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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

O verão ainda nem chegou no hemisfério norte e diversos países europeus acabaram de suportar uma semana de temperaturas escaldantes, algo inédito para o período do ano. Com o aumento da intensidade e da frequência das ondas de calor, potências como França, Reino Unido e Países Baixos, acostumadas a lidar com o frio na maior parte do ano, encaram o desafio de ter de se preparar para conviver com as altas temperaturas. Lúcia Müzell, da RFI em Paris O impacto econômico desses períodos antes raros, mas agora repetidos devido às mudanças climáticas, é brutal. Um levantamento recém-divulgado pela seguradora Allianz Trade estimou que o prejuízo acumulado no PIB de 2026 a 2030 pode chegar a 7% nos países mais expostos, como a França, onde o custo das ondas de calor poderá atingir US$ 240 bilhões no período. O forte calor afeta as condições de uso dos transportes, indústrias, instituições, escolas e empresas, mal preparados para os dias de altas temperaturas. Ao ar livre, a agricultura, a construção civil e a logística estão na linha de frente. O impacto na produtividade é direto e já pode ser mensurado. A partir de 30°C, a produção horária de um trabalhador diminui em média 3% a cada grau adicional, e é ainda maior quando os termômetros ultrapassam 35°C. Em paralelo, aumentam significativamente os gastos de saúde e seguridade social, em especial das pessoas mais vulneráveis, como idosos e pessoas em situação precária, salienta Mireille Chiroleu, professora de Economia do Meio Ambiente na Universidade Panthéon-Sorbonne. “As perdas de produção não são os únicos impactos: os na saúde são muito significativos. Estudos mostram que os custos decorrentes das ondas de calor na França entre 2015 e 2020 variaram entre € 22 bilhões e € 37 bilhões”, afirma ela, que também é diretora de pesquisas da Paris School os Economics. “É um valor altíssimo e muito maior do que o de perdas diretas de produção.” Risco de choque macroeconômico Em 2025, um estudo da universidade alemã de Mannheim em conjunto com o Banco Central Europeu trouxe um alerta grave: as ondas anormais de calor têm o potencial de causar um choque macroeconômico nos países do bloco. Somadas às secas e inundações, os fenômenos climáticos poderão custar € 126 bilhões à economia europeia até 2029. Os países mais expostos são Espanha, Itália e França. Em Paris, uma coletiva de imprensa da ministra da Transição Ecológica, Monique Barbut, sobre o tema na última semana foi sintomática: com os termômetros marcando 36°C à sombra, ela recebeu os jornalistas em uma sala “fervendo”, relatou Le Monde, com ventiladores circulando ar quente para os participantes molhados de suor. O Alto Conselho para o Clima, que orienta o governo francês para as medidas de enfrentamento da crise climática, adverte que o país deve se preparar para um cenário de alta de 4°C na média das temperaturas até o fim deste século. 19% de prédios adaptados na Europa Mudanças estruturais devem ser implementadas, observou a Allianz Trade em seu relatório: com “uma população envelhecida, um parque imobiliário pensado para reter o calor e infraestruturas de resfriamento do ar subdesenvolvidas”, a Europa tem uma média de apenas 19% dos prédios adaptados para enfrentar o calor. “As possibilidades estão em constante evolução e vêm apresentando avanços significativos. Recomenda-se a implementação de soluções para controlar a demanda energética ao mesmo tempo em que se combate as mudanças climáticas”, ressalta Chiroleu. “O ar-condicionado pode criar ilhas de calor na área externa a que é climatizada, e assim agravar as desigualdades, principalmente nos centros urbanos. Ele deve ser apenas um elemento da política de adaptação, afinal existe toda uma hierarquia de intervenções, como isolamento térmico de edifícios, arborização, etc.” Este ano, a Espanha instaurou uma licença climática de até quatro dias por ano em caso de eventos climáticos extremos, como enchentes, que impossibilitem o trabalho presencial. Na vizinha França, os ecologistas defendem a ideia e sugerem incluir as ondas de calor como uma razão de afastamento do trabalho, às custas dos cofres públicos. Faltam recursos para a adaptação até nos países ricos Organizações ambientalistas salientam que, antes disso, os países precisariam cumprir os seus planos de adaptação, ampliando as proteções contra o sol nas empresas e residências. A agência francesa de Meio Ambiente e Energia (Ademe) aponta que a instalação de janelas e venezianas adequadas pode diminuir de 20% a 60% a necessidade de ar-condicionado no interior dos prédios. Na prática, entretanto, a maioria dos países está atrasada na aplicação das medidas, principalmente por não disponibilizarem os recursos necessários. “As restrições orçamentárias particularmente fortes da França significam que os fundos destinados a essa adaptação, o Fundo Verde para o Clima, foram drasticamente reduzidos”, aponta. Em 2024, foram alocados € 2,5 bilhões para o mecanismo, que inclui os gastos para adaptação. No ano seguinte, o valor caiu para € 1,1 bilhão em 2025. “Isso é realmente muito pouco. Acho que outros países europeus estão enfrentando as mesmas deficiências de planejamento”, constata a professora francesa.

Já parou para pensar sobre como as mudanças climáticas impactam a nossa saúde?

1382. Las ondas de audio son algo tan cotidiano dentro del podcasting que muchas veces ni nos paramos a pensar qué estamos viendo realmente cuando abrimos un editor y aparecen esas formas moviéndose por la pantalla. Y precisamente de eso quiero hablar en esta nueva entrega del glosario podcastero, intentando explicar un concepto bastante técnico de una forma sencilla, cercana y sobre todo útil para cualquiera que grabe, edite o simplemente escuche podcast. En este episodio parto de algo muy básico: el sonido son vibraciones moviendo aire. Cuando hablamos delante de un micrófono estamos generando pequeñas ondas que viajan por el aire hasta llegar al propio micro, que es el encargado de transformar todo eso en información que luego nuestro ordenador puede interpretar. O dicho de otra forma, pasamos de algo físico a algo digital. También explico cómo esas vibraciones no las vemos normalmente, pero sí podemos sentirlas constantemente. Cuando un altavoz hace vibrar una ventana, cuando notas el pecho retumbar en un concierto o incluso cuando piensas en cómo se comunican las ballenas bajo el agua, todo eso son ondas sonoras desplazándose por un medio físico. Porque sin aire, sin agua o sin algún tipo de medio, el sonido simplemente no existe. A partir de ahí entro un poco más en el terreno del podcasting y en cómo los micrófonos, interfaces y programas de edición convierten todas esas vibraciones en las famosas formas de onda que vemos en herramientas como Audition, Reaper, Audacity o DaVinci Resolve. Y en una verdad como un templo, cuando llevas muchas horas editando podcast, llega un momento en el que prácticamente “lees” el audio con los ojos. Detectamos silencios viendo huecos. Sabemos cuándo alguien ha gritado viendo una pared enorme en pantalla. Reconocemos una saturación simplemente observando una forma de onda extraña. Y eso me parece fascinante porque realmente el ordenador no escucha como nosotros, simplemente interpreta miles de pequeñas muestras por segundo para reconstruir una representación visual del sonido. También aprovecho para explicar de manera muy sencilla conceptos que suelen aparecer constantemente en grabadoras o configuraciones de exportación, como los famosos 44.100 Hz, 48 kHz o los 24 bits. No me meto demasiado en la parte técnica porque no quería convertir esto en una clase de ingeniería de sonido, pero sí intento dejar clara la idea de que cuanto mayor es esa captura de muestras, más fiel es la representación de las ondas de audio. Y cierro el episodio con una reflexión que me parece importante recordar en pleno auge del videopodcast, la IA, los algoritmos y toda la parafernalia tecnológica que rodea ahora mismo al sector. Porque al final, por muy espectacular que sea un estudio o una producción, todo empieza exactamente igual: una persona hablando, aire vibrando y un micrófono capturándolo._____________El sábado 30 de mayo, la Sala Cooltural del Hotel DormirDCine Madrid acogerá la 3ª edición de Podnights Madrid 2026 en la que el podcast ‘¿Cómo ye la tu movida?' repetirá por cuarto año consecutivo.Tienes toda la info y entradas en este enlace https://www.eventbrite.es/e/entradas-como-ye-la-tu-movida-en-podnights-madrid-1987453018479_____________ ¡Gracias por pasarte 'Al otro lado del micrófono' un día más para seguir aprendiendo sobre podcasting! Si quieres descubrir cómo puedes unirte a la comunidad o a los diferentes canales donde está presente este podcast, te invito a visitar https://alotroladodelmicrofono.com/unete Además, puedes apoyar el proyecto mediante un pequeño impulso mensual, desde un granito de café mensual hasta un brunch digital. Descubre las diferentes opciones entrando en: https://alotroladodelmicrofono.com/cafe. También puedes apoyar el proyecto a través de tus compras en Amazon mediante mi enlace de afiliados https://alotroladodelmicrofono.com/amazon La voz que puedes escuchar en la intro del podcast es de Juan Navarro Torelló (PoniendoVoces) y el diseño visual es de Antonio Poveda. La dirección, grabación y locución corre a cargo de Jorge Marín. La sintonía que puedes escuchar en cada capítulo ha sido creada por Jason Show y se titula: 2 Above Zero.  'Al otro lado del micrófono' es una creación de EOVE Productora.

Relatório da OMM sobre Estado do Clima na América Latina e Caribe destaca que no Rio Grande do Sul e no Rio de Janeiro, temperaturas ultrapassaram 40 °C; bacias de rios importantes como Amazonas, Paraná e São Francisco foram atingidas por condições de seca.

In der heutigen Folge sprechen die Finanzjournalisten Philipp Vetter und Holger Zschäpitz über neue Rekordmarken an der Wall Street, den Traumstart des Nvidia-Jägers und Photonics-Phantasie bei POET Technologies. Außerdem geht es um Nvidia, POET Technologies, Cerebras, Goldman Sachs, Cisco, StubHub, CTS Eventim, Ford, Coinbase, Robinhood, Applied Materials, Figma, Ondas, Palantir, Infineon, Siemens, SMA Solar, Fraport, Borussia Dortmund, Biontech, Tesla, Xiaomi, Apple, Micron, Blackstone, Boeing, TSMC, Sandisk, Intel, Lumentum, Seagate, Western Digital, Ciena, Coherent, AMD, Rackspace Technology, MaxLinear, Agilon Health, Bandwidth, Aehr Test Systems, Entravision, DigitalOcean, SELLAS, Bloom Energy, Atomera, Intuitive Machines, Arteris, Vicor, SiTime, TEQ - General Artificial Intelligence UCITS ETF (WKN: A41AXG). Wir freuen uns an Feedback über aaa@welt.de. Noch mehr "Alles auf Aktien" findet Ihr bei WELTplus und Apple Podcasts – inklusive aller Artikel der Hosts. Hier bei WELT: https://www.welt.de/podcasts/alles-auf-aktien/plus247399208/Boersen-Podcast-AAA-Bonus-Folgen-Jede-Woche-noch-mehr-Antworten-auf-Eure-Boersen-Fragen.html. Hier könnt ihr den AAA-Newsletter abonnieren: https://www.welt.de/newsletter/article232797673/Alles-auf-Aktien-Der-taegliche-Boersen-Newsletter-fuer-WELTplus-Abonnenten.html Und - ganz neu: AAA gibt es jetzt auch auf Instagram: https://www.instagram.com/alles_auf_aktien/ Disclaimer: Die im Podcast besprochenen Aktien und Fonds stellen keine spezifischen Kauf- oder Anlage-Empfehlungen dar. Die Moderatoren und der Verlag haften nicht für etwaige Verluste, die aufgrund der Umsetzung der Gedanken oder Ideen entstehen. Hörtipps: Für alle, die noch mehr wissen wollen: Holger Zschäpitz können Sie jede Woche im Finanz- und Wirtschaftspodcast "Deffner&Zschäpitz" hören. +++ Werbung +++ Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte! https://linktr.ee/alles_auf_aktien Impressum: https://www.welt.de/services/article7893735/Impressum.html Datenschutz: https://www.welt.de/services/article157550705/Datenschutzerklaerung-WELT-DIGITAL.html

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

durée : 00:24:49 - Les Pieds sur terre - par : Sonia Kronlund, Charlotte Bienaimé - Deux ans après être parti pour sa longue marche, sur le chemin de Saint Jacques de Compostelle, et un an après avoir reçu le prix Ondas, à Barcelone, pour la série radio réalisée avec Les pieds sur Terre , que devient Idan ? Où est-il ? Pourquoi est-il si difficile de le retrouver ? - réalisation : Annabelle Brouard

durée : 00:26:01 - Les Pieds sur terre - par : Sonia Kronlund, Charlotte Bienaimé - Un an après son retour, Idan retourne en Espagne, à Barcelone, mais cette fois c'est pour recevoir, avec Charlotte Bienaimé et Annabelle Brouard, le prestigieux prix Ondas. - réalisation : Annabelle Brouard

A Inteligência Artificial deixou de ser um conceito futurista para se tornar o motor de produtividade do corretor moderno. Mas em meio a tantas ferramentas e informações, como separar o que é apenas "hype" do que realmente traz agilidade e qualidade para o fechamento de negócios? É hora de entender como surfar essa onda sem ser atropelado por ela.Neste episódio, Thiago Ely https://www.instagram.com/othiagoely/ recebe Luís Veloso https://www.instagram.com/luisfelipeveloso/, Chief Revenue Officer (CRO) da Morada.ai, e Sandro Jerônimo https://www.instagram.com/sandro_ja/, Professor, pesquisador e chefe de departamento na PUC Minas, para discutir as ondas de evolução da IA, a orquestração de agentes inteligentes e as ferramentas práticas que já estão transformando o dia a dia do mercado imobiliário.Acesse o podcast na sua plataforma de áudio preferida: https://www.mrveco.com.br/virando-a-chaveVenha ser um corretor de imóveis MRV: https://mrv.vc/querovender-vac00:00 Introdução 01:43 Ondas da Inteligência Artificial 03:03 Transformando o mercado imobiliário com IA 03:50 Velocidade X Qualidade 06:55 E quando a onda passar? Falando sobre o Inverno da IA (A.I. Winter) 09:25 Quem usa bem a IA? Como está sendo a adoção? 11:18 Experimentação ou Educação? 17:15 Orquestração de Agentes de IA. Isso vai chegar no ser humano comum? 20:56 Há riscos? 23:50 O que a gente não sabe que não sabe? 25:44 Testando hipóteses para construção do conhecimento 29:06 O que você já aprendeu com IA? 30:17 Melhores ferramentas para o corretor 36:13 "Você já perguntou para o Chat GPT antes?" 37:17 Bola de Cristal da IA: qual é a próxima grande transformação? 40:00 Dicas 41:20 EncerramentoGLOSSÁRIOMVP (Minimum Viable Product - Produto Mínimo Viável) é a versão mais simples e enxuta de um produto, contendo apenas funcionalidades essenciais para validar uma ideia de negócio com usuários reais.#VirandoaChavePodcast #podcastdaMRV #podcastparacorretor #corretordeimóveis #ThiagoEly #LuísVeloso #SandroJerônimo #InteligênciaArtificial #IAnoMercadoImobiliário #InovaçãoTecnológica

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

El premio Ondas consiguió, Leonardo Dantés le encumbró... y el picante a Secun casi le derrumbó. Hoy nos visita Secun de la Rosa: actor, director, dramaturgo e inolvidable como Toni Colmenero en 'Aída'. Viene a presentarnos su nueva película, 'Casi todo bien'. Dale al play y disfruta de una nueva entrega de A las Bravas.

El premio Ondas consiguió, Leonardo Dantés le encumbró... y el picante a Secun casi le derrumbó. Hoy nos visita Secun de la Rosa: actor, director, dramaturgo e inolvidable como Toni Colmenero en 'Aída'. Viene a presentarnos su nueva película, 'Casi todo bien'. Dale al play y disfruta de una nueva entrega de A las Bravas.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Inspirados por la sección que el programa Más de uno dedicó a la respiración, los directivos de Onda Cero han decidido estrenar un nuevo programa centrado solamente en este fenómeno fisiológico.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Als het beursnieuws en het belangrijkste wereldnieuws samenvallen is dat meestal reden voor grote alertheid onder beleggers. Pieter Kort neemt een kleine maand na het begin van de Iran-oorlog en de afsluiting van de Straat van Hormuz met gasten Hildo Laman (analist bij IEX) en Arne Petimezas (hoofd research bij AFS) de situatie op de markten door: beurzen, olie, inflatieverwachtingen en TACO-trades.Ook is er aandelennieuws, onder andere van ASML, en onderzoeken we of er sprake is van het begin van een nieuwe financiële crisis.De onderwerpen in deze aflevering van de IEX Beleggerspodcast:Meta's social media is 'verslavend', oordeelt een rechter. Schadeclaims op komst voor techbedrijven?Iran-oorlog: onrustige markten, maar (nog) geen paniekBeleggers vertrouwen op de TACO-trade, maar werkt die nog wel zo goed?Shell en de olieprijs: geen no-brainer dat die gelijk met elkaar opgaanSBM Offshore gaat goed, maar zat al langer in de liftHoe verstandig is het om politiek in te grijpen in benzineprijzen?ECB wil de rente gaan verhogen. Gaat dat helpen?Private credit: komt hier de volgende financiële crisis vandaan?Dilemma van de week: OpenAI/Anthropic of SpaceX?ASML krijgt een mega-order van €8 miljardSK Hynix en een revolutie in geheugentechnologieCSG en andere defensieaandelen Hoe gaat het met luchtvaartaandelen als Delta en Air France-KLM?Links uit deze podcast:DOSSIER IRAN: Alles wat u moet wetenASML profiteert van chiptekortenDe lucht in met drones van Ondas

1907 - Cosmología: Nueva propuesta para entender el universo - Ondas Gravitac - Y Tensión de Hubble Si va a escribir un comentario, gracias por hacerlo, pero por favor, lea antes las normas de publicación que se encuentran a continuación: (si usted es una persona educada, no tiene que leer las normas). 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 Rafael solo lee los comentarios una vez 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. UDM es un podcast independiente y, por tanto, su contenido expresa el criterio de su autor. La temática general es la Ciencia y el Misterio bien entendido, pero su autor podrá abordar otras temáticas. No está obligado a escuchar UDM, si no le gusta lo que escucha, puede dejar de hacerlo, pero no le diga al autor de lo que debe o no debe hablar en su podcast. 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

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

En este capítulo nos fijamos en el trabajo del grupo local Golem Taldea. El próximo 14 de marzo en Barakaldo convocan a la ciudadanía para reivindicar el papel de la mujer creadora y jugadora. Lo hacen porque "estamos convencidas de la necesidad de visibilizar a diseñadoras, narradoras, ilustradoras y jugadoras de los juegos de rol, de mesa y wargames 

⁠Seja apoiador do X do Controle⁠⁠Compre seus jogos na Nuuvem! MARCAÇÕES DE TEMPO00:00 - Introdução06:07 - Pokémon Ventos & Ondas será 1º da série em português do Brasil17:51 - Atualizações de adaptações: God of War e Life is Strange24:19 - Ubisoft comenta futuro de Assassin's Creed29:39 - Exclusivos single player do PS5 não serão mais lançados para PC37:41 - Highguard terá servidores encerrados em março42:06 - Rapidinhas46:55 - EncerramentoCRÉDITOSApresentação: Claudio Prandoni e Guilherme DiasRoteiro: Guilherme Dias e PH Lutti LippeEdição: Lucas FunchalThumbnail: Lucas G. FerreiraSiga o XdC: ⁠YouTube ⁠⁠⁠⁠| ⁠Instagram⁠ | ⁠Bluesky⁠ | ⁠Threads⁠ | ⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠⁠⁠Nossas plataformas e redes⁠⁠⁠⁠Contato: ⁠contato@xdocontrole.com⁠Contato para anunciantes e parcerias: ⁠comercialxdc@gmail.com⁠

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Essa semana sentimos medo e adrenalina em partes matematicamente idênticas em Resident Evil Requiem. Nas notícias, comentamos o anúncio do novo Pokémon, o quase remake de Bloodborne, as dificuldades financeiras da Nacon, e rumores com o do spin-off de God of War, Wolfenstein 3 em desenvolvimento e mais! 00:15:32: Pokémon Presents 27/02 00:37:19: Bluepoint queria fazer um remake de Bloodborne 00:53:29: Aumento dos Impostos 01:02:20: Nacon com problemas financeiros 01:23:54: Clint Hocking deixa a Ubisoft 01:31:09: Wario em Super Mario Galaxy? 01:34:09: Novos rumores de Wolfenstein 3 01:37:16: Spin-off de God of War em desenvolvimento? 01:42:30: Resident Evil Requiem 02:32:32: Escape Room de Resident Evil Requiem Contribua | Twitter | YouTube | Twitch | Contato

O próximo Pokémon principal, como os rumores indicavam, será Winds & Waves, ou Ondas & Ventos para nós, já que enfim um joho da linha de jogos centrais será traduzido para o nosso português. Além disso e de mais detalhes do Pokémon Presentes, falamos do primeiro projeto da nova RedOctane, comentamos a matérie do Verge falando dos bastidores da troca de liderança em Xbox e mais.Participantes:Guilherme JacobsHeitor De PaolaAssuntos abordados:08:00 - Netflix desistiu de comprar a Warner20:00 - Pokémon Ventos & Ondas e outros destaques do Pokémon Presents38:00 - A nova RedOctane apresenta seu primeiro projeto, Stage Tour49:00 - Ex-cabeça da Radical Entertainment retorna com o estúdio sob o nome de New Radical Entertainment56:00 - Full Circle, estúdio trabalhando no mais recente Skate, sofreu demissões1:00:00 - Seis meses após seu lançamento, a Amazon decidiu fechar os servidores de King of Meat1:06:00 - Nacon declara insolvência1:10:00 - A reportagem do Bloomberg sobre os bastidores de Highguard1:18:00 - A matéria do Verge sobre os bastidores da troca de liderança de Xbox1:27:00 - Rápidas e curtasVai comprar jogos na Nuuvem? Use o link de afiliado do Overloadr!Use nosso link de filiado ao fazer compras na Amazon Hosted on Acast. See acast.com/privacy for more information.

En este SANEDRÍN analizamos el conflicto entre EE. UU., Israel e Irán y cómo puede impactar en petróleo, oro, shipping y bolsas. Además, repasamos una estrategia con opciones sobre Ondas y Edgar desglosa la posible operación entre Paramount y Warner para entender qué hay detrás del mercado. Dos cosas que debes saber: 1 - Cada día mandamos un email con una idea, estrategia o reflexión privada para que avances más rápido en tu camino como inversor. El de hoy ya te lo has perdido, si quieres recibir el de mañana, te apuntas en: https://locosdewallstreet.com/7-errores/ 2 - Al apuntarte recibes un video titulado «7 errores fatales (muy habituales) en la selección de oportunidades en bolsa». Me da igual en lo que inviertas, tus años de experiencia o el tamaño de tu cartera. Si inviertes deberías verlo (antes de tomar una decisión de la que poder arrepentirte). Lo recibes al apuntarte en nuestra newsletter aquí: https://locosdewallstreet.com/7-errores/ ══════════════ 0:00 — IRÁN vs EE.UU.: el riesgo que puede tumbar a los mercados 3:18 — ¿Cierre de Ormuz? Lo que nadie te está contando 10:02 — Petróleo y oro: lo que puede pasar al abrir el mercado 16:42 — Shipping en alerta: ganadores y perdedores si Ormuz se complica 26:12 — China y Rusia: el movimiento clave que el mercado vigila 35:53 — 2 escenarios y cómo proteger tu cartera esta semana 46:58 — Ondas (drones): la estrategia con opciones que estamos siguiendo 1:10:39 — Paramount compra Warner: la jugada que puede disparar la acción 1:34:26 — IA y SaaS: el error que muchos inversores están cometiendo ══════════════ DISCLAIMER El contenido de este canal de YouTube tiene exclusivamente fines educativos y no constituye asesoramiento financiero ni recomendaciones de inversión. Todos los temas tratados están diseñados para ayudar a los espectadores a entender mejor el mundo de las finanzas, pero las decisiones de inversión deben tomarse de forma personal y bajo la responsabilidad de cada individuo. Invertir en mercados financieros conlleva riesgos significativos debido a su complejidad y volatilidad. Es posible perder parte o la totalidad del capital invertido. Por ello, es fundamental que realices tu propio análisis antes de tomar cualquier decisión y, si lo consideras necesario, consultes con un profesional financiero acreditado. Recomendamos: - Contar con un fondo de emergencia equivalente a al menos tres meses de tus gastos básicos antes de invertir. - Analizar muy detenidamente y con precisión cualquier inversión. - En caso de duda consultes con un asesor financiero certificado por CNMV - Mantenerte alejado de promesas de rentabilidades astronómicas, dinero rápido u otros esquemas engañosos. En Locos de Wall Street, nuestra misión es fomentar una educación financiera sólida, ética y accesible para todos, ayudando a nuestros seguidores a tomar decisiones informadas y responsables. ══════════════

Nuestro invitado de hoy lleva tantos años en el mundo de la interpretación que uno ya no puede dudar de que esto es lo suyo. Más de 50 películas, entre largos y cortometrajes; más de veinte series de televisión e incontables obras de teatro, como actor y también como director y dramaturgo. Pero es que el trabajo que ha hecho interpretando a Leonardo Dantés en la serie “Superestar” es de esos regalos prodigiosos que los espectadores solo podemos ovacionar. Espectadores y crítica, ojo, porque se ha llevado el Ondas y el Premio Feroz 2026 a mejor actor de reparto en una serie. Vamos a conversar de interpretación, de personajes y de la propia vida con Secun de la Rosa.Escuchar audio

No final da semana passada vimos a mudança inesperada na liderança do Xbox. Tivemos a aposentadoria de Phil Spencer, a saída de Sarah Bond e a entrada da nova presidente, Asha Sharma, mas parece que muitos conflitos estavam acontecendo nos bastidores. E como fica o futuro do Xbox? Também tivemos agora na sexta-feira o anúncio da décima geração de Pokémon com Ventos e Ondas. SIM! A série principal de Pokémon virá para Nintendo Switch 2 com legendas em português brasileiro!Vem conferir estes e outros destaques no Flow Games News de hoje!

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Bom dia Tech, tudo bem? Hoje trago pra você um resumão do que rolou no evento Pokemon Presents, onde a empresa mostrou diversas novidades que iniciam as comemorações de 30 anos da franquia! Quer patrocinar ou fazer uma parceria com o Bom dia Tech? Mande um e-mail para contato@bomdia.teche vamos conversar!NotíciasEvento Pokémon Presents: novidades para os 30 anos da franquia Entrevista com a equipe responsável pela localização de Pokémon Ventos e Pokémon Ondas para o Brasil Redes sociais:InstagramThreadsMastodonImagem da capa:The Pokémon Company

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

EU sanciona resort en Nayarit por fraude de tiempos compartidos  Activan alerta amarilla por calor en 13 alcaldías  Ondas de calor rompen récords en MéxicoMás información en nuestro podcast

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

As ondas de calor estão cada vez mais frequentes no Brasil e isso já mudou a forma como a gente vive, trabalha e consome energia. No novo episódio do Podcast Canaltech, a repórter Elisa Fontes conversa com João Aureliano, conselheiro da ABRAVA e especialista em engenharia de climatização, para entender como a tecnologia dos aparelhos evoluiu, por que o mercado está crescendo tanto e o que realmente faz diferença na hora de economizar na conta de luz. Falamos sobre ar-condicionado inverter, sensores inteligentes, automação, erros comuns no uso, impactos no consumo de energia e o que esperar da próxima geração de eletrodomésticos. Você também vai conferir: WhatsApp prepara algo que muita gente estava esperando, aposta ousada da Xiaomi está chamando atenção no mercado e mudança no YouTube Music pode pegar muita gente de surpresa. Este podcast foi roteirizado e apresentado por Fernada Santos e contou com reportagens de João Melo, Danielle Cassita e Bruno de Blasi, sob coordenação de Anaísa Catucci. A trilha sonora é de Guilherme Zomer, a edição de Natália Improta e a arte da capa é de Erick Teixeira.See omnystudio.com/listener for privacy information.

“Hay gente que cuelga los auriculares… y hay auriculares que se niegan a descolgarse de su dueño.” Así empieza esta historia. La de José Guillén, un DJ que un día lo dejó todo, apagó la cabina y decidió que era el momento de vivir otras cosas: familia, trabajo estable, vida real... Pero claro, los buenos DJs no se jubilan jamás; solo hacen una pausa para coger carrerilla. Pasan los años y, como suele ocurrir con el talento de verdad, vuelve. Y vuelve fuerte. Hoy José Guillén pincha de nuevo, con especial brillo en Ibiza y con sesiones en YouTube que son auténticas joyas: mezclas finísimas, elegantes y muy disfrutables, de esas que te reconcilian con el oficio de los platos. Este Bola de Espejos, grabado en directo desde Alcobendas, Madrid, es una celebración de ese regreso y de la música que nos hizo bailar antes… y nos sigue moviendo ahora. Suenan KC and the Sunshine Band, suenan las canciones de una película que nos marcó a fuego, Grease, y suena una de las voces más bendecidas de la historia de la música, Aretha Franklin. Una edición que te va a hacer bailar, sonreír y pensar eso de “esta música sigue siendo mía”, conducida, como siempre, por una de las voces más carismáticas de la radio: Juanma Ortega, ganador de un Ondas, dos Antenas de Oro y el Premio de la Academia de la Radio. Dale al play. Porque hay DJs que lo dejan… y hay DJs que simplemente estaban cogiendo aire.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Picolé De Limão é um quadro do canal Não Inviabilize. Aqui você ouve as suas histórias misturadas às minhas!Use a hashtag #Ondas e comente a história no nosso grupo do telegram: https://t.me/naoinviabilizePUBLICIDADE LIV UPA Liv Up quer tornar a sua alimentação saudável ainda mais acessível e inspirar você a manter o bem-estar no dia a dia. Use o cupom de desconto exclusivo NAOINVIABILIZE e ganhe 10% de desconto na primeira compra.Link: https://www.livup.com.br/marmitas?utm_source=instagram&utm_medium=influencers&utm_campaign=janeiro_nãoinviabilizeQUER OUVIR MAIS HISTÓRIAS? BAIXE NOSSO APLICATIVO EM SUA LOJA APPLE/GOOGLE, CONHEÇA NOSSOS QUADROS EXCLUSIVOS E RECEBA EPISÓDIOS INÉDITOS DE SEGUNDA A QUINTA-FEIRA: https://naoinviabilize.com.br/assineEnvie a sua história bem detalhada para naoinviabilize@gmail.com, seu anonimato será mantido, todos os nomes, profissões e locais são trocados para preservar a sua identidade.Site: https://naoinviabilize.com.brTranscrição dos episódios: https://naoinviabilize.com.br/episodiosYoutube: https://youtube.com/naoinviabilizeInstagram: https://www.instagram.com/naoinviabilizeTikTok: https://www.tiktok.com/@naoinviabilizeX: https://x.com/naoinviabilizeFacebook: https://facebook.com/naoinviabilizeEdição de áudios: Depois O Leo Corta MultimídiaVinhetas: Pipoca SoundVoz da vinheta: Priscila Armani

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.

Para conocer la trayectoria de Carmen Martín Gaite, hablamos con la escritora y dramaturga María Folguera, que además fue la responsable de la adaptación teatral de la obra 'El cuarto de atrás', que se representó a principios de año en el Teatro de La Abadía. Descubrimos la parte personal de la escritora con su sobrino Máximo Pradera, escritor, periodista y colaborador de 'A vivir que son dos días'. En este programa no podía faltar Antonio Martínez Asensio, director de 'Un libro, una hora' y ganador de un premio Ondas 2025, que ha puesto voz a tantos libros de Martín Gaite. 

Marcelo Finger, um dos principais nomes em IA no País, aborda o tema e seus desdobramentos quase que diários, todas as 6ªs, às 8h, no Jornal Eldorado.See omnystudio.com/listener for privacy information.