50 million per year, of course, in the economy of even a region and even probably a city, these are not very large numbers, but these first, as it were , news of the right, correct repackaging of the values ​​of the heritage that was here are important, this is firstly, secondly, it seems to me that here we are not only talking about the economy, of course, this is important, yes, but here, probably, we will receive more of some high-quality... valuable and interesting products, and the more we look now, well, here is our cultural and historical heritage, that's what was created before us, that's what's always been with us, well, for some reason we just lost it a little bit in the process of the country's development, well, if i may say a few words about the project, about the goodness itself, yes, of course, i'll probably throw a bridge from one plant to another, as actually happened, that is, we revived that ruined plant and continue to do it,

and this process - formed a community of caring, creative people, we began to conduct these creative residences are different, people started coming - in sss people from different cities of the country, there was a very diverse geography, they started making well public ard objects, dealing first of all with this ruined plant, but also just visiting some other objects in the city, so they came somehow with artists and to the farforti plant with an excursion. they immediately woke up with this living creative energy, they wanted to do something, but porcelain is such a material that you can’t work with quickly, but then the idea was remembered that you want it, so we put it there nurtured, alina, my partner in this project, she nurtured this idea, we then kind of fanned this spark, formulated the project, that probably, it will not be a residence, not an art residence in its purest form, but we will try, well, such a product approach, actually formulated the project, won the presidential grant. thanks

to it, we started, brought in designers, contemporary artists began to talk about it very openly, like a reality show of a certain kind, that is, how we do it, and it turned out that it went viral videos that we filmed, and today 75,000 people are watching the project, so through their feedback, through the comments that we see, we see a huge response, a request for work with something that is almost lost, people... what, we also have a plant there, we had one that closed down, yeah, it's great to revive our nhp enterprise there and so on, and this is just a super trend, which is happening right now, it's interesting, from my observations this trend is supported, it is further pushed forward by young people, yeah, that is it turns out that the older generation in general, forgive me of course, but lost, generally speaking, and did not preserve, but since i am a representative of the older generation in this case, which just grew up in the nineties, yes i... i can say that our interests

were a little different, yes, what is the interest of young people connected with, this is what, it is really colossal, really colossal, well, one way or another, so we began to look inside the country, somewhere for objective reasons, somewhere for subjective reasons, we really have a great country, it's huge, you can travel here, you can't travel enough inside the country in your entire life, and we started looking inside, the soil for inspiration is huge and apparently opportunities are still developing, it's right that now the time has come, now you can really launch your projects, and based on this identity, on your local culture, there is some kind of gigantic demand for this, as a result of the antifragility project, what was born as a result, at the current moment, what can be held in hands, well, in general, i would like to say right away that i think we are at the beginning of the path, and there were a lot of difficulties associated with the freedom of creative expression in interaction with , well, with such a structure as a plant, firstly, it is simply a large plant with its own. they began

to come and events, everything was fine at the plant, so there were specifics and maybe not everything that is in the head has been done yet, but nevertheless, if we move on to the facts, that is, we have about 30 artists and designers took part in this and they created 90 plus concepts some new porcelain and ceramic products, most of them are now in some single copy present simply as an object, as a concept, but we have already begun to replicate some of these concepts, in particular, fyodor kolpakov, there is such an author, he is not a designer, yes, no, but he clearly has a talent and predisposition for this, and he completely went through such a cycle of training from scratch on how this can be done, created a series of mugs, fragments, inspired by constructivism,

yes, which in yekaterinburg is considered one of such leading architectural styles, and it turned out to be very advantageous in its style. the presentation here is the series it successfully hit the three hundredth anniversary of yekaterinburg and we created the corresponding news about it there was some kind of such a big interest in this mug and we just opened pre-sales even not the mugs themselves yet just made a website you can pre-order by and large for there 2 months well maybe even less 3,000 sales took place and what is 300 sales here is the forti plant well their production maximum was up to... long ago 5,000 items per month, then there is, in fact, in a month and a half we have occupied more than half of this volume, now the plant - well, here it is - has accepted such a challenge for itself, to very quickly produce something new and be, well, how to work out this

demand in the outside for some new product, which well, they want , they have lined up, and there are 3,000 people and are waiting, and the economic prospects, what is the cost of this cup, does it differ? a metaphor and a link have not been found, this is one of the most beautiful buildings in yekaterinburg, it is called the dynamo sports complex, it costs there is a ship on the city pond at the arrow, in general it is a mug, yes, it is dedicated to this architectural complex, i would like to say

that what is so great here, i don’t know, luck, happiness, success of what is happening now, because well, the mugs are produced by the factory with the preservation of those production traditions that were. in the soviet years it was laid down, this is one of the finest porcelains in russia in general, and it is really very thin, yeah, yes, it is hand-made, that is, it is hand-cast, women pour this all the forms, they pour, this mug turns out, then it’s there, in general, there’s a lot of manual labor, and here, in general, the love of porcelain workers is in each mug, which means, firstly, they are really thin, secondly, there is a stamp here, this is very important, it’s written here.

that is, for example, around porcelain, now there is an idea: maybe a hotel can still be built there, and maybe there can be more tourists here, just like in another place, this is already, among other things, investments, for example, the construction industry and so on, this is already more capital-intensive things and... the figures are really very interesting, as for the anti-fragility itself, it seems that this project really may not be limited to porcelain, because ilya already said that there were requests from many regions of russia, somewhere we ourselves are looking, we understand that this is a way to reveal this identity, on the one hand, for a city or some region, maybe to start being proud of something again, yes, in general, here we are such fragility as some idea the time that we are living now, here it can be embodied through just repackaging. these traditional values, traditional productions, it seems that you can try

to go out, well, in breadth to other factories, enterprises, go to create not only porcelain, in fact, in the new season on the first, we were auditioned today in hort gracheva, great, yura, you definitely need to sing, come on, sing, what a unique gift you have, you take such notes, what an upstart? she remembered to herself. larka, it's you, what are you, not do you recognize me? it's me, andryukha, so your life is a success. you have everything that soviet women don't even dare to dream about. what does this mean? you don't take a guy just because he doesn't know the notes. in order to get official choir status, you need to have at least 50 choristers. you've been accepted. from today on, your new life begins. if it weren't for this hot. "we would never have met, if i see you with this man again, i'll tell my father everything, you're mine,

you're my wife, what do you want, give me back these 15 years, i thought everything was easy, i wanted fame, remember, goracheva and his choir shouldn't be on the song of the year, sing so that the sun rises, choir, the premiere of the film "mnogosirina" tomorrow after the program "time", dear friends, we continue our conversation in the podcast of the creative industry and our guests are ilya orlov bunin and yan kozhin, well, listen, behind one project after another there are specific people, there was a factory in this place, in principle , directors could change, one will come... a little better, one will come a little worse, there and so on then, different times and so on, but nevertheless, the director came, the director left, it

all works, here is your business, which you are engaged in, it is very much tied to the personality, that is, here you are as people who design all this, it all lives, you suddenly became bored, for example, at some point, you took, or i don’t know, depression, sometimes creative people have depression, in the end, disappointment, you waved and said, oh well. went to the bathhouse, everything is over, and you have already taken responsibility for you and the residents and people who have two factories, that is, this is a very serious responsibility, how do you feel it and how do you live with this responsibility, or did he almost admit that there was a case, yes, well, from time to time, of course, i have some kind of such mood swings, but it’s normal, this is like the path of development of personal growth, i understand how it still affects me, i still end up higher somewhere there. rule after another decline, but in general, if you think about it, now it seems that we are also starting this somehow

discuss exactly that it is necessary to develop a community of producers of creative industries, because a lot is tied to these people, and they will always throw things into the firebox, and but this is a big task, not only ours, this is a big task for the country against the background of the development of the position i would like, well, in my opinion, here of course, for example, what gives me energy is still given by what really... some big thing is happening and you are complicit in it, it turns out to create an opportunity for other people to contribute to this in general, because well, in my opinion look still quite a lot of people, yes probably everyone in some sense wants to be involved in something big, and it seems to me that now very many people there including creative, enterprising, just here through the tool of creative industries, culture in the broad sense can just apply their efforts to the development of cities, to the development of the country and this ... happens and i want to help in this, personally for me this of course gives a lot of energy, yes, when i understand, there in the morning gets up, that

what, what is the great idea here, and of course, this is a question of the school, a question of education in general, yes, in a broad sense, starting from schoolchildren, somewhere about producers ilya said that it is very important to teach and in general people who can assemble such projects, manage them, this is in fact a very high level of competence, but we see great potential in this, because people somewhere there having received managerial experience, i don’t know there in trade or somewhere else. so in general you operate energetically, this is what should be in this place where you are now

a picture of the future there, well, probably, talking about the plant, it is clear that this is the restoration of workshops, in general, them, that is , these are the processes that have already, let's say, appeared, that is, it is clear that as a kind of platform for holding a festival, but in many ways precisely as an educational, upbringing project, so that creative people, enterprising people, young people, in general , somehow communicate in a certain way, receive some kind of education, including with moscow universities, we are already communicating with some from the point of view of some branch stories, why not, and accordingly, this is probably the main idea, it is clear that these are some kind of shows. a large sandbox of federal significance a large sandbox yes for creative people to try to do something and if we finish and about the train, ilya and i were flying on a plane right now and we talked, why not, for example, take a train there , turn several carriages into a kind of large office for creative people who will get off somewhere in the city, come in producers and just drive around the city, stopped in

yekaterinburg, let's go and see the east to kaliningrad or vice versa, in general , to see and drive is really very...

goethe was a genius, only a more or less similar genius can truly understand him, an ordinary person can understand goethe

only within the limits of his capabilities. hello. today we gathered our thoughts about the great goethe august 28, the poet, thinker and scientist, 275 years old. hello, dear friends, i cordially greet you, pyotr valerievich abramov, candidate of philological sciences, chairman of the goethe commission of the russian academy of sciences, petr vladislavovich rezvykh, phd in philosophy, associate professor of the higher school of economics, i am vladimir ligoida, let's talk about the great goethe. dear friends, this quote with which i began our conversation is a book by ivan ivanovich kanaev, goto as a natural scientist, yes, remember, at the very beginning he begins with such, at first glance, seemingly trivial, but at second, in my opinion, a very controversial judgment, so i wanted to ask what you think about this, because if only a genius can understand goethe, maybe we should immediately close the program in general

, but you know, in fact, goethe is such a unique personality who... transmits something from the past very persistently transmits it into the future, the germans call him the last universal genius, and the point here is not that he was born in the age of enlightenment, when there really was a time of geniuses, but the point here is, probably, that he absorbed these unique philosophical, spiritual impulses of the past, well, for example, antiquity and created some kind of, i would even say, perhaps the mystery of genius, which is constantly understood differently by subsequent generations. considered and interpreted, here in this interpretation, perhaps, the most interesting, i will refer here to a short fragment that he said shortly before his death in a conversation with frederic soret. and sarai he said the following: everything that i created, i collected used it, my works, the collective entity that bears the name of goethe, this

collective entity is a very interesting concept, there is the word wesen, sometimes translates a being, but of course it is not a being at all, it is an essence, and of course, goethe, no matter how loud it sounds, is a whole universe, because a person who not only showed himself in all spheres of science, the age of enlightenment, in optics. with respect to goethe, with his appearance of his personality, with the volume and breadth of his work, with the scale of his ideas, you are constantly faced with the feeling that it cannot fit into you entirely, yeah, and you

always have the feeling that you are dealing with something similar, i don’t know, a gothic cathedral, which you can never survey in its entirety, but see only one part, one aspect, one of the famous writers noted about goethe's literary heritage, goethe is not a writer, but a whole literature, and the same can really be said about these...

under the name, that is, it was such a very interesting movement, and goethe constantly, as it were , combined, from my point of view, this empirical approach, sensual, supersensible, very rational, perhaps it is also worth noting that the very the figure of goethe, it is always in the field of tension between these.

all the time, it means, he moves between these two poles, yes, between the concentration of something nationally distinctive, yes, the desire to embrace really everything, well, like a thesaurus of world culture, yes, it means, absorbing all sorts of traditions, even those that are only just being rediscovered, it is very to show, for example, that goethe, who was such an enthusiast of antiquity, yes, it means, was one of the active participants in the rediscovery of the east, that is, it is very indicative that this consciousness strong connection. with his own national tradition, it is harmoniously combined in him with such an amazing responsiveness to completely different foreign cultural some kind of substrate and phenomenon,

and this was preserved throughout his life. life, what kind of person he was, that's what we know, probably, yes, we don't have a problem, like there, say, with the historical socrates, yes, here the situation is still somewhat simpler, or are there some pitfalls stereotypes that do not correspond to reality, you know, in goethe, throughout his life there was here is such an interesting feature, he was constantly changing not only externally, but in his inner spiritual essence, he has a beautiful poem, which is called parabasa, it seems like an appeal to erifey there to the choir or to the audience, where there is a beautiful quatrain, changing, preserving, here and there, here and there, in new guises i appear, to your surprise, this is one translation by nikolai velmont, and another translation by rastislav danilevsky, he is also, let's say, a little more precisely, to amazement is called here, this is to amazement, to our amazement, in german, this is an amazing quality, and the most important thing is that it is amazing that the man himself seems

to predict his own... different, remarkable depiction of the arrest of adamovich kiprensky. kiprensky drew for 5 days, as is known, he drew four such sketches, but not a single one has survived, this is an engraving, this is an engraving by henri gravedon from this picture, but everywhere there are different goethes and even according to the recollections of contemporaries, who came to him, who saw russian wise men there, princess volkonskaya, or later geina, yes uvarov, sergei serge,

heine, who was strict, yes. it didn’t work out, but there is a very characteristic feature in heine’s own memoirs, when goethe began to approach him through these amphilades of rooms, heine writes: “it began to seem to me that an ancient god was moving towards me, and i tried to speak to him in greek, forgetting that he understood german. this is also the influence of personality, it is very interesting, why did i tell her at the beginning that personality here seems to be at the forefront, here complementing what peter said vladislavovich. a very interesting point, everywhere in goethe's works, in poetry, in prose, the poet's personality flickers all the time. goethe seems to be somewhere nearby in the text with us all the time, and in order to understand him, you need, of course, to know his biography very well. but eckerman says that he was always the same, always different, that's what it's about. in fact , it seems to me that there is a mystery in goethe, this is connected not least with the fact that

goethe himself... was imbued with a general awareness of his own significance, his poetic missions, that is, this is an artist who was aware of the special nature of his position, consciously dealt with it somehow, he , of course, was very concerned about what his image would be in the eyes of descendants, he quite purposefully pushed some things into the shadows in his life, in goethe there is always this amazing feeling, on the one hand, of constant reproduction of distance, he understands that... then his image goes ahead of him and he quite consciously deals with this image somehow, this, by the way, played a big role in his literary biography role, because this is a poet who consciously deals with the media conditions that exist for the perception of his work, consciously deals with them somehow, on the other hand, we always understand that despite this distance, in goethe some kind of secret impulse is always discovered, which still comes out, that's when we talk all

the time, does this mean that he hasn't changed, that this is, so to speak, from childhood right up to old age, after all, there is such a point of view, at least among some biographers, correct me if i'm wrong, that somewhere in the forties, yes , somewhere quite a lot changes, realizing here age, and giving up some habits, there pastimes that seem frivolous to him, here he gets on such already quite serious rails, or is this too categorical a conclusion, this happens by...

born of history, this is wonderful, goethe knew how to build his life, this, by the way, is absolutely also an educational story, let's remember karamzin, let's remember lotman's book the creation of karamden, when a person creates himself, and from here we can again throw a wonderful bridge to that genre of the bild novel, which goethe has, the novel of formation, the novel of education, and this is not only education, bildung in german is formation, education, emergence, for kant it is also culture, that is, in fact , culture does not use. here, but the fact that goethe considered himself in general as, perhaps, maybe, such an ideal archetype of a poet, this is probably quite possible, once upon a time i was amazed, even scared, that i found the term intellectus architipus in kant's german edition, he has it, we

thought that only, well, i thought that only jung came up with this word, no, it existed in antiquity, of course, but kant also has it, pay attention to the screen, how with the help of one picture a faker manipulates the crowd, this is an actress who was sent to the police, let's analyze one of the main techniques of western tsypses, i did not see a policeman with a gun in his hands. after maduro was handed the mandate, immediately there was information that the american country is allocating funding for holding rallies. how an american from kiev is distributing fake footage of our tank being destroyed, an important detail, here at the bottom right, we can see 1 million views. let them continue stealing our video, but we will. antifake, season premiere, tomorrow on the first. 275 years of the great goethe, we gathered our thoughts about his life and work. let's continue. well, by the way, returning to the question

of whether he changed? i think that of course, uh, in goethe's life there were a number of such, well, obvious caesur, there were crises, yes, especially in the early period, yes, first this turning point. it was like, when he interrupted his studies, and in fact, well, yes, a fatal illness, at the end of his life, having experienced yet another tragedy, this is the marinbad story, which resulted in the marinbad legion, because he was absolutely buttoned up, when it actually happened that lotta kestner, who was his lover during werther's time, came to visit him in the early twenties, she didn't see the poet at all, she saw.

did not advertise and so on and so forth, so how should we approach this question? you know, i always quote his own famous words, yes, that is, from a letter to jacob, and there he says that, given the versatility of my nature, one way of thinking is not enough for me, and he also says there: as an artist, i am a polytheist, as a natural scientist, i am a pantheist, but if for my personal existence i also need and therefore yes the salvation of my soul, then this is also provided for me. and nature is obliged to give me a new form, when i after i die, by the way, he didn't attend the funeral, but he was afraid, and he himself says in one of his letters, i think, yes, that he is not afraid of death, although this

is said by a seventy-five-year-old goethe, yes, but still there is no reason to doubt these words, this is how this topic, having become acquainted with the doctrine of the transmigration of souls through indian philosophy, through the philosophy of the east in general. he begins to realize this omnipresence of the spirit around, moreover, this idea of ​​​​weltzel, which comes from schelling, it was also very attractive to goethe, he even created a poem of the same name.

and if we move away from this mystical christian side and turn to this pure knowledge of god, then i really like goethe's quatrain, which, probably, all colleagues know very well, we most often quote it in the translation of vasily andreevich zhukovsky, it sounds like this: if our eye were not sunny, who would admire the sun, if the spirit of god did not live in us, who would be captivated by the divine, that's when they start talking somewhere pagan.

in response to incoming light quanta, a special protein called rhodopsin, which organizes the response light from the eye, and thus, further i quote verbatim: nature has created a living biophotomultiplier in the human eye, goethe, without a microscope , guessed this at the beginning of the 19th century, i think that...

fusion, but not a christian separately, yes , so it is clear that he is especially worried about the christian picture of the world, he is especially worried about this teaching about eternal torment, then yes, of course, he distances himself, so to speak, from all kinds of church forms religiosity, yes, we don't know much about his individual religious life, in fact, it's quite closed. well, but it's obvious that

in this regard he shares the problems of his era, yes, that is, like herder, like leseng, he sees in christianity, of course, a real historical force that moves humanity towards humaneness, yes, for him the savior is, first of all, the highest embodiment of the ideal of humaneness, yes, and this for him represents, as it were, the main core of the christian tradition, whereas let's assume there is a doctrine of eternal hellish torment. yes, for him, as for many others, and it is, of course, a deep internal problem, and he obviously leaned toward the idea that ultimately salvation is available to everyone, well, an attempt to see god not dogmatically, to see god in the light in some symbol is unrealistic, this is where faust ends, everything is an endless symbol of comparison, this symbol will give, yes , what goethe constantly spoke about, this is the most difficult thing - to see, he has a wonderful maxim, but from which about which i... first read from karen oraevich svasyan, our remarkable

armenian, soviet philosopher, a wonderful quote: the most difficult thing is to see what is before your eyes, to try, yes, it would seem, this is this given, but to see it , to realize it, not only rationally, but also spiritually, it is not so simple, this is again part of goethe's worldview, that is why for him looking into nature has, as it were, a fundamentally religious meaning, right? yes, yes, that is why he takes such a critical position, yes, in in relation to this contemporary new european natural science, yes, which lacks precisely this.

thinking with openness to contemplation, which is so important for an artist, which is so important for a poet. of course, as if peering into nature, goethe is looking there, exactly there, yes, that means, in the presence of this all-pervading divine energy, therefore it is very significant that he is in various spheres, yes, and this is really, this is optics, and botany, meteorology, meteorology, geology, that means, well, accordingly, anatomy. yes, anatomy, comparative anatomy, actually his first significant, truly generally recognized scientific discovery, is the discovery of the intermandibular bone in humans, which finally proves, so to speak, the continuity of the transition from all other forms of life to humans, yes, this is like a clear, understandable empirical argument in favor

of the fact that nature is one, that nature is integral, yes, that it is all permeated, therefore, by a single principle of organic, organic connectivity. life, and yes, and the organic connections are very interesting, this famous poem is one, everything that is inside is found in the outside, and today i am addressing again to modern literature, to modern philosophy, this is confirmed in a unique way in 1975 benoit mandelbrod invented the fractality of the universe, and this does not mean that he invented it somewhere empirically from somewhere, he spied it in nature, this similarity of things, great similarity, it is amazingly ...

you can't get away from it, but in faust there is a huge amount embedded things, that's what concerns this poetic view again, yes, by the way, and faust, if we throw such a bridge, because faust is also some kind of eben bilt görtes, his double, you understand, because goethe himself constantly strove for this knowledge.