Based on the data of longitudinal chain of midlatitude stations in the northern hemisphere, substorm-associated field-alighned currents (FACs) are examined. A comparison of IMF component variations with surface FAC characteristics in substorm sites is performed. It is shown that the ratio between the upward and downward surface FAC intensities depends on By IMF. In this regard, the conditions are discussed that favor currents flowing from the dayside cusp to nightside auroral region. These currents, which position is dependent on By IMF direction, can be responsible for difference between the upward and downward current-wedge-associated FACs.

The various manifestations with the Tangrian prayers and the blessings of the participants remain a fundamental part of the contemporary Sakha (Yakut) culture. Focusing on large gatherings that are spectacular, such experiments operate more on the basis of emotional mobilization than on adherence to a religious and mythical content. Let us note the active participation in these events of representatives of other nations. Tangran events are also organized in Kazakhstan, Tatarstan, South Siberia and other countrys and regions.
Различные тангрийские молитвы и благословения остаются фундаментальной частью современной культуры саха (якутов). Они проводятся при больших и значительных событиях, такая практика основана больше на эмоциональной мобилизации, чем на приверженности религиозному и мифическому содержанию. Отметим активное участие в этих мероприятиях представителей других народов. Мероприятия Тангран также проводятся в Казахстане, Татарстане, Южной Сибири и других странах и регионах.

We have studied the process of artificial methane hydrates obtaining in static conditions from distilled and "secondary" water (prepared by the decomposition of methane hydrate), as well as the additional metal surface using inside of cameras. It was found dependence from the type of the liquid phase and the presence/absence of additional metal surface inside the camera; in the same initial conditions of temperature and pressure, it can be obtained samples with different degrees of transformation of the "water-gas" to hydrate and various crystalline morphology.

The paper considers compatibility of formation water of the Irelyakh gas and oil field of the Republic of Sakha (Yakutia) with the highly mineralized solution used as an agent of reservoir pressure maintenance (RPM) with an allowance for factors, which influence solubility of salts, salt effect in particular. Also, possibility of concurrent reactions and specific conditions characteristic of the fields of the southwest Yakutia (by the example of the Irelyakh GOF) have been taken into account. It is shown that with the increase of the time length of wells’ flooding with the liquid for RPM the pore space structure undergoes changes due to its calcination and sulphatization, which causes deterioration of reservoir properties and subsequently can complicate the operation of producing wells and the field in the whole.

The article discusses the interrelations between the musical thinking and spatial benchmarks in the culture of the Nganasans, an aboriginal people of the Arctic. Based on a study of the shamanic rituals from the music theory prospective, the author distinguishes typical signs of a musical style inherent in the ritual and non-ritual genre. The available data on the functioning of the genres and the related set of persuasions are interpreted in the light of the music theory data by identifying the correlations between the spatial benchmarks and the genres of the musical folklore (the vertical line is representing shamanic rite, while horizontal — the epic). The research has been undertaken on the basis of the field materials of 1980–2000.

The purpose of this research is to study the sounding pendants on the shamanic costume of the Evenks, Sakha and Nganasans in the unity of the shamanic ritual complex and ritual musical traditions. Shamanic pendants are interpreted as a special text of culture, a reflection of the geocultural ideas of the peoples of the Arctic. The paper is based on the materials of field research carried out by the authors in Taimyr in 1989-1990, in the Olenek Evenk national region of Yakutia in 2014 and scientific publications. The sound world of shamanic ritual is a complex phonic picture, which is formed when using vocal, verbal, vocal-speech, signal, instrumental types of intonation. The movements of shaman are accompanied by the sound of colliding pendants on the costume of shamans and its components (headband, shoes, mittens). The sounding pendants were described by ethnographers and musicologists, but they were not considered in connection with geocultural studies. Metal pendants on a shaman costume mark sacred spatial models of the Universe (images of heavenly bodies - the sun, the moon, stars), mythological spaces of the Upper, Middle and Lower worlds inhabited by the shaman's helper spirits - birds, animals, anthropomorphic creatures, they symbolize parts of the human body, etc. The prospects for the study of shaman costume pendants as a symbolic embodiment of the landscape are contained in a more complete description and generalization of all known materials, including the analysis of shaman costumes from ethnographic museum collections.
Целью данного исследования является изучение звукоиздающих подвесок на шаманском костюме эвенков, якутов и нганасан в единстве шаманского ритуального комплекса и ритуальных музыкальных традиций. Шаманские подвески интерпретируются как особый текст культуры, отражение геокультурных представлений народов Арктики. Статья основана на материалах полевых исследований, проведённых авторами на Таймыре в 1989–1990 годах, в Оленёкском эвенкийском национальном округе Якутии в 2014 году, а также на научных публикациях. Звуковой мир шаманского ритуала — это сложная звуковая картина, которая формируется при использовании вокальных, вербальных, вокально-речевых, сигнальных, инструментальных типов интонации. Движения шамана сопровождаются звуком сталкивающихся подвесок на костюме шамана и его составляющих (повязке, обуви, перчатках).
Звукоиздающие подвески были описаны этнографами и музыковедами, но не рассматривались в связи с геокультурными исследованиями. Металлические подвески на костюме шамана обозначают священные пространственные модели Вселенной (образы небесных тел — солнца, луны, звёзд), мифологические пространства Верхнего, Среднего и Нижнего миров, населённые духами-помощниками шамана — птицами, животными, антропоморфными существами, символизируют части человеческого тела и т. д. Перспективы изучения подвесок на костюме шамана как символического воплощения ландшафта заключаются в более полном описании и обобщении всех известных материалов, включая анализ костюмов шаманов из этнографических музейных коллекций.