- Meinshausen et al. Greenhouse-gas emission targets for limiting global warming to 2 °C. Nature, 2009; 458 (7242): 1158-1162 DOI: 10.1038/nature08017
- Allen et al. Warming caused by cumulative carbon emission: the trillionth tone. Nature, 2009; 458 (7242): 1163-1166 DOI: 10.1038/nature08019
- Allen et al. Nature Reports Climate Change. The exit strategy: Emission targets must be placed in the context of a cumulative carbon budget if we are to avoid dangerous climate change. Nature Reports Climate Change, 2009 DOI: 10.1038/climate.2009.38
Climate change and modern society - the politician's double bind
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love and life in the clouds - expanded section extract
... It would seem strange for a book on relationships (and especially one with the word in the title) to not address the question: “What is love?”. We've all considered it and heard many answers. On reflection we can see many types of love. Love for friends, lovers, family, fellow human beings, partners; love can be romantic, compassionate, lustful, obsessive, selfish, platonic and religious. The Greeks had (at least) 5 words for it.Different loves sometimes go together and love is often what we make it – especially that head-over-heals, knock-you-into-the-clouds love. We share certain experiences (particularly sex) with someone and weird things happen with our brain chemistry that alter our perception. We become filled with inspiration, feelings of wellbeing and a desire to procreate.
This incredible and natural state is an amazing chance to share and learn, however it can be very addictive - and is a phase of that love we have for a lover or partner. Typically it will settle and mellow and given time and the right mix of personalities, deepen into a more whole and rounder form. This deepening can bring its own thrill and elation.
Some people, alas, do not realize this, expecting a 'true love' to carry on being that hair raising, heart pounding ride it was at the beginning. Or they realize that flavour of love is transitory, but the trill of it is so much they go from one person to the next as the highs pull and wane (for a similar reason some people may, genuinely, love a partner in one way and a lover in another – not that that automatically makes it fine for all concerned). What type of love do you look for?The word itself, 'love', can be an issue for some. It can carry a lot of weight and a lot of baggage. It might help to remember that whenever someone says 'I love you.', there is a certain feeling for them attached to those words (think of all the kinds and states of love we've mentioned). That feeling may be slightly (or very) different depending on the situation (saying goodnight, taking a romantic walk, laughing at a joke, etc.).The meaning therefore is in the whole expression. Focus then not only on the words, but more on the tone of voice, the expression and posture and you will get a clearer picture of their feelings when they talk about love. With a clearer idea of the way they are feeling 'love', in that moment, it may feel ok to say 'I love you too', if before it was difficult (otherwise you can just say 'thank you').How do you feel when you say 'I love you' (or think about saying it)? Do you say it in a spontaneous moment of upwelling feeling? Do you do it looking for reassurance from the other person that they love you too? Or perhaps you do it with the fear they will take your words as permantant and binding, when you're not sure if you'll feel the same way next week?If you know what the other person's attitudes and beleifs about love are, this will give you a clue to how they could interpret you telling them that you love them. For some people 'love' is a huge word, for other's, not so much. For this reason you may need to either use a different word, be more specific in describing your feelings or use the word more sparingly to avoid misunderstanding.I believe the more we understand our own feelings around love and unlock our fears of it, the more of it we will have to share and the more we will be able to accept.The 2 greatest catalysts in my life have been love and lonliness. I have to say I prefer love, it's far more inspiring. ...
Constructive critique welcome!
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If I was learning tango again from the beginning, how and what would I like to learn?
I'm writing this with the following questions in mind: If I was learning tango from the beginning again, what would be my ideal way of learning in a group setting? What would I like to learn and how?
The personal connection is paramount (although, I know, this is all too easy to forget sometimes, when focusing on technique). In the first lesson I ever did I experienced the essence of this connection. We found a partner, opened our arms and hugged. As we did this we breathed together. I still can't think of a better way of starting out on the tango journey. We then went on to explore walking in an embrace, which is the basis of the whole dance.
Aside from this there are social, stylistic and technical aspects to tango, each containing several key elements. (I will talk about the music separately since it is not something we learn in the same way as these other aspects.)
The social aspect of tango is one of the main attractors for many people. We gather together, dress up (if we feel like it and depending on the occasion), catch up with friends and dance to music we like with people we enjoy dancing with. For those who are single it's a great way to get out and meet new people and for couples it's a beautiful way to spend an evening. (Yes tango can be a real test for relationships.) Dances are typically divided into tandas, 3 or 4 songs, after which there is a short break allowing us to change partners or at least to have a short rest. In terms of what must be learnt I would list the following:
Etiquette: This is about acknowledging fellow dancers and respecting their space. When you enter the dance floor with your partner check there is space. If the floor is busy, make eye contact with the leader approaching you and see if they will let you into the line of dance. A nod or smile is sufficient to say thank you. If you are already on the floor, don't stand around chatting while couples are waiting behind you.
Exercise. The room is divided if necessary to create a busy floor. The group is divided into 3. 2/3s are dancing in the outer lane, while the remaining 1/3 practices waiting for a safe opportunity to enter the floor with their partner and start dancing, making sure to acknowledge couples for letting them on. Dancing couples practice being polite and impolite to test the 1/3 coming onto the floor.
Exercise. The whole group are dancing in the outer lane and the exercise is to keep an even space between couples and to experience the affect this has on the flow of the dance. Have one couple holding up the lane and another tale-gating and compare the affect on the whole floor.
Looking after your partner: The follower will generally be walking backwards and will often have their eyes closed, if they trust their leaders and the music invites it. This means it's the leader's responsibility to look after them and make sure they don't crash into anything or anyone. Depending on who they're dancing with and how busy and well behaved the floor is, the follower may also want to look after the leader and warn them of any likely collisions.
Exercise. The room is divided if necessary to create a busy floor. The whole group are dancing in all the lanes. A few couples are assigned to be disruptive and do things like change lanes and plot collision courses with other couples (more in the fashion of a canon than a homing missile). The exercise is for all the other leaders to safely avoid danger as best they can. Everyone gets a go at being the disruptive couple.
Line of dance: Social tango is danced in anti-clockwise circuits around the dance floor, divided into lanes. The idea with this is to allow everyone space to enjoy the dance without pileups or traffic jams. It is bad form and potentially dangerous to change lanes in the middle of a dance, even to overtake and especially on a busy floor. The line of dance runs through the centre of your lane. Leaders should try to stick to this line as you dance. If you do this and avoid other couples your follower will feel safe in your arms, be able to relax and enjoy the dance more, which also helps them be a better follower.
Exercise. Using string or some other markers, mark out 2 or 3 lanes on the floor. The game is to dance smoothly without putting a foot outside your lane. Decrease the lane width for more challenge. Teacher(s) and an assistant can watch for 'fouls' and blow a whistle and give out yellow and red cards to aid focus.
Inviting a dance: There are several ways to do this. The traditional way is called the cabaceo. A leader will look around the room and try to make eye contact with a follower. Also, a follower can initiate the eye contact as well. If the follower does not want to dance with the leader, they will avert their gaze. If, however, they wants to dance, they will make eye contact with the leader; who will then slightly nod their head in the direction of the dance floor. If the follower has decided to agree to dance they will nod yes. Only at this point would a leader go to a follower’s table or wherever they are sat and escort them to the floor. This set of conventions serves several purposes. Firstly, it prevents followers from feeling obligated to dance with just any leader who comes to them and asks for a dance. Secondly, leaders are kept from looking foolish by walking over and being refused a dance. Thirdly, if for any reason something comes up, or anyone changes his or her mind, no one else need ever know.
This works very well if people are aware of the system, but can be frustrating and confusing if people are used to being approached directly. One middle ground is for a leader to half approach a follower and try to make eye contact a few paces away.
At the end of a dance it is traditional for the leader to escort the follower back to their seat. Athough in England this is only practiced by some dancers, in the case of beginner followers it's a nice thing for an experienced leader to do anyway to help their confidence (which is a very significant part of being great to dance with).
Exercise. Everyone is walking around randomly and the aim of the game is for people to catch each other's eyes. When you do this you navigate to the other person, circumambulate them and then join the crowd again as individuals.
Exercise. Everyone takes a seat around the room and the music plays. The idea is for everyone to be aware of who might be trying to make eye contact with them (without looking too much like owls) and to practice making that eye contact. Here the cabaceo is practised. After an agreement is made couples take to the floor and dance a few steps before returning to be seated.
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river tango (and related deltas), london 2009
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