Sophie's World Milonga de mis amores, a year without you. Do not be so cruel Anniversaries are usually happy. Each año que pasa es símbolo de algo, como cuando un hijo cumple su primer año de vida o hace un año se está en una relación con otra persona. Hoy voy a escribir algo muy personal. Este tema me está rondando la cabeza y el corazón desde hace justamente un año.
Entre otros calificativos, podría decirse que soy (o era) bailarina de tango. Comencé hace cuatro años y medio, cuando no tenía todavía dieciséis años. Era muy inocente, y un aparato: la primera clase fui con unos jeans negros, una pollera encima, una remera gigante de color rojo, y zapatillas negras con cordones fucsias. El punto es que desde ese día comencé taking classes on some Saturdays a month, and then all my Saturdays became tango. Worse was when I met the milongas. Saturday became class and milonga, and when I finished high school I abused the money that was working and I was about five or six times a week to dance.
Once you get into the tango, go hard, always argue that, although for several months I began to understand people who do the world out danceable, or displayed in part. partially because when I say most days would, of course he thought that he was once or twice a week would sporadically.
Tango saw me grow up, I accompanied the first time I broke my young heart, and the second too. That is, although many people do not know think that tango is for old or always sad and melancholy, not only are the letters that matters in the tango, is all. The people, the environment, the ego, touch, rhythm, embrace the night, the shoes, the looks, the pitch, the whole ritual that means diving into the world of tango and be devoted. I think this holds more than the concept of "old" and "sad."
Yes, tango is sad, but never gave me more sorrows of those he already had. A friend once told me that he had entered the world of 2 x 4 in a very bad time in their lives, and to hear the letters, he felt that those singers told him "I also spent", and comforted . He dances great and is the person with whom I had danced more connection in my good moments. It's something bizarre and inexplicable, because a lot of people can enjoy dancing immensely, but I think I found that connection ... I do not know, not to predict what will 
do the other, but feel what will act as if it were to execute a movement, not just to answer (as I have I do that dance in the role of women).
In July last year I went to Córdoba. Pain in my legs, returning to Buenos Aires I was diagnosed with tendinitis. But it was a major pain, it was as if I had the legs hard. I thought it was cold, or not to stretch. I enjoyed the milongas of Cordoba, and went to dance all night.
I recommended to take ibuprofen and I put ice. I did, but I do not agree to another orthopedist. Kinesiology sessions gave me, I did, I became more and more and more and more sessions of kinesiology. Months passed, and an orthopedist said he wanted to inject steroids in the bursa (a "bag" that cushions the contact between the joints and tendons and muscles), so I went out shooting. Another told me it was a combination of many "itis" (bursitis, tendinitis, trochanters), and finally in December I found an attending orthopedic surgeon told me many classical dancers. In February, I attended, examined me and told me that he was not a leg injury, but came from the hip. I did a scan of the hip arthroMR in which they had to inject the dye groin. Beautiful experience. In April I finally got my accurate diagnosis: rupture of the labrum both sides of the hip.
The labrum is a membrane that surrounds the head of the femur, and rupture (even a little, as in my case) causes pain in the hip area, legs, shorter movements, and I repeat: it causes pain . Let practice: what I feel is an incredible heaviness in the legs, as if they were nailed to the floor (quite contrary to what I have to do when I dance, and do it before my leg pain), I feel tiredness because I work hard when I walk, sometimes it hurts less, more. It hurts if I sleep on your side, I have to sleep with a pillow between your legs or down if I sleep on your back, it hurts all the leg above the knees, the twins kill me.
How? Because I have between 10 and 15 kilos more than I download, and dancing on tiptoe with four-inch heels, I overloaded my weak legs.
How to cure? The reality is that with surgery. But since I'm young, if underweight, take the pills for the regeneration of cartilage, and I kinesiology, perhaps in a LONG (capitalized and undefined) time to heal alone.
I know it is death. I broke a leg. But luck (and unwittingly myself) I took something that was very important for me. Try to recover again, but the road is hard. And I speak not only by diet, pain and discomfort. I speak of tears.
Losing even temporarily to tango, it was as if I broke your heart for the third time.
Almost everyone has experienced the sensation of hearing a song that takes us somewhere else to previous years, feeling almost the same body we had at that time, the same story, the same aroma, the same environment. That happens to me with the tango, and really every time it happens, when there are tangos that remind me my most glorious nights in which she danced like crazy, he knew people and was happy, excited, it is inevitable that Sadness fills me and give me an overwhelming desire to mourn. It happens often. I have to go to the bathroom to mourn two minutes there and discharges, and at least does not ruin the night to anyone besides myself. Sometimes something happens and I get a little excited, the night picks up, but most I'm going with a sense of emptiness and helplessness, of feeling that I'll have to wait long to return to what it was before in a milonga .
The environment also can me: competition, ego, attention. Almost all of the tango universe is based on appearances, and while I have met people with whom I have close friends, are isolated cases. I meet people and I'm happy, but others saw some people is a stitch in his stomach. Makes me want to vomit.
With this I mean that is very hard for me not to dance, can not give what we did before, give less than half of what I could for my tastes bad dancing, dancing with people who once danced with me and said it was a pen, and now I know that I am the heaviest that can be. Not that I'm a beginner and do not know what I miss. I know what I'm missing, and although everyone tells me "you'll get better now," I do not care. This time, "though I'm young, and it will improve, and have time", no one returns and I wanted because I was happy to spend time in the tango. And I'm sad, I get nervous, and that's how I can not enjoy it. I hope I can do it again.
The obedience experiment by Stanley Milgram.
Stanley Milgram was a psychologist at Yale University, who in 1960 conducted an experiment with over a thousand people to discover the source blind obedience and submission to authority . Wanted to find out how far I could get the man to obey, even when the order out damaging an innocent person .
There are two versions about what had prompted the realization of the Milgram study. The first relates to the trial of Adolf Eichmann , who was sentenced to death for crimes against humanity under the Nazis. He was in charge of planning the process of collecting, transporting and exterminating Jews. When he was tried, he said he did not understand why the Jews repudiated and he was only following orders. In prison he wrote in his diary: "The orders were the most important in my life, and had to obey without question" .
A Milgram was intrigued how a person ordinary could submit to the authority and commit atrocities against other people.
The second experiment corresponds to the social psychologist Solomon Asch , who had conducted studies on peer pressure, and as a result had found a great line that subjects had the wrong answer to questions, even though they knew the answer was incorrect , responded this way to follow the majority, an accomplice of the experimenter, who answered wrong CONSCIOUS. Those who chose the correct answer, going against the majority, were upset and overdrafts.
Whatever the inspiration of Milgram's experiment began publishing a notice in which people sought (1) twenty to fifty years, from different social classes and occupational roles, they were willing to donate one hour of his time to win four dollars in an experiment on memory. Attended
people in pairs, and were handing out leaflets with the role they represent in the experiment. One of them is the teacher and another student. They were told was a study on the influence of punishment on memory and how it could affect the ability to remember what they learned. In fact, the two papers containing the role of teacher, as students who participated as an actor was an accomplice of the experiment.
The experiment consisted of the following: the "teacher" read a couple of words and the "student", who was sitting in an electric chair in another room, "when you read the first word only, which should respond accompanied the first. If the student answered incorrectly, he received an electric shock. discharge began at 15 volts, and ended at 450. The teacher sat in an electric chair before, and they are performing a download of 45 volts, for he knew what he was. then went to another room, where it would be supervised at all times by an experimenter (2) . The teacher and the student talked with a communicator.
Actually electric shock to the student does not exist, but which was previously scheduled performance of pain from the 150 volts the "student" scream in pain and required to give the experiment more advanced downloads, scream agony that can no longer bear the pain. After the 300 volts, the student became unresponsive and showed no sign of life.
As expected, the teacher became very nervous and repeatedly consulted the "authority" nearest the experimenter. This gave four types of responses: "Please continue", "The experiment requires that continue," "is absolutely essential that needs to continue" and "has no choice, must continue." If the student refused to continue after the above, the experiment ended.
teachers' reactions varied: some giggling, others were altered and angry. But there was one common denominator: all were interested in some time of testing, who was responsible for what happened. In the original video is a dialogue between the teacher and the experimenter that illustrates this.
P: He could be dead there! Who will be responsible for this?
E: I am responsible for everything that happens here. Continue.
Q: Okay .
It's amazing to hear this conversation and see what the teacher continues to apply after discharge when creating detached from all sin, from all liability for the acts they are committing.
More amazing still is know that 63% of people who were assigned the role of teacher, agreed to give electric shocks to another, reaching up to 450 volts, just because they say the experimenter.
When the end of the experiment were asked how they felt and why they had continued, the majority replied "you told me to continue."
cognitive dissonance
Dr. Jekyll and Mr. Hyde.
by Milgram Experience relates intimately with cognitive dissonance theory , raised by psychologist Leon Festinger .
dissonance, or inconsistency- is a clash between two opinions or feelings against a person . For example: if I smoke, I know I'm damaging my lungs. However, I find an excuse as "I can not quit," is part of me, "there are many people who smoke and have no diseases, to eliminate dissonance.
For the obedience experiment, the subject is to this internal conflict which longs to leave quickly. He knows that subject another innocent human being is wrong, yet still does. Excuses thinking for example, "the experimenters know what they do," he is asking me to continue, "" is necessary for me to continue to perform the experiment ", etc.
This shows that the person need to be right out of this conflict , which is depicted in the film "Like Icarus" (I comme Icare) , where there is a dramatization of the experiment Milgram, although eye contact between teacher and student, as they were in the same room.
While one of the experimenters and a police investigator look down the passage the experiment, see the "professor" is trying to help students tell the correct answer using gestures. There the experimenter observes says
E: Try to reduce their conflict by helping the victim.
I: What if this conflict is so unbearable, why not stop?
E: If it stops recognizing that there should be started first, if it continues, justifies everything he has done so far.
This confirms the above: the subject wants to be right and the need to get out of this conflict.
We can conclude then that t ll have such conflicts, since in minutiae to major dilemmas. And almost every human being in extreme conditions similar to those raised in the experiment, is able to leave their autonomy of thought and submit to authority blindly obeying no matter what damage may cause the other.
Notes of clarification:
(1) According to sources, the study was also performed by women. In the transcript of the original notice says "persons" and not "men" only. The results in women were the same as in men, although they were more nervous and guilty.
(2) When authority is near, it is easier to obey. The presence of the look of someone who watches a psychological pressure necessary for obedience. Michel Foucault and posed with his theory of the panopticon in which the constant and omnipresent gaze of a guard the prisoners did not reveal.
I leave you some links of videos from youtube:
original experiment: Link 1, Link 2
Movie "I comme Icare" Link 1, Link 2
do the other, but feel what will act as if it were to execute a movement, not just to answer (as I have I do that dance in the role of women). 
