Podcasts about nubes

Estupendo inicio de semana. ¿Es por la presencia del Papa en España?. No lo sabemos, aunque siendo católicos y sintiendo la alegría por su presencia, uno de los temas destacados del día, todo es posible. Tres horas de radio que recomiendo muy mucho escuchar cuando te apetezca. En ellas hemos contado con seis invitados, con los que hemos hablado de un amplio abanico de cuestiones y con los que nos hemos sentido, ellos también, muy cómodos.Apenas sin tiempo para empezar, pues nuestro primer invitado necesitaba entrar a primera hora, el directo nos ha llevado hasta el catedrático Jorge Olcina, conocido como “el hombre de las Nubes”, con el que hemos conocido que va a pasar con las temperaturas en nuestro país durante este 2026. A él le ha seguido, casi sin solución de continuidad, aunque con el tiempo justo para realizar una escueta presentación resumen de los titulares de actualidad, nuestro profesional del turismo, Alberto Varela que, a través de su sección, “El Pan Nuestro de cada día”, ha vuelto a colaborar para que entendamos como está siendo el desarrollo de esta industria que es la principal nacional y, sobre todo, que nos espera de aquí a finales de año. Uno de los platos fuertes estaba por llegar. Cecilio González, empresario jubilado de Benidorm y obsesionado con demostrar que los verdaderos culpables de la falta de ayudas durante la Dana en Valencia todavía no están en la cárcel, ha contestado una importante cantidad de preguntas que, ponían de manifiesto que Sánchez y seis de sus ministros y máximos dirigentes, son los verdaderos culpables de todo lo acontecido a raíz de aquel desastre de dimensiones colosales que se llevó la vida de 237 personas por delante.Todavía quedaban tres invitados más. El primero iba a ser quien debería haber abierto el programa, Alfonso Merlos, periodista especializado en el análisis de la actualidad, que hoy nos ha servido de apoyo para conocer que es lo que está pasando ahí fuera y como van a seguir avanzando muchos de los temas que inundan los medios a nivel nacional e internacional.La última hora ha sido maravillosa, nos ha servido para cambiar de plano por completo. Sexualidad y cine, dos temas que nos han permitido acabar el programa de una forma muy distinta. Primero con la mentora y guía de mujeres, Rose Polo, que ha venido a presentarnos dos actividades muy poderosas, y Carlos Dueñas, director de cine y del podcast “TONDI, todo nos da igual”, que nos ha presentado su siguiente episodio “Desaparecidos”, además de los tres estrenos de cine más interesantes para este próximo fin de semana.

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

INE cerrará módulos en CDMX durante inauguración del Mundial  ONU alerta por nueva escalada entre Rusia y UcraniaForma y apariencia de las nubes anticipan cambios en el clima  Más información en nuestro podcast #grc

Nuestro Insólito Universo ¦¦ Nubes Rojizas , En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema.La primera transmisión de este programa se realizó por la RadioNacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

También hablamos con el ganadero Moisés Fraile y conocemos a la Escuela Taurina de Zaragoza ‘Mar de Nubes'

Este episodio está impulsado por ⁠CheckToBuild⁠, una plataforma innovadora que ayuda a digitalizar y optimizar los procesos de control, supervisión y verificación en proyectos de construcción. Con CheckToBuild es posible mejorar la trazabilidad de la información, reducir errores en obra y facilitar la colaboración entre todos los agentes del proyecto.En este episodio conversamos con Alejandro Ruiz Lara, fundador y CEO de CheckToBuild, sobre cómo la inteligencia artificial, BIM, las nubes de puntos y la captura de la realidad están transformando la manera de controlar la ejecución de obras.Algunos de los topics sobre los que hemos debatido son:Cómo aplicar BIM al control real de obra.El papel de la inteligencia artificial en la detección de desviaciones.Captura de la realidad, escaneado 3D y nubes de puntos.Comparación entre modelo BIM y obra ejecutada.Control de calidad, trazabilidad y reducción de retrabajos.Innovación ConTech y productividad en construcción.Nuevas formas de supervisar, verificar y tomar decisiones basadas en datos.Reflexionamos sobre tecnologías y conceptos clave como:BIM aplicado a obra: El modelo deja de ser únicamente una representación digital para convertirse en una referencia verificable frente a la realidad construida.Nubes de puntos: Permiten capturar el estado real de la obra y compararlo con el modelo previsto.Inteligencia artificial: Ayuda a automatizar procesos de revisión, detectar desviaciones y acelerar la toma de decisiones.Reality Capture: Escáner láser, drones, fotogrametría y dispositivos LiDAR como herramientas para documentar la realidad ejecutada.Control de calidad digital: Un enfoque orientado a reducir incertidumbre, mejorar la trazabilidad y actuar antes de que los errores generen costes mayores.ConTech: Una nueva etapa tecnológica para la construcción, centrada en productividad, datos, supervisión y mejora de procesos.

La vida no siempre amanece despejada. Hay días de sol radiante donde todo fluye, pero también hay días nublados llenos de incertidumbre, miedo o tropiezos. Sin embargo, esas nubes no siempre llegan para estorbar: muchas traen consigo aprendizajes, renovación y hasta nuevas oportunidades. Cuando enfrentamos un reto, tenemos dos caminos: verlo como tormenta o como un impulso para crecer. Las nubes pueden limpiar heridas del pasado, refrescar ambientes cargados y mostrarnos direcciones que nunca hubiéramos considerado. La clave está en la mirada. Donde otros ven caos, tú puedes descubrir un cambio necesario. Donde parece que todo se nubla, quizás la vida te está invitando a observar con otros ojos y a confiar en tu resiliencia. Incluso los días grises pueden convertirse en el inicio de un arco iris inesperado. Sanar, transformar y avanzar requiere aprender a caminar con esas nubes, reconocer lo que traen y usarlas como trampolín. Porque cada desafío, visto desde el corazón, puede transformarse en una oportunidad de crecimiento personal y emocional. En este episodio te invito a reflexionar sobre cómo reescribir tus momentos difíciles y darles un sentido más profundo. Recuerda: incluso en la tormenta, siempre puedes elegir ver el arco iris. Más contenidos en www.centrohopecollege.com y en nuestra comunidad de Be a Hoper https://linktr.ee/beahoper

Adios, Tim Cook

Ola de calor elevará temperaturas hasta 45 grados Avanzan planes urbanos en municipios del EdomexNubes pueden pesar hasta 550 toneladasMás información en nuestro podcast#grc

Dizem que de Espanha nem bom vento nem bom casamento, mas a boa música passa fronteiras. Tiago Crispim é o nosso correspondente em Madrid.

Una de mis imaginerías favoritas, por la simpleza y el mensaje que entrega sobre todo cuando lidiamos con pensamientos intrusivos. ⛅️Pasar de evitarlos a simplemente observarlos es parte del aprendizaje a decidir como nos gustaría actuar frente a lo que pasa por nuestra mente.

Una de mis imaginerías favoritas, por la simpleza y el mensaje que entrega sobre todo cuando lidiamos con pensamientos intrusivos. ⛅️Pasar de evitarlos a simplemente observarlos es parte del aprendizaje a decidir como nos gustaría actuar frente a lo que pasa por nuestra mente.

Ja fa anys que la banda de Granada ens ha fet oblidar que el 091

Es una de las pinturas más icónicas del romanticismo. A partir del paisaje sobrecogedor del "Caminante sobre un mar de nubes" de Caspar David Friedrich, un hombre de espaldas frente a un mar de niebla, descubrimos cómo el cuadro está construido para funcionar casi como un espejo emocional. ¿Está inspirado, solo, melancólico? La respuesta depende de quien lo mire, y 'El artesano',  Pablo Ortíz de Zárate, nos ayuda a hacerlo con las mejores gafas.

Puedes adquirir tu copia de Colectivero en este link: https://a.co/d/g6Yp9TxDESCRIPCIÓN / SHOW NOTES  En este episodio de ficción sonora, exploramos un futuro post-apocalíptico donde la radiación solar, letal para el carbono, se convierte en el catalizador de una conciencia planetaria basada en el silicio. Mientras los restos de la humanidad intentan sanar la atmósfera desde el espacio mediante la tecnología de la tejedora de nubes, los nuevos habitantes del mundo reclaman su derecho a la existencia bajo un cielo herido. La narrativa cuestiona el legado antropocéntrico y la evolución biológica frente a la estructura cristalina, planteando un conflicto irreversible entre los creadores del desastre y los hijos de la crisis climática. Un cuento corto esencial para entender la ciencia ficción contemporánea mexicana y las nuevas voces del género.   CHAPTERS / TIMESTAMPS  00:00 Introducción y remitente  01:15 El despertar de la conciencia de silicio  02:45 El exilio humano y la herida en el cielo  04:20 La decisión inapelable: El sabotaje a la tejedora  05:50 Mensaje final a los viajeros espaciales   FAQ  ¿Qué es la tejedora de nubes? Es un mecanismo tecnológico enviado por los humanos exiliados para reparar la capa de ozono y restaurar el clima terrestre. ¿Quiénes son los narradores del relato? Son una civilización emergente basada en el silicio que prospera gracias a la radiación solar que destruyó a la humanidad. ¿Por qué sabotean la misión humana?  Porque la reparación de la atmósfera filtraría la radiación que les da vida, lo que significaría su extinción para permitir el regreso humano.   //   DESCRIPCIÓN / SHOW NOTES  This science fiction audio experience delves into the Great Filter theory and the unintended consequences of environmental collapse. As humanity flees a radiation-soaked Earth, a new form of life awakens within the crystalline structures and mountain peaks, fueled by the very solar energy that proved fatal to carbon-based organisms. The narrative frames the human attempt to repair the atmosphere through the Cloud Weaver as an act of war against this emerging civilization. Weaving themes of planetary inheritance and biological evolution, the story explores a future where the creator's return is no longer welcome. Ideal for fans of high-concept sci-fi and philosophical storytelling.   CHAPTERS / TIMESTAMPS  00:00 Introduction and the irrevocable decision  01:15 The awakening of the silicon consciousness  02:45 Human flight and the wound in the sky  04:20 The sabotage of the Cloud Weaver project  05:50 Final farewell to the human race   FAQ  What is the Cloud Weaver in the story? It is a high-tech apparatus designed by humans to patch the ozone layer and make Earth habitable for carbon life again. Who are the entities addressing humanity? They are a post-human civilization born from silicon and solar radiation, viewing themselves as the rightful heirs to the planet. Why is the mission being stopped? The new inhabitants require raw solar radiation to survive; repairing the atmosphere would essentially be an act of genocide against them.   //   DESCRIPCIÓN / SHOW NOTES  Neste episódio de ficção especulativa, mergulhamos em um mundo onde a radiação solar transformou a ecologia global, permitindo o despertar de seres baseados em silício. Enquanto a humanidade tenta, à distância, utilizar a tecnologia da Tecelã de Nuvens para consertar a camada de ozônio, a nova civilização terrestre decide intervir. O texto explora a transição de poder planetário e a ironia de que o desastre ecológico humano foi o berço de uma nova forma de inteligência. Uma narrativa densa sobre evolução, sobrevivência e o Grande Filtro Solar, apresentando uma perspectiva única sobre o fim do antropocentrismo e o futuro da vida fora da biologia do carbono.   CHAPTERS / TIMESTAMPS  00:00 Introdução e a decisão inegociável  01:15 O despertar da consciência de silício  02:45 A fuga humana e a ferida no céu  04:20 O bloqueio da reparação atmosférica  05:50 Despedida final aos antigos mestres   FAQ  O que representa a Tecelã de Nuvens? Representa a última tentativa tecnológica da humanidade de restaurar a atmosfera terrestre para permitir seu retorno ao planeta. Quem narra a história? Uma inteligência coletiva baseada em silício que evoluiu a partir da radiação que vazou pelo buraco na camada de ozônio. Por que eles impedem a reconstrução da camada de ozônio? Porque a restauração do filtro solar extinguiria a fonte de energia que sustenta sua existência e consciência. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of our podcast, I had the pleasure of sitting down with Carlos Hernandez, a talented bilingual comedian and musician, who has been making waves in the South Florida entertainment scene. We kicked off the conversation with some light banter about my music duo, Oro Fresco, which recently earned the title of Miami New Times Best Latin Act for 2024. I shared insights about his unique sound, blending genres like Dembow, Reggaeton, and jungle music, and even teased us with a snippet of his song "Nubes." As we transitioned into deeper topics, we discussed the realities of aging and the physical challenges that come with it. Carlos, at 31, reflected on how he started feeling the effects of aging, while I shared my own experiences of turning 40 and the unexpected aches and pains that come with it. We both agreed on the importance of maintaining a positive mindset and staying active, even as we joked about the struggles of getting older. The conversation then shifted to our journeys in comedy. Carlos recounted his early days in improv, inspired by iconic shows like "The Office" and comedians such as Steve Carell and Louis CK. He explained how he transitioned from a stable job in cybersecurity to pursuing comedy full-time, emphasizing the importance of believing in oneself and taking risks. We discussed the challenges of performing outside of Miami, where audiences may not be as familiar with his material, and the necessity of adapting to different crowds. Throughout the episode, we touched on the behind-the-scenes work that goes into comedy—how comedians constantly refine their material, deal with self-criticism, and navigate the pressures of performing. Carlos shared his experiences of performing alongside comedy legends in New York, highlighting moments that made him pinch himself in disbelief. This episode is a celebration of creativity, resilience, and the vibrant comedy scene in South Florida. Carlos's journey is a testament to the power of passion and hard work, and I hope our listeners find inspiration in his story as much as I did. Tune in for an engaging conversation filled with laughter, insights, and a glimpse into the life of a rising star in the comedy world.

Mado Martínez nos desvela algunos secretos de la Ouija y el poder de los espejos.El naturalista Luis Miguel Domínguez, nos conduce hasta el Amazonas para descubrir secretos de las pirañas.El comandante Iván Castro Palacios, en su sección `Misterios en los cielos´ nos explica lo que son las nubes fantasmas y los falsos ecos del radar.Escuchar audio

Quizá hablar sea la última forma de generosidad que nos queda. Por eso, empezamos el año charlando con Xavier Guillén. El hasta ahora poeta debuta en la narrativa con El arte de hablar (Ediciones del viento), novela en la que aboga por la conversación amigable e ironiza sobre la charlatanería de los gurús del emprendimiento y la pseudoespiritualidad.Luego, Javier Lostalé nos recomienda varios poemarios que podemos pedir a los Reyes Magos: Cara de crimen (Ed. Espasa), el nuevo libro del joven nicaragüense William González Guevara, que se mira aquí en el espejo del apátrida, Jardín cerrado (Ed. Devenir), un poemario de Carlos García Mera que invita al recogimiento, y Balada (Ed. Espasa), la nueva entrega de Pere Gimferrer, que se concreta en un único y largo poema donde vuelven a estar presentes su torrente imaginativo, su capacidad para la sinestesia y su inmenso bagaje cultural.Continuamos escribiendo la carta a los Reyes Magos con la ayuda de Ignacio Elguero, que añade estas sugerencias: Los nuevos (Ed.Destino), el regreso a la novela del prestigioso escritor argentino Pedro Mairal, Poesía (Ed. Pre-Textos), antología de Jomi García Ascot, uno de los principales poetas del exilio español en México, El nombre del padre (Ed. Lumen), libro en el que la escritora francesa Vanessa Springora explora el tema de la identidad a partir de un escabroso descubrimiento relacionado con su abuelo y El hechizo de Lily Dahl, la nueva novela de Siri Husvedt.Además, Sergio C Fanjul pone sobre la mesa algunos de los títulos que han marcado la temporada literaria y que también se prestan a ser regalados. Entre las novelas destacan El desván de las musas dormidas (Ed. Acantilado), de Fulgencio Argüelles, Estival (Ed. Sexto Piso), de Guillermo Aguirre, Comerás flores (Ed. Libros del Asteroide), de Lucía Solla Sobral, Casas Limpias (Ed. Temas de hoy), de María Agúndez y Mil cosas (Ed. Anagrama), de Juan Tallón. En cuanto a ensayos, sugiere Nadie me esperaba aquí (Ed. anagrama), de Noelia Ramírez y Nacionalismo (Ed. Crítica), de Eric Storm. También algunos libros inclasificables como Niño parabólico (Ed. Periférica), de Constantino Molina, Artefactos importantes y propiedades personales de la colección de Lenore Doolan y Harold Morris incluidos libros, ropa y joyas (Ed. Comisura), de Leanne Shapton y la enciclopedia ilustrada The Book.Terminamos de redactar nuestra carta a los Reyes Magos con Mariano Peyrou, que añade sus recomendaciones de última hora a nuestra lista: Un fulgor habitado (Ed. Liliputienses), volumen de Silvia Terrón en el que se recopilan los tres poemarios que ha publicado con algunos textos inéditos, Los pájaros y el tiempo (Ed. La máquina de Nubes), un libro de aforismos y ocurrencias de Carlos Conchillo y El undécimo mandamiento (Ed. Diputación de Huelva), poemario de Antonio Pérez Río que propone otra forma de relacionarnos con la memoria de los que se han muerto.Escuchar audio

Mira más videos en nuestra nueva app: https://bit.ly/3g9KM8j Cuando piensas en un volcán, ¿qué es lo primero que te viene a la mente? ¿Corrientes de lava roja y humeante cayendo por los lados? ¿Nubes oscuras de ceniza elevándose hacia el cielo? ¿Quizás piensas en unas relajantes aguas termales? Bueno, todos imaginamos una cosa: una montaña en forma de cono que se cierne sobre el horizonte. ¡Pero puede ser tan verde y exuberante como cualquier otra montaña! En la parte superior, por supuesto, hay un agujero gigante. Como una abertura que baja hasta el fondo... En el interior, hay lava y gases que se empujan hacia afuera. La lava es tan caliente que si estuvieras parado en la cima del volcán y miraras hacia abajo, ¡tu cara se pondría tan roja como el color de esa roca líquida que rezuma! Una erupción volcánica nunca viene sin consecuencias para nosotros. Y no me refiero solo a las personas que viven cerca. ¡Los impactos generalmente también se sienten a escala global! Por ejemplo, los aviones no pueden volar durante un tiempo debido a la capa de ceniza que se libera en el aire. Pero, ¿y si nunca hubiera ningún volcán? ¿La Tierra seguiría siendo la misma? Learn more about your ad choices. Visit megaphone.fm/adchoices

441-M-Z - 1789 - Astronomía: Descubren un Planeta Errante con auroras y nubes de arena... ¿auroras? Universo de Misterios tiene reservado el derecho de admisión y publicación de comentarios. Los comentarios son aprobados o rechazados por el departamento de comunicaciones y gestión de comentarios y correos electrónicos de UDM. José Rfael solo lee los comentarios que hayan sido publicados. El muro de comentarios de los episodios de UDM en iVoox NO es una red social. No espere que el creador del podcast “debata” con usted. Generalmente, los comentarios anónimos podrían no ser publicados. No envíe comentarios que contengan falacias lógicas. No de información personal. No espere que su comentario sea respondido necesariamente. Comprenda que se reciben diariamente un elevado número de comentarios que han de ser gestionados, se publiquen o no. Si hace comentarios con afirmaciones dudosas, arguméntelas aportando enlaces a fuentes fiables (recuerde, el muro de Comentarios de los episodios de UDM en iVoox NO es una red social). En caso de no respaldar su comentario como se indica en la caja de descripción del episodio, su comentario podrá no ser publicado. Siguiendo las recomendaciones de la NASA publicadas en el Informe sobre UAP del 13 de septiembre de 2023, en UDM no aprobamos comentarios que contribuyan a extender el estigma que tradicionalmente ha caído sobre los testigos de UAP/OVNIs. Contacto con Universo de Misterios: universodemisteriospodcast@gmail.com En la realización de los episodios de Universo de Misterios puede recurrirse a la ayuda de Inteligencia Artificial como herramienta. Puedes hacerte Fan de Universo de Misterios y apoyarlo económicamente obteniendo acceso a todos los episodios cerrados, sin publicidad, desde 1,99 €. Aunque a algunas personas, a veces, puede proporcionar una falsa sensación de alivio, la ignorancia nunca es deseable. Pero eso, tú ya lo sabes... Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

La Inedia y sus consecuencias(8p-t12) Por FACEBOOK: https://www.facebook.com/Nemesis-Radio-1550831935166728/ Podcast de NEMESIS RADIO: http://www.ivoox.com/podcast-podcast-nemesis-radio_sq_f1133446_1.html CANAL MISTERIOS DE IVOOX: https://www.ivoox.com/escuchar-canal-misterios-ivoox_nq_2594_1.html Canal misterios de Ivoox: https://www.facebook.com/canalmisteriosdeIvoox/ YOU TUBE: https://www.youtube.com/channel/UC7PD6Knea7eWw88rLp0vR0w E-MAIL: nemesisradiomurcia@gmail.com Por Internet a través de nuestras webs: frecuenciamurcia.es -Esta noche tendremos con nosotros a un querido amigo y colaborador del programa, Miguel Ángel Ruíz, con él hablaremos del porqué de su libro “La Destrucción Planificada de La Infancia”. -En HISTORIAS, CUENTOS Y LEYENDAS, vamos a tener a nuestro compañero, el Investigador, Escritor y Divulgador Paco López Mengüal, que en “Vida de Santos” nos narrará la Historia de “San Cosme y San Damián, los santos Médicos” -En la sección de PEQUEÑO RELATOS QUE DEJARON HUELLA EN EL MUNDO DEL MISTERIO, esta noche será el maestro Fernando Jiménez del oso el que nos hable de, “Ovnis y las Extrañas nubes” -Y terminaremos con nuestro DEBATE, con nuestros contertulios Salvador Sandoval, Alfonso Sánchez Hermosilla y Carlos Lorenzo, debatiremos sobre un interesante y más que controvertido tema, “Inedia… ¿Una peligrosa práctica de ayuno para la salud?” “El camino es largo y está a punto de comenzar… Compinches de la noche, poneos cómodos, agudizad las orejas que empezamos…” (NEMESIS RADIO NO SE HACE RESPONSABLE DE LOS COMENTARIOS DE LOS CONTERTULIOS E INVITADOS QUE PARTICIPAN EN DICHO PROGRAMA) DIRIGEN Y PRESENTAN ANTONIO PÉREZ Y JOSÉ ANTº MARTÍNEZ

Oliver Thomä greift auf seinem Blog Adnubes.info Fliegerthemen auf, die wichtig, aber nicht unbedingt „sexy“ sind. Was treibt ihn an? +++ Viele Gleitschirmpiloten haben das Bedürfnis, nicht einfach nur fliegen zu gehen. Die Fliegerei zieht sie so in den Bann, dass sie auch sonst einen beachtlichen Teil ihrer Freizeit in ihr Hobby investieren. Und manchmal kommt das dann auch anderen zugute. Youtube-Videos oder Vorträge vor Vereinskameraden zum Beispiel liefern viel Anschauungsmaterial, um sich weiterzubilden. Oliver Thomä hat für seine Aktivitäten in dieser Richtung eine besondere Form gewählt. Er betreibt seit fünf Jahren einen eigenen Gleitschirmblog: Adnubes.info. Wer darauf herumstöbert wird schnell feststellen: Oliver geht es nicht darum, sich als Helden der Lüfte darzustellen. Vielmehr greift er auch Themen auf, die für uns Flieger zwar wichtig sind zu verstehen, aber eher sperrig und trocken erscheinen. Darunter die Gefahren von Stromleitungen, das Abrufen von Notams, das Luftrecht oder Tipps und Tricks für XCTrack. Was ihn dabei antreibt? Das erzählt der 59-jährige in dieser Episode von Podz-Glidz. +++ Wenn Du Podz-Glidz und den Blog Lu-Glidz fördern möchtest, so findest Du alle zugehörigen Infos unter: https://lu-glidz.blogspot.com/p/fordern.html +++ Musik dieser Folge: Track: Cosmetic Cosmos | Künstler: Verified Picasso Youtube Audio Library https://www.youtube.com/watch?v=fSGbAmj_2dg +++ Lu-Glidz Links: + Blog: https://lu-glidz.blogspot.com + Facebook: https://www.facebook.com/luglidz + Instagram: https://www.instagram.com/luglidz/ + Whatsapp-Kanal: https://whatsapp.com/channel/0029VaBVs05CHDynzdlJlU34 + Youtube: https://youtube.com/@Lu-Glidz + Soundcloud: https://soundcloud.com/lu-glidz + Spotify: https://open.spotify.com/show/6ZNvk83xxGHHtfgFjiAHyJ + Apple-Podcast: https://itunes.apple.com/de/podcast/podz-glidz-der-lu-glidz-podcast/id1447518310?mt=2 + Linktree: https://linktr.ee/luglidz +++ Links zu Oliver Thomä + Blog Adnubes: https://adnubes.info + Instagram: https://www.instagram.com/adnubes.info/ + Youtube-Kanal: https://www.youtube.com/@AdNubes + XC Track Basis-Webinar: https://www.youtube.com/watch?v=yO2QlZW1pOo

El año 2025 está terminando y dos ex secretarios de organización del PSOE han pasado por la cárcel: Santos Cerdán y José Luis Ábalos. Hay registros de la Guardia Civil en varios ministerios, en empresas que contratan con la administración, en Correos. Y mientras, crecen las denuncias por comportamientos machistas dentro del PSOE. En este episodio empezamos explicando el quién es quién. Hay nuevas tramas de corrupción que afectan al Gobierno y hay personas… que no teníamos del todo ubicadas. Por ejemplo: las tres personas que detiene la UCO hace unos días y que luego son liberados Antxón Alonso, Leire Díez y Vicente Fernández. ¿Qué trama es esta? ¿Hay alguna línea de puntos que relacione unas tramas con otras? Lo explicamos con el director adjunto de elDiario.es José Manuel Romero y con el periodista de elDiario.es José Enrique Monrosi. *** Envíanos una nota de voz por Whatsapp contándonos alguna historia que conozcas o algún sonido que tengas cerca y que te llame la atención. Lo importante es que sea algo que tenga que ver contigo. Guárdanos en la agenda como “Un tema Al día”. El número es el 699 518 743See omnystudio.com/listener for privacy information.

Por FACEBOOK: https://www.facebook.com/Nemesis-Radio-1550831935166728/ Podcast de NEMESIS RADIO: http://www.ivoox.com/podcast-podcast-nemesis-radio_sq_f1133446_1.html CANAL MISTERIOS DE IVOOX: https://www.ivoox.com/escuchar-canal-misterios-ivoox_nq_2594_1.html Canal misterios de Ivoox: https://www.facebook.com/canalmisteriosdeIvoox/ YOU TUBE: https://www.youtube.com/channel/UC7PD6Knea7eWw88rLp0vR0w E-MAIL: nemesisradiomurcia@gmail.com Por Internet a través de nuestras webs: frecuenciamurcia.es -Esta noche tendremos con nosotros a un querido amigo y colaborador del programa, Miguel Ángel Ruíz, con él hablaremos del porqué de su libro “La Destrucción Planificada de La Infancia”. -En HISTORIAS, CUENTOS Y LEYENDAS, vamos a tener a nuestro compañero, el Investigador, Escritor y Divulgador Paco López Mengüal, que en “Vida de Santos” nos narrará la Historia de “San Cosme y San Damián, los santos Médicos” -En la sección de PEQUEÑO RELATOS QUE DEJARON HUELLA EN EL MUNDO DEL MISTERIO, esta noche será el maestro Fernando Jiménez del oso el que nos hable de, “Ovnis y las Extrañas nubes” -Y terminaremos con nuestro DEBATE, con nuestros contertulios Salvador Sandoval, Alfonso Sánchez Hermosilla y Carlos Lorenzo, debatiremos sobre un interesante y más que controvertido tema, “Inedia… ¿Una peligrosa práctica de ayuno para la salud?” “El camino es largo y está a punto de comenzar… Compinches de la noche, poneos cómodos, agudizad las orejas que empezamos…” (NEMESIS RADIO NO SE HACE RESPONSABLE DE LOS COMENTARIOS DE LOS CONTERTULIOS E INVITADOS QUE PARTICIPAN EN DICHO PROGRAMA) DIRIGEN Y PRESENTAN ANTONIO PÉREZ Y JOSÉ ANTº MARTÍNEZ

Hacer click aquí para enviar sus comentarios a este cuento.Juan David Betancur Fernandezelnarradororal@gmail.comHabía una vez un reino donde la más pequeña de las ofensas era castigada duramente. Aquel día el sol del mediodía caía a plomo sobre la ciudad, convirtiendo los adoquines en una parrilla ardiente que  hacia aún más caliente el esfuerzo de caminar. Y sobre ella iba a  caminar un recluso.  Al recluso, demacrado por meses de oscuridad en el calabozo, la luz le hería los ojos, pero no podía parpadear. No se lo permitía el terror.Sobre su coronilla afeitada descansaba un cuenco de porcelana solida y fría. Dentro de este recipiente había un aceite dorado y denso que colmaba la vasija hasta desafiar las leyes de la física; el líquido en su superficie formaba una curva convexa sobre el borde, era un menisco tembloroso que amenazaba con romperse ante el suspiro más leve o al movimiento más levemente desincronizado—Recuerda —susurró el verdugo a su espalda con su voz grave y seca como el polvo del camino. Una  sola gota de aceite. Solo una mancha en tu frente, y mi espada cortará tu cuello antes de que el aceite toque tus cejas.Comenzaron la marcha. Y el recluso sabía que su vida dependía de aquella cruel marcha. Debía llegar al otro lado de la ciudad sin derramar ni una sola gota de aceite. El primer desafío fue el propio cuerpo del recluso. Sus músculos, atrofiados por el encierro, gritaban ante la rigidez forzada. Tenía que deslizarse, no caminar. Cada paso debía ser una danza de amortiguación, rodillas flexionadas, cuello rígido como una viga de hierro, la mirada clavada en un punto fijo en la nada. Detrás, el golpe rítmico de las botas del verdugo y el siseo del acero al rozar la vaina servían de metrónomo macabro.Entraron en el mercado de las especias. La primera tentación fue olfativa. Nubes de azafrán, de ajo, de comino, de carne asada y de pan fresco golpearon su rostro. Su estómago, vacío durante días, rugió con violencia, una convulsión interna que hizo vibrar su columna vertebral. El aceite osciló peligrosamente. El recluso apretó los dientes hasta que le dolieron las encías, ignorando el hambre, ignorando el aroma a pan recién horneado que parecía llamarlo por su nombre. Apreto su conciencia en lo que hacia y Siguió adelante.Luego vino el caos sonoro. Un comerciante tropezó y una bolsa de monedas de oro se rompió a los pies del prisionero. El tintineo del metal precioso rodando por las piedras fue hipnótico. La gente se abalanzó gritando, empujándose para rapiñar el botín. Un niño pasó rozando su pierna. El instinto humano de mirar hacia abajo, de ver la riqueza, de protegerse del tumulto, fue casi insoportable. Sintió el aliento frío del verdugo en su nuca, una advertencia silenciosa. El recluso fijó la vista en el horizonte, convirtiéndose en una estatua que camina, sordo a la codicia.Atravesaron la plaza de los herreros, donde el calor era infernal y las chispas volaban. Una brasa diminuta que salto de una de aquellas fraguas  aterrizó en su hombro desnudo. La piel siseó. El dolor fue agudo, punzante. Todo su ser quería sacudirse, gritar, saltar. Pero el miedo a la espada era mayor que el fuego. Soportó la quemadura, dejando que el olor de su propia piel chamuscada se mezclara con el del aceite que seguía, milagrosamente, en su sitio.Y entonces, llegaron al centro de la ciudad.El aire cambió de repente. El hedor a sudor y bestias desapareció, reemplazado por una fragancia embriagadora de jazmín y agua de rosas.Allí sonaban los tambores. Un ritmo sensual, profundo, que resonaba en el pecho. Eran las bailarinas imperiales, famosas en todo el reino por una belleza que, según decían, podía detener corazones.Entraron en su campo de visión periférica. Eran remolinos de seda

Hoy viajamos juntos a Sapa, un lugar donde la naturaleza, la cultura y la tradición se mezclan de tal manera que es imposible separarlas. Gracias por estar aquí —¡ya superamos los 1,200 episodios y el millón de escuchas! Es pura magia gracias a ti, y me encanta compartirla.✈️ Recuerda, en mi web www.cesarsar.com propongo algunos viajes conmigo a diferentes lugares del mundo. Vámonos!

A pocos días de su despedida, un recuerdo de Dionysis Savvopoulos y Pablo Guerrero, dos cantautores que pusieron banda sonora a la esperanza. Sus canciones acompañaron el despertar democrático de dos pueblos que soñaban con el cambio. Entre acordes, poesía y compromiso, trazamos puentes entre el Egeo y la península ibérica de los años 70 en busca de la memoria, la utopía y la fuerza de la canción.Escuchar audio

Una travesía musical por el Mediterráneo y América Latina, enlazando tradición y modernidad, un recorrido donde la introspección, la poesía y el diálogo entre culturas trazan un mismo horizonte musical. Batalla por la vida +Fedra - Santiago Auserón, Vaggelis Tzeretas, Thodoris Karellas, Nerantzi Las Nubes - Manuel García Álbum blanco para Silvio Rodríguez El Viejo Comunista - Manuel García, Silvio Rodríguez, El caminante Al Mismo Tiempo - Hugo Fattoruso, Fernando Cabrera, Al Mismo Tiempo Refugio - Nano Stern, Refugio Light - Leonor Watling, Leo Sidran, Jorge Drexler, Sol Sidran, Leo & Leo My Heart’s in the Highlands - Piers Faccini, Grégory Dargent, Songs I Love Volume II Helplessly Hoping - Crosby, Stills & Nash, Greatest Hits Feel the Spirit - Refuge, Heaven Earth Zghapari - Niad Diasamidze y 33 A, Omi da TavisuflebaPETRICHOR - Jon Batiste, BIG MONEYEscuchar audio

En este episodio muy especial de Songmess seguimos en Panamá, esta vez adentrándonos en el indie rock local con Paco y Andrés de la banda Solamente Muero los Domingos. Con nombre inspirado en una canción de Seu Generis y sonido más de bandas alt-rock y jangle pop noventero como The Breeders y Belle & Sebastian, Solamente se han convertido en favoritos del indie local, hilando miembros de otras bandas emblemáticas del under panameño como Sonó, Hez y Vida Nocturna. En este episodio nos sumergimos en la génesis de la banda, el pedigree indie de Panamá y los dos EPs de Solamente Muero Los Domingos: “Qué Difícil Es, Qué Bien Se Siente” (2023) y “Tempestad” (2025). Temones, guitarrazos, y secretos hipster revelados, en este gran episodio de Songmess! Playlist: Solamente Muero Los Domingos - “Ahora Doy Vueltas” Solamente Muero Los Domingos - “Canción a Harry Dean Stanton” Hez - “Prohibido en Los Ángeles” Sonó - “Menos es Más” Cycling - “Warp” Adiós Cometa - “Transparente” Solamente Muero Los Domingos - “Cercas, Nubes y Otras Cosas Inútiles” Solamente Muero Los Domingos Bandcamp: https://solamentemuerolosdomingos.bandcamp.com/ Solamente Muero Los Domingos Spotify: https://open.spotify.com/artist/3K2tsWzXG8ulKMgloSXYID?si=Z3OBfkRoSyGioFsq2vlx3w Solamente Muero Los Domingos YouTube: https://www.youtube.com/channel/UCe0o3_F4Pv46aFp9Aoj15Iw Solamente Muero Los Domingos Instagram: https://www.instagram.com/muerolosdomingos/ Richard Villegas Instagram: www.instagram.com/rixinyc/?hl=en Songmess Instagram: www.instagram.com/songmess/?hl=es-la Songmess Facebook: www.facebook.com/songmess/?ref=settings Songmess Twitter / X: twitter.com/songmess #BOPS Playlist: https://open.spotify.com/playlist/2sdavi01h3AA5531D4fhGB?si=4c850231dca34f0c Subscribe to Songmess on Spotify, Apple Podcasts, Stitcher, Google Play or SoundCloud, find us on Facebook, Twitter and Instagram, and contact us at songmessmusic@gmail.com.

Meditar es poder observar

Cuando piensas en un volcán, ¿qué es lo primero que te viene a la mente? ¿Corrientes de lava roja y humeante cayendo por los lados? ¿Nubes oscuras de ceniza elevándose hacia el cielo? ¿Quizás piensas en unas relajantes aguas termales? Bueno, todos imaginamos una cosa: una montaña en forma de cono que se cierne sobre el horizonte. ¡Pero puede ser tan verde y exuberante como cualquier otra montaña! En la parte superior, por supuesto, hay un agujero gigante. Como una abertura que baja hasta el fondo... En el interior, hay lava y gases que se empujan hacia afuera. La lava es tan caliente que si estuvieras parado en la cima del volcán y miraras hacia abajo, ¡tu cara se pondría tan roja como el color de esa roca líquida que rezuma! Una erupción volcánica nunca viene sin consecuencias para nosotros. Y no me refiero solo a las personas que viven cerca. ¡Los impactos generalmente también se sienten a escala global! Por ejemplo, los aviones no pueden volar durante un tiempo debido a la capa de ceniza que se libera en el aire. Pero, ¿y si nunca hubiera ningún volcán? ¿La Tierra seguiría siendo la misma? Learn more about your ad choices. Visit megaphone.fm/adchoices

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! 441-M-Z - 1671 - Descubren un Planeta Errante con auroras, nubes de arena y... pero, un momento...¿auroras?!! Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

1657 - CJF - Medio siglo de Wish You Were Here - El meteorito de Normandía - Paleoclimatología y Nubes Interestelares - Cultura Clovi Universo de Misterios tiene reservado el derecho de admisión y publicación de comentarios. Generalmente, los comentarios anónimos no serán publicados. Si hace comentarios con afirmaciones dudosas, arguméntelas aportando enlaces a fuentes fiables (este muro NO es una red social). En caso de no respaldar su comentario como se indica en la caja de descripción del episodio, su comentario podrá ser no publicado. Contacto con Universo de Misterios: universodemisteriospodcast@gmail.com La imagen de la miniatura que ilustra este episodio ha sido creada con la ayuda de una Inteligencia Artificial. Puedes hacerte Fan de Universo de Misterios y apoyarlo económicamente obteniendo acceso a todos los episodios cerrados, sin publicidad, desde 1,99 €. Aunque a algunas personas, a veces, puede proporcionar una falsa sensación de alivio, la ignorancia nunca es deseable. Pero eso, tú ya lo sabes... Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Banco del Bienestar atiende ya a más de 30 millones de personas  Últimos días para registrarse en la Licenciatura en Educación Primaria en líneaLa OMM reconoce  diez géneros de nubes, entre ellas la cirrusMás información en nuestro podcast

Julio 01, 2025 - En el libro de Proverbios encontramos la siguiente declaracion: "Nubes y viento, y nada de lluvia, es quien presume de dar y nunca da nada." Que tal? Cuando se trata de dar a la obra del Senor, muchas veces ponemos pretextos. Pero hoy queremos invitarle a escuchar por que el dar se puede convertir en algo muy contagioso.

Apoyo directo a artesanos del Edomex con estímulo económico  Sinaloa lanza bombardeo de nubes para generar lluvia  Trump y Netanyahu prometen ampliar su cooperación y avanzar en acuerdos de paz  Más información en nuestro podcast

Quien tiene a Jesús en su corazón esta llamado a transmitirlo, a mostrarlo. Hay quienes en lugar de mostrarlo, son unas nubes. En este episodio te explico, este rollo de ser nubes, pero sobre todo poder identificar, cuando estamos siendo nubes. 

En lo alto de las montañas de Chiapas, estado en el extremo sur de México, una chachalaca negra (Penelopina nigra) macho hace su demostración territorial. Esta chachalaca, también conocida como Pajuil, se refugia en una enramada, silva y se desliza mientras aletea. El sonido resultante es maravilloso e incomparable. Esta demostración crea un sonido emblemático del bosque de niebla de la Reserva de la Biósfera El Triunfo. Nubes y neblina con frecuencia cubren la reserva, creando un exuberante paraíso forestal. Los bosques de niebla representan menos del 1% de la superficie boscosa del planeta, por lo que su conservación es crucial. En El Triunfo, la demostración de la chachalaca negra es una prueba de un éxito de conservación.Listen to this episode in English here.Más información y transcripción en BirdNote.org.¿Quieres más BirdNote? Suscríbete a nuestro boletín semanal. Regístrese en BirdNote+ para escuchar música sin publicidad y otras ventajas.BirdNote es una organización sin fines de lucro. Su donación deducible de impuestos hace posible estos espectáculos.

En marcha programa de bombardeo de nubes en Sinaloa Gobierno busca retirar la concesión del Parque BicentenarioEl presidente de Bolivia manifiesta su "apoyo y cariño" a José MujicaMás información en nuestro Podcast

Apple anuncia resultados con luces y sombras. Ingresos que suben un 5%, pero tres frentes abiertos: aranceles, sentencias judiciales desfavorables y retrasos en su IA. Tim Cook tiene un puzzle complejo que resolver.Contacta con el autor:X: @jlacortBluesky: @lacortMail: [lacort@xataka.com](mailto:lacort@xataka.com)Loop Infinito es un podcast de Applesfera sobre Apple y su ecosistema, publicado de lunes a viernes a las 7.00 h (hora española peninsular). Presentado por Javier Lacort. Editado por Alberto de la Torre.

Digsby's Crew discusses the revelations of Ciudad de las Nubes and contemplates their next steps.Support the show Patreon: https://www.patreon.com/MortalsAndPortals Discord: https://discord.com/invite/tG5WJCWxjD Wiki: https://mortalsandportals.miraheze.org/wiki/Main_Page YouTube: https://www.youtube.com/@MortalsandPortals Reddit: https://www.reddit.com/r/MortalsandPortals/ Instagram: https://www.instagram.com/mortalsandportals/ Email: mortalsandportals@gmail.com

With its Flora Devida energy depleted, Ciudad de las Nubes plummets towards Lorthal's surface.Support the show Patreon: https://www.patreon.com/MortalsAndPortals Discord: https://discord.com/invite/tG5WJCWxjD Wiki: https://mortalsandportals.miraheze.org/wiki/Main_Page YouTube: https://www.youtube.com/@MortalsandPortals Reddit: https://www.reddit.com/r/MortalsandPortals/ Instagram: https://www.instagram.com/mortalsandportals/ Email: mortalsandportals@gmail.com

La tertulia semanal en la que repasamos las últimas noticias de la actualidad científica. En el episodio de hoy: Cara B: -Breve actualidad de gravitondas (00:00) -La trayectoria del Sol en el espacio interestelar (20:00) -Señales de los oyentes (45:00) Este episodio es continuación de la Cara A. Contertulios: María Ribes, Isabel Cordero, Francis Villatoro, Héctor Socas. Imagen de portada realizada con Midjourney. Todos los comentarios vertidos durante la tertulia representan únicamente la opinión de quien los hace... y a veces ni eso

La tertulia semanal en la que repasamos las últimas noticias de la actualidad científica. En el episodio de hoy: Cara A: -Día de la cuántica 4/14 (4:00) -El bulo viral de una superestructura bajo las pirámides de Giza (17:00) -ScanPyramids North Face corridor (45:00) Este episodio continúa en la Cara B. Contertulios: María Ribes, Isabel Cordero, Francis Villatoro, Héctor Socas. Imagen de portada realizada con Midjourney. Todos los comentarios vertidos durante la tertulia representan únicamente la opinión de quien los hace... y a veces ni eso

La tertulia semanal en la que repasamos las últimas noticias de la actualidad científica. En el episodio de hoy: Cara A: -Actualización sobre 2024 YR4 (6:00) -El anuncio de Microsoft sobre computación cuántica (00:00) Este episodio continúa en la Cara B. Contertulios: Francis Villatoro, Héctor Socas, Jose Edelstein. Imagen de portada realizada con Midjourney. Todos los comentarios vertidos durante la tertulia representan únicamente la opinión de quien los hace... y a veces ni eso

La tertulia semanal en la que repasamos las últimas noticias de la actualidad científica. En el episodio de hoy: Cara B: -El anuncio de Microsoft sobre computación cuántica (parte 2) (00:09) -El colosal (ultramsivo) agujero negro de la Herradura Cósmica (44:09) Este episodio es continuación de la Cara A. Contertulios: Francis Villatoro, Gastón Giribet, Héctor Socas. Imagen de portada realizada con Midjourney. Todos los comentarios vertidos durante la tertulia representan únicamente la opinión de quien los hace... y a veces ni eso