Month: June 2026

3,000 years ago there were no notaries, so in Sweden agreements and marriages were closed with footprints carved in rock

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In Atapuerca there are animals, in Irulegi there is a hand and in Lake Mälaren, in central-eastern Sweden, there are feet. Thousands of footprints carved into rock that are between 2,500 and 3,700 years old. To date, archeology thought that they were a sample of symbolic or religious art, but a recent study proposes something much more practical and not at all ornamental: they were contracts engraved in stone. Take off your shoes and sign here. Fredrik Fahlander, an archaeologist at Stockholm University, has examined hundreds of footprints carved into rock surfaces along the southern coasts of the Scandinavian peninsula and has found that these petroglyphs are not placed at random nor do they belong to the same person, like when you mess around with fresh cement. So that it lasts, exactly like the contracts. In fact, that is their hypothesis: when two people wanted to seal an agreement, a friendship or a marriage, they engraved their footprints together on the rock. Faced with the oral promise, the stone made it permanent. Map of southern Scandinavia where carved footprints have been found. Fredrik Fahlander Why is it important. Because they offer a different vision than what we know about how prehistoric societies worked. Historically we have assumed that formal pacts were typical of cultures with writing, but this study shows that peoples without writing could also formalize commitments using the physical landscape as support. On the other hand, as important as knowing what those footprints mean is knowing what they were not: in the Scandinavian Bronze Age, the sacred and the symbolic was engraved in bronze and deposited in tombs and the foot prints are not in either of those two places. They appear only and exclusively on rock exposed to water. It is no coincidence: it reveals that these traces did not belong to the world of the dead or to that of symbology, but to that of the living and their agreements. Context. The Nordic Bronze Age lasted from approximately 1700 to 500 BC. During that period, Scandinavian people left tens of thousands of rock carvings with various common motifs, such as ships, animals, human figures or circles. The category of footprints is rare within this set: they are very careful, carved to life size and with so much detail that they even show the straps of the sandals. The main site studied is the Mälaren region, which during the Bronze Age was a bay of the Baltic Sea. The uplift of the land after the last ice age has made it possible to chronologically date the engravings: those located at higher altitudes are older. In detail. In the Mälaren region, 627 carved footprints have been documented in 140 sites, although it is not an isolated phenomenon: they are present throughout the province of Småland and on the Bjäre peninsula. They are deliberately arranged around water sources and shallow depressions where rainwater collected and flowed, as well as near natural crevices and mineral areas. In addition, there are certain patterns: most sites have a single footprint or an odd number. When there are two, they are almost always different in size and shape, suggesting that they belong to different people. In some cases, the second print was added some time after the first. Fahlander interprets this as an accepted invitation: the first print proposes the link, the second confirms it. If both were recorded at the same time, the commitment was sealed simultaneously by both parties. Yes, but. The study hypothesis is coherent and well-supported, but it remains a hypothesis. In fact, as Fahlander himself explains, these footprints probably had more than one meaning or purpose. However, there are no written sources from the time that confirm it simply because they do not exist. In Xataka | When they opened a remote tomb in Poland, archaeologists discovered something strange: two women embracing In Xataka | Archaeologists have found a puzzle in a Neolithic tomb: where the hell are the heads of its 77 skeletons? Cover | Fahlander, F. (2026). “A Step in Stone. Ontologies of Podomorphic Petroglyphs in Southern Scandinavian Bronze Age”

“All pollution can be sent into space to return to the state before the Industrial Revolution”

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Taking data centers to space. Although Jensen Huang, CEO of Nvidia, it seems that the idea does not convince him too muchsome of the largest companies in the world have embarked on the race to fill low orbit with satellites. AWS with Blue Origin is there, Google is thereElon Musk says that he already has them with a simple Starlink update and even Nvidia, Eric Schmidt and Sam Altman They have an interest in the matter. The advantages of take these data centers to space They seem clear: without water consumption because they are cooled by the cold of space, without energy consumption because they are powered by inexhaustible solar energy and without taking up space. The astronomers They are not particularly enthusiasticbut it seems that the industry is moving in that direction and one of the most enthusiastic, Jeff Bezos, has left a curious message. By taking data centers into space, “we can make parks like Paris everywhere on Earth.” Playing this card is a dangerous thing. Improve the Earth by taking factories to space We have already discussed the objective: to have space computing power to support terrestrial computing thanks to a power that can scale by carrying more and more satellites that do not require investing in dissipation and power systems. With energy being a problem in some countries due to what these data centers consume, makes sense in the roadmap of these large companies. But Bezos, who has spoken at length about why they want to go to the Moon, why they want to turn the satellite into a gas station and how they plan to achieve the goal, has not been so specific when talking about constellations in low orbit or computing beyond the clouds. It has focused on two things: remembering why they are investing so much and launching a romantic message that clashes with what these data centers are causing on Earth. “We have to build the infrastructure for a constantly changing scenario,” says Bezos. “The price of the space race is very high and if you look back, before the Internet, there were very few actors. Two boys in a workshop could make a huge company. “We’re at that point in the space economy.” “We can make parks like Paris everywhere on Earth” The objective is to collect resources and materials on the Moon because, as he has admitted, “The Moon is a gift”but he has also commented that “many of the resources we need are in space.” And it does not refer so much to the regolith as to the aforementioned dissipation and infinite solar energy. “We are focusing a lot on that to exploit the space economy. It is infinite and it will happen,” he says. Now, he points out that they don’t know when it will happen because orbital computing will be a big step, but he did leave some… curious phrases. “Everything is better than 500 years ago, but we have more pollution on Earth than 500 years ago. If we send all that away, if we can send all the pollution from factories on Earth away from Earth, we can return to the state before the Industrial Revolution.” At this point, someone would ask, precisely, who are the ones that are generating the most pollution with the energy needs of their data centers and the need to return to coal In order to satisfy the demand, the private jet travel, what rockets pollute space, one’s own low orbit pollution with as many satellites or actions as promoting a fast consumer society that wastes so many resources. But, beyond that, it is not easy to send “all the pollution from Earth’s factories to space.” There are industries that are simply impossible to send to low orbit because, beyond the obvious logistical limitations, we are talking about a first-come, first-served space. And America is moving, but also ChinaIndia, Russia and Europe. The message that there are parks like in Paris anywhere in the world is powerful, of course, but start watering those parks in some countries. In Xataka | Data centers are real “heaters”. And they are settling in regions as hot as Aragón

This is the hydroelectric colossus with which China “is trying to tame nature”

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China has proposed a titanic challenge in the heart of the Himalayas: the construction of the Motuo megadam on the Yarlung Tsangpo River, which aspires to become the largest hydroelectric dam in the world. With this project, the Asian country seeks to far surpass the legendary Three Gorges Dam. However, as Tenzin Norgay, a researcher at the International Campaign for Tibetwith this monumental display “They are trying to tame nature.” Your numbers. To understand the scale of this hydroelectric project, just look at the figures, since according to experts, there is nothing on the scale of this dam when talking about numbers that are stratospheric. As a first piece of information, the generation capacity stands out, which will mean between 60 and 70 GW of power. Another important data is the annual energy production that point to 300 billion kWh per year, which is triple the capacity of the already monstrous Three Gorges Dam. In perspective, This means generating the energy for everything the United Kingdom consumes annually, and to achieve this the project requires digging 20 kilometer long tunnels in mountainous terrain. And if that were not enough, more than one wall is needed, making the dam made up of five interconnected hydroelectric plants. Reading these figures we can assume that it is not something cheap at all, and the truth is that we are not wrong, since the cost My dear of the entire work ranges between 167,000 and 170,000 million dollars. It’s a risk. The great technical challenge of the Motuo dam is not only its dizzying size, but also the place chosen to build it, since the Himalayan belt is an extremely unstable at a geological level. A report by Probe International warns that incessant seismic activity puts a big question mark over this superproject, especially in a Tibetan region where 68 dams are already operating and another 101 are in the planning phase. Looking back, recent events have highlighted the real risk of earthquakes for infrastructure located on the “roof of the world.” Internal doubts. Even within China itself there are doubts since Chinese geologist Fan Xiao has warned that the associated risks and lack of electricity demand in sparsely populated Tibet make the project unjustified. Added to this are the enormous economic and energy transmission costs necessary to transport that electricity to the urban centers of the country. Side B. Beijing defends the project as a necessary step towards decarbonization and here experts contextualize that this work is part of China’s strategic sustainability vision to abandon its enormous dependence on coal. However, Darrin Magee, a hydropower expert at Western Washington University, pointed out that this source of energy is not so sustainable in the long term due to the large greenhouse gas emissions produced by the reservoirs and suggests that, in Tibet, alternating with wind and solar plants would be more prudent. Images | Tejj In Xataka | More than 600 dams collapsed in Europe last year alone. The proud responsibility is the European Union

We’ve been looking for aliens the wrong way for decades. The solution could be in the dust of the Moon

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It is possible that we are looking for the wrong traces of extraterrestrial civilizations. According to a study published recently by Oxford astrophysicist Brian C. Lacki, the mistake has been in looking for active technological signatures. That is, signals derived from extraterrestrial technologies that have been emitted directly. These signals are lost over time. On the other hand, technological signatures that passively act on the light of a star are easier to detect. And the best thing is that, if you can’t find them, you could always search in the middle of the lunar regolith. This all sounds very crazy, but it actually makes sense. Active or passive signatures? That’s the question. Traditionally, search projects for extraterrestrial civilizations, like SETIhave focused on the detection of possible radio signals coming from their technologies. These are not signals emitted on purpose so that we can find them, but rather the result of their own technological activity. The problem, according to Lacki in his study, is that, if they have followed an evolution similar to ours, they may not be broadcasting on the radio for more than 100 years. We ourselves have been replacing emissions in this range with fiber optics or satellites with directed emissions and very little “noise” that can reach “intergalactic gossip.” What leads us to think that they continue century after century using the same technologies? They may continue to emit, but no longer in radio waves that disperse into space. The Oxford astrophysicist proposes changing this position by searching for passive technosignatures. That is, signatures derived from the interaction of smart technologies with starlight. three types. There are three types of passive technosignatures: obscuring, flashing and diffusing. The former act in a similar way to an exoplanet passing in front of its star. When a large object, such as an artificial satellite, passes in front of a star, it temporarily obscures it. This could be confused with an exoplanetbut the idea is to look for concealments with unconventional shapes, that do not resemble anything known. In the case of flashing signatures, they would be those produced by devices with mirrors aimed at concentrating the star’s light. As if they had their own solar plants. At some point, these types of mirrors could generate flares observable from Earth. Finally, the diffusion signatures would spread the light in all directions, so that a fainter change would be observed, in the form of a color modification in the light spectrum. What if they are no longer there? If it is already difficult to find other intelligent civilizations, it would be even more difficult to find one that is contemporary with ours. We may simply find technosignatures of a civilization that has already died. In that case, or even if the technologies have simply been abandoned for another reason, there would no longer be intelligent beings in charge of maintaining the devices, so their orbit would end up shifting and they could collide with each other. If this happens, it is possible that very small fragments will be generated, which this scientist calls technograins. They are so small that the star’s gravity is not able to attract them any more than the stellar winds push them away. Therefore, they would end up swept away from their neighborhood and become a cloud of dust that our solar system could eventually encounter on its journey through the galaxy. The Moon comes into play. If all of the above occurs, Lacki considers that it could be that some of that dust settles on the Moon, where there is no wind nor are there geological processes that alter the surface, so it could remain for a long time. Therefore, for him, one way to look for technosignatures would be to inspect the lunar regolithlooking for dust that appears to have a technological origin. That, perhaps, could lead us to some intelligent civilization that has gone unnoticed by us. In short, according to the curious perception of this scientist, when trips to the Moon become more common than anecdotal, we could have an easier time finding technosignatures. Of course, for this, fewer telescopes and more sieves. Images | Leo Visions (Unsplash) In Xataka | TRAPPIST-1 was the most promising solar system to search for life. Now our joy is in a well

In China, ‘bookfluencers’ are the sales engine of the publishing industry. The problem is that no one can read 700 books.

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In China, publishers have discovered a rich vein thanks to bookfluencers. Reviews on social networks such as Douyin (the Chinese TikTok) or RedNote have become the sales engine for many books in recent years. However, the volume of books and the intense competition between these influencers has led to the credibility of the model beginning to be questioned. what has happened. They tell it in world of chinese. A book content creator posted a 25-minute video exposing another professional colleague who has more than half a million followers. In the video, he shows a paper almost 5 meters long with a list of 700 books that this bookfluencer had supposedly recommended on his social networks. There wouldn’t be any problem if it weren’t for the fact that they were the readings of a single year. It comes out almost two books a day. Authenticity not found. There is even more and, when reviewing the reviews, he found something curious. They were full of repeated and very exaggerated phrases. For example, this influencer felt “transformed” by 17 different books and “healed” by 33 more. We don’t know if he used AI to summarize the books and do the reviews, but clearly they weren’t real reviews. The online community of readers had been criticizing the lack of authenticity for some time and this video was the last straw. Read for the algorithm. Reading fans criticize the model that has been created with online recommendations. For several years now, the publishing industry has made these influencers a key resource to promote their launches, but with the passage of time, the volume of readings and the need to keep up to date with all the trendsis transforming reading from a leisurely and private activity to something manufactured for the “by weight” algorithm. The business works. Video reviews are giving publishers very good results, as in the case of the novel ‘The Last Quarter of the Moon’, which went from 600,000 copies to more than 6 million after a famous influencer recommended it. Large publishers allocate a specific budget and pay commissions of between 15 and 30% of the sales generated through their channels. The dependence on this promotional model is such that, according to editor Bai Bai, “In many cases, if no influencer is willing to take charge of a book or promote it, the book is practically doomed to failure at the moment of its publication.” A precarious job. Although publishers turn to these creators and give them good commissions, it does not mean that it is exactly a grateful job. There is enormous competition between creators, who have to constantly be up to date with trends in order to satisfy the algorithm and have their content go viral. Still, income is very unstable, pushing creators to post more reviews and exaggerate the impact the books have had on them. Anqian Reads, one of these bookfluencers, says “The ironic thing is that since I’ve been a book influencer, I have less time to read.” Image | 愚木混株 Yumu in Unsplash In Xataka | Universities are discovering something: fewer and fewer students are reading long essays without losing concentration

The most touristic enclave in Italy has two news programs left. It is quite a warning for the half of the Spanish coast

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The advance of climate change is leaving more or less obvious signs that range from the maturation of fruit trees earlier to intense heat waves even before summer arrives like the one we are livingbut the future is bleak: more torrential rains and floods, more droughts, places that will be uninhabitable due to climatic conditions… or directly because they have been swallowed by the sea. Without going any further, the image you see above these lines is a classic in tourist destinations: the famous and colorful Italian Cinque Terre towns. A research team has elaborated the first map of what awaits them in 2150 and the scenario borders on the apocalyptic. Cinque Terre in serious danger of disappearing. This study analyzes two of the most exposed Cinque Terre towns, Monterosso and Vernazza, projecting how their coast will evolve until the year 2150 under different levels of greenhouse gas emissions according to the IPCC Sixth Assessment Report (AR6). In the worst emissions scenario, the sea level in that area could rise up to 1.17 meters, which means permanently saying goodbye to more than 22,000 square meters of coastline. To make it clear during the World Cup: about three football fields. In the best case scenario, the figure would be “only” 9,931 square meters. The figure may seem low, but in coastal areas with a morphology as narrow and steep as that of the Cinque Terre, they imply the loss of entire beaches, docks and access to transport such as the train that connects them. Thinking more than 100 years ahead may seem far away, but the reality is that the global rate of sea rise has gone from 2.13 mm to almost 5 mm since the 90s, according to the World Meteorological Organization. In short: the process has already started and you have stepped on the accelerator. Why is it important. Because Cinque Terre is the canary in the mine of many other municipalities, touristy or not, that are going to sink in the coming decades in a tragic process that involves demographic, climatic and economic changes. In fact, the decline of beaches and the loss of functionality of ports and infrastructure are already being noticed, which will have a direct impact on the local economy, which depends almost entirely on tourism. But Cinque Terre are more than postcard towns: their cliffs converted into agricultural terraces and their territorial planning have been a UNESCO World Heritage Site since 1997. Losing them totally or partially is not like a resort collapsing: it is a tragedy. And it won’t be the only one: this study has calculated that of the 49 World Heritage sites on low-lying Mediterranean coasts, 37 are already at risk of serious flooding today and that this risk could increase by 50% before 2100. Context. In the analysis of climate change on the coasts, the Mediterranean has turned on the turbo: it is rising faster than the global average. Between 2000 and 2018, the Mediterranean Sea rose about seven centimeters, a rate much higher than that of the 20th century as a whole. according to research from the British National Oceanography Center. Liguria, the region where Cinque Terre is located, takes the cake: it combines the rise of the sea with a gradual sinking of the land itself. But the reality is global and even darker: in a generalized way we are losing rocky coast and probably faster than we think: science has records of cliff retreats of just 150 years and projections until 2100. In short: we are underestimating the rise in sea level. In detail. This study stands out for how exhaustive it is and the quality and quantity of sources with which it works: it uses topography obtained with high-resolution drones, high-precision seafloor maps, geodetic data of land subsidence with GPS networks and applied the three main IPCC climate scenarios to calculate the projected flooding in 2030, 2050, 2100 and 2150. The usual thing is to stay at 2100, but the team has expanded that horizon with half a century more to see processes that the shorter models overlook: especially the slow sinking of the own land due to geological causes. In fact, there are already studies that evidence that the IPCC forecasts fall short precisely because they ignore that factor. Yes, but. Although the study is rigorous and solid, as the research team itself clarifies, Cinque Terre will not disappear overnight and this apocalyptic scenario will only happen if adaptation and mitigation measures are not adopted. On the other hand, the most unfavorable scenarios take into account global emissions that current climate agreements seek to avoid. In Xataka | There is a corner of Spain where global warming is wreaking havoc: the Pyrenees are becoming “Mediterraneanized” In Xataka | It turns out that there are invasive land snakes that take to the sea from Ibiza. And they are annihilating a unique lizard Cover | Rahul Chakraborty and The First Relative Sea Level Rise and Storm Surges Scenarios up to 2150 CE for the Coasts of Monterosso and Vernazza, Cinque Terre National Park (Liguria, Italy)

Satellite images revealed that Russia covered a building with an anti-drone cage. Ukraine turned it into an action movie set

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In World War II, the United Kingdom became camouflage entire factories with nets, fake structures and even fictitious neighborhoods built on rooftops to fool German bombers. The idea it was simple– If you can’t stop the attack, make the target disappear from the air. Eight decades later, that logic has returned. Only now the enemy is no longer looking from a bomber, but from a drone. The giant cage. Satellite images made it clear: Russia had done something that until recently seemed unthinkable, wrapping an entire building in a gigantic anti-drone structure. We are not talking about a tank or an armored vehicle, where “cope cages” are already common, but rather about a strategic factory more than 900 kilometers from the front. The facility, part of the VNIIR Progress plant in Cheboksary, had been protected with that kind of metal skeleton for at least a year. Was the test of the extent to which Moscow assumes that Ukraine can strike very deep inside Russia. But it was also a silent admission: the drone threat has already changed even the industrial architecture of warfare. Shield the rear. VNIIR Progress is not just any factory. Produces essential navigation components for a good part of the Russian arsenal: Shahed-136 type drones, Kalibr cruise missiles, Iskander ballistic missiles and gliding bombs. It is, in essence, a critical piece of the Russian military gear. Protecting it with a cage of that size reveals something important: it is no longer enough to move factories away from the front. Russian strategic depth has been eroded and the war has meant that once safe places now need permanent physical defenses. Ukraine changed the rules (again). The problem for Russia is that Ukraine no longer only strikes with drones. In the most recent attack, kyiv used its new cruise missiles FP-5 Flamingoa nationally manufactured weapon with more than 2,800 kilometers of range and an explosive warhead weighing more than one ton. That detail completely changes the equation. The anti-drone cage could make sense against small kamikaze drones or light munitions. But faced with a missile of that size, the structure becomes practically in decoration. Ukraine, in essence, demonstrated that the Russian solution was designed for yesterday’s war. What the defense gives away. The most interesting thing is not only the damage caused, but what it means the very existence of that cage. Every new anti-drone net, mesh or cover that appears over Russian refineries, air bases or factories is a sign of vulnerability. For decades, the industrial rearguard was a sanctuary. Now Russia is spending resources to fortify even its production centers. In other words, what you see is a clear symptom that the Ukrainian deep strike campaign is working at least on a psychological and operational level, forcing Moscow to redistribute protection and assume additional costs. The invisible climb. The episode also reflects a broader evolution: the industrial war is becoming a war constant adaptation. Ukraine began using long-range drones to overwhelm defenses and hit critical infrastructure. Russia, like we have been countingresponded with networks, interference and physical structures. Now kyiv goes up a notch with missiles heavier and more precise. Each defensive layer generates a higher offensive layer. And that turns the conflict into a technological race where no solution lasts too long. The lesson of the attack. The image is very powerful because summarizes all the logic of modern warfare: an entire building wrapped in steel to protect electronic parts that then guide precision weapons… and still reached. The conclusion is inevitably uncomfortable for Moscow. If a facility hundreds of miles from the front needs a giant cage and not even that guarantees your safetythen the real frontier of war is no longer in the trenches. It is anywhere on the map where the military industry continues to function. Image | Ventor In Xataka | Ukraine has found Russia’s weak point in Crimea. And now there is a line of Russian trucks that cannot move forward In Xataka | The drone war has left a clear lesson for Ukraine: you can’t leave home without a 100-year-old machine gun

review with features, price and specifications

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A camera designed for those who prioritize video without giving up photography. And at an affordable price. Canon has thought of content creators and video fans with a very complete entry optionbut maintaining simplicity of use, compact size and providing real solutions that work. This is how we could define the Canon EOS R50 V (where the “V” is the definitive statement of intent of the term vlogging) that we analyze in depth. Technical data sheet of the Canon EOS R50V Canon EOS R50V Sensor 24.2 megapixel (effective) APS-C CMOS (22.3 x 14.9 mm) Processor DIGIC X ISO sensitivity 100-12,800 Firing speed 30-1/4000 s (mechanical), 30-1/8000 s (electronic) Approach Dual Pixel CMOS AF II with automatic detection and tracking of people (eyes, face, head and body), animals and vehicles Screen 3.0-inch (7.5 cm) Clear View II Touch LCD 180º side opening 1.04 million points of resolution 100% coverage Stabilizer Movie Digital IS Video 4K at 30 fps (6K upsampling without cropping), FullHD at 120 FPS Storage SD/SDHC/SDXC slot Battery Lithium-ion LP-E17 (approx. 480 photos). Dimensions 119.3 x 73.7 x 45.2mm Weight 370 grams Price 1,019.99 euros Canon EOS R50 V + RF-S 14-30mm F4-6.3 IS STM PZ – Vlogging Camera Compatible with Canon RF Lenses | Ideal Vlogs and Travel | Bluetooth connection The price could vary. We earn commission from these links The Canon EOS R50V’s main dial shows various video modes Design, ergonomics and accessories: thinking about the vertical format Physically, the EOS R50 V breaks with the sobriety of classic photographic design to prioritize use on social networks. Its body is compact and the set is very light (mainly constructed of high-resistance polycarbonate), which is comfortable in freehand recording sessions. The side of the Canon EOS R50V includes another thread for vertical use on tripods and stands But there are two design decisions that significantly improve the ergonomics of this model for the content creator accustomed to working alone: He front record button: Located next to the grip, it allows you to start or stop the capture completely naturally when the user is self-recording, eliminating the inconvenience of blindly searching for the upper trigger. The lateral thread for vertical format: In addition to the traditional thread on the base, Canon has integrated a second thread on the side of the grip. This allows the camera to be mounted natively vertically on tripods or gimbals, making it easy to create vertical video content such as Instagram Reels, TikTok or YouTube Shorts without the need for accessories. The Canon EOS R50V Creators Kit includes a small tripod, remote control, microphone and memory card. A complete piece of equipment for multiple uses. The content creator kit provides added value, with accessories that are not just filler, but really practical and of decent quality. He Mini Tabletop Tripod: When closed, its compact legs form an ergonomic handle suitable for freehand work. He remote control: Vital for automating remote shooting without having to constantly move to the camera body. He microphone Multi-function hot shoe: Canon takes advantage of the digital pins on its new hot shoe to power and transfer audio from the included compact-sized microphone. The audio record is clean, precise and with a very low background noise level. The EOS R50V screen rotates 180º and allows comfortable recording while facing the camera. The video performance of the Canon EOS R50 V is, without a doubt, its strongest purchase argument. The camera does not crop the sensor or rescale in the usual way; instead, it uses the full width of its APS-C sensor to capture information at 6K resolution and, through oversampling, compresses it into a 4K UHD file at 30 fps. The result is a remarkable sharpnesswith highly defined textures and great chromatic fidelity. The real blow to the table in this version V is the inclusion of the Canon Log 3 (C-Log 3) color profile in 10 bits. For the food or travel content creator, for example, this translates into the ability to save highlights (such as spot lamps in a dark restaurant) and recover detail in the deeper shadows of the scene during the editing stage. Added to this is the software elimination of the limit of 60 minutes of continuous recording in 4K (which, for example, has its sister the EOS R50), which expands the possibilities for longer recordings, video podcasts or interviews. The stabilization system (IS) of the Canon EOS R50V is digital, with two modes, normal and enhanced (with cropping). As for the stabilizationthe camera delegates all the work to the software through its digital stabilization. With two options. The “Standard” mode delivers on static or smoothly panned shots, and the “Enhanced” mode introduces substantial cropping to the image. The continuous focus system: Dual Pixel II precision Another very notable aspect of this EOS R50 V is its autofocus system. Incorporates the appreciated system Dual Pixel CMOS AF II which behaves with truly remarkable speed and consistency. In video recordings, where light contrasts are high and, in addition, we record a handheld camera with constant movement, the tracking of the subject, and specifically the human eye, has millimeter precision, even if the subject wears glasses or turns his head briefly. With Canon EOS R50V: 1/100 s; f/5.6; ISO 800 Special mention deserves the inclusion of the “Product Showcase” mode (Product Showcase AF). Designed specifically for product reviews or videos, where the camera algorithm Automatically prioritizes any object that approaches the target instantly and accurately. As soon as the object moves out of shot, the focus returns to the presenter’s eye with cinematic smoothness and without the annoying search-for-focus effect. Added to this is a Minimum focusing distance of just 15 centimeters (from the sensor plane according to the RF-S 14-30mm objective). Although the included lens is not a pure macro lens, this short distance allows you to capture extremely close-up details with great comfort and reliability. With Canon EOS R50V: 1/500 s; f/6.3; ISO 2,500. The lens allows you to focus at only 15 … Read more

“Exercise cannot be optional for those taking Ozempic”

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The classic and generally effective recipe for losing weight is summarized in two combined measures: taking care of your diet and increasing physical exercise to tip the calorie balance until it becomes negative. That is the canonical formula, but the arrival of drugs like Ozempic, wegovy o Mounjaro has turned it upside down. So much so that we are even giving up those basics. Thus, a paradoxical fact occurs: there are people losing weight (with Ozempic and similar) and exercising less. This indicates the breakdown of a healthy metabolic virtuous circle: losing weight invites us to move more, which in turn promotes weight loss. Thinner. Less athletes. a study presented at the prestigious annual meeting of the Endocrine Society (ENDO 2026) evidence that adults with obesity who lost weight with GLP-1 receptor agonist drugs have significantly reduced their physical activity. That is, after losing weight they exercise less. More specifically: when analyzing 753 patients with obesity and the data from their respective activity bracelets, it was discovered that daily steps fell from 5,047 to 4,487 (560 fewer steps) and the time of moderate or intense exercise fell from 27.9 to 22.2 minutes per day. Those who reduced their activity the most were men and those people with joint or muscle pain. Why is it important. Because these Ozempic-type drugs are not limited to reducing body fat, but can also contribute to losing lean muscle mass: a body composition analysis of the STEP 1 trial points out that weight loss with semaglutide corresponds to a reduction in lean mass of up to 40% of the total weight lost. That is why physical activity is essential to maintain strength and general health. If these people move less, the problem worsens. From a public health perspective, the need to offer explicit exercise prescription to the millions of people who take these drugs is imperative. As explains Dr. Sajana Maharjanlead author of the study: “The findings of our study reinforce the idea that exercise cannot be optional for people taking these medications. Specific interventions that encourage physical activity along with obesity medication are needed.” Context. GLP-1 receptor agonist drugs act in the brain by reducing the feeling of hunger and, as a consequence, caloric intake. What was not clear until now is its effect on the desire to move. There is previous animal studies who had already suggested that GLP-1 can reduce locomotor activity by acting on the dopaminergic reward system, for example, in micebut this work transfers it to humans with real information. Until now, studies on physical activity in patients treated with Ozempic and similar drugs have used questionnaires that people fill out alone, which opens the door to overestimation of actual exercise. However, for this work They have combined real data from Fitbit with the NIH All of Us program. In detail. Of the 1,950 patients who started treatment, only 753 had sufficient fitness tracker data for analysis. The sample presented a relevant heterogeneous case mix: 81.9% had musculoskeletal pain, 67.3% had hypertension and 48.1% had type 2 diabetes, which adds an important bias since they are complex patients with reasons to move little, with or without the drug. 560 fewer steps may not seem like much compared to the recommended daily total (friendly reminder: They are not the mythical 10,000 steps) of the WHO, but it has its importance: if the minimum ideal around 7,000 – 8,000 steps daily to obtain cardiovascular benefit and these patients are already below, any additional reduction takes them even further away from the minimum health goals. Yes, but. The study has some important limitations. To begin with, there is no control group (obese patients who did not take this type of drug), so although this is an important clue, it cannot be said with certainty that the drop in activity is caused by the drug and not another factor. Besides, the sample is heavily biased towards women (almost 8 out of 10) and towards people who already used Fitbit regularly, who do not represent all patients with obesity. In Xataka | Ozempic’s great challenge is the rebound effect. Science already has two promising solutions to avoid it In Xataka | We thought Ozempic was only for weight loss. Science is seeing that it can end alcoholism Cover | Flickr and Gabin Vallet

The IMAX format of Nolan’s ‘The Odyssey’ is an ambitious experiment. So much so that in most cinemas the film will be seen mutilated

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The official website of ‘The Odyssey’ by Christopher Nolan has a very unusual function: in the Explore Formats sectiona selector allows you to see the same trailer in six different formats, from the almost perfect square of IMAX 70mm to the wide panoramic view of conventional 35mm. It is a promotional decision that reinforces the idea that Nolan is extraordinarily concerned with image and the format of your film. But… what if what this gadget transmits is just the opposite? The formats. What changes between one format and another is the proportion of the image, the shape of the plane. In IMAX 70mm, the format in which the film was originally shot, a person is in the center of the screen, with “air”, or a part of the image without vital information, above and below; In the 35mm format that most audiences will see in conventional cinemas, that same shot appears cropped from above and below, eliminating that superfluous information. You just have to compare the trailer on the film’s website with the tools that are provided to us: the story is the same but the image is, literally, from two different films. Aspect Rancio Facts. It is worth clarifying a little what this is aspect ratio, the relationship between width and height of the image. Basically, it determines what the viewer sees and what the director leaves out of the frame. It is, basically, the minimum compositional decision in cinema. And the framing differences can be very noticeable: in the 2.39:1 widescreen version, a considerable part of the image is cropped compared to the IMAX 70mm in 1.43:1. Only a few theaters in the world can show the film in IMAX 70mm, so many IMAX theaters present the films in 1.90:1, which is the second largest format, much closer to the traditional scope. The third in size is the standard 70mm at 2.20:1, which is not very different in height from the traditional 2.39:1 35mm widescreen. In other words: the IMAX 70mm in 1.43:1 shows up to 40% more image than standard screens. Translated to the plane: what is cut out in the conventional distribution are not the sides (the width is preserved) but the top and bottom of the frame. The 70mm horizontal runs across the projector rather than vertically, creating that monstrous frame size. But it’s not just a question of seeing more or less, but of what is seen and what is not. Or to put it another way: if Nolan assumes that we are not going to see 40% in widescreen… has he included a 40% superfluous image in IMAX? And this affects planning, of course: in a very close-up of a face in IMAX, will we see only the actor’s face in conventional cinemas, without a stage around it? Cinephile elitism. On July 17, 2026, when ‘The Odyssey’ hits theaters, the viewer’s experience will depend, to a large extent, on where they live. Only 30 theaters in the world are equipped to offer the IMAX 70mm format, and none of them in Spain. There are rooms here that project in 70mm and there are also IMAX rooms, but none have both at the same time. The only cinema in the country that will offer the two options, although separately, are the Palafox Cinemas in Zaragoza: their room 4 will project in 70mm five-perforations, while on July 17, coinciding with the premiere, they will inaugurate a new IMAX room. Only theaters with IMAX 70mm can reproduce the film exactly as it was photographed. The other versions preserve much of the visual presentation, but crop or reduce parts of the original image, as we have seen. That has sparked a debate that has been going on for weeks. circulating on social networks: There is talk of elitism and that Nolan is turning his back on his audience, and the reason is that the planning, as we have seen, changes drastically from one format to another… and the frames have been planned for a very minority format. The framing is what you are looking for. Because there is a question that Nolan has not answered: did they compose each shot also thinking about the 2.39:1 crop? When Nolan was mixing formats in ‘Dunkirk’ or ‘Interstellar’ (using IMAX only for certain sequences and the rest in scope), the composition of each scene was planned for its specific format. The visual leap between square and panoramic formats was part of the film’s language: the horizon literally widened in moments of maximum tension. The decision to shoot 100% of ‘The Odyssey’ in IMAX, instead of the usual 60-70% in his previous films, means that the dialogue shots between two actors are also in 1.43:1. In 2.39:1, those same shots will lose vertical information from the original frame. The premiere on July 17 will reveal, with the support of the public, whether it has paid off for Nolan to shoot, literally, for thirty theaters around the world. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

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