Permafrost-affected former agricultural soils of the Salekhard city (Central part of Yamal region)

Soil cover transformation in Russian Arctic is considered as underinvestigated. In 1920s it was started systematical studying and exploitation of natural resources of Far North of Russia. Due to development of industry and growth in area population necessity in agricultural products was growing intensively and arable soils became typical component of the soil cover in polar cities surroundings. Nowadays, however, almost all the former cultivation fields are abandoned or in poor use. Abandoned agricultural soil in sub urban territories of the Salekhard city were studied with aim to evaluate alteration of soil morphology and chemistry under agricultural impact and clarify the specificity of this process in case of permafrost-affected soils. The predominance of sandy textured parent materials within Salekhard city area was one of the main reason of favorable agricultural using of land in the north of Western Siberia in previous years. Data obtained revealed that studied soils are characterized by properties caused both by former (or existing) anthropogenic influence and natural processes (e.g. cryogenic mass transfer). Soil organic carbon content depends mainly on the character of current land use and varies significantly in studied soils. Most of the soil samples showed the highest levels of soil nutrients in the topsoil. Former arable horizon is stable in time in terms of morphological features and agrochemical state. In spite of high level of soil acidity, content of nutrients in antropogenically affected topsoils is still high after 20 years of abandoned state of soils. This indicates that agrosoils with relatively high fertility of arable topsoils could exist during long time in case of sandy-textured parent materials

Искусство быть искусствоведом. Рец. на кн.: Искусство постигать искусство : сборник статей к 100-летию Н. А. Дмитриевой / отв. ред. М. А. Бусев. Москва : БуксМАрт, 2020. 408 с.: ил.

This review examines Art of Comprehending Art, a collection of scholarly articles based on the materials of the conference Historical and Theoretical Issues of Art Studies: For N. A. Dmitrieva’s 100th Birthday (held on April 24–25, 2017 at the State Institute of Art Studies of the Ministry of Culture of the Russian Federation). The first part of the collection presents colleagues’ memories about N. A. Dmitrieva’s work revealing various facets of her talent. In the second part of the book, scholarly articles by contemporary art historians are devoted to the issues that N. A. Dmitrieva examined, i.e. the history of art criticism and art education in Russia, theoretical and methodological issues (image and word, issues of interpretation, kitsch), the creative work of P. Picasso, M. Vrubel, and A. Chekhov. The third section contains fragments of N. A. Dmitrieva’s diary, as well as two previously unpublished articles.В рецензии рассматривается сборник научных статей «Искусство постигать искусство», выпущенный по материалам конференции «Историко-теоретические проблемы искусствознания: к 100-летию со дня рождения Н. А. Дмитриевой» (состоялась 24–25 апреля 2017 г. в Государственном институте искусствознания Министерства культуры РФ). В первой части сборника представлены воспоминания коллег о творчестве Н. А. Дмитриевой, раскрывающие различные грани ее дарования. Во второй части книги научные статьи современных историков искусства посвящены проблемам, волновавшим Н. А. Дмитриеву. Среди них: история искусствоведческой мысли и художественного образования в России, теоретические и методологические вопросы (изображение и слово, проблемы интерпретации, китч), творчество П. Пикассо, М. Врубеля, А. Чехова. В третьем разделе опубликованы фрагменты дневника Н. А. Дмитриевой, а также две ранее не издававшиеся статьи

Искусствовед на Урале: К 100-летию со дня рождения Бориса Васильевича Павловского (1922–1989)

This note is dedicated to the centenary of Boris Vasilyevich Pavlovsky’s birth. He was a professor at Ural State University and founder of Ural Art Studies. A Dr. Hab. (Art Studies), corresponding member of the Academy of Arts of the USSR, and laureate of the State Prize of the RSFSR, he was the founder of the Department of History and Theory of Art at Ural State University. He contributed to the study of the fine arts and stone-cutting art of the Urals and to the scholarly activities of the Sverdlovsk Art Gallery.Заметка посвящена 100-летию со дня рождения Бориса Васильевича Павловского, профессора Уральского государственного университета, основателя уральского искусствознания. Доктор искусствоведения, член-корреспондент Академии художеств СССР, лауреат Государственной премии РСФСР, он стал создателем кафедры истории и теории искусства в Уральском государственном университете, внес вклад в исследование художественного и камнерезного искусства Урала и в научную деятельность Свердловской картинной галереи

Уральские картины Романа Семашкевича: принцип повествовательности

This article analyses the Ural period in the creative work of R. M. Semashkevich and the master’s previously unknown works. Contemporaries perceived the artist as a person of natural talent, who abstained from disputes about the ways of development of Soviet art. However, Semashkevich’s correspondence testifies to his critical view of the decision of the authorities to limit creative freedom, he wanted to demonstrate a different approach to socialist realism. It was important for him to build a method by which a painter, even staying within the framework of the ideological order, would be able to cultivate objective artistic values.Semashkevich’s artistic method of the early 1930s is characterised by the significant role of the pace of drawing; in his sketches, created in rapid succession, in one breath, the viewer is captured not only by their external accuracy, but also by the author’s passion, his mastery of the “narrator”. The directness of the “narrative” with all the possible angularities and conventions gives the viewer a sense of complicity, and it is on this that the artist builds his principle of narrative. It was important for the master not only to fix nature, but also to find a composition move, and build a figurative scene in a figurative way.The artist went on a trip across Northern Urals (1933) and then worked in Zlatoust (1934–1935), trying to find his “direction in the present”. His creative business trip became an opportunity for him to realise his individual artistic programme: he borrowed his plots from stories by old Bolsheviks — participants of the Revolution and the Civil war, and developed a special system of narration, combining elements of primitivism, popular print, and references to Barbizon painters and Cezanne. At a personal exhibition in Zlatoust, he presented historical and revolutionary paintings in which he demonstrated his understanding of the new realistic art. Using “graphic paradoxes” and colour dissonances, he created a sense of internally contradictory historical action in which casual episodes were characterised by the power of a heroic legend, and the artistic system verging on the primitivism or theatrical decorativeness gave rise to a sense of authenticity.В статье анализируется уральский период творчества Р. М. Семашкевича, раннее неизвестные произведения мастера. Современники воспринимали художника как «самородка», далекого от споров о путях развития советского искусства. Однако переписка Семашкевича свидетельствует о его критических взглядах на решение властей ограничить творческую свободу, он желал на деле продемонстрировать иной подход к социалистическому реализму. Ему важно выстроить метод, посредством которого живописец, даже оставаясь в рамках идеологического заказа, был бы в состоянии культивировать объективные художественные ценности.Для творческого метода Семашкевича начала 1930-х гг. важным было понятие о темпе рисунка, в его этюдах, написанных стремительно, на одном дыхании, зрителя захватывает не только внешняя точность, но и страсть автора, его мастерство «рассказчика». Непосредственность «рассказа» со всеми возможными угловатостями и условностями рождает у зрителя чувство соучастия, и именно на этом художник строит свой принцип повествовательности. Мастеру было важно не просто зафиксировать натуру, а найти композиционный ход, выстроить фигуративную сцену в образном ключе.Художник совершил путешествие по Северному Уралу (1933), затем работал в Златоусте (1934–1935), стремясь найти свою «направленность в современности». Творческая командировка стала для него возможностью реализовать индивидуальную художественную программу: он черпает сюжеты из рассказов старых большевиков — участников революции и Гражданской войны, разрабатывает особую систему повествовательности — конструкцию, в которой возможны элементы примитива, лубка, влияние барбизонцев и Сезанна. На персональной выставке в Златоусте он экспонирует историко-революционные картины, в которых демонстрирует свое понимание нового реалистического искусства. Используя «графические парадоксы» и цветовые диссонансы, он создает ощущение внутренне противоречивого исторического действа, в котором случайные эпизоды обретают мощь героического предания, а живописная система на грани примитива или театральной декоративности порождает чувство достоверности

«Не однотонный художник»: графические работы Л. А. Эппле к произведениям Д. Н. Мамина-Сибиряка

This article analyses the graphic cycle of L. A. Epple created based on D. N. Mamin-Sibiryak’s works in 1946–1952. Among the artist’s works, there are both illustrations for the collection For Children (1947) and easel compositions commissioned by the writer’s memorial museum in Sverdlovsk. A professional graphic artist, Epple worked thoughtfully and consistently with the works of the writer for many years, achieving expressiveness of images and artistic accuracy. The artist’s special position (a labour soldier in Sevurallag in 1941–1945, then a special settler in Sosva and Irbit in 1946–1952) led to the fact that his creative activity during these years was unknown to specialists. The artist’s name was not mentioned in the data of the collection of Mamin-Sibiryak’s works, and his easel paintings (kept in the collection of the United Museum of Writers of the Urals) were not published.In the late nineteenth — first half of the twentieth centuries, Mamin-Sibiryak’s works were illustrated and decorated by many Ural artists (S. I. Yakovlev, A. V. Kikin, Yu. A. Ivanov, A. A. Zhukov, N. P. Golubchikov, A. A. Kudrin, E. V. Gileva, etc.), but unlike L. A. Epple, the appeal to the literary heritage of the writer was for them only a brief episode of creative activity.Epple’s art project developed within the framework of an official order, hence the stylistics convenient for the mass reader, and a set of visual images was thought out. The principle of narrative fits into the aesthetics of book illustration of the 1940s–1950s, but in Epple’s graphic compositions, there is a feeling of intimacy, softness, some idealisation, and smoothness of images. Following the traditions of his teacher D. N. Kardovsky, Epple strives for the exact choice of the scene, the expressiveness of the entire composition and each character, the elaboration of details, and tries to reveal the psychology of the main characters. Choosing a realistic manner of performance, the artist proceeds from the nature of Mamin-Sibiryak’s oeuvre, with his thoroughness and journalistic narrative, respectful attitude to historical, ethnographic, and everyday realities.В статье анализируется графический цикл Л. А. Эппле, созданный по произведениям Д. Н. Мамина-Сибиряка в 1946–1952 гг. Среди работ художника как иллюстрации к сборнику «Для детей» (1947), так и станковые композиции, выполненные по заказу мемориального музея писателя в Свердловске. Профессиональный график, Эппле на протяжении многих лет вдумчиво и последовательно работал с произведениями Мамина, добиваясь выразительности образов и художественной точности. Особое положение художника (трудармеец в Севураллаге в 1941–1945 гг., затем — спецпоселенец в Сосьве и Ирбите в 1946–1952 гг.) привело к тому, что его творческая деятельность в эти годы была неизвестна специалистам. Имя художника не было указано в выходных данных сборника произведений Мамина-Сибиряка, станковые композиции (хранятся в собрании Объединенного музея писателей Урала) не были изданы.В конце ХIХ — первой половине ХХ в. произведения Мамина-Сибиряка иллюстрировали и оформляли многие уральские художники (С. И. Яковлев, А. В. Кикин, Ю. А. Иванов, А. А. Жуков, Н. П. Голубчиков, А. А. Кудрин, Е. В. Гилёва и др.), но в отличие от Л. А. Эппле обращение к литературному наследию писателя было для них лишь кратким эпизодом творческой деятельности.Художественный проект Эппле развивался в рамках официального заказа, отсюда удобная для массового читателя стилистика и продуман набор визуальных образов. Принцип повествовательности укладывается в эстетику книжной иллюстрации 1940–1950-х гг., но в графических композициях Эппле есть камерность, мягкость, некоторая идеализация и сглаженность образов. Следуя традициям своего учителя Д. Н. Кардовского, Эппле стремился к точному выбору сцены, выразительности всей композиции и каждого персонажа, проработке деталей, а также старался раскрыть психологию главных героев. Выбирая реалистическую манеру исполнения, художник исходил из характера всего творчества Мамина-Сибиряка, с его основательностью и публицистичностью повествования, уважительным отношением к историческим, этнографическим и бытовым реалиям

Some Words About Cryptographic Key Recognition In Data Streams

Search for cryptographic keys in RAM is a new and prospective technology which can be used, primarily, in the computer forensics. In order to use it, a cryptanalyst must solve, at least, two problems: to create a memory dump from target machine and to distinguish target cryptographic keys from other data. The latter leads to a new mathematical task: >. The complexity of this task significantly depends on target cryptoalgorithm. For some algorithms (i.e. AES or Serpent) this task is trivial but for other ones it may be very hard. In this work we present effective algorithms of expanded key recognition for Blowfish and Twofish. As far as we know this task for these algorithms has never been considered before

Vertical electrical sounding of soils and permafrost of marine terraces of Gronfjord (Svalbard archipelago)

Vertical electrical resistivity sounding (VERS) of soil-permafrost strata has been performed during the field work within the sea terraces of Gronfjord (Svalbard archipelago, West Spitsbergen island). Vertical electrical resistivity sounding of soilpermafrost strata was performed by portable device LandMapper. Then these data have been analyzed via ZondIP software (1d model). Apparent electrical resistivity values on the soil-permafrost strata usually change rapidly. It was established that studied soils with different origin and morphological properties are referred to 2 trunks, 2 orders, 4 types and 7 subtypes. Histic Gleysols, Cryosols, Gleysols and their subtypes have been investigated within the key plots (Grendasselva, Aldegonda rivers and catena on the sea terrace in surroundings of Barentsburg aerodrome). Several trends in profile distribution of electrical resistivity values have been distinguished. The main is connected with monotonous increasing of electrical resistivity values with a depth. Values of apparent electrical resistivity increase rapidly on the border of active layer-permafrost layer. The contrasts in profile distribution of electrical resistivity values are caused mainly by differences in water content, texture class and degree of strata heterogeneity (due to cryogenic processes). The depths of active layer-permafrost boundary have been distinguished using ZondIP software. Regional differences in this indicator may be explained not only by local differences in thermal regime of soil and permafrost layers, but also by different character of anthropogenic influence on key plots. Vertical electrical resistivity sounding method provides significant information for understanding soil electrical properties without any mechanical disturbances of soil cover. The data obtained is clearly coincided with field work data on soil morphologyThis study was conducted in cooperation with Arctic and Antarctic Research Institute (Saint Petersburg, Russia) and supported by Russian Foundation for basic research, grant 16-34-60010, Russian presidents’ grant for Young Doctors of Science № MD-3615.2015.4

Coagulation of waste water from the point of view of physic-chemical interactions

The widespread use of reagent coagulation in the technology of purification of natural and waste waters is due to the complexity of the chemical composition and phase-dispersed state of the aqua systems of these waters, on the one hand, and the multifactorial action of coagulants on them, on the other. The mechanisms of interaction between coagulants and pollutants of wastewater which are in different phase-dispersed states include the physicochemical phenomena of coagulation, heterocoagulation, adagulation and sorption. The physicochemical concept “coagulation” reflects only one mechanism of coagulants’ action on pollutants. This leads to the appearing of the problem in terminological description of the physicochemical processes’ combined action when adding coagulants to the water being cleaned. The purpose of the study is to justify the use of universal indicators characterizing the multifactorial nature of the coagulation process, its formalization and quantitative assessment. The solution of the problem is to use the concept of “coasorption”, which determines the multifactorial nature of the interaction between coagulants and pollutants, and to use the technological indicator “specific coasorption”, which establishes a quantitative relationship between the pollutants’ indicators and the dose of coagulant. The test coagulation’s results of two different types of synthetic dyes’ solutions using aluminum salts reflect the difference in the mechanisms of their interaction with the coagulant. The formula for coasorption isotherm can be used to determine the required doses of reagents for coagulation of water basing on the initial and residual content of pollutants in the purified waters

Algorithms for switching between block-wise and arithmetic masking

The task of ensuring the required level of security of information systems in the adversary models with additional data obtained through side channels (a striking example of implementing threats in such a model is a differential power analysis) has become increasingly relevant in recent years. An effective protection method against side-channel attacks is masking all intermediate variables used in the algorithm with random values. At the same time, many algorithms use masking of different kinds, for example, Boolean, byte-wise, and arithmetic; therefore, a problem of switching between masking of different kinds arises. Switching between Boolean and arithmetic masking is well studied, while no solutions have been proposed for switching between masking of other kinds. This article recalls the requirements for switching algorithms and presents algorithms for switching between block-wise and arithmetic masking, which includes the case of switching between byte-wise and arithmetic masking