Vyacheslav lopatin biography of michael jackson

Yugo Kanaya, Roberto Sommariva, Alfonso Saiz-Lopez, Andrea Mazzeo, Theodore K. Koenig, Kaori Kawana, James E. Johnson, Aurélie Colomb, Pierre Tulet, Suzie Molloy, Ian E. Galbally, Rainer Volkamer, Anoop Mahajan, John W. Halfacre, Paul B. Shepson, Julia Schmale, Hélène Angot, Byron Blomquist, Matthew D. Shupe, Detlev Helmig, Junsu Gil, Meehye Lee, Sean C. Coburn, Ivan Ortega, Gao Chen, James Lee, Kenneth C. Aikin, David D. Parrish, John S. Holloway, Thomas B. Ryerson, Ilana B. Pollack, Eric J. Williams, Brian M. Lerner, Andrew J. Weinheimer, Teresa Campos, Frank M. Flocke, J. Ryan Spackman, Ilann Bourgeois, Jeff Peischl, Chelsea R. Thompson, Ralf M. Staebler, Amir A. Aliabadi, Wanmin Gong, Roeland Van Malderen, Anne M. Thompson, Ryan M. Stauffer, Debra E. Kollonige, Juan Carlos Gómez Martin, Masatomo Fujiwara, Katie Read, Matthew Rowlinson, Keiichi Sato, Junichi Kurokawa, Yoko Iwamoto, Fumikazu Taketani, Hisahiro Takashima, Monica Navarro Comas, Marios Panagi, and Martin G. Schultz

Earth Syst. Sci. Data Discuss., https://doi.org/10.5194/essd-2024-566,https://doi.org/10.5194/essd-2024-566, 2025

Preprint under review for ESSD

Abstract

The fundamental value of universal nomenclatural systems in biology is that they enable unambiguous scientific communication. However, the stability of these systems is threatened by recent discussions asking for a fairer nomenclature, raising the possibility of bulk revision processes for “inappropriate” names. It is evident that such proposals come from very deep feelings, but we show how they can irreparably damage the foundation of biological communication and, in turn, the sciences that depend on it. There are four essential consequences of objective codes of nomenclature: universality, stability, neutrality, and transculturality. These codes provide fair and impartial guides to the principles governing biological nomenclature and allow unambiguous universal communication in biology. Accordingly, no subjective proposals should be allowed to undermine them.

Taxonomy is the science that aims to classify and describe the biodiversity of the planet. As such, taxonomy provides a foundation necessary for other sciences; knowing biodiversity is the first step needed for any biology-based discipline or service to develop. Taxonomic names are transmitted to the rest of the scientific community through regulated, internationally agreed-on protocols: the nomenclatural systems. Biological nomenclature enables science and society to apply shared, unambiguous names when referring to species and other taxa.

The fundamental value of universal nomenclatural systems in biology—and the key to their success—is that they have enabled unambiguous scientific communication among and across different cultures. These binomial or binominal systems (hereafter, nomenclatural systems) are codified in sets of rules for zoology (the International Code of Zoological Nomenclature; ICZN 1999), botany (the International Code of Nomenclature [ICN] for algae, fungi and plants; Turland et al. 2018), and other branches of biology (e.g., the International Code of Nomenclature of Prok

Like opening a bottle of Champagne and finding it has lost its fizz, this sumptuous-sounding MuzArts-presented triple bill starring Bolshoi, Mariinsky and Royal Ballet dancers leaves you feeling a little flat.

The programme concludes with a world premiere by Wayne McGregor, with costume design and art direction by ex-fashion icon Manfred Thierry Mugler, and opens with a UK premiere, Radio & Juliet, by Romanian choreographer Edward Clug. But it's Sidi Larbi Cherkaoui’s decade-old Faun that leaves a lasting impression. How ironic that a piece depicting the simmering sexual tension between a nymph and a creature who’s half-man, half-animal is the one truly to capture what it means to be human. To Debussy’s sensual score, interweaved with ethnic music by Nitin Sawhney, two barefooted Bolshoi dancers – Anastasia Stashkevich (in a virginal-white, front-pleated tunic) and Vyacheslav Lopatin (in pale-green underpants) – encounter each other in a mystical forest. As they languorously peel themselves off the floor and make their way towards each other with unfurling, yogic movements, shyness gives way to curiosity. Initial tentative exploration of each other becomes bold then playful as they peekaboo through each other’s legs, feet intertwining, limbs interlocking. It’s a shame the music isn’t performed live to allow more spontaneity, particularly when Lopatin’s faun initially uncurls from a deep sleep; and the stage’s surface is not the dancers’ friend – feet stick where they shouldn’t, and contortions that should look effortless become laboured. But these moments barely detract from the theme of self-discovery through sexual awakening that pervades the work.

This theme could also be applied to Radio & Juliet, Clug’s reinterpretation of Shakespeare’s classic to the music of Radiohead: “Wha