Mighty minds daycare: Early Childhood Education – Mighty Minds Enrichment Center

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MightyKidz

MightyKidz Programs

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• Infant Program

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• Toddler Program

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• Preschool Program

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• KinderPrep Program

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Boutique Early Learning

The MightyKidz program was developed by working Seattle parents just like YOU. We value real time communication, locally sourced food, community based outdoor activities, and STEM.

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Curiosity is Fuel

Emergent. Community. Diverse. Our program facilitates growth and strengthens foundational knowledge and skills in all learning domains: Social-Emotional, Physical, Cognitive, Adaptive, Language, and Social & Global Awareness.

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Hours

We know time is important for working parents. We strive to keep our core hours in line with core working hours. Our centers are open from 7AM to 6 PM, Monday through Friday.

Location

MightyKidz Magnolia

Located near Fisherman’s Terminal

Hours: 7:00 AM – 6:00 PM

Phone: 206-397-4103

Check availability, schedule a tour, and join the waitlist here.

Email: [email protected]

Address: 2307 W Elmore St Seattle, WA 98199

 Our Educators Change the World

Our teachers are the “secret sauce” of MightyKidz. We hire and retain the most passionate educators in the pacific northwest. We invest in our teachers through ongoing education, fully paid health care benefits, yearly bonuses, and internal growth opportunities.

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• Kiara Olsson (Kiki)

  “The secret to my sauce? I utilize all of what I think are the best aspects of Reggio, Waldorf, Montessori, and Emergent curriculum in order to create an environment for the various types of young learners in the world so all feel welcomed.”

• Jonathan Esparza

  “I graduated from the University of Washington in American Ethnic Studies and Early Childhood and Family Studies with a Minor in Diversity. I love to incorporate my ukulele when it comes to teaching! As soon as you walk into my class, you’ll hear music playing in the background making you want to dance alongside the kids!”

• Mikaela Phillips

  “I love getting to interact with the babies every day, getting to know their individual personalities and bonding with the families in our care. I think a great classroom starts with passion, love and lots of laughter and I try and bring that into mine every day.”

Love MightyKidz!!! My son went to the LQA location from 10 weeks to 2 years and we had nothing but a great experience! Very low staff turnover as they treat their staff wonderful as well.

Laura R – MightyKidz Mom

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About Us

MightyKidz was founded in 2014 by Jeff and Kyla Liboon to serve working parents in the Seattle area. MightyKidz is Seattle’s largest independent operator of early learning centers. In 2020 MightyKidz was recognized as an Inc. 500 company, annually awarded to the top 500 fastest growing companies in the country.

Mighty Minds-2 | Russian Bazaar

In the world

№45 (603)

Sergei Baimukhametov

Finance Minister Kudrin refuted President Putin – publicly, at a meeting of the Federation Council. But no one noticed. Because I didn’t match. They talk so much, bombard us with so many numbers that it’s impossible to keep track. They cannot keep track of themselves, and therefore there are such blatant embarrassments. We can say – ideological sabotage.
I believe that this comparison will give us an answer to the question: why is the majority of the population dissatisfied with the standard of living? According to an August poll of sociologists (even before the sharp increase in food prices!) every fifth family said that they were not living, but were surviving. Moreover, the number of such people increased by 5 percent compared to 2006. This means that about 8 million low-income citizens have moved into another category – the poor. And according to Rosstat, the average income of citizens in real terms (that is, adjusted for inflation!) And the average real wage increased from July 2006 to July 2007 by 15 percent. How to explain such a contradiction?
“Incomes are growing, that’s a fact,” says Natalya Tikhonova, head of the department at the Higher School of Economics, Doctor of Sociology. But life doesn’t get any easier. It comes to consciousness that the model of society that has developed … there is no place for an ordinary person in it … It turns out a paradox: everything seems to be improving, but people are growing dissatisfied … There is a growing feeling that they are social outsiders, a dull, non-personalized protest appears … The depth of poverty has sharply increased. People have appeared who live in such poverty as the Soviet Union never dreamed of: property is falling into disrepair, household appliances are becoming unusable, people’s health is beginning to deteriorate – and this is an additional expense item. A vicious circle begins… People lose their usual social contacts. At first they are helped out of pity. Then they begin to annoy and irritate, they shy away from them, as if they were contagious, marginalization begins … The respondents themselves to the question “what is poverty?” often answered: “Poverty is the loss of tomorrow.” Although, it would seem, they should say that poverty is when a child has nothing to buy shoes to go to school, or when there is no way to fix a broken TV. We have studied this environment in detail. Many focused on the psychological state: “Poverty is when your hands have already dropped”, “Poverty is when your eyes are dull and you don’t believe in anything …” According to the State Statistics Committee, there are about 30 million such people.
Nevertheless, Natalya Tikhonova began by saying that “incomes are growing”.
But if we compare the recent speech of the President of the country with the speech of the Minister of Finance, a startling discrepancy is revealed.
On a direct line with the population of the country, the president said: “Last year, the average wage growth was 13.4 percent, and this year – 14.4 percent.”
And here are the figures of Minister Kudrin: “The increase in prices for milk and dairy products since the beginning of the year amounted to 25 percent, for butter – 29.2 percent, cheese – 42 percent, flour – 31 percent, bread – 21.1 percent, sunflower oil – 43 percent, eggs – 18.2 percent.
If we compare it with salaries, it turns out that there is no increase in welfare. But quite the opposite.
And social psychology has nothing to do with it. We have a real impoverishment of the people, the depreciation of the ruble. Despite the fact that all around they are talking about the growing welfare of the working people. And even a prominent specialist, Natalya Tikhonova, was captured by propaganda.
The article “Mighty Minds” (“RB” No. 44) described how Chubais argued that the growth of tariffs and prices did not affect inflation. (?) And Kudrin agreed with him, after some hesitation. Now, after the sharp rise in food prices in October, he has changed his mind. And he talked about high inflation due to rising prices.
So, it took him TEN YEARS of work as Deputy Minister and then Minister of Finance of Russia to realize such an economic truth. By the way, just two weeks ago all responsible ministers blamed the reptile dealers and the international market for the rise in food prices. And today they started talking about the fact that the reason is the lack of their own effective agricultural production.
Wow!
For 15 years, the most authoritative people, such as Gennady Lisichkin, a well-known publicist and economist from ancient Soviet times, have been shouting that the ruin of the village is the main misfortune and danger for the new, democratic Russia. That without their bread-milk-meat, no reforms will lead to anything but collapse.
But finally, the government began to guess.
And the last detail on the topic of the day. The government began grain intervention. In other words, grain from state stocks went to the market. The press writes: “The head of the Ministry of Agriculture, Alexei Gordeev, has declared a psychological war on the rise in food prices.”
Only it should have been done six months ago. When Gordeev himself suddenly (who pulled his tongue!) announced an impending crop failure and thus provoked panic and an increase in grain prices. (His forecast did not come true, and the prices of food went up.) It was then that state grain intervention would have helped. And now, well … the old prices cannot be returned.
There are two options: either they do it on purpose – they work for food suppliers and other monopolists, allow them to brazenly profit at the expense of the people, or they simply do not know anything and do not understand their business.
I will refer to the voice of the people. On the engineer Vladimir Pavlyuk from the Krasnodar Territory. Unfortunately, his letter was published only in the newspaper Life of a Citizen of Russia, which is not sold in newsstands, and there is no subscription to it either. Many such publications are distributed in the halls of the State Duma and the Federation Council.
“Let me write directly what has been on everyone’s mind for a long time. There are a lot of stupid people among the big officials… For example, a group of people pass a law that is completely stupid. From all sides one can only hear: “What is this happening, such an absurdity must not be allowed!” And they still do it in front of everyone. But then from above it is heard: “Cancel and redo!” And the same group of people of high rank with joyful faces hit their foreheads and are amazed: “What nonsense!” And cheerfully begins to work in a different direction. But will there be any sense? After all, stupid people got down to business! … A good solution to the problem would be the introduction of independent IQ expertise for applicants for public office. How much longer can one endure leading and guiding idiots?” – finishes the letter engineer Vladimir Pavlyuk from the Krasnodar Territory.
Strictly said, rude. But with pure faith that the fault is just stupidity.
However, the first option is not excluded.
Moscow

Explosion in Düsseldorf: Russian filmmaking on German soil

Culture and lifestyle

The Russian theatrical tradition continues to excite Germany. Düsseldorf Drama Theater opened the season with Kafka’s “Trial” in a surreal production by Andrey the Mighty.

Bailiffs ride their bikes through the sky. A young nurse with inviting forms turns into a black swan and dances with Satan between the birches. Three-meter baby plays the piano. The lawyer sits on the chimney, dangling his legs and chuckling. All this becomes possible when a director from Russia arrives in a small German city to stage Kafka.

Andrey Moguchiy staged “The Trial” at the Düsseldorfer Schauspielhaus Drama Theater, and attracted the best minds, hands, eyes and ears of modern Russian stage art to work.

Andrey Moguchy Photo: picture-alliance/dpa

Maria Tregubova, a talented student of Dmitry Krymov, became the production designer, turning the Düsseldorf stage into a surreal dream, which, unfortunately, German theater critics were only partially able to understand, as evidenced by some articles that appeared immediately after the premiere.

Strange all the same: why did the critics even try to understand anything, initially knowing that we are talking about Kafka’s “Process” (Franz Kafka)? Or have they forgotten that such a novel actually never happened? Or did they expect something pensive and heartfelt from Mighty, so that later at home they would say with a breath: “Oh, it was like Chekhov’s in The Three Sisters? Or maybe the critics didn’t have enough calls to save Pussy Riot in the performance, which it is fashionable now to recite from stages large and small, as soon as the Russian aspect looms on the horizon?

A Brief Presentation of Kafka

The Mighty One did not follow the lead of time, but followed the lead of Kafka. This is why the newborn masterpiece is valuable: there is no need for posters and screams, everything is decided in a single head, free to think and understand what is happening to the best of its own intelligence.

Waking up on the day of his thirtieth birthday, Josef K. immediately noticed: something was wrong … Strangers in black suits and white gloves ran around his life – a sort of special subspecies of undertakers, eager to bury not posthumously, but alive. Unfamiliar voluptuous women desired him. The clouds turned over on the wrong side, and in general the whole world parted for some reason in different directions, taking away in pieces what had recently been considered the norm. The hero plunged into absurdity, as if into a viscous porridge with full-fat milk. The reality, cleared of logic, sucked him completely.

Franz Kafka. Prague, 1920 Photo: picture-alliance/dpa

A case has been filed against the bank clerk Josef K. in court. But not a single person is able to explain to the procurist when and what he was guilty of: “Who are these people? What are they talking about? What department are they from? dare to attack him in his own dwelling?” The denouement is simple: the hero was eventually stabbed to death, stabbed in the very heart.

Mighty Company

Mighty and his team were given a simple, but at the same time difficult task: “to blow up the Düsseldorf stage” (this is how the leadership of the drama theater formulated it). With what the Russian directors coped excellently. If this were a movie, the film would be dubbed a blockbuster with amazing special effects.

This has never happened before in Düsseldorf. The possibilities of the stage were exhausted to the last spoonful! It rotated in all directions, pushing more and more spaces, allowing the scenery and actors to be placed on several levels, revolving around each other. The world of absurdity, which captured the protagonist, appeared in all its glory and in all the horror of its unreality. The viewer barely kept up with looking at the details that emerged from all sides literally every second. Each new scene could be photographed with a light heart and hung on the wall.

Original manuscript of The Trial Photo: picture-alliance/dpa

Outrageous style

As if the heroes of the paintings of the Belgian surrealist Rene Magritte came to life and went for a walk, giving each other red funeral roses, leaving the hall or falling into black holes. The combination of black, white and gray with rare splashes of fierce red made the eye rejoice at the stylish austerity.

The role of Josef K. Andrei Moguchiy entrusted the Finnish actor Karl Alm. And it’s great! His “inhibited” accent stubbornly contrasted with the non-existent world, demonstrating every time he opened his mouth, his difference from the abyss that suddenly swallowed up an innocent procurist. This long man with a thin beard looked like Raskolnikov, lost in the text of Kafka, trying to somehow navigate between the layers of guilt and punishment: “I am refusing the services of a lawyer!”

Deadly good: the wild dance of stage layers, costumes, props carried me into a beautiful, but terrible world of the incomprehensible. It couldn’t be. And this was not. It was as if the whole hall plunged into a mighty group dream, and then woke up and did not understand what it was, and whether it even existed …

It must be said that individual German critics still did not delve into their student memories of Kafka’s texts and let themselves be carried away. They, judging by the rave reviews, really enjoyed the THEATER in all its dizzying manifestations. It seems that the creation of Andrey Moguchiy and company will be remembered here for a long time. It turned out that the Russian theatrical tradition is capable of doing just that: just take it and turn the world upside down by throwing a red rag into cotton clouds…

In the near future, “The Trial” on the stage of the great hall of the Düsseldorfer Schauspielhaus can be viewed on September 21st, 22nd, 30th, as well as on October 3rd, 23rd, 24th, 25th and 27th.

“And someone laid a stone…” / Pravoslavie.Ru

Post-Jubilee reflections on one letter of Michael
Lermontov

In the year of Lermontov how not to say about Lermontov!.. But
the closer you peer into a hasty pencil
Lermontov, the more consciously you delay the pause. You are silent before
the name of the poet, awkwardly justifying it with a “crowd
material”, then the autumn cold blues. And all this
until you come to one completely
natural question: do you know anything at all about
Lermontov?

And not about the highlighted in a special paragraph
“creative way” speech. No, you’re thinking
willy-nilly, just about the letter Lermontov. About the letter
– literally. And thinking a little
spread your arms to the sides. “In heaven solemnly
and wonderful.” What mighty minds in Lermontovskaya,
example, encyclopedias leaned over this one
line, whole lives were given to his genius! And he,
who lived in the world to the bright windows of the Pyatigorsk house
(“The branches of cherry blossoms look out the windows to me, and
the wind sometimes strews my desk with white
petals”), comes up again and again in our
imagination with a smile to the foot of Mashuk. And we are in
which time! – we knock with our hearts on the hologram
of the past, in the hope of becoming closer to the poet, to learn from him
something new, still unknown – about himself, about us
and about the world.

With such resolute ignorance of Lermontov, with incessant
the thought of where, after all, the tombstone with
name “Mikhail”, I decide to approach
one Lermontov word, which is composed of one letter. AT
poem “The Beggar”, inscribed in pencil
on a piece of gray paper in the Trinity-Sergius Lavra, placed
perhaps the most significant union in all Russian poetry:

He only asked for bread,
And his gaze showed living flour,
And someone laid a stone
Into his outstretched hand.

It is known that Elizaveta Alekseevna Arsenyeva, grandmother
maternal poet, in the summer of 1830 she made
foot pilgrimage to the Trinity, in order to serve a prayer service for
tragically deceased brother. Went with her to
seventy-kilometer way and Lermontov. And heard the words
beggar, uttered from the porch of the temple. “Send you
God of happiness, good gentlemen; and here the other day…
they laughed at me: they put a full cup of pebbles.
God be with them!” Even younger students know that
the famous Lermontov line about a stone embedded in
palm waiting for help, denotes in a figurative
sense of deception of hope, disappointment.

But here’s the question: why does the poet choose the composing union
“and” instead of the opposite “but”?
The beggar is waiting for alms, hoping for human help, but an evil
someone’s will receives a mockery in the form of a stone. He waited but
not wait. He hoped and believed, but was cruelly deceived.
An outstanding artist would capture in speech construction,
most likely resistance, not connection. Yes, but not
brilliant Lermontov!

Posen L.V. (1849-1921) Beggar. 1886. State Tretyakov Gallery.

Refusing, apparently intuitively, from
obvious verbal selection, a sixteen-year-old boy
renounces the obvious outcome of thought. in saints
within the Trinity-Sergius Lavra, he relies on
heavenly providence in the language, trusting the unknown
impulse. The sinful human tongue is torn out, and the prophet
begins to appeal to people in an inhuman language,
higher, higher. Lermontov invests in only one
serving as a particle of speech colossal experience of free
spiritual insight. Maybe instant
born in a flash of invisible tears, and may well
turn out, and years – or centuries! —
sprouting like a grain in his soul and heart. More
before birth.

“And someone laid a stone …” We see
never smiling through the eyes of Pechorin behind this unearthly
by the strength of the influence of “and”; we will find out
“an empty and stupid joke” and – to goosebumps
on the skin – we feel “cold attention”
author’s point of view; we hear through pain and shame
Lermontov’s farewell to “unwashed Russia”.
Resolution of the dispute – did the great poet write or did not write
deadly truthful lines in the last year of his life,
translucent, just like X-rays, Russian
reality through and through – lies not here
also, in the only possible way for Lermontov
“and”? The usual happened. Stone instead of a soul
– common, deceit instead of truth – common,
cruelty instead of pity is commonplace. Stylistic
and the cosmic sound created in the Trinity-Sergius
Laurel masterpiece in one absolutely on a par with
octet-sentence-farewell. And it didn’t suit us
deny the sadness of our unsettled Russian
fret. It is not proper to correct Lermontov, denying him
the right to a woeful postscript. After all, for this very
homeless sadness, as one philosopher admitted, it would not be
it is a pity to give him all the prosperous happiness of the West …

Not setting up the pulpit, but humbly becoming
kneeling in front of a chair and barely keeping up with a beaded handwriting behind
voice from above (“The Beggar” was written exactly like that,
fluently), Lermontov, as if from the Sermon on the Mount
takes an inexhaustibly multidimensional image. But not all alone
sadness and disappointment are concentrated in the prophetic
Lermontov letter. How sometimes in autumn nights one guesses
behind the veil of clouds the starry sky, and behind the poetic brace
future meanings are revealed.

In the poem “The Beggar” there is, it seems to me, something
what is not there. For the time being, no. That each of us readers
does not want or cannot, does not know how to notice before the time. Not
directly stated author’s intent may not
clear to the author himself. Stronger than stone, more precious than gold. In him
there is faith. Let the deceit lie heavily in the cup of our destinies,
let the most defenseless feeling in the world – love
– ridiculed and dressed up in clownish clothes
sequins, and the one who asks still holds out his battered
vessel, believing in help – human and divine. And
the truth comes, and the strongest of all turns out to be loving
heart. The appearance of Lermontov himself, which is “lighter
azure,” affects here completely. And no longer
“with cold attention” the poet looks from his
detached and romantic far away, but with a fervor of sympathy and
complicity: “I, the Mother of God, / / ​​Now with a prayer / / Before
In your image,//Bright radiance…”

Two centuries have passed since the birth of Mikhail Lermontov. BUT
a cracked wooden cup is still intact,
becoming more and more like a bowl of universal scales. What
win? What will outweigh?

…Yesterday I just told the students a story
“Beggar”, he also mentioned Sushkova, calling her
accidentally Alexandra. And here is one girl correcting me:
Ekaterina, her name was Ekaterina Sushkova. It turns out my
A first-year excellent student managed to visit Tarkhany. That
was my happiest ignorance in my life. And I suddenly
I thought: but in a cup something clean – without a price –
gold happens to fall…

Photo from open Internet sources

Newspaper “Orthodox Faith” No. 22 (522)

Chapter 11. Another Light which the ear “does not take.” Maybe it’s the same with light vibrations?

Yes!

With light vibrations the situation is the same – there is ultralight and infralight, which the eye does not perceive. Only they are called a little differently – ultraviolet and infrared radiation. The sun regularly emits these rays, but we do not see them.

Those vibrations, the frequency of which exceeds the frequency of the violet color, are called ultraviolet. And those whose frequency is less than the frequency of red light are called infrared. You can also say in another way:

short-wave radiation is ultraviolet, and long-wave radiation is infrared.

That is, the rainbow in the sky actually has not seven colors, but more, we just don’t see other colors.

By the way, not all earthly creatures are as miserable as people. Bees, for example, see ultraviolet light, and snakes see infrared light.

Invisible light is located at the edges of the visible

Darkening of the skin, which we call sunburn, is caused by ultraviolet radiation. In small doses, it is very useful, because it is under the influence of ultraviolet radiation that our skin produces vitamin D. But in large doses, ultraviolet radiation is dangerous – it not only causes sunburn, but can also lead to fatal skin diseases and damage vision. Therefore, you should not get carried away especially with a tan, and in the summer it is better to wear dark glasses so that there is no retinal burn – that small screen in the eye on which the image is projected.

As you can see, ultraviolet is biologically very active. With the help of ultraviolet lamps, harmful microbes are killed, disinfecting the water in pools and the air in hospitals.

Luckily, it’s easy to protect yourself from excess ultraviolet light, it is practically impervious to ordinary window glass.

Therefore, for the production of ultraviolet lamps, it is necessary to make a special glass – quartz.

Now let’s say a couple of warm words about infrared radiation. It was not in vain that I said warm words, because infrared radiation is sometimes also called thermal radiation. We do not see it with our eyes, but if it is intense enough, we can feel it with our skin as warmth.

And what does that mean?

And the fact, my friends, is that we now know all the ways of transferring heat from one body to another! Well, remember the first part of the book. We said there that temperature and heat are just a measure of the speed of molecules. And I told how heat is transferred: more energetic, that is, faster – “hot” – molecules of a heated body drum on slower – “cold” – molecules of another body, slow them down, push them apart, giving them their energy. And gradually, gradually, the velocities of molecules in hot and cold bodies become equal. Then we say:

– Oh! Excellent! The temperature is up! The cold gets hot, the hot gets cold.

This method of heat transfer is called conduction.

Mighty minds single out into a separate category such a kind of heat transfer as mixing or, scientifically speaking, convection. Convection is when large arrays of “hot” molecules mix mechanically with large arrays of “cold” ones. The best example here is a heating battery. She stands under the window and heats the air around her. And since warm air is lighter than cold air, it rises without any balloon, and in its place to the battery from below, cold air is sucked in from the floor. Which also heats up on the battery and flies up. Thus, there is a constant mixing of air in the room. Convection speeds up the process of heat transfer in large volumes.

Convection is very simple. Conventional mixing

And now we have learned another way to transfer heat – by rays, that is, by infrared spectrum waves. Getting on some body, infrared rays heat it up, that is, they shake the molecules, giving them speed walls.

Not every modern child has seen such a thing as in this photo. Now other heaters are more in vogue. In the past, such reflectors were very popular. What is the essence of this great invention? A metal spiral made of a special alloy is wound onto a ceramic cartridge. A current is passed through it, and the spiral heats up red-hot and heats the ceramic cone. At the same time, the spiral and ceramics emit a little in the visible range (red light) and very strongly in the invisible – infrared. A round metal reflector focuses these beams, directing them in a continuous stream forward. And a person feels warm or even hot if a reflector is directed at him. Gorgeous, my children, gorgeous!

Now, having familiarized ourselves with the qualitative characteristics, it remains only for us to give the numerical values ​​of ultra- and infra-light. By the way, the word “infralight” is never used anywhere and by anyone, it’s me, a hooligan. For some reason they always say long – “infrared radiation”. But the waves on the other side of the spectrum for some reason have their own abbreviation – “ultraviolet”. Riddles of language.

So, ultraviolet light is on the frequency scale “to the right” of violet and extends from 790 to 30,000 THz. And infrared, respectively, to the left and its values ​​lie in values ​​from 1 to 400 tetrahertz.

A thoughtful reader who looks two moves ahead may start scratching his head fiercely at this point in the book, thus organizing an increased blood flow to the brain to enhance mental activity, because two questions are already brewing in his head:

– And even more to the left infrared and to the right of ultraviolet are there waves?

– And what are the waves of light? Well, in the sense that it fluctuates? Sea waves are the vibrations of water. Sound – air. And here? Will the author finally answer us or not?

I answer in order.

Yes. Waves also exist to the left and to the right of infra- and ultra-light vibrations. And why shouldn’t they be? To the right of ultraviolet, frequencies rise and wavelengths fall accordingly. And to the left of the infrared, the frequencies fall, and the wavelengths grow.

And what is to the right of ultraviolet with a frequency higher than ultraviolet?

And there, my dears, are the X-rays we already know. It turns out that they are the same as light, only the frequencies are different. Harmful X-rays have frequencies from 30,000 THz to 600,000 THz. Those x-rays that are more authentic (lower frequency) are called soft x-rays. And high-frequency X-rays are hard.

Further, even more to the right is also known to us gamma radiation. It’s not just harmful, it’s deadly.

Now let’s look the other way. Which waves lie to the left of infrared? And these are well-known radio waves to us! They are conditionally divided into:

– extra-long (from 0 to 3 kilohertz, the length of these waves is thousands of kilometers)

– long (with a frequency of 3 to 30 kilohertz and kilometer length)

– medium (from 300 kHz to 3 megahertz , hectometric)

– short (3 MHz to 30 MHz, decameter)

– meter (30 MHz – 300 MHz)

– decimeter (300 MHz – 3 GHz)

– centimeter or microwave (3 GHz – 30 GHz)

– millimeter or microwave (30 GHz – 300 GHz)

Almost all of these waves are used by mankind in one way or another.

There have been semi-experimental attempts at ultra-long waves to make long-range communication with submarines, since long waves pass well through water.

Conventional radio communications are carried out on long, medium and short waves.

Meter and decimeter – this is the transmission of images in television.

Centimeter waves heat food in microwave ovens.

Millimeter waves are being used in medicine for treatment.

As you can see, the nature of all these oscillations, starting from the longest and “lazy” radio band with thousand-kilometer waves and ending with the shortest and hardest penetrating radiation, is the same.

Part of these vibrations we can perceive directly with our senses –

I mean that short piece of the scale that we call visible light. And now it remains only to answer the question, what are these oscillations, that is, what exactly is oscillating, since light is a wave.

Here I recommend that you remember from what point in the book we started this long conversation about waves. Do not leaf through the book, I will remind the course of events.

We first learned what the substance is made of. It is assembled from only three particles – an electron, a proton and a neutron. Two of them are electrically charged. We fell in love with the periodic table, where all possible atoms are grouped, made from the three indicated elementary particles. We learned from the example of water and salt how molecules are assembled from atoms. (The details of this assembly are studied by the science of chemistry.)

Then it turned out that, in addition to matter, there is also some invisible and intangible field in the world. It is inextricably linked with the substance! The electric field is associated with electrically charged particles. The magnetic field of a magnet is generated by the movement of electrically charged particles. But in general, it makes no sense to separate them, since the magnetic and electrical manifestations of the field are like heads and tails on a coin. Well, there is no separate head and tails, these are just two sides of the same money. Similarly, there is no separate magnetic and electric field. These are two sides of a single electromagnetic field. Sometimes we just see only one of its sides. But it is worth taking a step to the side … A step to the side is a movement. And the movement immediately leads to the “flickering of the sides” of the field: the moving magnetic generates the electric, the moving electric generates the magnetic. And the run of circles went.

Then we hung a magnet on a string, and then a charge and shook them, making them move, oscillate and spread waves through their field.

Guess? The very waves that range from zero to infinity in the frequency range – radio waves, light, ultraviolet, x-rays, gamma – are simply electromagnetic waves. That is, fluctuations in the electromagnetic field. It permeates the entire universe. It’s just that somewhere the field is “thicker”, and somewhere it becomes thinner to zero.

Below is a scale of these waves, which can be poetically called the “periodic table for electromagnetic oscillations.”

Full scale of electromagnetic oscillations

“I was looking for a way to tell about my love” » Film canon • Cinema in the light of Orthodoxy

“great minds” of the country

The film “Dreams about Russia” directed by Pavel Fattakhutdinov from Yekaterinburg was filmed by the film company “Snega” in 2018, and in November this year at the International Charity “Angel” has already received an honorable second place in the nomination “Best Documentary Film”. The solemn ceremony of awarding the winners took place on November 7, in the Zhukov hall of the Poklonka cinema in Moscow. Prior to this, “Dreams” had already been presented at three festivals – “Russia” in Yekaterinburg, “Saint Vladimir” in Sevastopol and “Kunaki” in Nalchik, both took place in October. And at the end of November, two more festival venues are waiting for the tape – “Radonezh” in Moscow and “Date with Russia” in Vologda.

The documentary “Dreams of Russia” is dedicated to the history and modern life of the village of Novikovo (before 1917, Novo-Aleksandrovka) in the Tambov region. Here is the family tomb of the once famous Novikov-Kireev family.

The characters of the film – director of the Michurinsk Agricultural College Nikolai Pozdnyakov , Candidate of Historical Sciences Maxim Medovarov , priest Pavel Medvedev discuss the unique phenomenon of Novikovo as the largest center of education in pre-revolutionary Russia and the fate of the Kireev-Novikov family.

We are talking about General Alexander Kireev , the leader of late Slavophilism, his sister publicist Olga Novikova , who played a unique role in Russian-English relations, her son Alexander Novikov – zemstvo chief, mayor, founder of several schools and colleges, builder of a grandiose cathedral and selfless philanthropist.
And it seems that it was a long time ago, but upon closer examination, it suddenly turns out that everything that the Novikov-Kireevs lived by is still relevant today. Not only for the village, but for the whole of Russia.
Isn’t the history of our Fatherland a dream? Is charity alive in Russia, and in what ways can our country develop today? About this Paul Fattakhutdinov said in an interview with the Kinokanon website.

– You were born in the Urals, and your hero Alexander Novikov comes from the Tambov region. Ural and Tambov are distant neighbors. How did you find this topic and this hero, or maybe they found you? Do you consider “Dreams” among your previous works or single it out for some reason?

– Yes, I single out this film. I didn’t make those films. By the way, I can say this about any film that I shot in the Snows. But still, this is something special. Let me explain.
I grew up quite a happy Soviet child, despite the fact that my mother comes from repatriates from China.
The fact that my mother whispered poems by Gumilyov and other white officers to me in a whisper,
sang hussar romances, told about the pre-revolutionary life of the Transbaikal
Cossacks, was perceived by me as fairy tales. I was surrounded by another – happy, cheerful Soviet life.
Gradually, only after many years, love for the pre-revolutionary way of life of my ancestors matured in me.
And this love began to burn me from the inside. Especially when my mother died.
I suddenly became dear to simple things that once made up the meaning of the life of
Cossacks – Orthodoxy, autocracy, nationality. Things that
educated class laugh at today. I began to look for a way to tell about my love.
As you know, the ways of love are intricate.
I have been looking for like-minded people for a long time, but I found historian Maxim Medovarov on Facebook,
who became a screenwriter and pointed to the village of Novikovo.
This is how the movie started.
– In your opinion, what is the situation with charity in modern Russia? Are there people like your hero Alexander Novikov, and how significant is their stratum? Do they play a decisive role in the arrangement of life in Russia?
– There was a time when for a churched Orthodox Russian person, industrialist or trader, philanthropy was as natural as breathing. Of course, everyone had their own characteristics, but they were all state-minded people who felt they were part of the people, part of a huge country. And there were many such people.
Now we live in a different world. An attempt to make philanthropy profitable, that is, to turn the very meaning of charitable deeds on its head, has so far not yielded noticeable results. But even in the most difficult times, beacons flare up, like our Alexander Ivanovich Novikov, who did good at the call of his heart.
In the Urals, many people know the name of the director of the Verkhnesalda titanium plant, V.V. Tetyukhin, who built the most modern hospital for his countrymen with his own money, spending all his fortune on it.
Yes, there are few such people. Growing “socially responsible” entrepreneurs is the task of the whole society, including documentary filmmakers.

– The idea of ​​Russia as a separate civilization sounds like a leitmotif in your film. Now in society there are different opinions regarding the ways of development of our country – from “special”, “primordially sacred” to pan-European, Western. Which way is closer to you personally?
– We live in the largest country in the world. This is how we got Russia from the hands of our ancestors. And the fact that Russia is still alive suggests that our country, changing its name, retains wonderful vitality. This is, of course, a feature. This is how it should remain forever. This is the legacy of our ancestors. I not only think so, I feel and believe so.
And the film about the Slavophiles is not a calculation or a statement of a historian, but a declaration of love for the “father’s coffins”, for those people who lived in Russia before us and gave everything to the Fatherland – talent, strength, life. And arguments about the form in which it is more profitable for a country to exist in the modern world are unacceptable to me. It is important for me to preserve the country, “if only my native country would live” …
I have already said that my attitude towards Russia comes from my mother, she is a Transbaikalian Cossack, her family left for China after the 1917 revolution. At 1947 they returned to their homeland. Having survived a foreign land, they learned the value of their native land. Part of the maternal feeling lives in me.
Yes, I see a lot around me that does not suit me as a citizen. Yes, I want Russia to become an economically independent country, for Russia to develop industry and its own production, for science and medicine to flourish, for education to educate Russian citizens. This is the task of the whole society.
Including documentary filmmakers should do their bit. For me, it is to overcome the alienation in the young brains of our children from their own country, from their own history. And you can overcome formal, “administrative patriotism” by giving them books, for example, by Aksakovs… Yes, even any Russian writer – Turgenev, Tolstoy, Dostoevsky, Leskov…
Is it possible, while reading “The Nest of Nobles”, “Sevastopol Tales”, “A Teenager”, “Idiot” or “Soboryan” – not to want to become Russian?!
Yes, I would like the country to set ambitious goals for young people.
– The Gospel of John, the words of Christ about the grain that fell into the ground, precede your tape. What or who could become such a grain in the new Russia?
– The gospel words that we put in the epigraph are a dream for a young man, our viewer, to try them on. You can ask and demand, you can be indignant, you can spit on everything, as many do, and remain a stranger in your country or dream of leaving it – you can take such a position. Or you can give yourself, give something to people, and then involuntarily feel that your country is yours, that the country needs your brains and hands. ..
Such dreams, hopes.

– One of your heroes says that “Slavophiles are people who showed how to live with their people in order to avoid social upheavals.” Today, the degree of dissatisfaction with social injustice in the country is growing again, because there is no dialogue between citizens and the authorities and there is no understanding of the depth of the pressing problems of Russians. How would you yourself answer the question: how should the authorities today live with their people in order to avoid social upheavals?
– My dears! There is power. And there is eternal Russia. These are different things. The confusion of these concepts is the task of political technologists and “busters”. This is done for selfish purposes, you need to know this.
We are trying to remind you of the eternal.
Yes, I don’t like oligarchic capitalism. But even more I do not like the state of chaos.
Yes, I don’t like a lot of what the government does. And even more dislike what does not!
But this is no reason to hate the Motherland or do nothing.
– Patriotism as a service to the people and as a service to the state apparatus – what is more today? How can you characterize the kind of patriotism that is being introduced today at the official level? What is patriotism for you?
– I see that any positive statement about the history of Russia is automatically transferred to the current government in the country. And it provokes protest. It is not right. If the political regime does not suit you, this is no reason to hate the Motherland.
Yes, there is a lot of irresponsible patriotic rhetoric, it can be annoying.
“Patriotism as serving the people” – there are not enough of them, more words!
But, I repeat, this is not a reason not to love the Motherland. And you can love the Motherland only by recognizing it, but the implanted feeling of rejection towards the country becomes an insurmountable obstacle for a young person.
– There is a very beautiful nature in your film. Is this the magic of the operator or the real picture?
– Russian nature is the most beautiful in the world! I traveled a lot. And I can compare. Such beauties as in Siberia – Baikal, Lena, Angara, and Altai, and the Russian North … there is no such beauty anywhere! Thanks to documentaries, otherwise I would not have recognized my country!
How can one describe the slow movement of a steamboat along the Lena, when you stand at night on the deck under the starry sky, and suddenly you see a bear swimming in front of the ship …
But you also need to be able to capture beauty! The operator is a difficult profession. Especially the documentary operator. They are becoming less and less.
– From your film about life in the village there is no feeling of decline: bright people, bright, optimistic shots, while most of the villages and villages in Russia are in terrible desolation. What does a dream about Russia mean to you and how real is it?

– For us, a dream is the past, in which there were both powerful minds and figures. God bless this dream come true.
Yes, the village is dying for the most part. But Novikovo is alive because Alexander Ivanovich Novikov invested so much of his love in the village that it lasted for centuries.
                                                                                                       
or
– The final frame, when the priest gets on the plane and takes off into the sky, is symbolic, but not banal, but unexpected, how was it invented? Does it mean that you believe in the Church as a force capable of leading our country out of the crisis?
– My mother was a believer. And she baptized me and raised me in respect for the Church and its hierarchs. And she explained to me that the Church exists in order to come, confess and receive remission of your sins. Theirs! And not to criticize the priests! To try to sin less myself is my dream.
Criticizing the Church is definitely not a top priority. Especially documentaries.
Yes, I am sure that the Church is the basis of our state. And that Russia is under Divine protection.
– “Dreams of Russia” are laying their festival route confidently, but will there be shows on TV?
– The main venue for documentaries – festivals. TV is less and less interested in documentaries. The last picture of the film company “Snega”, which was widely shown on TV, was the series “Equal to the Greatest Battles” about the evacuation during the Great Patriotic War.
But our relationship with TV has been talked about a thousand times! What we have now is a blatant matter! The situation must be changed!
Interviewed by journalist Elena Balayan
The next screening of film by Pavel Fattakhutdinov “Dreams of Russia” will take place as part of the XXIV International Film and TV Festival “Radonezh” on November 24, 2019. Small Hall of the House of Cinema, show starts at 16:00. The festival takes place at the address: Moscow, House of Cinema, st. Vasilievskaya, 13 (m. Belorusskaya, Mayakovskaya)

Artistic Director of the BDT im.

Tovstonogov – about the present and future of actors and spectators in a changing world

provided by BDT im. G.A. Tovstonogov

Atom and molecule

First of all, welcome back to the historical building.

Andrey Moguchiy: Well, the real return was seven years ago, in 2014, when we returned to this building after a really major overhaul. And now there was a correction, let’s call it that, of the mistakes that were made then. After that repair, very soon water appeared in the basement and hold of the stage, the roof began to leak, if it was raining outside, then it was dripping in the elevator, well, and other delights. Now there is hope that this will not happen again. The builders this time seemed obligatory and responsible people. Everything was done on time and seems to be of good quality. That’s rare in this business. But time will tell.

Anyway, we returned home after half a year of wandering, and even a pandemic. .. In short, everyone is happy.

Recently the theater began to patronize “Rosatom”. Maybe that’s why the repair is at the atomic level?

Andrey Moguchiy : No, of course, it has nothing to do with the repair of Rosatom. Thanks to him, Rosatom became the general partner in the year of the theatre’s centenary, and we cooperate very closely and fruitfully. It is a wonderful coincidence that at the moment when the pandemic began, we had such friends and partners. We survived largely thanks to their help.

BDT has just announced a big program related to science. This is hello to the “Formal Theatre” – your love for new forms in art?

Andrey Moguchiy: I am an engineer by first education, although then I was engaged in theater all my life. It seems that now these two parts of my life have a chance to connect. When we conceived the project a year ago, the idea of ​​making a laboratory on the topic of interaction between science and art seemed relatively fresh. I mean for theatrical art…

Yes, that’s understandable.

Andrei Moguchiy: The theater is traditionally late in mastering new aesthetic spaces, unlike contemporary art. What a shame. I would like to correct this situation.

I don’t know how new the forms are. The same ancient “Bhagavad Gita” (part of the ancient Indian epic “Mahabharata”, a concentrate of Hindu philosophy. – “RG”) – in fact, almost a textbook on quantum physics. It can be read as a text describing the laws of the universe. So science and art, “art and science”, is an ancient thing, and the current interest in this, I think, is associated with digitalization, digitalization of life, mentality, the whole way of existence.

This is such a look into a terrible, incomprehensible future, where we are gradually entering. It is very important to do this precisely on the threshold of a new era of dehumanization, when “machines” are advancing so quickly. We need to start talking to them somehow. We have a project where the “Where the Dogs Run” group of artists is trying, together with scientists, to teach a machine, say, playing chess, to recognize smells – so that this new understanding of reality affects its main function. That is, to humanize the robot, to include in its decision-making system some kind of “emotional” error. For scientists, this task sounds absurd: why bring down the program of a robot that is performing its task? It’s a paradox, but the artist must intuitively anticipate a new stage in the relationship between the living and the non-living. Moreover, humanity will sooner or later approach this.

The project is called “Laboratory No. 3”. Our task is to find a genuine connection between different types of cognition. Nobody is going to surprise anyone.

Evgeny Zamyatin, by the way, was also an engineer. In 1920, he wrote the novel “We” under the impression of a new civilization of machines, the ghost of which he saw in England. And we read his anti-utopia as a metaphor for the totalitarian Soviet reality.

Andrey Moguchy: Everything is very complicated. The question of totalitarianism and the left idea is now undergoing such changes that we could not have imagined ten years ago. We imperceptibly – out of fear, ignorance, misunderstanding, ignorance, voluntarily or involuntarily – pour water on something that may well turn into new, unknown forms. Strange time, strange era.

Andrey Moguchiy with Alisa Freindlikh and Anatoly Petrov at the rehearsal of the play “Alice”. Photo: courtesy of BDT im. G.A. Tovstonogov

Cloud and Matrix

Does the new situation, orientation towards the “machine” somehow change the concept of the actor’s existence on stage here and now?

Andrei Moguchiy: Theater is all about here and now. If about something else, then this is no longer a theater. A new era is coming, for sure. Have you seen Suzanne Kennedy’s “Three Sisters” at the NET festival? This is one of the important performances for today. Her lonely robots are sad about the past, about a bygone era. Amazing performance. Premonition of the future.

One must be attentive to oneself and to others. And carefully try to build yourself into this situation. Or remain a partisan of the beautiful sensual past and wage war on the future…

… From which robot nostalgia is being broadcast to us?

Andrey Mighty: Some kind of cosmic sadness, it’s true. We will all end up either in the “matrix” or in the “cloud”, if not already there. It is difficult for us to assess this now. But the history of our earthly lost paradise, our feelings, habits and passions, I think, is about to end. In any case, we are heading for some kind of disaster.

During the pandemic, you made a very cool bdtdigital project. What is left of this experience?

Andrey Moguchy: We made this project out of fear of losing each other. Lose the most beautiful past. From the need to fill the void that has suddenly arisen with the pandemic. We were very actively engaged in this for two or three months, and then we got terribly tired. It became unbearably hard – because we are people. Our genetic memory screams, does not want to enter this virtuality. But the experience was very important for all of us. In particular, the project of my student Edik Zakarian was born, who made two BDT performances – “The Cherry Orchard” and “Mozart and Salieri”, performances inside the Minecraft game. Two very short performances based on summaries of the classics.

At exactly seven o’clock, the artists, sitting at home, with the help of square-headed avatars, entered the virtual stage. Improvisation, live reaction, spectators who comment on the action. It was very similar to what is happening in a live theater. And I watched, feeling involved, empathized – almost like in the theater. Inside these geometric figures were the living souls of artists who sit far apart and connect on a virtual platform, see each other’s digital tears. Behind the virtual figures there was a real experience – this, of course, terribly struck. I’m not talking about the fact that a project like bdtdigital can be useful for social or documentary theater.

Did you also prepare the premiere of “Three Fat Men. Episode 7. Teacher” in zoom?

Andrey Moguchiy: No, we didn’t leave the stage at all. Everyone was closed, but we stayed. It was a wonderful time for us, because it is simply impossible to rehearse on the big stage as much as we rehearsed in a “peaceful” life. But there are pluses and minuses. It was a river without banks, nothing limited, nothing disciplined. Only in the last 10 days we were able to mobilize, inject adrenaline into ourselves and do what we could not do in a year. Even so, there is a lack of urgency in this performance. Fearlessness before slowness.

Past and future

Is this experience of working in isolation completely unreproducible in everyday life?

Andrey Mighty: Why? We can implant this experience into reality. It is necessary to change in a certain way the organizational forms of today’s theater, which are sharpened for yesterday. Among my interests and tasks for the near future is to try to make such a reform.

Reform concerning the production of the play?

Andrey Moguchiy: Both production and distribution, which can be much more flexible and varied than is customary in the theater today. And many other things need to be reformed in the theater, even under the conditions that legislation gives us. Whether it works or not is another question. Director Anatoly Vasiliev once shared his thoughts on organizing a repertory theater. He is a sage, he suggested some wonderful ideas that I am trying to introduce into the minds of the administrative, financial and economic block of our theater. I hope it works. When the program is at least in some respects clear, we will tell you what we are thinking.

On the second stage of the BDT – in the Kamennoostrovsky Theater – you came up with the program “Four”. It’s called experimental. Why?

Andrey Moguchiy: I suggested that four already well-known directors play a certain game. Everyone should become the artistic director of the Kamennoostrovsky Theater for some time. Alas, good performances have arisen and, I hope, will continue to arise, but the ambition to become an artistic director, to have an artistic program has not appeared. What’s next? We draw conclusions, but the program will certainly continue. As a result, one leader will come out, who will be given carte blanche to lead the Second Stage of the BDT for, say, a season. This is interesting, because in the generation that follows us, there is no interest, no desire to design, invent their own theater. It all comes down to creating a performance here and there, but not a program.

You have just entered a new, already second director’s workshop. What is the fate of the first? Have approaches to the education of directors changed?

Andrey Moguchiy: The fate of the first workshop is still not completely clear. Their graduation fell on a pandemic, when it was impossible to meet, there were no classes, and this, of course, is a disaster. They survive as best they can. I have already spoken about Edik Zakarian, who is now at Bogomolov’s to release Hamlet before the New Year. In Moscow, Anya Makeeva at the theater of the Russian Army is about to release a performance, as far as I know. Performances by Arseniy Bekhterev and Famil Javadov were released at the BDT. In Yaroslavl, Arseniy Meshcheryakov will soon have to defend his diploma. I help as much as I can. But at the same time, I take a responsible approach to the artistic quality of their work.

What about the new course?

Andrey Mighty: Time will tell. On the previous course, we let go of the reins from the first day. They had to do exactly what they thought was right, what they wanted. But you can develop in the profession only if you have the tools. With the new course, we started with a hard turn of the screws. They do not leave the educational building of the BDT, from morning to night in the theater. We started not with freedom, but with a craft.

The theater is late in mastering new aesthetic spaces, in contrast to contemporary art. What a shame. Wanted to fix this situation0003

We immerse them in their own “I”, teach them to analyze the flow of everyday life, to treat life as an art. They have already written little plays about some stories from their own lives. Now we come to the main thing – the director’s analysis. The word “parsing” is key for me. This is the beacon without which you hang out in chaos.

Another word in your vocabulary is sincerity. Has his understanding changed in any way over time?

Andrey Moguchiy: A gesture stronger in sincerity than Alice (Freindlich) made eight years ago in the play “Alice” or now Dreyden in the play “Three Fat Men. Episode 7. Teacher” is probably hard to imagine. They work sacrificially.