![\"img_7468\"](\"https:\/\/radiozapatista.org\/wp-content\/uploads\/2016\/12\/IMG_7468.jpg\")
<\/a><\/p>\nEscucha el audio: [podcast]https:\/\/radiozapatista.org\/Audios\/dia4_ponenciagaleano.mp3[\/podcast]<\/p>\n
29 de diciembre del 2016.<\/p>\n
Ciencia ficci\u00f3n.<\/p>\n
Recuerden eso: ciencia ficci\u00f3n.\u00a0 Ya ver\u00e1n que, en sus pr\u00f3ximas pesadillas, les ayudar\u00e1 para no angustiarse tanto, o al menos para no angustiarse in\u00fatilmente.<\/p>\n
Tal vez recuerden alguna pel\u00edcula de ciencia ficci\u00f3n.\u00a0 Tal vez a alguna, alguno de ustedes, la ciencia ficci\u00f3n los llev\u00f3 luego al camino de la ciencia cient\u00edfica.<\/p>\n
A m\u00ed no, tal vez porque mi pel\u00edcula de ciencia ficci\u00f3n favorita es \u201cLa Nave de los Monstruos\u201d, con el inolvidable Eulalio Gonz\u00e1lez, \u201cel Piporro\u201d, y cuya banda sonora ha sido injustamente excluida de los premios Oscar, los Globos de Oro, o el renombrado y local \u201cPozol de Barro\u201d.\u00a0 Tal vez hayan escuchado hablar de ella, es una pel\u00edcula de \u201cculto\u201d, seg\u00fan alguna de esas revistas especializadas que nadie lee, ni los que la editan.\u00a0 Si recuerdan el filme y\/o lo ven, de seguro entender\u00e1n por qu\u00e9 termin\u00e9 perdido en las monta\u00f1as del Sureste Mexicano, y no extraviado en la asfixiante red burocr\u00e1tica que, al menos en M\u00e9xico, ahoga la investigaci\u00f3n cient\u00edfica.<\/p>\n
Y tambi\u00e9n celebrar\u00e1n que haya sido esa pel\u00edcula mi referente de ciencia ficci\u00f3n, y no \u201c2001, Odisea del Espacio\u201d de Kubrick, o \u201cAlien, el octavo pasajero\u201d de Riddley Scott (con la teniente Rippley rompiendo el esquema del macho sobreviviente de Charlton Heston en \u201cEl Planeta de los Simios\u201d), o \u201cBlade Runer\u201d, tambi\u00e9n de Ridley Scott, donde la pregunta, \u00bfSue\u00f1an los androides con ovejas el\u00e9ctricas?<\/em>, es el punto nodal.<\/p>\n As\u00ed que al Piporro y su \u201cEstrella del Desello\u201d, y al robot Tor<\/em> enamorado de una rockola, deben agradecer el que yo no est\u00e9 de su lado en este encuentro.<\/p>\n La cat\u00e1strofe tiene variados or\u00edgenes: un meteorito ha cambiado de ruta con la misma constancia de un pol\u00edtico haciendo declaraciones sobre el gasolinazo; o un tornado de tiburones; o un planeta desviado de su curso; o un sol irritado y lanzando fuera de su \u00f3rbita una de esas lenguas \u00edgneas; o una enfermedad proveniente del espacio o de una nave extraterrestre; o un arma biol\u00f3gica que se sale de control y, convertida en gas inodoro, transforma a quien entra en contacto con \u00e9l y lo transmuta en pol\u00edtico profesional o en algo no tan horrible.<\/p>\n Eso, o el apocalipsis ya es un hecho y un grupo de sobrevivientes deambula sin esperanza, introyectando<\/em> la barbarie exterior en su comportamiento individual y colectivo, mientras la humanidad agoniza.<\/p>\n El final puede variar, pero la constante es el grupo de cient\u00edficos, sea como responsables de la cat\u00e1strofe, sea como esperanza de salvaci\u00f3n, claro, si un chico o chica guapa aparece en el momento oportuno.<\/p>\n O el desenlace puede ser de interrogante, o de plano modelo \u201cdark azotado\u201d (ya Jos\u00e9 Alfredo Jim\u00e9nez nos hab\u00eda advertido que \u201cla vida no vale nada\u201d).<\/p>\n Bien, tomemos como ejemplo cualquier novela, pel\u00edcula o serie de televisi\u00f3n de tema apocal\u00edptico o catastr\u00f3fico.\u00a0 Digamos una con tema de moda: zombis.<\/p>\n Un ejemplo concreto, la serie de televisi\u00f3n \u201cThe Walking Dead\u201d. \u00a0Para quien no la conoce el argumento es sencillo: por alguna causa sin definir, las personas que mueren, se \u201cconvierten\u201d en zombis; el protagonista deambula, se topa con un grupo, establecen una organizaci\u00f3n jer\u00e1rquica en continua crisis, y tratan de sobrevivir.\u00a0 El \u00e9xito de la serie pudiera deberse a que muestra a personajes que en situaciones normales son mediocres o parias, y se convierten en hero\u00ednas y h\u00e9roes dispuestos a todo. \u00a0Algun@s de ellos:<\/p>\n Michonne, una ama de casa ninguneada por el marido y los hermanos, convertida en una temible guerrera con katana (interpretada por la actriz y dramaturga Danai Jekesal Gurira y, no es por d\u00e1rselas a desear, es la \u00fanica de quien doy el nombre real porque, en el ba\u00fal dejado por el SupMarcos encontr\u00e9 una foto de ella en el personaje de Michonne, dedicada de su pu\u00f1o y letra al finado, \u00a1arrrrroz con leche!).<\/p>\n Daril, un paria manipulado, transformado en un \u201ctracker<\/em>\u201d y ballestero temible.\u00a0 Hasta ahora, el s\u00edmbolo de la insumisi\u00f3n, la resistencia y la rebeld\u00eda.<\/p>\n Glenn, un repartidor de pizzas vuelto explorador estrella.\u00a0 El milusos<\/em> y mil vidas de la serie, hasta que Rickman regres\u00f3 al comic.<\/p>\n Maggie, una joven a la que el apocalipsis zombi salva de la vida mon\u00f3tona de la granja y la convierte en l\u00edder a\u00fan embarazada.<\/p>\n Carol, una esposa maltratada, transfigurada en la versi\u00f3n femenina de Rambo pero inteligente.<\/p>\n Carl, un p\u00faber que esconde detr\u00e1s del parche a un asesino serial, como bien dedujo Negan.<\/p>\n Eugene, el nerd que simboliza la ciencia y pasa a ser, de mit\u00f3mano, a \u00fatil para el colectivo.<\/p>\n El Padre Gabriel, el religioso convenenciero y oportunista que se reconvierte y se vuelve necesario.<\/p>\n Tara y Aaron, la lesbiana y el gay que aseguran correcci\u00f3n pol\u00edtica a la trama.<\/p>\n Rosita, mi sue\u00f1o h\u00famedo preferido, la latina que combina pasi\u00f3n, habilidad y coraje.<\/p>\n Morgan, el superviviente en modo monje shaol\u00edn<\/em>.<\/p>\n Sasha, la mujer que muta del rol cl\u00e1sico rom\u00e1ntico a la de superviviente realista.<\/p>\n Y, en la parte alta de la jerarqu\u00eda, el maltrecho s\u00edmbolo del orden, Rick, un ex alguacil que dif\u00edcilmente puede ocultar las inclinaciones fascistas de cualquier polic\u00eda.<\/p>\n No s\u00e9 en qu\u00e9 temporada van.\u00a0 Desde la quinta dej\u00e9 de verla porque al pel\u00edculero<\/em> que me mandaba las ediciones \u201calternativas\u201d le cay\u00f3 la justicia y a saber d\u00f3nde est\u00e1 (lo que es una pena, porque me hab\u00eda prometido hasta la temporada 10, aunque ni siquiera Kirkman sabe si habr\u00e1 10 temporadas).\u00a0 Pero con lo que he alcanzado a ver, me doy cuenta del porqu\u00e9 de su \u00e9xito.<\/p>\n Como quiera, no es dif\u00edcil seguir la trama, basta revisar los spoliers<\/em> que se cuelan en twiter<\/em> en los hashtags respectivos.<\/p>\n Hace algunas lunas, le pregunt\u00e9 a una compa\u00f1era qu\u00e9 hubiera pasado si Rick, o cualquiera de los del grupo, supiera con anterioridad que iba a pasar lo que pas\u00f3.\u00a0 Elijo al polic\u00eda porque parece que es el \u00fanico que tiene garantizada la supervivencia, al menos en el comic hom\u00f3nimo.<\/p>\n Rick, \u00bfse hubiera preparado?, \u00bfhabr\u00eda construido un bunker y en \u00e9l acumular\u00eda alimentos, medicinas, combustible, armas y municiones, las obras completas de George Romero?<\/p>\n \u00bfO tal vez intentar\u00eda detener el desastre?<\/p>\n La compa\u00f1era, zapatista al fin, me respondi\u00f3 con la misma pregunta: \u00bfqu\u00e9 pensaba yo que hubiera hecho Rick Grimes?<\/p>\n No dud\u00e9 en responderle: nada.\u00a0 Aun sabiendo lo que iba a pasar, ni Rick, ni cualquiera de los personajes hubieran hecho nada.<\/p>\n Y eso por una sencilla raz\u00f3n: a pesar de todas las evidencias, seguir\u00edan pensando, hasta el minuto previo, que nada malo iba a pasar, que no era para tanto, que alguien en alg\u00fan lado tendr\u00eda la soluci\u00f3n, que el orden se restablecer\u00eda, que habr\u00eda a quien obedecer y a quien mandar, que, en todo caso, la desgracia le pasar\u00eda a otros, en otra parte, lejos en geograf\u00eda o lejos en posici\u00f3n social.<\/p>\n Pensar\u00edan hasta la v\u00edspera que la desgracia es algo destinado, no a ellas, ellos, elloas<\/em><\/strong>, sino a quienes sobreviven abajo\u2026 y a la izquierda.<\/p>\n Zombis aparte, en la mayor\u00eda de esas narraciones apocal\u00edpticas, hay uno o varios momentos en que alguien, invariablemente el o la protagonista, cuando todos est\u00e1n rodeados por una horda de zombis, o el meteorito est\u00e1 a poca distancia de sus cabezas, o una situaci\u00f3n l\u00edmite semejante, con serenidad y aplomo dice: \u201cTodo va a salir bien\u201d.<\/p>\n Y resulta que, en este encuentro, a m\u00ed me ha tocado el ingrato papel de aguafiestas.\u00a0 As\u00ed que debo decirles lo que vemos: No, no es una pel\u00edcula de ciencia ficci\u00f3n, sino la realidad; y no, no todo va a salir bien, s\u00f3lo algunas pocas cosas saldr\u00e1n bien si nos preparamos antes.<\/p>\n Seg\u00fan nuestros an\u00e1lisis (y hasta ahora no hemos visto a nadie ni nada que los refute, antes bien, los confirman), estamos ya en medio de una crisis estructural que, en t\u00e9rminos coloquiales significa imperio de la violencia criminal, cat\u00e1strofes naturales, carest\u00eda y desempleo desenfrenados, escases de servicios b\u00e1sicos, colapso energ\u00e9tico, migraciones, hambre, enfermedad, destrucci\u00f3n, muerte, desesperaci\u00f3n, angustia, terror, desamparo.<\/p>\n En suma: deshumanizaci\u00f3n.<\/p>\n Un crimen est\u00e1 en curso.\u00a0 El m\u00e1s grande, brutal y cruel en la breve historia de la humanidad.<\/p>\n El criminal es un sistema dispuesto a todo: el capitalismo.<\/p>\n En t\u00e9rminos apocal\u00edpticos: es una lucha entre la humanidad y el sistema, entre la vida y la muerte.<\/p>\n La segunda opci\u00f3n, la de la muerte, no se las recomiendo.<\/p>\n Mejor no se mueran.\u00a0 No les conviene.\u00a0 Cr\u00e9anme, yo algo s\u00e9 de eso porque he muerto varias veces.<\/p>\n Es muy aburrido.\u00a0 Como las entradas al cielo y al infierno sufren de una burocracia pesada (aunque no tanto como las de las universidades y centros de investigaci\u00f3n), la espera es peor que en un aeropuerto o central de autobuses en \u00e9pocas decembrinas.<\/p>\n El infierno es \u00eddem, tienes que organizar encuentros de artes, de ciencias exactas y naturales, de ciencias sociales, de pueblos originarios, y cosas igualmente terribles.\u00a0 Te obligan a ba\u00f1arte y peinarte.\u00a0 Te inyectan y te fuerzan a comer sopa de calabazas todo el tiempo.\u00a0 Tienes que escuchar a Pe\u00f1a Nieto y a Donald Trump en una conferencia de prensa sin fin.<\/p>\n El cielo, por su parte, es igual, s\u00f3lo que ah\u00ed tienes que soportar el coro mon\u00f3tono de unos \u00e1ngeles descoloridos, y todos te dan largas si lo quieres hablar al dios para quejarte de la m\u00fasica.<\/p>\n En resumen; digan no a la muerte y s\u00ed a la vida.<\/p>\n Pero no se enga\u00f1en.<\/p>\n Van a tener que luchar todos los d\u00edas, a todas horas y en todo lugar.<\/p>\n En esa lucha, tarde o temprano, se dar\u00e1n cuenta de que s\u00f3lo en colectivo tendr\u00e1n posibilidades de triunfar.<\/p>\n Y, aun as\u00ed, ver\u00e1n que necesitan tambi\u00e9n las artes, y que nos necesitan tambi\u00e9n a nosotras, y a otros, otras, otroas<\/em> como nosotros.<\/p>\n Organ\u00edcense.<\/p>\n Como zapatistas que somos no s\u00f3lo no les pedimos que abandonen su pr\u00e1ctica cient\u00edfica, les demandamos que contin\u00faen en ella, que la profundicen.<\/p>\n Sigan explorando \u00e9ste y otros mundos, no se detengan, no desesperen, no se rindan, no se vendan, no claudiquen.<\/p>\n Pero tambi\u00e9n les pedimos que busquen las artes.\u00a0 Aunque parezca lo contrario, ellas \u201canclar\u00e1n\u201d su quehacer cient\u00edfico en lo que tienen en com\u00fan: la humanidad.<\/p>\n Disfruten la danza en cualquiera de sus versiones.\u00a0 Tal vez al inicio no puedan evitar enmarcar los movimientos en las leyes de la f\u00edsica, pero despu\u00e9s sentir\u00e1n, punto.<\/p>\n Vayan m\u00e1s all\u00e1 de la geometr\u00eda, la teor\u00eda del color y la neurolog\u00eda y gocen la pintura y la escultura.<\/p>\n Resistan la tentaci\u00f3n de encontrarle l\u00f3gica cient\u00edfica a ese poema, a esa novela, y dejen que las palabras les descubran galaxias que s\u00f3lo en las artes viven.<\/p>\n R\u00edndanse ante la falta de sustento cient\u00edfico en las historias que en teatro y cine se asoman a lo humano imperfecto, voluble e impredecible.<\/p>\n Y as\u00ed con todas las artes.<\/p>\n Ahora imaginen que no es su cotidianeidad de ustedes, sino esas artes las que est\u00e1n en peligro de extinci\u00f3n.<\/p>\n Imaginen a personas, no estad\u00edsticas, hombres, mujeres, ni\u00f1os, ancianos, con un rostro, una historia, una cultura, amenazadas con el aniquilamiento.<\/p>\n V\u00e9anse en esos espejos.<\/p>\n Entiendan que no se trata de luchar por ellas o en su lugar, sino con ellas.<\/p>\n V\u00e9anse a s\u00ed mismas, a s\u00ed mismos, como los vemos nosotras, nosotros, zapatistas.<\/p>\n La ciencia no es su l\u00edmite, su peso muerto, su carga in\u00fatil, la actividad que deben ejercer en la clandestinidad u ocult\u00e1ndose en el closet de las academias y los institutos.<\/p>\n Entiendan ya lo que ya entendimos nosotros: que, como cient\u00edficas y cient\u00edficos, ustedes luchan por la humanidad, es decir, por la vida.<\/p>\n -*-<\/strong><\/p>\n \u00a0 Ayer nos explicaba el Subcomandante Insurgente Mois\u00e9s, que los pueblos son ya, y desde hace d\u00e9cadas, nuestros maestros, nuestros tutores.\u00a0 Que el inter\u00e9s por las ciencias es nuevo en el zapatismo.\u00a0 Que ha sido incitado por las nuevas generaciones, por las j\u00f3venas<\/em><\/strong> y j\u00f3venes zapatistas que quieren saber m\u00e1s y mejor de c\u00f3mo es el mundo.\u00a0 Que de los pueblos organizados sali\u00f3 el nov\u00edsimo empuj\u00f3n que nos tiene frente a ustedes.<\/p>\n Cierto.\u00a0 Pero lo que no es nuevo en el zapatismo es la lucha por la vida.<\/p>\n Aun en la disposici\u00f3n y planes frente a la muerte, tuvimos desde el inicio la preocupaci\u00f3n por la vida.<\/p>\n Los que tienen m\u00e1s edad, o inter\u00e9s a pesar de la edad, pueden conocer lo que fue el alzamiento: la toma de las 7 cabeceras municipales; los bombardeos, los choques con las fuerzas militares, la desesperaci\u00f3n del gobierno al ver que no pod\u00eda derrotarnos, el levantamiento civil que lo oblig\u00f3 a detenerse, lo que le ha seguido en estos ya casi 23 a\u00f1os.<\/p>\n Lo que tal vez no conozcan, es lo que le voy a contar a continuaci\u00f3n:<\/p>\n Nos preparamos para matar y morir, eso ya se los resumi\u00f3 el Subcomandante Insurgente Mois\u00e9s.\u00a0 Entonces ten\u00edamos dos opciones frente nuestro: el pa\u00eds se incendiaba o nos aniquilaban.\u00a0 Imaginen nuestro desconcierto cuando no ocurri\u00f3 ni una ni otra cosa, pero eso es otra historia para la que tal vez habr\u00e1 ocasi\u00f3n.<\/p>\n Dos opciones, pero ambas ten\u00edan como com\u00fan denominador la muerte y la destrucci\u00f3n.\u00a0 Aunque no lo crean, lo primero que hicimos fue prepararnos para vivir.<\/p>\n Y no me refiero a quienes combatimos, a quienes los conocimientos de resistencia de materiales nos sirvieron para tomar abrigo y cubierta en combates y bombardeos; o a los conocimientos que permitieron a las insurgentas<\/em> de sanidad salvar la vida de decenas de zapatistas.<\/p>\n Hablo de las bases de apoyo zapatistas, \u00e9sas a quienes, como explic\u00f3 anoche el Subcomandante Insurgente Mois\u00e9s, les debemos el camino, el paso, el rumbo y el destino como zapatistas que somos, as\u00ed como les debemos el inter\u00e9s por las artes, las ciencias, y el esfuerzo por incluirnos con trabajadores del campo y de la ciudad, el cuartel mundial de lucha, de resistencia y rebeld\u00eda que se llama \u201cSexta\u201d.<\/p>\n Desde algunos a\u00f1os previos a ese primero de enero aparentemente ya lejano, en las comunidades zapatistas se formaron los llamados \u201cbatallones de reserva\u201d.<\/p>\n La misi\u00f3n que se les encomend\u00f3 fue la m\u00e1s importante del gigantesco operativo que llev\u00f3 al combate a miles de combatientes: sobrevivir.<\/p>\n Durante meses se les dio instrucci\u00f3n.\u00a0 Miles de ni\u00f1os, ni\u00f1as, mujeres, hombres y ancianos se entrenaron para protegerse de las balas y las bombas, para reunirse y replegarse en orden en caso de que el ej\u00e9rcito atacara o bombardeara los poblados, para colocar dep\u00f3sitos de comida, agua y medicinas que les permitieran sobrevivir en las monta\u00f1as durante mucho tiempo.<\/p>\n \u201cNo morir\u201d era la orden \u00fanica que deb\u00edan acatar.<\/p>\n La que ten\u00edamos quienes salimos a combatir era: \u201cNo rendirse, no venderse, no claudicar\u201d.<\/p>\n Cuando regresamos a las monta\u00f1as y nos reencontramos con nuestros pueblos, fusionamos las dos \u00f3rdenes y las convertimos en una sola: \u201cluchar por construir nuestra libertad\u201d.<\/p>\n Y acordamos hacerlo con todas, con todos, con todoas<\/em><\/strong>.<\/p>\n Y acordamos que, si no era posible hacerlo en este mundo, entonces har\u00edamos otro mundo, uno m\u00e1s grande, uno mejor, uno donde quepan todos los mundos posibles, los que ya hay y los que a\u00fan no imaginamos pero que ya est\u00e1n en las artes y las ciencias.<\/p>\n Muchas gracias.<\/p>\n Desde el CIDECI-Unitierra.<\/p>\n <\/p>\n SupGaleano.<\/p>\n M\u00e9xico, diciembre del 2016.<\/p>\n <\/p>\n \u00a0 Del cuaderno de Apuntes del Gato-Perro.<\/strong><\/p>\n \u201cLa Carencia\u201d<\/strong><\/p>\n \u00a0 Estaba yo en mi champa, revisando y analizando algunos videos de las jugadas de Maradona y de Messi.<\/p>\n Como si fuera una premonici\u00f3n, lleg\u00f3 rebotando una pelota hasta el interior.\u00a0 Detr\u00e1s de ella lleg\u00f3 \u201cDefensa Zapatista\u201d, entrando sin avisar ni pedir permiso.\u00a0 Detr\u00e1s de la ni\u00f1a, entr\u00f3 el mentado gato-perro.<\/p>\n \u201cDefensa Zapatista\u201d tom\u00f3 el bal\u00f3n y se acerc\u00f3 a mirar por encima de mi hombro.\u00a0 Yo estaba demasiado ocupado tratando de evitar que el gato-perro se comiera el rat\u00f3n de la computadora, as\u00ed que no me di cuenta de que la ni\u00f1a miraba con inter\u00e9s los videos.<\/p>\n \u201cO\u00ed Sup<\/em>\u201d, me dijo, \u201c\u00bft\u00fa lo crees que son muy muy el Maradona y el Messi?<\/em>\u201d<\/p>\n Yo no respond\u00ed.\u00a0 Por experiencia s\u00e9 que las preguntas de Defensa Zapatista o son ret\u00f3ricas, o no le interesa saber qu\u00e9 respondo.<\/p>\n Ella sigui\u00f3:<\/p>\n \u201cPero no lo est\u00e1s viendo bien el asunto<\/em>\u201d, dijo, \u201cpor m\u00e1s que mucho de arte y de cient\u00edficos, los dos tienen una gran carencia<\/em>\u201d.<\/p>\n S\u00ed, as\u00ed dijo: \u201ccarencia\u201d.\u00a0 Yo ah\u00ed s\u00ed la interrump\u00ed y le pregunt\u00e9: \u201c\u00bfY t\u00fa de d\u00f3nde la sacaste esa palabra o d\u00f3nde la aprendiste?<\/em>\u201d<\/p>\n Me respondi\u00f3 indignada: \u201cMe la dijo el Pedrito, el muy maldito.\u00a0 Me dijo que no pod\u00eda jugar f\u00fatbol porque las ni\u00f1as tienen una carencia de t\u00e9cnica<\/em>\u201d.<\/p>\n \u201cYo me embravec\u00ed y le di un zape, porque no lo s\u00e9 qu\u00e9 cosa quiere decir esa palabra y qu\u00e9 tal que es una groser\u00eda.\u00a0 Claro, el muy maldito de Pedrito fue a acusarme con la promotora de educaci\u00f3n y me llamaron.\u00a0 Yo lo expliqu\u00e9 a la maestra como quien dice la situaci\u00f3n nacional y de internacional, que est\u00e1 cabr\u00f3n de la Hidra y todo.\u00a0 Y como la promotora entendi\u00f3 que tenemos que apoyarnos como mujeres que somos, no me rega\u00f1aron, pero me pusieron a buscar qu\u00e9 cosa quiere decir \u201ccarencia\u201d.\u00a0 Y yo pues pens\u00e9 que es mejor ese castigo a que me manden a comer sopa de calabaza<\/em>\u201d.<\/p>\n Yo asent\u00ed comprensivo, mientras trataba de quitarle el mouse de la boca al gato-perro.<\/p>\n \u201cPues total, que lo fui a buscar en el internet de la Junta de Buen Gobierno qu\u00e9 cosa es \u201ccarencia\u201d y ah\u00ed nom\u00e1s lo vi que es una canci\u00f3n de los musiqueros de lucha, que es bien alegre y todos se ponen a bailar y a brincar como que se metieron a donde hay hormiga arriera.\u00a0 Entonces fui con la promotora de educaci\u00f3n y ya le dije que \u201ccarencia\u201d es una canci\u00f3n que dice: \u201cPor la ma\u00f1ana yo me levanto, no me dan ganas de ir a estudiar\u201d.\u00a0 La promotora se r\u00edo y dijo \u201cser\u00e1 a trabajar\u201d.\u00a0 Entonces le dije que las m\u00fasicas son seg\u00fan cada quien y seg\u00fan su problema que tiene.\u00a0 O sea que le di la explicaci\u00f3n pol\u00edtica, pero creo ella no entiende, porque s\u00f3lo se r\u00ede.\u00a0 Y entonces que me manda de vuelta, que no la canci\u00f3n, sino que tengo que saber qu\u00e9 quiere decir la palabra.\u00a0 Y anda vete, ah\u00ed voy de vuelta y tengo que esperar que el que est\u00e1 de guardia en la Junta lo manda una denuncia, y entonces ya pude entrar yo y ah\u00ed lo mir\u00e9 que \u201ccarencia\u201d quiere decir que te falta algo.\u00a0 Y voy otra vuelta con la promotora y ya le dije, y entonces ella me dijo que ya vi que no es groser\u00eda y me felicit\u00f3, pero como ah\u00ed estaba el Pedrito de metiche, le di otro zape, por andar dici\u00e9ndome que me falta la t\u00e9cnica.\u00a0 Y entonces pues la promotora dijo que le va a decir a mis mamaces<\/strong> que as\u00ed estoy haciendo, entonces pues me vine a esconder aqu\u00ed porque lo s\u00e9 que a ti no hay quien te viene a ver<\/em>\u201d.<\/p>\n Yo encaj\u00e9 la puya con hero\u00edsmo, pues logr\u00e9 al fin arrebatarle el rat\u00f3n al gato-perro.<\/p>\n \u201cDefensa Zapatista\u201d sigui\u00f3 su perorata:<\/p>\n \u201cPero no preocupas Sup, antes de entrar, primero me asom\u00e9 para ver si no est\u00e1s viendo fotos de mujeres encueradas que, errrr, de una vez, Sup, no se puede creer, y como quiera no te voy a acusar con el colectivo de \u201cComo mujeres que somos\u201d, pero claro te digo que no sirve as\u00ed como haces, porque eso quiere decir que tienes carencia de mamaces<\/strong>, o sea que, como dice el SubMoy cuando se embravece, no tienes madre<\/em>\u201d.<\/p>\n Yo aclaro aqu\u00ed que no es cierto lo que dice \u201cDefensa Zapatista\u201d, lo que pasa es que estaba yo tomando un curso por correspondencia de anatom\u00eda.<\/p>\n Como quiera, antes de que la ni\u00f1a siguiera balcone\u00e1ndome, le pregunt\u00e9 por qu\u00e9 dec\u00eda que Maradona y Messi ten\u00edan una gran carencia.<\/p>\n Ella ya casi estaba en el dintel de la puerta cuando me respondi\u00f3:<\/p>\n \u201cPorque les falta algo que es lo m\u00e1s importante: ser mujeres<\/em>\u201d.<\/p>\n -*-<\/strong><\/p>\n <\/p>\n \u201cUn Viaje Interestelar\u201d<\/strong><\/p>\n \u00a0 Entre el mont\u00f3n de papeles y dibujos que dej\u00f3 en difunto SupMarcos, encontr\u00e9 esto que a continuaci\u00f3n les leo.\u00a0 Es una especie de borrador o apuntes para un guion, o algo as\u00ed, de una supuesta pel\u00edcula de ciencia ficci\u00f3n.\u00a0 Se llama:<\/p>\n \u201c\u00bfHacia d\u00f3nde la Mirada?\u201d<\/strong><\/p>\n \u00a0 Planeta Tierra. Alg\u00fan a\u00f1o lejano en el futuro, digamos 2024.\u00a0 Entre los nuevos destinos tur\u00edsticos, ahora se puede viajar al espacio y dar la vuelta al mundo en un sat\u00e9lite adaptado \u201cad hoc\u201d para ese fin.\u00a0 La nave espacial es una r\u00e9plica en escala del sat\u00e9lite lunar, con un gran ventanal que da vista, todo el tiempo del viaje, a la Tierra.\u00a0 En el lado contrario, digamos la parte posterior, hay una especie de claraboya, del tama\u00f1o de una ventana casera, que da siempre vista hacia el resto de la galaxia.\u00a0 Los turistas, de todos los colores y nacionalidades, se agolpan en el ventanal que mira hacia el planeta de origen.\u00a0 Se toman selfies<\/em> y trasmiten en stream<\/em> a sus familiares y amistades las im\u00e1genes del mundo, \u201cazul como una naranja\u201d.\u00a0 Pero no todos los viajeros est\u00e1n de ese lado.\u00a0 Al menos cuatro personas est\u00e1n frente a la ventana contraria.\u00a0 Se han olvidado de sus respectivas c\u00e1maras y miran extasiados el abigarrado collage de cuerpos celestes: el serpenteante trazo de luz polvosa de la V\u00eda L\u00e1ctea, el rutilante destello de estrellas que tal vez ya no existan, la danza fren\u00e9tica de astros y planetas.<\/p>\n Una de las personas es artista; no est\u00e1 inm\u00f3vil, en su cerebro imagina notas y ritmos, l\u00edneas y colores, movimientos, secuencias, palabras, representaciones inertes o m\u00f3viles; sus manos y dedos se mueven involuntariamente, sus labios balbucean palabras y sonidos incomprensibles, cierra y abre los ojos continuamente.\u00a0 Las artes miran lo que miran y miran lo que puede llegar a ser mirado.<\/p>\n Otra de las personas es cient\u00edfica; nada de su cuerpo se mueve, mira fijamente no las luces y colores cercanos, sino las m\u00e1s lejanas; en su cerebro imagina galaxias impensadas, mundos inertes y vivos, estrellas naciendo, hoyos negros insaciables, naves interplanetarias sin banderas.\u00a0 Las ciencias miran lo que miran y miran lo que puede llegar a ser mirado.<\/p>\n La tercera de las personas es ind\u00edgena, de estatura menor, de tez oscura y rasgos ancestrales, mira y toca la ventana.\u00a0 Su mente y cuerpo cargan sobre el s\u00f3lido material transparente.\u00a0 En su cerebro imagina el camino y el paso, la velocidad y el ritmo; imagina un destino en continua mutaci\u00f3n.\u00a0 Los pueblos originarios miran lo que miran y miran la vida que puede llegar a ser creada para ser mirada.<\/p>\n La cuarta de las personas es zapatista, de complexi\u00f3n y tez cambiante, mira a trav\u00e9s y toca delicadamente con su mano el cristal, saca su cuaderno de apuntes y empieza a escribir fren\u00e9ticamente. En su cerebro empieza a hacer cuentas, listas de tareas, trabajos a emprender, traza planos, sue\u00f1a.\u00a0 El zapatismo mira lo que mira y mira el mundo que ser\u00e1 necesario construir para que las artes, las ciencias y los pueblos originarios puedan realizar sus miradas.<\/p>\n Al t\u00e9rmino del viaje, mientras los dem\u00e1s viajeros adquieren los \u00faltimos souvenirs<\/em> en las tiendas \u201cduty free<\/em>\u201d, la persona artista corre a su estudio, o lo que sea, para que su mirada sea sentida por otros, otras, otroas<\/em><\/strong>; la persona cient\u00edfica convoca inmediatamente a otras y otros cient\u00edficos porque hay teor\u00edas y f\u00f3rmulas que hay que proponer, demostrar, aplicar; la persona ind\u00edgena se re\u00fane con sus semejantes y les cuenta lo mirado, para que, en colectivo, la mirada defina el camino, el paso, la compa\u00f1\u00eda, el ritmo, la velocidad y el destino.<\/p>\n La persona zapatista va su comunidad, en la asamblea del pueblo explica y detalla todo lo que hay que hacer para que la artista, la cient\u00edfica y la ind\u00edgena puedan viajar.\u00a0 La asamblea lo primero que hace es criticar la historia o cuento o guion o como se diga, porque falta poner a los trabajadores del campo y la ciudad.\u00a0 Se propone entonces que una comisi\u00f3n le haga una carta al finado SupMarcos para que ponga en el cuento al quinto elemento, o sea al gato-perro, que porque ya se comi\u00f3 el cable del internet y dos usb\u00b4s de los Tercios Compas, y se la pasa persiguiendo el mouse de la computadora, as\u00ed que mejor se lo lleven; y que ponga, como sexto elemento, a la Sexta tambi\u00e9n, porque sin la sexta no est\u00e1 cabal la historia.\u00a0 Aprobado eso, la asamblea propone, discute, agrega y quita, planea los tiempos, distribuye los trabajos, vota el acuerdo general y nombra las comisiones para cada tarea.<\/p>\n Antes de que se d\u00e9 por terminada la asamblea y cada quien vaya al trabajo que le corresponde, una ni\u00f1a pide la palabra.<\/p>\n Sin pasar al frente, parada casi al fondo de la casa comunal, la ni\u00f1a se esfuerza por elevar la voz y dice: \u201cyo propongo que en la lista de cosas que les van a dar para que llevan, pongan una pelota y una bola de pozol<\/em>\u201d.<\/p>\n El resto de la asamblea estalla en risas.\u00a0 El SubMoy, que es quien est\u00e1 en la mesa que coordina la reuni\u00f3n, llama al respeto.\u00a0 Conseguido el silencio, el SubMoy le pregunta a la ni\u00f1a c\u00f3mo se llama.\u00a0 La ni\u00f1a responde \u201cYo me llamo Defensa Zapatista<\/em>\u201d y pone su mejor cara de \u201cno pasar\u00e1n, manque sean extraterrestres<\/em>\u201d.\u00a0 El SubMoy entonces le pregunta a Defensa Zapatista por qu\u00e9 propone eso.<\/p>\n La ni\u00f1a se sube a la banca de madera y argumenta:<\/p>\n \u201cLa pelota es porque si no van a poder jugar, pues de balde van a donde quieren ir.\u00a0 Y la bola de pozol es para agarran \u201cjuerza\u201d y no se desmayan en el camino.\u00a0 Y tambi\u00e9n para que all\u00e1, lejos, donde est\u00e1n los otros mundos, no se olvidan de d\u00f3nde salieron<\/em>\u201d.<\/p>\n La propuesta de la ni\u00f1a es aprobada por aclamaci\u00f3n.<\/p>\n El SubMoy est\u00e1 a punto de dar por terminada la reuni\u00f3n, cuando \u201cDefensa Zapatista\u201d levanta su manita pidiendo de nuevo la palabra.\u00a0 Se le concede.<\/p>\n La ni\u00f1a habla mientras, con un brazo, sostiene un bal\u00f3n de f\u00fatbol, y con el otro abraza un animalito que parecer ser un perro\u2026 o un gato, o un gato-perro:<\/p>\n \u201cS\u00f3lo les quiero decir que no hemos completado el equipo, pero no preocupan, ya vamos a ser m\u00e1s, de repente dilata, pero ya vamos a ser m\u00e1s<\/em>\u201d.<\/p>\n Doy fe.<\/p>\n Guau-miau.<\/p>\n <\/p>\n Fuente: Enlace Zapatista<\/a><\/small>[:en]<\/p>\n The Cat-Dog and the Apocalypse<\/b><\/p>\n Listen here (in Spanish): [podcast]https:\/\/radiozapatista.org\/Audios\/dia4_ponenciagaleano.mp3[\/podcast]<\/p>\n December 29, 2016.<\/p>\n Science fiction.<\/p>\n Remember that: science fiction. You\u2019ll see that, in your coming nightmares, it will help you to not become so distressed, or at least not uselessly distressed.<\/p>\n Perhaps you remember some science fiction movie. Perhaps science fiction set some of you down the path of scientific science.<\/p>\n It didn\u2019t do that for me, perhaps because my favorite science fiction movie is La Nave de los Monstruos<\/i>i<\/sup><\/a> with the unforgettable Eulalio Gonz\u00e1lez, known as \u201cel Piporro<\/i>,\u201d the soundtrack for which has been unjustly excluded from the Oscars, the Golden Globes, and the local and renowned \u201cClay Pozol Bowl.\u201dii<\/sup><\/a> Perhaps you\u2019ve heard talk of the movie: it\u2019s a \u201ccult\u201d film, according to one of those specialized magazines that nobody reads, not even the people who edit it. If you remember the film and\/or you see it, you\u2019ll doubtless understand why I ended up lost in the mountains of the Mexican Southeast and not in the suffocating bureaucratic web that, at least in Mexico, chokes scientific investigation.<\/p>\n You\u2019ll also cheer the fact that that movie is my point of reference for science fiction, instead of 2001: A Space Odyssey<\/i> by Kubrick, or Alien<\/i> by Ridley Scott (with Lieutenant Ripley breaking with Charlton Heston\u2019s blueprint of the macho survivor in \u201cPlanet of the Apes\u201d), or Blade Runner<\/i>, also by Ridley, where the question \u201cDo androids dream of electric sheep?\u201d is the nodal point.<\/p>\n So you should thank Piporro and his \u201cStar of Desire\u201diii<\/sup><\/a> and the robot Tor in love with a jukeboxiv<\/sup><\/a> for the fact that that I\u2019m not on their side in this encounter.<\/p>\n Anyway, cinephile philias aside, let\u2019s suppose an average film of the genre: an apocalypse in progress or in the past; all of humanity in danger; first an audacious and intrepid man as the protagonist; then, from the hand of innocuous feminism, a woman, also audacious and intrepid; a group of scientists is convoked to a super secret facility (invariably of course located in the United States); a high-ranking military official explains to them: they must create a plan to save humanity; they do so, but it turns out that in the end, they need an individual hero or heroine who, as the story goes, annuls the collective work and at the last second, with a pair of pliers that appeared inexplicably, cuts the green or blue or white or black or red cable at random, and ta-da, humanity is saved; the group of scientists applauds like crazy; the young man or woman finds true love; the respectable public vacates the theater while the free-loaders check the seats to see if anyone left any half-finished cartons of popcorn, with that delicious and unbeatable taste of sodium benzoate.<\/p>\n The catastrophe has a variety of origins: a meteorite has changed course with the same constancy as a politician making declarations about the gas hikes; or a tornado of sharks; or a planet spinning off its course; or an irritated sun sending one of those igneous tongues out of its orbit; or an illness that comes from outer space, or a spaceship; or a biological weapon that gets out of control and, converted into an odorless gas, transforms whoever has contact with it into a professional politician or maybe into something not quite so horrible.<\/p>\n That, or the apocalypse is already a done deal and a group of survivors wanders without hope, introjecting the exterior barbarity into their individual and collective behavior, while humanity struggles between life and death.<\/p>\n The end can vary but the constant is the group of scientists, be they the ones who caused the disaster or the only hope of salvation, if of course a handsome man or woman appears at the opportune moment.<\/p>\n The film\u2019s conclusion could be open-ended, or it could be a downright \u201cdark beating\u201d (Jos\u00e9 Alfredo Jim\u00e9nez had already warned us that \u201clife isn\u2019t worth anything\u201d).<\/p>\n Sure, let\u2019s take as an example any novel, movie or TV series with an apocalyptic or catastrophic theme. Let\u2019s say one with a popular theme: zombies.<\/p>\n A concrete example: the TV series The Walking Dead<\/i>. For those who aren\u2019t familiar with the plot, it\u2019s simple: due to some unspecified cause, people who die \u201cturn into\u201d zombies; the protagonist wanders, he encounters a group, they establish a hierarchical organization in continual crisis and they try to survive. The series\u2019 success could be due to the fact that it shows characters who, in normal situations, are mediocre or pariahs, and they become heroines and heroes willing to do whatever it takes. Some of them are:<\/p>\n Michonne, a housewife ignored and belittled by her husband and siblings, who becomes a fearsome warrior with a katana (played by the actress and dramaturge Danai Jekesal Gurira and, not to make you jealous, she\u2019s the only one whose real name I give because, in the trunk left by SupMarcos, I found a picture of her in the character of Michonne, dedicated by her own hand to the deceased. A<\/i>rrrrroz con leche!<\/i>v<\/sup><\/a>).<\/p>\n Daryl, a manipulated pariah transformed into a \u201ctracker\u201d and a fearsome crossbowman. Up until now the symbol of the refusal to submit, resistance and rebellion.<\/p>\n Glenn, a pizza delivery boy turned star explorer. The handyman and \u201cthousand lives\u201d of the series, until Rickman returned to the comic.<\/p>\n Maggie, a young woman whom the zombie apocalypse saves from the monotonous life on a farm and converts her into a leader, despite being pregnant.<\/p>\n Carol, an abused wife transformed into a female version of Rambo, but smart.<\/p>\n Carl, an adolescent who behind his eyepatch hides a serial killer, as Negan well deduced.<\/p>\n Eugene, a nerd who symbolized science and eventually goes from being a pathological liar to becoming useful to the group.<\/p>\n Father Gabriel, the self-serving, opportunistic religious leader who reconverts himself and becomes necessary.<\/p>\n Tara and Aaron, the lesbian woman and the gay man who ensure the political correctness of the plot.<\/p>\n Rosita, my preferred wet dream, the Latina who combines passion, skill and courage.<\/p>\n Morgan, the survivor in \u201cshaolin monk\u201d mode.<\/p>\n Sasha, the woman who changes from the classic romantic role to that of realistic survivor.<\/p>\n And in the upper part of the hierarchy, the battered symbol of order, Rick, an ex-sheriff\u2019s deputy who barely hides the fascist inclinations of any police officer.<\/p>\n I don\u2019t know what season you\u2019re on. Since the fifth one I stopped watching because the law caught up with the movie guy who used to send me the \u201calternative\u201d editions and now who knows where he is (which is a shame, because he had promised me up to season 10, though not even Kirkman knows if there will be 10 seasons). But with what I\u2019ve been able to watch, I understand the reason for its success.<\/p>\n It\u2019s not hard to follow the plot, anyway: it\u2019s enough to look at the spoilers that filter through on the respective Twitter hashtags.<\/p>\n A few moons ago, I asked a compa\u00f1era<\/i> what would have happened if Rick, or any member of the group, had known ahead of time that what was going to happen would happen. I choose the police officer as my example because it seems that he is the only one whose survival is guaranteed, at least in the comic of the same name.<\/p>\n Would Rick have prepared himself? Would he have constructed a bunker and stockpiled in it food, medicines, fuel, weapons and ammunition, and the complete works of George Romero?vi<\/sup><\/a><\/p>\n Or would he perhaps have tried to stop the disaster?<\/p>\n The compa\u00f1era<\/i>, Zapatista to the end, answered me with the same question: what did I think Rick Grimes would have done?<\/p>\n I didn\u2019t hesitate to answer her: nothing. Even knowing what was going to happen, neither Rick nor any of the characters would have done anything.<\/p>\n And there\u2019s a simple reason for that: despite all the evidence, they would have kept thinking, up until the very last minute, that nothing bad was going to happen, that it wasn\u2019t such a big deal, that someone somewhere would have the solution, that order would be re-established, that there would be someone to obey and someone to boss around, that, in any case, the tragedy would happen to other people, somewhere else, geographically distant or distant in terms of their social position.<\/p>\n They would think up until the night before that the tragedy was something destined not for them [ellas, ellos, elloas<\/i>], but for those who survive below\u2026 and to the left.<\/p>\n Zombies aside, in the majority of those apocalyptic narratives, there are one or more moments in which someone, invariably the protagonist, when everyone is surrounded by a horde of zombies or the meteorite is a short distance from their heads, or in a similar situation, says, with all the serenity and aplomb, \u201cEverything is going to be all right\u201d.<\/p>\n And it turns out that for this meeting I got stuck with the role of party pooper. So I should tell you what we see: No, it\u2019s not a science fiction movie, but rather reality; and no, everything is not going to be all right, only a few things will be all right if we prepare ourselves ahead of time.<\/p>\n According to our analysis (and until now, we haven\u2019t seen anyone or anything that refutes it; on the contrary, they confirm it), we are already in the middle of a structural crisis that, in colloquial terms, means the reign of criminal violence, natural disasters, runaway shortages and unemployment, scarcity of basic services, collapse of energy infrastructure, migration, hunger, sickness, destruction, death, desperation, anguish, terror, helplessness.<\/p>\n In sum: dehumanization.<\/p>\n The crime is in progress. The biggest, most brutal and cruel crime in the brief history of humanity.<\/p>\n And the criminal is a system willing to go to any lengths: capitalism.<\/p>\n In apocalyptic terms: it\u2019s a fight between humanity and the system, between life and death.<\/p>\n The second option, death\u2014I wouldn\u2019t recommend it.<\/p>\n Actually, don\u2019t die. It\u2019s not in your best interest. Believe me, I know something about that because I\u2019ve died several times.<\/p>\n It\u2019s very boring. Since the entrances to heaven and hell suffer from an annoying bureaucracy (though it\u2019s not as bad as those in the universities and research centers), the wait is worse than an airport or a bus station during holiday season.<\/p>\n Hell\u2019s the same, you have to organize gatherings of the arts, exact and natural sciences, social sciences, originary peoples, and other equally terrible things. They force you to bathe and comb your hair. They inject you and make you to eat squash soup all the time. You have to listen to Pe\u00f1a Nieto and Donald Trump in a never-ending press conference.<\/p>\n Heaven, for its part, is the same, just that there you have to put up with a monotonous chorus of palid angels, and they all give you the runaround if you want to talk to God to complain about the music.<\/p>\n In sum: say no to death and yes to life.<\/p>\n But don\u2019t fool yourselves.<\/p>\n You\u2019re going to have to fight every day, at all hours and everywhere.<\/p>\n In that fight, sooner or later, you\u2019ll realize that only collectively will you have any possibility of triumph.<\/p>\n And even so, you\u2019ll see that you also need the arts and that you need us, too, and others [otros, otras, otroas<\/i>] like us.<\/p>\n Organize yourselves.<\/p>\n As Zapatistas we are, we\u2019re not only not<\/i> asking you to abandon your scientific practice, we\u2019re demanding that you continue it and deepen it.<\/p>\n Continue exploring this and other worlds, don\u2019t stop, don\u2019t despair, don\u2019t give up, don\u2019t sell out, don\u2019t give in.<\/p>\n But we\u2019re also asking you to seek out the arts. Even though the contrary might seem to be true, they will \u201canchor\u201d your scientific task in what you have in common: humanity.<\/p>\n Enjoy dance in any of its forms. Perhaps at the beginning you won\u2019t be able to avoid framing the movements in the laws of physics, but afterwards you\u2019ll feel it, boom.<\/p>\n Go beyond geometry, color theory and neurology and enjoy painting and sculpture.<\/p>\n Resist the temptation to find the scientific logic to that poem, that novel, and let the words discover galaxies for you that only inhabit the arts.<\/p>\n Surrender when faced with the lack of scientific basis to the stories that in theater and film peer into that which is humanly imperfect, unstable, and unpredictable.<\/p>\n And so on with all the arts.<\/p>\n Now imagine that it\u2019s not your own daily life but rather the arts which are in danger of extinction.<\/p>\n Imagine people, not statistics: men, women, children, elders, with a face, a history, a culture, threatened with annihilation.<\/p>\n See yourselves in those mirrors.<\/p>\n Understand that it\u2019s not about fighting for them or in their place, but rather with them.<\/p>\n See yourselves as we Zapatistas see you.<\/p>\n Science is not your limit, your dead weight, your useless burden, the activity you should carry out in clandestinity or hiding in the closet of the academies and institutes.<\/p>\n Understand what we have already understood: that, as scientists, you all fight for humanity, that is to say, for life.<\/p>\n -*-<\/p>\n Yesterday Subcomandante Insurgente Mois\u00e9s was explaining to us that the communities are, and have been for decades, our teachers and tutors. That the interest in science is new in Zapatismo. That it\u2019s been incited by the new generations, by the Zapatista youth who want to know more and better how the world works. That out of the organized communities came this newest push that has us here in front of you.<\/p>\n It\u2019s true. But what\u2019s not new in Zapatismo is the struggle for life.<\/p>\n Even in our willingness and plans when faced with death, we were concerned with life from the start.<\/p>\n Those who are older, or who are interested despite not being older, may know about the uprising: the taking of 7 municipal capitals, the bombardments, the clashes with the military forces, the desperation of the government upon seeing that they couldn\u2019t defeat us, the civil uprising that forced them to stop, what\u2019s followed in these almost 23 years.<\/p>\n What you might not know is what I\u2019m going to tell you next:<\/p>\n We prepared ourselves to kill and to die\u2014Subcomandante Insurgente Moises already summarized that for you. So then we had two options in front of us: the country as a whole would be ignited, or we would be annihilated. Imagine our bewilderment when neither the one nor the other took place. But that\u2019s another story for which perhaps there will be another occasion.<\/p>\n Two options, but both had the common denominator of death and destruction. Even though you might not believe it, the first thing we did was prepare ourselves to live.<\/p>\n And I don\u2019t mean those of us who fought in combat, those of us for whom knowledge of the resistance of different materials was useful for taking cover and finding shelter in combat and during bombardments; nor the knowledge that allowed the insurgent health workers to save the lives of dozens of Zapatistas.<\/p>\n I\u2019m talking about the Zapatista bases of support, those to whom, as Subcomandante Insurgente Mois\u00e9s explained last night, we owe the path, the pace, the direction and the destination as Zapatistas we are, just as we owe to them the interest in the arts, the sciences, and the effort to include us with the workers of the countryside and the cities, the world headquarters of struggle, resistance, and rebellion that\u2019s called \u201cthe Sixth.\u201d<\/p>\n Starting a few years prior to that apparently now distant January 1, in the Zapatista communities the so-called \u201creserve battalions\u201d were formed.<\/p>\n The mission that was given to them was the most important one in the gigantic operation that carried thousands into combat: to survive.<\/p>\n For months they were given instruction. Thousands of boys, girls, women, men and elders trained to protect themselves from bullets and bombs; to gather and retreat in orderly fashion in case the army attacked or bombarded the towns; to place and locate deposits of food, water and medicine that would allow them to survive in the mountains for a long time.<\/p>\n \u201cDo not die\u201d was the only order that they were to follow.<\/p>\n The order that those of us who went to combat had was: \u201cDon\u2019t give up, don\u2019t sell out, don\u2019t give in.\u201d<\/p>\n When we came back to the mountains and we met back up with our communities, we fused the two orders and made them into one alone: \u201cStruggle to build our freedom.\u201d<\/p>\n And we agreed to do so with everyone [todas, todos, todoas<\/i>].<\/p>\n And we agreed that, if it wasn\u2019t possible to do so in this world, then we would make another world, a bigger one, a better one, one where all the possible worlds fit, the ones that already exist and the ones we still haven\u2019t imagined but that can already be found in the arts and sciences.<\/p>\n Thank you very much.<\/p>\n From CIDECI-Unitierra.<\/p>\n SupGaleano.<\/p>\n Mexico, December 2016.<\/p>\n From the Notebook of the Cat-Dog.<\/b><\/p>\n \u201cWhat\u2019s Lacking\u201d<\/p>\n I was in my hut, reviewing and analyzing some videos of plays by Maradona and Messi.<\/p>\n Like a premonition, a ball bounced inside. \u201cDefensa Zapatista\u201d<\/i> arrived behind it, entering without giving notice or asking permission. Behind the girl came the notorious Cat-Dog.<\/p>\n \u201cDefensa Zapatista\u201d<\/i> grabbed the ball and approached to look over my shoulder. I was busy trying to keep the Cat-Dog from eating the computer mouse so I didn\u2019t notice that the girl was watching the videos with great interest.<\/p>\n \u201cHey Sup\u201d, she said to me, \u201cdo you think Maradona and Messi are all that?\u201d<\/p>\n I didn\u2019t answer. From experience I know that Defensa Zapatista\u2019s<\/i> questions are either rhetorical or she\u2019s not interested in hearing my answer.<\/p>\n She continued:<\/p>\n \u201cBut you\u2019re not seeing the issue,\u201d she said, \u201cfor as much as they might have of art and science, they both have a serious lack.\u201d<\/p>\n Yes, that\u2019s how she said it: \u201clack.\u201d There I did interrupt her and I asked, \u201cAnd just where did you get that word or where did you learn it?\u201d<\/p>\n She responded, indignant: \u201cThat very bad Pedrito said it to me. He told me that I couldn\u2019t play football because girls lack technique.\u201d<\/p>\n \u201cI got mad and I gave him a slap upside the head, because I didn\u2019t know what that word meant and what if it\u2019s a bad word. Of course, the very bad Pedrito ran to the education promotora<\/i> to make a complaint about me and they called me in. I explained to the teacher the national and international situation, as they say, that the situation with the Hydra is really messed up and everything. And since the promotora<\/i> understood that we have to support each other as the women we are, they didn\u2019t reprimand me, but they sent me to look up what \u201clack\u201d means. And well, I thought it was a better punishment than if they had sent me to eat squash soup.\u201d<\/p>\n I nodded understandingly as I tried to get the mouse out of the Cat-Dog\u2019s mouth.<\/p>\n \u201cWell anyway, I went to look up what \u201clack\u201d means on the internet in the office of the Junta de Buen Gobierno<\/i> [Good Government Council] and I found that it\u2019s a song by the musicians of the struggle, that it\u2019s really happy and that everyone starts dancing and jumping around as if they gotten into an anthill of leafcutter ants. So I went to the education promotora<\/i> and I told her that \u201clack\u201d is a song that goes: \u201cI wake up in the morning and I don\u2019t feel like going to school.\u201d She laughed and told me, \u201cit\u2019s \u2018going to work.\u2019\u201d So then I told her that songs are up to each person\u2019s taste and the problems they have. Which is to say I gave her the political explanation, but I don\u2019t think she understood, because she just laughed. And then she sent me back to find out not about the song, but rather to look up what the word means. So I headed back and when I get there I had to wait for the guy who was on duty at the Junta<\/i> to send out a denunciation. After that I was able to go in and there I saw that \u201clack\u201d means you\u2019re missing something. So I headed back to the education promotora<\/i> and told her, and she said that there, now I\u2019d seen that it wasn\u2019t a bad word and she congratulated me. But since Pedrito was there eavesdropping I gave him another slap upside the head for going around saying that I lack technique. And then the promotora<\/i> said she was going to tell my moms that I was doing that kind of thing, so I came to hide here because I know that nobody comes to see you.\u201d<\/p>\n I took the jab heroically, as I was finally able to snatch the mouse back from the Cat-Dog.<\/p>\n \u201cDefensa Zapatista\u201d<\/i> continued her long-winded speech:<\/p>\n \u201cBut don\u2019t worry Sup, before coming in, first I peeked in to make sure you weren\u2019t looking at pictures of naked ladies that, errrr, just to get it over with, Sup, it\u2019s really unbelievable, and anyway I\u2019m not going to make a complaint against you with the collective \u201cThe Women We Are,\u201d but I\u2019ll tell you plainly that it\u2019s no good what you\u2019re doing, because it just means you have a lack of moms, that is, like SupMoy says when he gets angry, no tienes madre\u201d <\/i>[you have no mother].<\/p>\n I\u2019d like to clarify here that it\u2019s not true what \u201cZapatista Defense\u201d<\/i> says, what happened is that I was taking a correspondence course on anatomy.<\/p>\n Anyway, before the girl could continue airing my secrets, I asked her why she said that Maradona and Messi were seriously lacking in something.<\/p>\n She was almost in the threshold of the door when she answered:<\/p>\n \u201cBecause they\u2019re missing the most important thing: being women.\u201d<\/p>\n -*-<\/p>\n \u201cAn Interstellar Trip\u201d<\/p>\n Among the pile of papers and drawings that the late SupMarcos left, I found what I\u2019m going to read to you below. It\u2019s a sort of draft or notes for a script, or something like that, supposedly for a science fiction film. It\u2019s called:<\/p>\n Toward What Does the Gaze Look?<\/i><\/p>\n Planet Earth. Some year in the distant future, let\u2019s say 2024. Among the new tourist destinations, now it\u2019s possible to travel to space and go around the world in a satellite adapted \u201cad hoc\u201d for that purpose. The spaceship is a scale replica of the lunar satellite, with a big window that looks out, during the whole trip, onto Earth. On the other side, let\u2019s say the back, there\u2019s a sort of skylight, about the size of a house window, that always looks out onto the rest of the galaxy. The tourists, of all colors and nationalities, crowd up against the window that looks onto the planet of origin. They take selfies and live-stream the images of the world, \u201cblue like an orange,\u201d to their friends and family. But not all the travelers are on that side. At least four people are in front of the opposite window. They\u2019re forgotten about their respective cameras and they look out in ecstasy at the jumbled collage of celestial bodies: the snaking line of dusty light that is the Milky Way, the twinkling glimmer of stars that might not exist anymore, the frenetic dance of asteroids and planets.<\/p>\n One of the people is an artist; they\u2019re not immobile, in their brain they imagine rhythms, lines and colors, movements, sequences, words, inert or mobile representations; their hands and fingers move involuntarily, their lips mumble incomprehensible words and sounds, their eyes open and close continuously. The arts see what they see and they see what could come to be seen.<\/p>\n Another one of the people is a scientist; their body doesn\u2019t move at all, they look fixedly not at the closest lights and colors but rather at the most distant ones; in their brain they imagine unthought galaxies, inert and living worlds, stars being born, insatiable black holes, interplanetary vessels without flags. The sciences see what they see and they see what could come to be seen.<\/p>\n The third person is indigenous, of short stature, with dark skin and ancestral features. They look at and touch the window. Their mind and body press upon the solid, transparent material. In their brain they imagine the path and the pace, the speed and the rhythm; they imagine a destination that\u2019s constantly changing. The originary peoples see what they see and they see the life that could be created in order to be seen.<\/p>\n The fourth person is Zapatista, of changing color and features. They look through and delicately touch the glass with their hand. They take our their notebook and start writing frenetically. In their brain they begin to make calculations, lists of tasks, jobs to start, they trace maps, they dream. Zapatismo sees what it sees and sees the world that it will be necessary to build so that the arts, sciences, and originary peoples can realize and fulfill what they see with their gaze.<\/p>\n At the end of the trip, while the other travelers acquire their last souvenirs in the \u201cduty free\u201d shops, the artist runs to their studio, or whatever it is, so that others [otros, otras, otroas<\/i>] can see and feel what they see; the scientist immediately convokes other scientists because there are theories and formulas that need to be proposed, demonstrated, and applied; the indigenous person gets together with their fellow peoples and tells them what they saw in order that, collectively, the gaze can define the path, the pace, the company, the rhythm, the speed and the destination.<\/p>\n The Zapatista person goes to their community and in the community assembly explains and details everything that must be done so that the artist, the scientist, and the indigenous person can travel. The first thing the assembly does is critique the story or the tale or the script or whatever it\u2019s called, because it\u2019s missing the workers of the city and the countryside. It is proposed then that a commission write a letter to the deceased SupMarcos so that he puts the fifth element in the story, that is, the Cat Dog, because it already ate the internet cable and two flash drives belonging to the Tercios Compas<\/i>, and it spends all its time chasing around the computer mouse, so better that they take it with them; and so that he also adds, as the sixth element, the Sixth, because without the Sixth the story isn\u2019t complete. Having approved this, the assembly proposes, discusses, adds and subtracts, plans the timetables, distributes the tasks, votes to determine general agreement and names the commissions for each task.<\/p>\n Before the assembly is adjourned and everyone goes to start the tasks assigned to them, a little girl asks to have the floor.Without coming up to the front, standing almost at the back of the communal house, the girl strains to raise her voice and says: \u201cI propose that on the list of things to take, that they include a soccer ball and a whole lot of pozol<\/i>.\u201d The rest of the assembly laughs uproariously. SubMoy, who\u2019s sitting on the panel that\u2019s coordinating the meeting, calls for order. Having achieved silence, SubMoy asks the girl what her name is. The girl responds, \u201cMy name is Defensa Zapatista,\u201d <\/i>and she puts on her best \u201cyou\u2019ll never get past me, not even if you\u2019re aliens\u201d face. SubMoy then asks Defensa Zapatista<\/i> why she is proposing this.<\/p>\n The girl climbs up on a wooden bench and argues: \u201cThe ball is because if they aren\u2019t going to be able to play, then it\u2019s pointless to go there where they want go. And the whole lot of pozol<\/i> is to give them strength so they don\u2019t faint along the journey. And also so that way out there, far away, where the other worlds are, they don\u2019t forget where they came from\u201d.<\/p>\n The little girl\u2019s proposal is approved by popular acclaim. SubMoy is about to adjourn the meeting when \u201cDefensa Zapatista<\/i>\u201d raises her little hand asking again for the floor. It is conceded to her. As the girl speaks, in one arm she holds a soccer ball and in the other hugs a small animal to her. It seems to be a dog\u2026 or a cat, or a cat-dog: \u201cI just want to say that we haven\u2019t filled out the team yet, but don\u2019t worry, soon there are going to be more of us, sometimes it takes a while, but soon there are going to be more.\u201d<\/p>\n I testify.<\/p>\n Woof-meow.<\/p>\n <\/a><\/p>\n i<\/a> \u201cLa Nave de los Monstruos\u201d (1960) or \u201cThe Ship of the Monsters,\u201d a Mexican science fiction comedy film.<\/p>\n<\/div>\n
\nEn fin, filias cin\u00e9filas aparte, supongamos una pel\u00edcula promedio del g\u00e9nero: un apocalipsis en curso o en el pasado; la humanidad entera en peligro; primero un audaz e intr\u00e9pido var\u00f3n como protagonista; despu\u00e9s, de la mano del feminismo inocuo, una mujer, tambi\u00e9n audaz e intr\u00e9pida; un grupo de cient\u00edficos es convocado a una instalaci\u00f3n s\u00faper secreta (claro, invariablemente situada en la Uni\u00f3n Americana); un militar de alto rango les explica: deben crear un plan que salve a la humanidad; se hace, pero resulta que necesitan de un individuo o individua que, dicho de paso, anule el trabajo colectivo y, en el \u00faltimo segundo, corte, con unas pinzas que aparecieron inexplicablemente, el cable verde o azul o blanco o negro o rojo en una decisi\u00f3n azarosa, y z\u00e1s<\/em>, la humanidad est\u00e1 a salvo; el grupo de cient\u00edficos aplaude a rabiar; el muchacho o la muchacha encuentran el verdadero amor; el respetable p\u00fablico se retira de la sala, mientras los colados revisan los asientos para ver si alguien dej\u00f3, a medio terminar, alg\u00fan cart\u00f3n de palomitas, con ese delicioso e inigualable sabor a benzoato de sodio.<\/p>\n<\/a><\/p>\n
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