My name is Alice. Early last year, I was troubled by an anxiety that crippled (削弱) my ability to do anything. I felt like a storm cloud hung over me. For almost a year I struggled on, constantly staring at this wall that faced me. My perfectionist tendencies were the main root of this: I wanted to be perfect at whatever I did, which obviously in life is not possible, but it consumed me.

One day, I attended a presentation by wildlife conservationist Grant Brown at my high school. His presentation not only awed and inspired me, but also helped emerge an inner desire to make a difference in the world. I joined a pre-presentation dinner with him and that smaller setting allowed me to slowly build up my courage to speak one-on-one with him- an idea that had seemed completely impossible. This first contact was where my story began.

A month later, Brown invited me to attend the World Youth Wildlife Conference. Looking back, I now see that this would be the first in a series of timely opportunities that my old self would have let pass, but that this new and more confident Alice enthusiastically seized. Shortly after I received his invitation, applications to join the Youth for Nature and the Youth for Planet groups were sent around through my high school. I decided to commit to completing the applications, and soon I was a part of a growing global team of young people working to protect nature. Each of these new steps continued to grow my confidence.

I am writing this just six months since my journey began and I've realised that my biggest obstacle (障碍) this whole time was myself. It was that voice in the back of my head telling me that one phrase that has stopped so many people from reaching their potential: I can't. They say good things come to those who wait, I say: grab every opportunity with everything you have and be impatient. After all, nature does not require our patience, but our action.

Popularization has in some cases changed the original meaning of emotional intelligence. Many people now misunderstand emotional intelligence as almost everything desirable in a person's makeup that cannot be measured by an IQ test, such as character, motivation, confidence, mental stability, optimism and “people skills.” Research has shown that emotional skills may contribute to some of these qualities, but most of them move far beyond skill-based emotional intelligence.

We prefer to describe emotional intelligence as a specific set of skills that can be used for either good or bad purposes. The ability to accurately understand how others are feeling may be used by a doctor to find how best to help her patients, while a cheater might use it to control potential victims. Being emotionally intelligent does not necessarily make one a moral person.

Although popular beliefs regarding emotional intelligence run far ahead of what research can reasonably support, the overall effects of the publicity have been more beneficial than harmful. The most positive aspect of this popularization is a new and much needed emphasis on emotion by employers, educators and others interested in promoting social well-being. The popularization of emotional intelligence has helped both the public and researchers re-evaluate the functionality of emotions and how they serve people adaptively in everyday life.

Although the continuing popular appeal of emotional intelligence is desirable, we hope that such attention will excite a greater interest in the scientific and scholarly study of emotion. It is our hope that in coming decades, advances in science will offer new perspectives ( 视角) from which to study how people manage their lives. Emotional intelligence, with its focus on both head and heart, may serve to point us in the right direction.

By day, Robert Titterton is a lawyer. In his spare though he goes on stage beside pianist Maria Raspopova — not as a musician but as her page turner. "I'm not a trained musician, but I've learnt to read music so I can help Maria in her performance."

Mr Titterton is chairman of the Omega Ensemble but has been the group's official page turner for the past four years. His job is to sit beside the pianist and turn the pages of the score so the musician doesn't have to break the flow of sound by doing it themselves. He said he became just as nervous as those playing instruments on stage.

"A lot of skills are needed for the job. You have to make sure you don't turn two pages at once and make sure you find the repeats in the music  when you have to go back to the right spot." Mr Titterton explained.

Being a page turner requires plenty of practice. Some pieces of music can go for 40 minutes and require up to 50 page turns, including back turns for repeat passages. Silent onstage communication is key, and each pianist has their own style of "nodding" to indicate a page turn which they need to practise with their page turner.

But like all performances, there are moments when things go wrong. "I was turning the page to get ready for the next page, but the draft wind from the turn caused the spare pages to fall off the stand," Mr Titterton said, "Luckily I was able to catch them and put them back."

Most page turners are piano students or up-and-coming concert pianists, although Ms Raspopova has once asked her husband to  help her out on stage.

"My husband is the worst page turner," she laughed. "He's interested in the music, feeling every note, and I have to say: 'Turn, turn!' "Robert is the best page turner I've had in my entire life."