Showing results for "The Nineties" in Public Policy

The world may have committed at Paris to hold back dangerous climate change, but Australia's fossil-fuel giant Woodside is doubling down: it has bold new plans to keep producing gas out to 2070. Support from the major parties is locked in, so something has to give. This is a story of power and influence, pollution and protest. How does one company capture a country? How convincing is Woodside's argument that gas is a necessary transition fuel, as the world decarbonises? And what is the new "energy realism" narrative being pushed by Trump's White House?

In this powerful essay, Joëlle Gergis, a leading climate scientist, depicts the likely future in vivid and credible detail. Working from the science, she discusses the world’s and Australia’s efforts to combat climate change. She outlines how far Australia is from keeping its promises to cut emissions. She takes aim at false solutions and the folly of “adaptation” rather than curbing fossil fuel use.

One of the great mysteries of Australian life is that a land of sweeping plains, with one of the lowest population densities on the planet, has a shortage of land for houses. As a result, Sydney’s median house price is the second most expensive on Earth, after Hong Kong’s. The escalation in house prices is a pain that has altered Australian society; it has increased inequality and profoundly changed the relationship between generations – between those who have a house and those who don't. Alan Kohler tells the story of how we got into this mess – and how we might get out of it.

Tav si, Tav no: Toninelli licenzia il sì Tav. Ira di Salvini: "Basta rinvii", di Maria Chiara Giacosa; Tav, Coppola: "Cacciato ma di quella linea non mi occupo da mesi", di Paolo Griseri; Perché la Tav è uno spreco, di Gad Lerner; Tav, lo spreco sarebbe fermarla, di Paolo Griseri; Tav, la mozione bluff del M5S e il rovello Pd: che fare in aula?, di Emanuele Lauria; Pd, Delrio: "Sulla Tav non faremo tatticismi. Saremo in aula contro il M5S", di Giovanna Casadio.