 actors - many of whom are celebrity voices from TV, films, and games - performing 198 characters.

Awards and Accolades: Top 100 science fiction books

Top three of the best 100 English language novels of the 20th century by the Random House Modern Library Readers Poll

US Golden Scroll and Saturn Awards

Tetradramma d'Oro Award

Gutenberg Award

Listen to the novel that changed the shape of science fiction.

Additional performers include: Roy Abramsohn, Corey Burton, Nancy Cartwright, Bob Caso, R. F. Daley, Charles Davis, Neil Dickson, Ellen Dubin, Jim Meskimen, Tamra Meskimen, Michael Gough, Kaleo Griffith, Christina Huntington, Larrs Jackson, Don Leslie, Ralph Lister, Mark Mintz, Phil Nee, Joe Ochman, Mr. Phil Proctor, Enn Reitel, Patrick Renna, Alan Shearman, Thomas Silcott, Tadao Tomomatsu, Bob Walter, Matt Wolf, Robert Wu, Michael Yurchak, Gregory Lee Kenyon, Darren Richardson, Jason Wilburn, Rick Zieff, and Roger Steffens.

Grab YOUR Copy NOW: https://amzn.to/41YMTU1 via @amazon

#Books #Booksboost #Mustread #Audiobooks #Free #Audible #Bookstagram #ScienceFiction

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unofskylanderspages · 1 year

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Listed below are the voice actors credited for their work in Skylanders: Giants:

Josh Keaton as Spyro

Daniel Hagen as Master Eon

Sumalee Montano as Cali

Patrick Warburton as Flynn

Michael Yurchak as Hugo

Richard Steven Horvitz as Kaos

Chris Cox as Glumshanks

Kevin Michael Richardson as Stump Smash, Tree Rex

Bobcat Goldthwait as Pop Fizz

E.G. Daily as Sprocket

Tara Strong as Flashwing, Seraphina

George Takei as Arkeyan Conquertron

Steven Blum as Auric, Vathek

Alex Ness as Lightning Rod, Drobot, Double Trouble, Drill-X

Fred Tatasciore as Warnado, Slam Bam, Flavius, Zook, Gigantus

Troy Baker as Sunburn, Brock

Bumper Robinson as Bouncer

Joey Camen as Terrafin, Boomer

Salli Saffioti as Whirlwind, additional voices

Tobie LaSalandra as Cynder

Jeff Bergman as Zap, additional voices

Thomas Bromhead as Drill Sergeant

Ryan Cooper as Wrecking Ball

Darin De Paul as Gill Grunt

Keythe Farley as Eruptor

John Kassir as Ghost Roaster

Yuri Lowenthal as Fright Rider, Additional voices

Lani Manella as Sonic Boom

Julie Nathanson as Chill

Peter Lurie as Prism Break

Chris Parson as Wham-Shell

André Sogliuzzo as Camo, Voodood, Sparx, additional voices

Travis Willingham as Eye-Brawl

Courtenay Taylor as Hex, additional voices

Dwight Schultz as Ignitor

Audrey Wasilewski as Stealth Elf

Dave Wittenberg as Trigger Happy, additional voices

Greg Ellis as Jet-Vac

Other Additional voices: Abraham Benrubi, Keith Silverstein, Dave Wittenberg, David Lodge, Liam O'Brien, Jen Olson, Thomas Bromhead, Cam Clarke, Kathryn Cressida, Hunter Davis, Roger Jackson, Neil Kaplan, John Kassir, Keith Szarabajka, Salli Saffioti, Lani Minella, David Markus, Bruce Lanoil, Hope Levy, Lloyd Sherr, Courtenay Taylor, Amanda Wyatt, Lloyd Sherr, Patrick Seitz, Matthew Yang King, Dave B. Mitchell, Masasa Moyo, Danny Jacobs

#i am NOT tagging them all sorry #<- mod note #Skylanders #Skylanders Giants #Games #Lists #Voice Actors

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ashleighebe26 · 2 years

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Lecture - Critical Thinking 2

In our lecture were looking at the current social changes and the impact they have fashion and textiles. Throughout the presentation we are identifying the historical links between technology, world events and social changes that have influenced fashion and textiles.

There are six key causes of fashion and textiles Sustainability, consumerism, innovation, division of wealth, social media, and politics and power.

Cause and effect – this are the relationship between events or things where one is the result other or the others.

We were asked who thought the most powerful people in the world and I thought people like Trump and Putin were quite powerful but in a negative way but then you also have people like Joe Biden being the current president of America. We then found out that the top 10 most powerful in world from 2020 were Xi Jingping (China’s president), Vladmir Putin (Russia’s president), Angela Merkel, Pope Francis, Donald Trump, Jeff Bezos, Bill Gates, Larry Page, Narendra Modi, and Mark Zuckerburg, and looked at the list of most powerful women during 2022 from Forbes&McGrath.

We then looked at what some of these people have actually done and what they have actually done, like looking at Xi Jingping to help broaden his power he amended constitution as well as scrapping term limits Moving on to Putin who set up constitutional challenges which then allowed him to remain in power in Russia beyond 2024 and Kamila Harris being the first black person and first South Asian-American to become US vice president.

Hyper normalisation – this is a term created by an historian Alexei Yurchak reflecting on deep corruption in Russia during the eighties.

Moving on to division of wealth, ‘richest 1% bag nearly twice as much wealth as the rest of the would put together over the past two years, Oxfam 2023. Whilst billionaire’s fortunes are increasing there are billions of workers that live in countries where inflation is outpacing wages.

Global inequality = poverty and social conflict

Looking at the global wealth pyramid of the distribution in 2021 you can see that the percentage of people that earned less than $10.000. We then talked about MENA (Middle East North Africa) is the most unequal region in the world as well as Europe has the lowest inequality levels and how wealth inequalities have increased at the very top of distribution as the rise in private wealth has been unequal within countries and around the world. When looking at consumerism and division of wealth the 1990s hush puppies’ revival was a tipping point as during 1994, they were selling around 30,000 shoes a year and by the end of 1995 430,000 shoes were sold. During the late 1994 – 95 hipsters in downtown Manhattan adopt shoes making the cool in bar and clubs and in 96 hush puppies won a prize for the best accessory for the Council of Fashion Designers.

Tipping point – that magic moment when ideas, trends and social behaviour cross threshold, tip and spread like wildfire. Abacus, 2010.

“Why even the pandemic couldn’t kill fast,” as online clothing sales recover in wake of Covid-19, our unsustainable habit is proving hard to quit, Bootle 2020. As we weren’t allowed to be out shopping as much as we wanted during covid people most of their time doing online shopping and apps like TikTok were really popular and people were and still are promoting different brands meaning people were most likely to buy something that is being promoted and is going viral. Online clothing sales in August 2020 were up 97% vs 2016 consumer’s mindset is returning to unsustainable habits. Looking at Boohoo their profit went up by 50% during the pandemic, shrugging off their scandal.

Moving onto innovation and the use of technology and the development of robots as we have augmented reality and digital rendering used for fashion shows during the pandemic and Khaite merging AR, film and traditional mediums and sending presentation boxes to editors and buyers which would include lookbooks and fabric samples with QR codes revealing fashion like films and AR 3D renderings. Next was the use of social media and how it uses persuasive technology to manipulate the product and people and as well as praying on our addiction. The way we are manipulated through use of social media, is that all social media actions are recorded building a model of each of us, enabling the technology to predict our behaviour and the fact that machine learning algorithms are constantly improving engaging more interactions are constantly improving engaging more interactions and mobiles being digital pacifiers if uncomfortable, lonely, or afraid. After going through the six different points that would make up our brand, we got into our groups to then think out how they could potentially affect our brand.

Focusing on these six point within our brand, when trying to stay sustainable we want to be able to rework and upcycle street wear by using deadstock fabrics and clothes and doing this means that we will be able to help reduce where these old clothes and fabrics are going. A good example of this is Ronald Van Der Kemps SS23 Couture collection inspiring our brand to become more effective with the use deadstock and leftover materials.

The idea that 85% of consumer’s think about sustainability will help our brand to grow as we will be able to target people who want some personalisation and individualism within their clothes. Within power and politics, in the modern era, powerful environmental activist Zoe Helene states the issues of the impacts of global warming. As the fashion industry is one of the biggest industries that effects global warming being able to create a brand where sustainability is a big focus helps give us a strong and powerful influence as well as helping us grow with our consumers for the right reasons. We would also like to work alongside with The UN Alliance for sustainable fashion organisation. Looking at the division of wealth, we want our brand to be affordable by using deadstock fabrics, but this also means that there will be a limited number of garments produced but then using deadstock fabrics is usually cheaper to buy rather than ordering fabrics that are made to order. The use of social media could affect us negatively massively as there would most likely be a false image of perfection influenced by brands and influencers. This could also cause our brand to have a small following for people to feel inclusive and where they can express themselves without being pressured to aspire to a false persona of perfection. Lastly, we currently don’t have any plans to include technology within our brand but it’s we could plan for the future.

We then were left to talk within our brands after sharing our ideas with the rest of the class. The trend that we finally chose for our brand is prepare- wear and the main focus of that trend is to have adjustable features within closes, quite literally the idea that we aren’t meant to fit into our clothes, our clothes are meant to fit us. Doing this gives our customers the freedom to adjust their clothes to however they want it to fit on them. We want to the colour palette to be dark and have that grunge feel to it and looked into a charity called the Wonder Foundation that could also help with promotion.

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weirdmirrors · 6 years

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Study of Nostalgia

The second chapter of my dissertation is on nostalgia. I have been conducing a bit of research on nostalgia in my previous studies, and in particular, in my manuscript Debris of Utopia. I opened it to take notes on my notes and perhaps use something in my dissertation. Debris of Utopia and my dissertation have been functioning like a small system of connected retorts.

Political - socially acceptable to be nostalgic for the Soviet times, as opposed (at least recently) to the Nazi nostalgia. And it is understandable: Soviet project was a project for the world that still has its appeal.

Nostalgia for the Soviet times is not nostalgia for the Soviet times but a meta-nostalgia, nostalgia for nostalgia: "I sometimes think that what one deals with in the post-Soviet spaces is the sedimentation of ruins, the rubble that left from the ruins of the Soviet constructions and infrastructure: not with ruins as such but rather with ruins of ruins. And the affect that they bring is, in fact, not nostalgia but rather the meta-nostalgia: a nostalgia for the nostalgia. While nostalgia is an experience of longing for something that may or may not have been there, the meta-nostalgia is longing for the purity of this experience. But the always-already-polluted can only dream of purity."

Ruins produce nostalgia: "Ruins are generative in terms of affect, producing nostalgia and melancholy, and also creating lacunae of experimental social / bodily explorations and not-always-legal or simply frowned-upon usages."

Nostalgia is acute: "Gazing at ruins and exploitation of ruins is pleasurable, and the nature of this pleasure is complex, from purely distanced aestheticized savoring of the “elegiac elegance” of ruins to the more acute feelings of nostalgia and loss. Yet Soviet ruins, I tend to forget, ascribing my own sensitivities of a native observer to others, are foreign to the Western reader. Rann suggests Soviet ruins are attractive for a Westerner because communist iconography, refined and redefined, stripped from its threatening meaning, is a veritable succession of images of a dissolved empire: “Russia and eastern Europe serves as an imaginary space in which western nations can play out their own crises of identity, without having to confront them directly” (Rann, 2014). In other words, Russian ruins serve as a mirror of a polished shield looking at which Perseus does not risk to be blinded by the Medusa Gorgon’s exterminating sights."

Nostalgia is mythology-producing: "Similarly, it is too compelling to announce the Soviet past to be the past and to overlook the summoning of this past conducted most notably by the state in contemporary Russia, to say that whatever is happening now is something entirely different from the past. The USSR’s was a revealing collapse. It still is. This existence in the non-existence of the Soviet Union is still so painfully evident in a multiplicity of manifestations as perhaps its very presence wasn’t. The collapse of the USSR has started, and it is not near the end of its unfolding. Like the collapse of the Roman empire, it will reverberate through the centuries. Not surprisingly, therefore, not only the empire is thought and described in dualistic terms, but that it is also likely to evoke the sense of nostalgia in the observers. The sense of nostalgia is going to be purified by those invoking it until it reaches that ideal vision of empire which is entirely fictitious, mythological, and also mythology-producing. "The unexpected and the unsurprising" merged in the collapse of the USSR, according to Yurchak (282). But for whom was it unsurprising? Surely for many people, as Yurchak himself attests, the end of the Soviet Union was the personal tragedy. There was a lot of the staggering—not just the surprising before, during, and after the collapse. In “Conclusion,” Yurchak writes: “This book began with a paradox: the spectacular collapse of the Soviet Union was completely unexpected by most Soviet people and yet,…most of them also immediately realized that they had actually been prepared for that unexpected collapse.” (Ibid). But is this such a paradox? People seemingly smoothly went on with their daily lives. What else was or is there to do? Is it not what "always" happens in the times of significant transformations and social changes? Who can, goes on, and who cannot, does not. The latter might look quite differently. People could depart for the inner emigration and engage into escapism, find for themselves enclaves where the life goes on as if nothing happened, and people could die. While many didn’t die, many did. While in some regions the collapse went (seemingly) smoothly, in others there erupted wars and military conflicts, often with ethnic component and civil wars: Transnistria, Nagorno-Karabakh, Abkhazia, South Ossetia, Tajikistan. Many-years Chechen wars and the currently unfolding hybrid war between Russia and Ukraine is the consequences and the continuation of the collapse."

Nostalgia is “sentimental” in Etkind's reading (somewhat tautologically): "Alexander Etkind writes about the affective register of the “high Soviet period” that he defined as stretching from 1928-1953, overshadowed by the common knowledge and reluctance, impossibility to speak about gulag, as the atmosphere of “coercion, violence, and angrst,” which resulted in the “complex of feelings—fear, bewilderment, resentment, compassion, and mournfulness.” (Etkind, 2013, 30). For those who grew up in the Soviet republics which were on the subaltern position towards Russia, the mixture includes “political guilt, sentimental nostalgia, and apocalyptic mindset” (Ibid, 33). Etkind derives this formula from the analysis of Grossman’s novel Everything Flows, the protagonist in which recalls his childhood memories unfolding in the Caucasus, the land subjected to colonization by the imperial Russia and the enduring colonial practices during the Soviet time and beyond. I spent summers of my childhood in Ukraine, the country in many grievous entanglements with Russia; Summers here are about it. These feelings are familiar, but the affect that I lived are different. As much as guilt was present, there was denial."

I do not have nostalgic feelings about school: "Nostalgia is likely to emerge in connection to the memories of childhood, school years, family time, the blessed bygone are when our parents were young, the world was bigger, felt fresh, and trees were huge1. But I do not have any nostalgic feelings in connection to school."

Allegiance to nostalgia: "At the end of the Soviet times, young critics of Communism refused to wear ties. I, to the contrary, had been wearing my tie for longer than anyone else in class, longer than it was appropriate. Even teachers squinted at it, annoyed. It was my inverted resistance, directed, for some reason, at the new fashions, rather than past injustices. And, I think, it was my first pledge of allegiance to the all-encompassing, eternal nostalgia."

To evoke your nostalgia by describing my nostalgia is my goal: "Soviet nostalgia, Stalinist nostalgia, Mao nostalgia, and recently not admitted to the public spaces Nazi nostalgia, which seems to resurge, all coincide in the feeling: Life was far better during the past regime. You might have been killed but you were young; after all, you still might be killed, but you are no longer young. A collection of fleeting glances and interrupted shadows that I file, catalog, and number for my and, hopefully, your amusement, dear reader, is, for sure, endless. There is always something to elaborate upon, something to add, and something to retract. The politics of revocations and additions is complex. A non-intentionality of this phenomenological project is absolute and exceeds itself. I am trying to convey the value of valueless objects, a preciousness of things that are nothing in your eyes. Things are just present; they do not necessarily do anything except for making you understand me. I was swung in the cradle of ruins; I fetched debris out of the nonexistent and the unimportant. For an observer. All I want is to make you love my debris the way I loved it. My only intent is to contaminate your vision, to communicate the bittersweet disease of nostalgia for the world you did not know. To express longing for a never-existed past, for a number of glimmering pasts, in fact, contesting pasts which hint at the tournament of the futures. I want the world to conflagrate my slow exitless burning. I was born at the Parthenon of the Soviet civilization. I am an absolute cosmonaut, suspended in space, surviving the cosmic shipwreck. Hence the method: I do not document that much or situate it in any context, as I create an affective feel."

The work of nostalgia is transformative: "My mother and her friend’s braids, their heels, their modest chintz dresses add to my vision of Maidan Nezalezhnosti. This is the work of nostalgia transforming things and adding the second dimension to the reality."

Nostalgia is sickness: "With the social transformations that begin with the goal of ultimate obliteration of previously existing social relations and structures, many things die leaving next to no trace, which partly accounts for the severe forms of nostalgia for the Soviet times. Such nostalgia bears the semblance of homesickness, since a former Soviet citizen, never mind her allegiances, is displaced even having never transgressed the borders of the country. She did not go anywhere; instead, the borders in one moment trembled and shifted under her feet. One day hundreds of thousands of Russians found themselves living abroad without moving, and everyone had awakened in a different country altogether."

Apart from the nostalgia for the USSR, there is a wide-spread nostalgia in Russia for the 1990s, the time of social transformation: "Many of those who were young during the 1990s, recollect the time with nostalgia and regret, others, with horror or simply grudgingly, but most remember gazillions of details comprising the zeitgeist."

Ostalgie: "Oustalgie can refer to different aspects of Soviet experiences not only pertaining to the East Germany but to the former Soviet space in general."

Indulging in nostalgia is a method: "Indulging in nostalgia might become a method of understanding it—all the more alluring since it is predetermined to be imprecise. Ruins do not offer the full story, only hint at it and thus allow the observer to inhabit it, “to experience historicity affectively, as an atmosphere” (Boym, 2001, 15)."

Pages 152-158 devoted to nostalgia.

Then "nostalgia" largely disappears, although does a work because it is used to classify things along the lines of what they trigger: "Nostalgia is easily triggered by taste, smell, memory of disappeared texture (hand cream). From Proust’s famous madeleines, the connection of the taste and memory has been well established: "She set out for one of those short, plump little cakes called 'petites madeleines,' which look as though they had been moulded in the fluted scallop of a pilgrim's shell. And soon, mechanically, weary after a dull day with the prospect of a depressing morrow, I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body, and I stopped, intent upon the extraordinary changed that were taking place." (Proust, Swann’s Way, 2012, page number)"

Caitlin's nostalgia: "My colleague Caitlin once remarked that during her fieldwork in Lebanon she could not even begin smelling the lemon trees, and I was greatly surprised: “How so? One could not choose, usually, whether to smell or not.” Olfactory sensations impose themselves on the preceptor. “But I mean, for someone it would be easy,” she replied. “Someone would say, maybe, ‘My grandma had lemon trees in her garden,’ but not I. My grandma did not have lemon trees, you know. That’s why when I was talking with that woman, and she was sharing with me her nostalgia, all the evocations that lemon trees had to her, I was not going along. She was only two years older than me and could not possibly remember the civil war in Lebanon; it was imprinted upon her, along with the lemon trees’ smell. I found it was hard to situate myself in the same mode evoked just by the lemon trees.”..."I was failing to be in this nostalgia with her.” Caitlin explained."

Nostalgia is evoked by audio and sound: "Nostalgia is triggered and propagated by the audio, by sound. Alexei Yurchak describes how compact radio transmitters brought to life new socialities deterritorializing the grand Soviet narrative (Yurchak, 2006, page numbers)."

We can make ourselves experience nostalgia: "Nostalgia is a reenactment, a reproduction of scenes that have been repeating. Nostalgia could be spontaneous, but it could also be deliberate. One sets herself out for the pleasant and poignant experience of recollection, and the listener signed themselves in to be reminded or enlightened, by virtue of being present with their cup of coffee with petals."

Photography is one of those technologies that reproduce nostalgia: "If the music, being a sound, and not unlike taste or texture, store nostalgia, if everyday technologies and the yesteryear technological advancements that rapidly go out of circulation can produce nostalgia, photography will be one of these technologies."

Family photography perhaps more than other types of photography has a potential to evoke nostalgia: "Perhaps Soviet family photographs will communicate to the attentive observer something about photographs in general, as well as about nostalgia, the imperial, the ephemeral, and the empyrean."

Nostalgia can be a powerful market motivator: "As if playing this game or possessing the object today would have given the former player or owner the sense of the days of childhood perhaps returning. All too often the first urge upon recollection of something long gone is to seek reacquisition. That’s why nostalgia is not only a feeling, a state of mind, or complex affect, but it can be a powerful market motivator."

Nostalgia turns terrible things into great memories: "Nostalgia turns terrible things into great memories."

Digital nostalgia (not a developed concept).

Nostalgia can be exploited by the state and by the agents active on the market: "Doubtlessly, Longing for Sleep project is not the only project exploiting the nostalgia for the Soviet times, debris “too worthless to plunger” (Brown, 2015) reframed as “another man’s treasure” are everywhere you look. (Examples include Crêpe De Chine and Georgette crepe “vintage-looking” fabric patterned in the Soviet style—in huge wide-branching flowers; ice cream rebranded as the “Soviet plombir (ice cream) sold in Russia and beyond, and something else perhaps I could use here.) All of it shows that nostalgia is the good to be sold, that nostalgia is turnable into money; it is able to bring revenue, and generate different communities, be it a huge and hard to define community of the “Soviet ice cream” eaters, or a refined little community of the former Soviet blankets’ wearers."

Nostalgia comes in surges: "Some two years before that, in one particularly unbearable surge of nostalgia, I searched the Internet for this lamp and found it, to my amazement, for sale on eBay."

Another two pages on nostalgia: 248-249

Of nuclear threat and its now almost-nostalgic affect: "What once was disturbing becomes merely nostalgia-inducing even if the threat itself did not vanish."

The post-Soviet nostalgia is syncretic: ). "In 2015, in Moscow people spotted (and there was a news item about it) that the high-school graduates sported the Soviet-school-style dresses, but the aprons were cut into the dresses. No way to take the apron off. It appeared to me that there was something symbolic about it: the apron as a part of the dress was a perfect metaphor for the Soviet nostalgia: it combined the previously familiar elements into the totally new whole, the order of things was rearranged the way it has not worked before. The syncretic nature of the Soviet nostalgia was thus revealed. One thing that does not belong attached to another, centaurus hybridized with griffin, the deer wearing the cherry tree for antlers, Stalin framed as a Christian saint, use the German photographs to illustrate the narrative about the heroism of the Red Army, and all of it for the purposes of reaching the authentic is, evidently, the common principle of the plastic restoration, the imperial nostalgia that does not really want the past restored, but merely toys with some of its aesthetic elements the meaning of which it nonetheless discounts and to the separate existence of which it refuses to attend."

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1 “When the Trees Were Tall,” the film by Lev Kulidzhanov, produced in 1961.

#nostalgia #Etkind #Yurchak #USSR #Soviet project #Boym #anthropology #affect

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