#Armero

[boricuacherry-blog]

While some were lucky enough only to suffer injuries, most of the town's people perished. As many as 25,000 people died. Only a fifth of Armero's population survived.

Despite the incredible devastation, it would take hours before initial rescue efforts began. This left many - like Omayra Sanchez - to endure long, terrifying deaths trapped beneath the mud.

The deathly white hand of Omayra Sanchez

The photographer could feel her strength weaken, as if the teenager was ready to accept her fate. She asked volunteers to let her rest, and bid her mother goodbye.

Three hours after Fournier found her, Omayra Sanchez died.

The New York Times reported the news of Sanchez's death accordingly:

When she died at 9:45 am today, she pitched backward in the cold water, an arm thrust out, and only her nose, mouth and one eye remaining above the surface. Someone then covered her and her aunt with a blue and white checked tablecloth.

Her mother, a nurse named Maria Aleida, received the news of her daughter's death during an interview with Caracol Radio.

She wept silently while radio hosts asked listeners to join in a moment of silence out of respect for the 13-year-old's tragic death. Much like her daughter, Aleida showed strength and courage following her loss.

"It is horrible, but we have to think about the living," Aleida said, referring to survivors like herself and her 12-year-old son Alvaro Enrique, who lost a finger during the disaster. They were the only survivors from their family.

"When I took the pictures I felt totally powerless in front of this little girl, who was facing death with courage and dignity," Fournier remembered. "I felt that the only thing I could do was to report properly...and hope that it would mobilize people to help the ones that had been rescued and had been saved."

His photograph of Omayra Sanchez - black-eyed, drenched, and hanging on for dear life - was published a few days later. The photograph was so disturbing that it spurred an international backlash against the Colombian government's practically nonexistent rescue efforts.

In Sanchez's case, rescuers didn't have the equipment needed to save her - they didn't even have a water pump to drain the rising water around her.

Later it would be discovered that Omayra Sanchez's legs had been trapped by a brick door and her dead aunt's arms underneath the water. But even if they had figured that out earlier, rescuers still didn't have the heavy equipment necessary to pull her out.

About the personal criticisms he faced for the photo, Fournier said, "There are hundreds of thousands of Omayras around the world - important stories about the poor and the weak and we photojournalists are there to create the bridge." The fact that people still find the photograph utterly disturbing, even decades after it was taken, shows Omayra Sanchez's "lasting power."

"I was lucky that I could act as a bridge to link people with her," he said.

[sinsentidopostsblog]

Maldicion de Armero

[stilettobitearch]

🥀 ooc. this picrew is so cute, / @radiantretort

[ilustrandocanciondehieloyfuego]

19_Juego de tronos_Jon III

-Eres un bastardo y un matón.

—¿Yo? ¿Matón, yo? —Jon estuvo a punto de atragantarse con la palabra. La acusación era tan injusta que lo había dejado sin aliento—. Fueron ellos los que me atacaron. Los cuatro.  —Cuatro muchachos a los que habías humillado en el patio. Cuatro muchachos que seguramente te tienen miedo. Te he visto pelear. Contigo no es un entrenamiento. Si tu espada tuviera filo, estarían muertos. Eso lo sabes bien, y ellos también lo saben. No les dejas nada. Los avergüenzas. ¿Te sientes orgulloso de eso?

  Jon titubeó. Se sentía orgulloso cuando ganaba. ¿Por qué no? Pero el armero le estaba quitando también eso, hacía que pareciera algo malo.

  —Todos son mayores que yo —dijo a la defensiva.

  —Mayores, más altos y más fuertes, cierto. Pero me apuesto lo que sea a que tu maestro de armas te enseñó a pelear con hombres más corpulentos en Invernalia. ¿Era algún anciano caballero?

  —Ser Rodrik Cassel —asintió Jon con cautela. Percibía que allí había alguna trampa, notaba cómo se cerraba en torno a él.

  —Piénsalo bien, chico. —Donal Noye se inclinó hacia delante, hasta que su rostro casi rozó el de Jon—. Antes de conocer a Ser Alliser ninguno de los otros había tenido un maestro de armas. Sus padres eran granjeros, carreteros, cazadores furtivos, herreros, mineros, remeros en galeras mercantes... Lo poco que saben de lucha lo aprendieron en los malecones, en los callejones de Antigua y de Lannisport, en burdeles de las afueras y tabernas a lo largo del camino real. Quizá esgrimieran palos alguna vez antes de llegar aquí, pero te puedo asegurar que, en veinte años, no he visto ni a uno que tuviera suficiente dinero para comprar una espada de verdad. —Parecía sombrío, torvo—. Bueno, ¿qué tal te saben ahora las victorias, Lord Nieve?

  —¡No me llames así! —le espetó Jon. Pero su ira carecía ya de fuerza. De pronto se sentía avergonzado y culpable—. No sabía... no pensé...

  —Pues más vale que empieces a pensar —le advirtió Noye—. O eso, o tendrás que dormir con una daga bajo la almohada. 

[ifeelgeek]

Finding the way back home: Tina Blossom dice: Las ideas expuestas son orientativas, lo que significa que pueden modificarse hasta cierto punto para que quienes las tomen puedan hacer suyos a los personajes. Los únicos requisitos que sí serán inamovibles son los de edad y oficio, con esto, lo que busco es que exista cierta variedad y equilibrio dentro del grupo. Necesitamos: Ganadero, constructor, guardia, operario de la presa, médico y/o enfermero. We want you: Layla Crawford dice: Esta búsqueda tiene como objetivo principal reunir personajes para la facción de los Cazadores. Por lo tanto, y pese a que son personajes bastante adaptables, lo único que no se podrá modificar es el grupo. Además, encontraréis un par de personajes un poco más definidos que se mencionan en la historia y algún que otro post de Layla. Siguen siendo bastante libres, pero en estos dos casos, como ya los he mencionado como NPC, si que tienen algunas cosas más marcadas. Necesitamos: Caza-turista, rastreador, trampero, vigía, armero, etc. Soporten y sobrevivan.

[nature-wants-you-dead]

Lahars

My mind is still on Volcanoes obviously because there is a lot of potential danger, a lot of different dangers. Lava, pyroclastic flows, ash and pumice that can collapse roofs and ground planes.

Volcanoes can throw heavy debris in the air, produce deadly gasses, and burning steam.

Then there are Lahars, volcanic mud flows. Sometimes a snow or glacier covered volcano will erupt and all that melting water goes on a rushing rampage down hill.

How deadly can these get? In 1985 in Colombia the volcano Nevado del Ruiz erupted, sending a lahar careening downhill toward the town of Armero.

20,000 people were killed.

Lava might be flashier, gasses harder to detect, but lahars can really mess things up.

[realmadridnews]

Real Madrid Castilla - Recreativo Huelva 2:1

scorers: 1:0, Gonzalo Garcia 9'

1:1, Serrano 33'

2:1, Munoz 54'

Real Madrid Castilla: Fran Gonzalez; Jimenez (63' Valdepenas), Rivas, Ribes, David Ruiz; Munoz, David, Fortuny (71' Lorenzo Aguado), Chema, Yusi; Gonzalo Garcia

Recreativo Huelva: Galvez; Perejon, Serrano (82' Cerrudo), Navas, Alberto Lopez; Njalla (62' Quintana), Del Pozo, Alcalde (72' Jose Garcia), Dominguez, Soto (62' Bekkouche); Armero (72' Caballero)

[laresearchette]

Monday, November 04, 2024 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: INSPECTOR ELLIS (AcornTV) HOLIDAY BAKING CHAMPIONSHIP (Food Network Canada) 8:00pm

WHAT IS NOT PREMIERING IN CANADA TONIGHT?: 2024 SNL ELECTION SPECIAL (NBC Feed)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA PRIME MONDAY NIGHT HOCKEY – DEVILS VS. OILERS

CRAVE TV HAPPILY EVER AFTER — THE DARCY AND JER STORY

NETFLIX CANADA ANCHORMAN: THE LEGEND OF RON BURGUNDY ANCHORMAN 2: THE LEGEND CONTINUES

CFL FOOTBALL (TSN2) 2:00pm: Lions vs. Roughriders

NBA BASKETBALL (SN) 7:00pm: Bucks vs. Cavaliers (TSN2) 7:30pm: Lakers vs. Pistons (SN Now) 7:45pm: Celtics vs. Hawks (SN/SN1) 10:00pm: Raptors vs. Nuggets

THIS HOUR HAS 22 MINUTES (CBC) 8:00pm: 2024 One-Hour U.S. Election Special

MURDOCH MYSTERIES (CBC) 8:00pm: Murdoch, Watts and Choi investigate the overdose death of a bookkeeper living in new workers' housing.

WILD ROSE VETS (APTN) 8:00pm: Dr. Cori's team is busy when they find a mysterious scar on a new shop cat and assist a puppy who was hurt after leaping from a car. Dr. Allison discovers an infection in a dog but is less confident in her dancing abilities as she learns to jig.

NFL FOOTBALL (TSN1/TSN3/TSN4/TSN5) 8:15pm: Buccaneers vs. Chiefs

HORSE WARRIORS (APTN) 8:30pm: Tensions rise as Leon suspects his rider, Tyrone, is responsible for two consecutive losses due to moonlighting as a rider for other teams. Logan steps up to ride for the Old Sun men's team when they lose their previous rider, Justin Maguire.

PLAN B (CBC) 9:00pm: Mia seeks therapy to address her controlling behaviour; Paul attends counseling while Mia supervises his visits with his daughters; Mia's unresolved issues resurface, leading to a family confrontation.

DESTINATIONS OF THE DAMNED WITH ZAK BAGANS (Discovery Channel Canada) 9:00pm (SERIES PREMIERE): Zak Bagans sends his team to Armero, Colombia, where thousands perished after a volcanic eruption in 1985.

PARIS HAS FALLEN (CTV Drama) 9:00pm: A protection officer and an MI6 operative team up after a terrorist attack; they suspect a mole as they race to thwart a larger conspiracy threatening Paris.

THE TRAITORS CANADA (CTV) 10:00pm: One player finds themselves the focus of suspicion from many of the guests; the future of another player's game is on the line in the latest mission; loyalties are torn apart as The Traitors continue to turn on one another.

TOP CHEF CANADA (Food Network Canada) 10:00pm

DIVIDED BY DESIGN (HGTV Canada) 10:00pm (SERIES PREMIERE): Ray and Eilyn compete for a $150,000 renovation project with clashing homeowners' tastes; the delay of Moroccan tile pushes Eilyn's schedule.

ACTING GOOD (CTV Comedy) 10:30pm: Grouse Lake Grouse Break

[dailyunsolvedmysteries]

The Haunting Tragedy of a Trapped 13-Year-Old Girl

On November 13, 1985, the Nevado del Ruiz — a highly active volcano in Colombia — erupted, melting glaciers and sending torrents of mud and detritus into the villages at its base. Thirteen-year-old Omayra Sánchez, along with her family, was trembling in her home as one of these torrents, called a lahar, literally wiped their town of Armero from the map. Buried beneath the roof of her home, Sánchez yelled for aid workers to free her from the muck. And they tried. But, unbeknownst to workers, Sánchez’s legs were pinned beneath a brick door and being clutched tightly by one of her fallen family members. There was no way to save Sánchez’s life in the aftermath of the 1985 Nevado del Ruiz eruption. Lucid for nearly 60 hours after the quake, Sánchez chatted and joked with workers as they tried to save her life. As the exposure began to overtake the young girl, and the reality she wasn't going to survive soon set in, Sánchez told her mother goodbye and asked workers to let her rest. Frank Fournier, a French photographer, captured Omayra Sánchez’s last moments in a haunting photograph. Her eyes red, her hands white, in the photo, Sánchez issues a haunting call to the world for a help that would never come. Fournier won the 1986 World Press Photo of the Year for the image.

[cartas-transatlanticas]

Amor, mujeres y flores (1988), Marta Rodriguez y Jorge Silva

Querido Juan,

Por fin pude ver esta película después de tanta espera. Era la película de clausura del Panorama de Cine Colombiano. Como ya sabes la película trata de la condición laboral de las mujeres en los cultivos de flores en los años 80. Obviamente son pésimas y a lo largo escuchamos los testimonios de algunas mujeres contando como las afectó físicamente trabajar en flores y las enfermedades que desarrollaron, etc. Todo esto toma una dimensión muy loca por la evidencia de que aun si no se trata de Grupo Andes (estuve muy asustada toda la película viendo a ver si reconocía el lugar, pero al final se ve el logo de la empresa y gracias a Dios no es), seguramente eran las mismas condiciones de trabajo.

Al final de la película el restaurador, Felipe Colmenares, nos habla un poco del proceso de restauración y de las condiciones de trabajo hoy en día, diciéndonos que la película logró generar un impacto y se prohibieron algunos productos químicos, pero que aun así hoy siguen circulando uno que otro. También nos contó que el objetivo de restaurarla era justamente volver a hablar de este problema que aún no se resuelve del todo y hacer proyecciones en los cultivos. Esto me emocionó mucho y fui a hablarle después de la charla a contarle quien era y pasarle mi número.

Después de esto me devolví en bus a mi casa y me dije que la parte de Grupo Andes de Santuario va a tratar en parte de la película de Marta y Jorge, de cómo la descubrí mientras hacía Santuario. Al fin y al cabo Santuario se trata de entender un paisaje, de buscar mis raíces, de retrasar la historia de mi familia. Y pues las flores es un paisaje, al igual que Armero y Santuario, marcado por la violencia y la tragedia. Entonces decidí que voy a hablar con mi papá para que me cuente sobre las condiciones en los 80 's, los cambios que ha habido a lo largo de estos años, y también sobre el daño que le hacen los cultivos a la tierra y como las flores son productos completamente artificiales. El ya me ha hablado un poco sobre esto y se que le interesa mucho y siento que es muy importante hablarlo en la película, lo siento como una responsabilidad.

También se me ocurrió una idea para una obra. ¿Te acuerdas de las tarjetas de rosas que compramos en el chino? Quiero hacer dos réplicas grandes y dedicarle una a Jorge y Marta y otra a las trabajadoras. Dentro de cada tarjeta estará la dedicatoria DE: PARA: y tal vez algo mas... Aún no sé, tal vez transcribir el principio de esta película que es tan lindo...

Por último, te cuento que Marta y Jorge eran una pareja de cineastas que hacian todas sus películas juntos, pero Jorge se enferma haciendo esta y muere a sus 46 años. Por eso Marta decide añadirle el "Amor" al título porque, según ella, "se necesito mucho amor para poder acabar esta película". Felipe nos dijo que para Marta, esta película fue un acompañamiento mutuo entre ella y las trabajadoras, ambas atravesando situaciones muy complicadas. Por favor cuídate, no me vayas a dejar tan joven.

Te pensé mucho viéndola, que extraño que 40 años después otra pareja de cineastas vayan a grabar esos mismos cultivos de flores. Será un presagio, un good omen.

Te amo siempre,

Maria

p.d: te mando el link por ig

[fatehbaz]

November 1985 marks a before and an after in Colombia. [...]

[A] squadron of [...] guerillas stormed the Palace of Justice in Bogota. [...] A belligerent military response [...] resulted in at least one hundred deaths. [...] For two decades, Colombia’s civil war had been raging on mountains and in jungles. Now, it had arrived in the country’s capital. A week later, on November 13, a sleeping giant stirred some two hundred kilometers west of Bogotá. After lying dormant for over 140 years, the Nevado del Ruiz exploded in two eruptions. From the Andean volcano’s crater surged boiling lahars, which descended the mountain at speeds of one hundred kilometers an hour. [...] This monstrous debris flow decimated almost everything in its path, engulfing the regional cotton-producing town of Armero and killing the majority of its twenty-five thousand inhabitants. [...] The government’s ensuing response to the Armero disaster was characterized by inefficiency, miscommunication, and corruption. [...] [M]onetary aid went missing. Unidentified child survivors were taken by authorities and put up for adoption. No effort was made to locate their relatives. [...]

---

In his 2016 book Endangered City, [...] Austin Zeiderman analyzes coverage of November 1985 in the Colombian print press. [...] [R]eporters used the language of forewarning to denounce the government for its failure to avert the convergent crises. Several columnists played with the title of Gabriel García Márquez’s Chronicle of a Death Foretold, a pseudo-detective novel [...]. One 1985 headline [...] called the Armero landslide “a forecast apocalypse.” “We have become the land of tragedies forewarned,” so the article read [...]. Even as the siege and the eruption were treated as spontaneous catastrophes, so, too, were they framed as self-fulfilling prophecies. History was being written in the subjunctive. As the temporal breadth of the convergent crises expanded, they acquired the characteristics of “slow-onset disasters.” Rob Nixon, among others, has written of the difficulties in visualizing catastrophes that gradually unfold [...] over lengthy periods. [...]

In the context of the Anthropocene, artists are increasingly tasked with what Latin American studies scholar Joanna Page describes as “taking up the challenge of representing geological and cosmic time [...].” One such artist is Santiago Reyes Villaveces, who presently lives in the shadow of the Nevado del Ruiz, and whose work uses multimedia methods to explore the volcano. His video installation Orbit, currently on view at New York’s Instituto de Visión, tells a version of the November story.

The fall of 1985 is framed in an imperialist chronology, where disasters are continuities, not ruptures [...].

---

The protagonist of Orbit is a two-hundred-ton boulder that once sat at the heights of the Nevado del Ruiz. On the night of the eruption, it traveled over forty-five kilometers, and was deposited in the center of Armero shortly before midnight. Today, it is a landmark in a ghostly town that, like Herculaneum, stands in ruins. However, unlike its Italian counterpart, Amero receives no conservationist funding or legislative protection.

In the absence of state investment, the rock has become an unofficial monument to the dead. Every year, it attracts hundreds of tourists and mourners. [...]

---

The disaster industry is one branch of the export economies that dominate life in this mineral-rich region known as the macizo.

Correspondingly, there looms the specter of another disaster: the European invasion of the Americas.

In its inaugural exhibition, Orbit appeared in 2019 alongside seven other sculptural installations named Anus, Puddle, Navel, Brick, Fever, and Room Temperature. These works are made with gold, silver, copper, limestone, and rubber -- the same raw materials that drove the expansion of the Spanish empire. Centuries later, they still fuel the competition for resources [...].

---

Displayed in a museum setting alongside tools of measurement and unearthing, they create an “extractive viewpoint,” a phrase from scholar Macarena Gómez-Barris. [...] Gómez-Barris compares this vantage to the colonial gaze. Per her definition, it “facilitates the reorganization of territories, populations, and plant and animal life into extractible data and natural resources for material and immaterial accumulation.”

The macizo region is thus placed in a matrix of colonial relations that operates on an accumulative timescale.

Rather than regard the Conquest as a finite event, work like Reyes Villaveces’s urges us to think, instead, of a “colonial presence” that has endured throughout the postcolonial period. In conjuring this notion of history as perpetuity, anyone who sees such art is challenged, with Ann Laura Stoler, “to refuse the quick resort to ‘before’ and ‘after’ -- and even to work against the wooden, if all too common, conceptual containers of ‘past’ and ‘present.’” [...]

---

[E]thnographer Beatriz Nates Cruz [...] argues that inhabitants of the macizo reside in multiple worlds that converge around symbolic landmarks and that operate according to their own discrete laws of space-time. [...]

Survivors of the Armero tragedy also return to the disaster site to stand awhile next to the departed. On each anniversary, the bereaved attend commemorations among the ruins and visit the rudimentary graves of their loved ones [...]. Darío Nova aims to foster reflection, spirituality, and healing. [...] More recently, he has led an initiative called Time and Memory that has seen participants use colorful string to frame features in derelict homes and place figurines on sills and mantles. These interventions make of Armero a museum curated by a grassroots collective that addresses a lack of governmental interest [...].

---

Confronted with this institutional indifference, we might return to the concept of negative gravity. We have seen how this phenomenon shapes a history of extraction, occupation, and conflict that propels state-making in Colombia. [...]

One of the remarkable things about disasters -- perhaps even their defining feature -- is that they cause the convergence of temporalities that usually coexist, but that do not necessarily intersect, or at least not in ways that are easily discernible. The 1985 eruption of the Ruiz volcano created a collision between this dimension of geological time, which spans billions of years and the expanses of space; centuries of imperialist expansion, capitalist accumulation, and national development; and the infinitesimal scale of a single human life span. All of this took place in a matter of seconds [...].

Survivors attest that time stops as disaster strikes. As these crises climaxed, the clock stopped ticking. But these disasters also accelerated the juggernaut of history that predated that November. They spliced experiences of time into a before and an after, causing it to move in new directions.

---

Images, captions, and all text above by: Rebecca Jarman. “Before and After? Temporalities of Disaster.” e-flux Journal Issue #135. April 2023. [Bold emphasis and some paragraph breaks/contractions added by me.]

[dailyunsolvedmysteries-movedd]

The Haunting Tragedy of a Trapped 13-Year-Old Girl

On November 13, 1985, the Nevado del Ruiz — a highly active volcano in Colombia — erupted, melting glaciers and sending torrents of mud and detritus into the villages at its base. Thirteen-year-old Omayra Sánchez, along with her family, was trembling in her home as one of these torrents, called a lahar, literally wiped their town of Armero from the map. Buried beneath the roof of her home, Sánchez yelled for aid workers to free her from the muck. And they tried. But, unbeknownst to workers, Sánchez’s legs were pinned beneath a brick door and being clutched tightly by one of her fallen family members. There was no way to save Sánchez’s life in the aftermath of the 1985 Nevado del Ruiz eruption. Lucid for nearly 60 hours after the quake, Sánchez chatted and joked with workers as they tried to save her life. As the exposure began to overtake the young girl, and the reality she wasn't going to survive soon set in, Sánchez told her mother goodbye and asked workers to let her rest. Frank Fournier, a French photographer, captured Omayra Sánchez’s last moments in a haunting photograph. Her eyes red, her hands white, in the photo, Sánchez issues a haunting call to the world for a help that would never come. Fournier won the 1986 World Press Photo of the Year for the image.

[radiantretort]

from here.

tagged by: @stilettobite tagging: @hxllowedblood, @starlyht, @infernaliscor & you!

[joseandrestabarnia]

Retrato de Francesco Maria della Rovere, duque de Urbino Federico Barocci (Urbino 1528/1535 – 30 de septiembre de 1612) 1572 Pintura al óleo sobre lienzo 113x93 cm Inventario 1890 n. 1438

El joven representado es el último duque de Urbino Francesco Maria II della Rovere (1549-1631), hijo de Guidobaldo II, a quien sucedió en 1574, y sobrino de Francesco Maria I, que ya había sido retratado por Tiziano en 1538. Barocci se inspiró en este modelo, que pudo estudiar en las colecciones del Palacio Ducal, para articular la pose orgullosa del protagonista, colocado en una vista de tres cuartos sobre un fondo muy oscuro, para enfatizar los espectaculares efectos de luz. de la armadura de desfile, un refinado trabajo realizado en renombrados armeros italianos. El joven tiene su mano derecha en su cadera, mientras que su izquierda descansa sobre su casco emplumado; El kit se completa finalmente con el 'pomo', una cubierta metálica para proteger la mano y el brazo, y con el escudo. La definición muy precisa de cada detalle decorativo corresponde a la marcada investigación psicológica del protagonista, en cuyo rostro el pintor ha fijado magistralmente la conciencia del papel, la ambición y el deseo de gloria, así como la vivaz actitud intelectual que transmite el mirada chispeante y profunda. La luz, procedente de la izquierda, realza los tiernos tonos rosados de la tez que se desvanecen suavemente en la sombra, en contraste con la llamativa mancha roja de la faja. El retrato fue encargado por el duque Guidobaldo para celebrar las virtudes militares de su hijo, que se distinguió durante la batalla de Lepanto, conflicto que tuvo lugar en octubre de 1571 entre la Santa Liga (la confederación de estados europeos unidos bajo la bandera del papado) y el ejército otomano. La obra marcó el inicio de una relación afortunada, incluso afectiva, que unió al pintor con el duque de Urbino. Pasó a formar parte de las colecciones de los Medici junto con toda la colección Della Rovere, heredada por Vittoria, que se casó con Ferdinando II de' Medici. El Departamento de Grabados y Dibujos de los Uffizi conserva el único dibujo preparatorio que se conserva, el estudio 11581F r. en lápiz negro, que profundiza la posición de las manos.

Información de la web de la Gallerie degli Uffizi, imagen de mi autoría.

[c-r-c]

Armero