Mobile Tech & Gadgets

“studying humanities will be more important than ever”

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When a student finds himself at the doors of the PAU (University Access Test) and considers what studies to start If you want to dedicate yourself to the development of AI, you will likely opt for computer engineering or a STEM career. In a way it would be the right decision and proof of this is the high job placement rates that, year after year, mark technical engineering. However, according to Daniela Amodei, co-founder and president of Anthropic, the humanities are the key to future of work with AI. To program Claude is already there. Less machine, more human. In a recent interview granted to ABC NewsDaniela Amodei, a graduate in Literature from the University of California in Santa Cruz and sister of the co-founder of Anthropic, Dario Amodei, argues that “studying the humanities is going to be more important than ever.” His argument is based on the same discourse that other AI executives such as Jensen Huang have been supporting for some time: “our job is to create computer technology so that no one needs to program.” Huang said. at a conference in 2024. “A lot of these models are actually very good at STEM, right? But I think this idea that there are things that make us unique as humans, understanding ourselves, understanding history, understanding what motivates us, that’s always going to be really important.” That is, what Amodei considers to be really valuable in the future They are not people who know how to programbut rather teach AI models to think like a human. At Anthropic they are already on that path. The president of Anthropic assured that at the time of hire new employeesalready prioritize profiles of “great communicators, who have an excellent emotional quotient and people skills, who are kind, compassionate and curious and want to help others.” For the directive, “the things that make us human will become much more important instead of much less important.” In fact, Amodei does not see the future of work as a scenario of human vs AIbut of humans plus AI. “The combination of humans and AI creates more meaningful, more challenging, more interesting and highly productive jobs,” stressed the president of Anthropic, “And I believe it will also open the door to greater access and opportunities for many people,” she added. The harsh labor reality in Spain. The job placement rate of the humanities branch in Spain paints a very different picture. According to data According to the BBVA Foundation and the Ivie, 77.6% of young university students obtain a job according to their degree. Students who study computer and software engineering obtain an average employability rate of 89.4%. Instead, according to the report ‘The employability of young people in Spain 2025’ from the Knowledge and Development Foundation (CYD), the branch of Arts and Humanities are the ones that offer the fewest professional opportunities with an average affiliation rate of 63.5%. A complicated present. Amodei foresees a very different future in which AI will liberate the technical to enhance the human. But the truth is that currently graduates in Arts and Humanities are the ones with the lowest salaries. Only 36.4% of graduates in humanities branches exceeds 1,500 euros per monthcompared to engineering companies that charge an average of 2,900 euros gross per year. In Xataka | Finding a job had always been a good way to escape poverty: in Spain it is no longer true Image | Anthropic, Unsplash (Tai Bui)

A Brazilian has shown that having Internet in mid-flight is possible with Starlink. It has also shown that it is a real danger

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If the Internet does not reach the plane, let the plane reach the Internet. One of the Azul Linhas Aereas travelers must have thought something like this, who along with another hundred passengers began to discount the first minutes of their flight. A flight that began on the ground but has not yet ended. And our protagonist tried to connect to the Internet during takeoff using a Starlink antenna and a battery that far exceeded the maximum allowed capacity. The flight has landed but is not over. And the company is now investigating what happened. On Instagram. It’s where the Azul Linhas Aereas traveler has published his invention with the following text: “Who hasn’t suffered the frustration of getting on a four-hour flight and not having Internet? When you get on the plane and the WiFi doesn’t work… Your problems are over.” The video briefly shows how the passenger places the Starlink antenna on the window and hooks it to the window blind. From it, a cable hooks up to a large battery stored in the pocket of the front seat. Click on the image to go to the original post What is Starlink? Starlink is a internet service through satellite connection designed by SpaceX, Elon Musk’s company. The system is simple, with thousands of satellites orbiting around the earth, the service seeks to ensure that a small antenna can provide Internet to anyone anywhere in the world, no matter how remote it may be. To do this, the customer mounts the antenna and points it towards the sky. From there a signal arrives that is interpreted by a router included in the pack to, in turn, multiply the signal so that we can connect to the network. Its latency is high compared to fiber optics, so it is not a system to compete with home connections, it is designed to provide Internet to areas without 4G or 5G coverage. And does it work on a plane? Of course, the operation is exactly the same as if we placed the antenna on the ground. In this case, what the airline passenger did was put the antenna in the window pointing outside to improve signal reception. For the rest, it works exactly the same as if we contracted Starlink to have Internet at home. In fact, Starlink service is being offered to airlines. And although it has been the trigger between the latest tantrum between Elon Musk and Michael O’Leary (CEO of Ryanair), the truth is that Starlink will be offered this year on Iberia, British Airways or Vueling flights. And the first tests with United Airlines They were already very satisfactory. Starlink improves what is already known because, although a plane also connects via satellite to offer Internet on its flights, the bandwidths that customers demand and its applications are increasing, which has been reducing the speed of data transfer that each device on board can enjoy. But it’s a danger. However, what this passenger has done is a real danger that is being investigated by the airline. In the Brazilian State Post Office They explain that the Starlink antenna was powered by a 60,000 mAh portable battery. Its 222 Wh capacity is far from the 100 Wh maximum that can be carried on board a plane according to Brazilian aviation regulators. Large power banks can be a danger on board, so Aeronautical authorities limit them in size and number. And it is that batteries can self-combust if a thermal leak occurs, which may be caused by overheating or a blow that results in a short circuit. The problem is already huge if we are on land But it can be much more serious if the plane is fully operational because lithium ion batteries are very difficult to turn off and, in addition, they release gases that are harmful to our health. That is why the size of the battery is limited and if an incident occurs, it is manageable by the crew. Photo | Wikimedia and Fallon Micheal In Xataka | Airlines are beginning to regulate and restrict the use of power banks on airplanes: South Korea leads the way

Zara dressed Bad Bunny at the Super Bowl. That says much more about Zara’s plans than about Bad Bunny

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On the grass of Levi’s Stadium, at halftime of the Super Bowl, the Puerto Rican artist made history Bad Bunny. At an event where ads cost $16 million a minute, he didn’t appear dressed in Gucci or Dior or Versace. Benito Antonio Martínez Ocasio “materialized” with a total look creamy white, almost angelic. A monochrome suit designed to float rather than step on, visually blending with the lime lines of the field. The big surprise was not only aesthetic but also corporate: behind that sobriety was Zarathe flagship brand of Inditex. It was a movement of contrasts. Just a week before, the singer had swept the Grammys with a spectacular design Schiaparelli haute couture. Going from the most exclusive Parisian craftsmanship to retail Arteixo’s overall performance in just seven days is not an accident, but rather a declaration of intent in the most expensive setting on the planet. The architecture of an “anti-luxury” look What we saw on stage was not off-the-shelf clothing, but a designer piece bespoke (custom made). The initial outfit consisted of pleated pants, a shirt, a tie, and a key piece: a padded sports-inspired t-shirt (linebacker) that evoked the protections of American football. All in a sober and calculated, stylized cream tone by his regular collaboratorsStorm Pablo and Marvin Douglas Linares. The design evolved in real time. Midway through the performance, Bad Bunny transformed his silhouette by adding a double-breasted double-breasted blazer in the same hue, elevating the sporty tone to classic sartorial elegance. However, so that no one forgets that sobriety is an aesthetic choice and not an economic necessity, the Puerto Rican maintained a single nod to status superstar on your wrist: an Audemars Piguet Royal Oak watch. A piece of yellow gold 18 carat with a malachite dial that served as a silent reminder: the suit may be democratic, but Bad Bunny’s time is money. Zara’s choice stood out even more due to the contrast with her companions on stage. While he wore the mark of high street par excellence, Lady Gaga appeared with a design from the Luar brand and a brooch representing the flor de maga (the national flower of Puerto Rico), maintaining the dialogue between fashion and cultural identity. This movement represents an alliance where both parties gain cultural capital, but from opposite directions: Zara seeks to rise towards luxury and Bad Bunny seeks to “come down to earth” towards authenticity. According to experts consulted in Guardianlike Professor Andrew Groves of the University of Westminster, seeing a Zara suit on a Super Bowl stage is a statement about the “power shift” (power-shifting). The suit projects authoritybut that authority comes from Bad Bunny’s cultural position, not the seal of a luxury house. It’s a way of saying that style doesn’t lie in price, but in narrative. Furthermore, there was an undeniable language connection. Being the first artist to perform at halftime entirely in Spanish, challenging the Anglo-Saxon hegemony of the event, the choice of a global brand of Hispanic origin came full circle. As they pointed out from the Vigo Lighthouse“Zara is Spanish, as is its music”, the shared language functioning here as a tool for mass projection in the American market, beyond the complex historical legacies. Fast Couture and the commercial counterpoint For Zara, this is the culmination of a strategic shift. The brand issued a statement highlighting that “artistic vision” was prioritized and clarifying a crucial point: this outfit will not be made available for sale. By renouncing the immediate mass sale of the product, Zara positions itself as a creator of culture and visual narrative, moving away from the image of a seller of quick copies. They have preferred the prestige of having been there to the immediate cash benefit. However, the commercial machinery did not stop completely. Here lies the genius of the strategy: while Zara capitalized on the immaterial prestigethe tangible business was at the feet. The sneakers that completed the set were not from Inditex, but rather the BadBo 1.0his most personal collaboration with Adidas. Unlike the unaffordable tailored suit, these did go on sale just 24 hours after the show for about 160 euros. The artist achieved the perfect balance: narrative exclusivity for clothing, mass consumption for footwear. Benito’s clothing functioned as a canvas for encrypted messages that the internet attempted to decode in real time. On the one hand, the padded T-shirt read the artist’s maternal surname, “OCASIO”, along with the number 64. Speculation soared: Was it the year of birth of his mother, Lysaurie? A reference to the victims of Hurricane Maria? A nod to a Billboard music record? Finally, the most intimate answer was given Complex Magazine: The number was a tribute to his late uncle, who wore that number during his time as an American football player. Bad Bunny turned a sports shirt into a family love letter. On the other hand, white as a political response. The color cream/white It wasn’t accidental either. Colorimetry experts They point out that this tone conveys transparency, purity and leadership (“I have nothing to hide”). This visual message gains strength after his speech at the Grammys, where he protested against ICE (Immigration Service) stating: “We are not savages, we are humans.” Wearing angelic white in front of millions of spectators visually counteracts the narrative of danger associated with Latino immigration in certain political discourses. Marta Ortega’s plans To understand why Zara invests resources in dressing a superstar without then selling the clothes, you have to look your recent business strategy. Inditex, under the presidency of Marta Ortega, is trying to distance Zara from the stigma of fast fashion to bring it closer to fast couture or “affordable luxury.” A clear example is the recent reopening of its store in Barcelona, ​​designed by the Belgian architect Vincent Van Duysen with an aesthetic of boutique deluxe. Zara no longer wants to compete only on price with Shein or Primark; wants to compete in image and experience with luxury brands, maintaining affordable prices. Dressing Bad … Read more

The special effects of 2025 are worse than those of 2010. And part of the blame lies with us viewers

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When James Cameron released ‘Avatar’ in 2009, the film industry contemplated what seemed the future of visual effects. The film set a technical standard that, paradoxically, today’s cinema not only has not surpassed, but often does not even reach. The problem is not technological: software tools have advanced exponentially since then. But the industry has evolved in a way that everything looks worse than before. The sooner, the better. It is not necessary to go to the undisputed peak of the digital image that represented Cameron’s movie. ‘Pirates of the Caribbean: Dead Man’s Chest’ featured Davy Jones and his beard of tentacles, one of the best live-action CGI integrations ever seen. ‘Interstellar’ featured the participation of astrophysicist Kip Thorne for their spatial sequences. It is enough to compare the photorealistic texture of Na’vi or Jones with the plasticized finishes of Marvel or DC to see that something fundamental has changed in the way of producing special effects. The common denominator in all of them was time. In this analysis about the visual effects crisisit is explained that the productions of that decade had post-production calendars that ranged between 18 and 24 months. ‘Avatar’ He had two full years for the effects phase. Its consequences have started from comparable times. The spectacular images in ‘Inception’ of the city folding in on itself, another milestone of the era, took months of planning. Luxuries that are practically unthinkable today. Increasingly. The problem is the quantity. The latest studies indicate that while a commercial film from 2010 contained approximately 600 shots with visual effects, current productions usually exceed 3,000 shots. This 400% increase has not been accompanied by proportional budgets or calendars. Quite the opposite: hasty effects, poorly worked compositions and a digital homogenization that detracts from the personality of the images. Tremendous expectations In your situation analysisTreehouse Detective explains the case of the prequel to ‘The Thing’, which in 2011 remade John Carpenter’s 1982 classic. The special effects team Studio ADI, led by Alec Gillis and Tom Woodruff Jr., built physical creatures with animatronics and prosthetics over several months of pre-production. After test screenings, Universal Pictures made a decision that Gillis would rate how devastating: Almost all practical work was replaced by CGI in post-production. Audiences expected to see digital effects in a science fiction horror film and considered practical effects “old-fashioned.” Paradigm shift. This case illustrates a profound cultural shift in expectations. During the 2010s, CGI went from being an exceptional tool for what was thought unattainable with practical effects to becoming the standard. The irony is that the greatness of films like ‘Alien’ or ‘Jurassic Park’ (where CGI was mixed with practical effects) was built precisely on the tangibility of their creatures. But the industry, and with it the audience, developed a dependence on digital finishing that is associated with prestige and quality, regardless of whether the final result can be improved with traditional effects. The economy of effects. The proliferation of streaming platforms has radically reconfigured the economics of special effects. Films produced directly for Netflix, Amazon Prime or Disney+ operate with significantly lower budgets than productions destined for cinemas, while the public maintains their visual expectations. This impossible equation has put pressure on the entire FX production chain. The era of auctions. The contract awarding system has evolved towards an auction model that prioritizes cost and speed over quality. The studios put projects into competition between multiple effects companies. The one who offers to complete the job in less time and for less money gets the contract. This process creates a competitive spiral in which small studios accept unsustainable conditions in the hope of maintaining their position in the market. Studies that close. It is a system that sometimes has extreme consequences. ‘Sonic the Hedgehog’ case: after the public’s rejection of the character’s original design, Paramount ordered a complete redesign. Moving Picture Company, the studio responsible for the effects, had to redo hundreds of shots without a deadline extension or significant additional budget. The studio closed its Vancouver headquarters shortly after, with multiple sources indicating that the project had contributed significantly to their financial problems. It is not an isolated case: Rhythm & Hues, winner of the Oscar for the effects of ‘Life of Pi’ in 2013, declared bankruptcy weeks before the awards ceremony. The company had agreed to complete the job at a loss to maintain its reputation, a pattern that media outlets such as VFX Voice have documented. Visual effects artists and technicians frequently operate in crunch to meet deadlines that were unfeasible from the beginning. The lower union rate In the visual effects sector, unlike other technical departments in film, it leaves these professionals without protection against abusive working conditions. The causes. The deterioration in the quality of the special effects does not respond to a single cause, but to pressures from two opposite directions. Movie studios have optimized their production structures to maximize profit margins, outsourcing visual effects work to companies competing in a wild race. The public has developed inflexible expectations about the omnipresence of CGI, rejecting alternatives. As technology advances, the time and money available to apply it decreases. Just compare budgets: ‘Avatar’ operated on a total budget of $237 million, of which a substantial portion was allocated specifically to technological development and visual effects over several years. Meanwhile, an MCU production distributes a similar budget among multiple items (salaries, marketing) while compressing post-production calendars to just six or eight months to meet immovable release dates, established years in advance. In Xataka | Either CGI designers get their act together or our televisions will continue to put their movies on the ropes

Bad Bunny deleted his Instagram after the Super Bowl. Everything is part of a larger project

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On Sunday, February 8, 2026, Bad Bunny starred in an unprecedented milestone in Super Bowl history by becoming the first solo Latin artist to star. the concert-show during the intermissionin a performance almost entirely in Spanish that reached more than 100 million viewers. Just hours later, the Puerto Rican artist deleted all of his content on Instagramleaving their more than 51 million followers in front of a completely empty profile. The avalanche of speculation has been immediate. What was seen? Bad Bunny’s approximately 13-minute concert turned the intermission into a visual love letter to Puerto Rico. The artist started walking through sugar cane fields, crossed a Puerto Rican street fair and incorporated La Casita, the iconic traditional Puerto Rican pink house that has become a distinctive element of his concerts. The fluidity of the camera, the variety of topics included, the surprise appearances of Lady Gaga and Ricky Martin, or guests such as Pedro Pascal or Jessica Alba stood out. The irony of the scenario. The choice of Levi’s Stadium in Santa Clara, California, as the setting for the largest celebration of Latino culture in the history of the Super Bowl takes on an ironic dimension in the context of 2026: California is going through one of the most intense episodes of immigration enforcement in decades. Immigration arrests in San Diego they shot up 1,500% compared to the previous year. For this reason, the political context surrounding the performance was especially tense. In October 2025, when the action was announced, Homeland Security Secretary Kristi Noem declared on a conservative podcast that ICE would be “everywhere” at the Super Bowl and that “only law-abiding Americans who love this country should attend.” The Trump administration had intensified raids in Californian cities while the Puerto Rican artist publicly expressed his fear that “the damn ICE could be outside” his concerts, which is why he canceled several on the US mainland and focused on his residence. Bad Bunny closed his performance with a bright sign that read “The only thing more powerful than hate is love.” Beyond music. ‘‘I should have taken more photos’, the artist’s latest album, has been described as “a cry of resistance” for Puerto Ricans everywhere: it is about preserving a culture in danger of disappearing. It was recorded entirely in Puerto Rico with collaborators exclusively from there. The 13-minute short film that accompanied the release of the album explores themes of loss, displacement and the fading of cultural identity. The project’s mascot is an endangered toad. And songs like ‘What Happened to Hawaii’ address issues like gentrification. This political charge is not new in the artist’s career. In July 2019, interrupted his European tour to return to Puerto Rico and join the massive protests demanding the resignation of Governor Ricardo Rosselló. In 2020, made visible on ‘The Tonight Show’ the murder of Alexa, a Puerto Rican trans woman. The Super Bowl performance was not an isolated event but the continuation of a narrative meticulously constructed across multiple platforms. The visual coherence (La Casita, the flags, the aesthetics) are the constant reminder that each performance is a chapter of the same project: pan-Latin representation in times of adversity. The strategy continues. The emptying of Bad Bunny’s Instagram profile just hours after his performance at the Super Bowl is not a break with his communication strategy, but rather its confirmation. In 2022, before the release of ‘A summer without you’, used the same tactic to generate expectation. That album would become the most successful Spanish album in history. In 2023 repeated the procedure after their world tour, announcing a period of hiatus. The difference in 2026 lies in the political context surrounding the gesture. While previous wipes functioned primarily as a prelude to new musical releases, this one comes on the heels of the most politicized performance of his career, which has included criticism of trump and threats from Secretary Noem. Unlike similar maneuvers that they already did Taylor Swift or Beyoncé, with this Bad Bunny continues with the construction of his transmedia project, whose next step is a world tour that will take the message to Australia, Japan or Spain, among other destinations. Each platform (the album, the stage, social networks) becomes a chapter in a story about Latin identity that transcends the merely commercial. In Xataka | Spotify killed the record and the industry pivoted to concerts. Netflix killed cinema and the industry was left with a “space crisis”

ASML CEO knows the whole world depends on her

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The European Union has announced the inauguration of a new research center dedicated to the development and manufacturing of semiconductors. The project, called NanoIC, wants to become one of the fundamental pillars of the European Chips Act program. 2.5 billion euros on the table. The total budget is 2.5 billion euros, of which 700 million come from EU funds. Another 700 million will come from regional and national governments, and the rest will put ASML on the table and other industrial partners. What is Imec. In reality the project is an expansion of the Imec facilities at its headquarters in Leuven, near Brussels. This body does not manufacture commercial chips, but is the “laboratory” in which rival companies such as Intel, Samsung or TSMC collaborate to define the chips of the future. clean rooms. This is a new clean room (“cleanroom“) of 2,000 square meters which will among other things house ASML’s new next-generation High NA EUV scanner which is expected to arrive in mid-March. The total area of ​​Imec’s clean rooms amounts to 12,000 square meters and the company claims that this makes it a central part of the Chips Act strategy. Imec will soon build another 4,000 square meter clean room on the aforementioned Leuven campus. Everyone loves ASML. ASML CEO Christophe Fouquet highlighted the leading role that your company has managed to achieve thanks to its semiconductor manufacturing machines, the only ones in the world capable of producing the most advanced chips today. As he said, these are the machines “that everyone would like to have.” China sighs (for now). He is right: today the US is a key trade ally but does not have comparable technology of its own, and China has been trying to develop extreme ultraviolet machines for some time. but for now he is still behind in that race. Obviously Europe depends on the US and China in many other areas, but ASML is certainly a clear technological asset for European interests. Inverse dependency. The vice president of the European Commission, Henna Virkkunen, indicated in a interview with Politico that “it is true that we have some of the key technologies, such as ASML, that everyone is dependent on globally.” He explained, of course, that the EU has no plans to turn that into a weapon for potential negotiations, “but it is important to realize that we have those strengths that others do not have.” Changing the story. These statements undoubtedly seek to counteract the idea that Europe depends totally on American technology, demonstrating that the old continent also has its own levers to negotiate. Digital sovereignty. The EU is expected to prepare a second Chips Act which should be presented at the end of March and which would clearly differ from the first. Instead of an emergency response to a project that will turn Europe into a competitive region at a technological level. But. The initiative is striking, but it also has important challenges. We are looking at a research center and that means that its size and budget cannot be compared with those investments in data centers made by large US technology companies. But in addition to that parameter there is another even more relevant one: that of talent. Europe must train and attract enough engineers to operate these centers and develop that work there and not in companies or centers that compete in other regions, including of course the US and China. In Xataka | We already know what the chips that will arrive until 2039 will be like. The machine that will allow them to be manufactured is close

Ten years ago, we were afraid of fast charging. The 10,000mAh batteries are going the same way

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The world of smartphones is divided in two: a Chinese market betting on gigantic silicon-carbon and some “traditional” manufacturers who do not dare to take the leap. This weekend, the controversy was sparked by YouTuber Marques Brownlee, after publishing a video that has surpassed one million views in less than 24 hours. what has happened. “The problem with smartphone batteries”is the title of a video that has spread like wildfire among the community tech. In it, he explained some of the problems that silicon-carbon batteries supposedly suffer from, a technology that China is betting on to boost the capacity of its phones. above 10,000mAh. The problems. Silicon-carbon batteries are not a new technology, but they have been starting to be implemented in smartphones for just two years. During this time, there are several concerns on the table. Possible swelling due to the expansion of silicon: with each charge, a battery contracts and expands. Silicon can triple its volume, generating greater internal stresses in the battery. At the same time, there are fears that this expansion-contraction cycle could cause cracks and leaks in the battery. Need for reinforcement in battery compartment (such as small steel cages) to contain swelling. Long-term reliability not yet demonstrated in smartphones. Yes, but. Concerns about whether silicon-carbon batteries are safe or not are legitimate. Just as, back in the day, we were worried that a mobile phone with “fast” charging like the OnePlus 3 in 2016 (those times when Dash Charge was 30W) could explode. Today there are already mobile phones with 120W. The first commercial mobile phone to incorporate this type of battery was the Honor Magic 5 Pro in its Chinese version. No cases of the slightest problem have been reported to date in its more than two years of life. Manufacturers do not go crazy. Manufacturers are more than aware of the possible dangers that these types of batteries can have, and equip their phones with specific chips to control the charge in real time if excess heat is detected. Some brands, like Honor, go so far as to create microscopic tunnels in their batteries so that lithium ions can reduce chemical friction. Because yes, although carbon silicon batteries are called that, they are not made of pure silicon, they are a natural evolution of lithium batteries themselves. It’s not that easy. The next challenge after the introduction of silicon-carbon batteries has been to take advantage of their ability to store greater energy in a smaller size to achieve barbaric capacities: 7,000mAh, 7,500mAh, 10,000mAh. Energy densities notably higher than those that large manufacturers, such as Samsung, Apple and Google, currently mount in their high-end phones. Here an extra degree is added to the uncertainty: not only do we have more modern and not so tested batteries, but we also have capabilities that make their behavior even more unpredictable. Go deeper. The war for high-capacity batteries adds, apart from doubts about their reliability on the part of some manufacturers, logistical and economic challenges. They are more expensive batteries, and some manufacturers They are not taking them out of China yet. for that same reason. Added to this is that although the spec sheet tells us about milliamp hours, the main measure to determine the energy capacity of a battery is watt hours (Whr). Europe does not like batteries with more than 20 Whr, and they require longer and more expensive transport and authorization protocols. If the RAM crisis threatens to skyrocket the price of smartphones, thinking about incorporating significantly more expensive batteries does not seem like a viable plan to maintain the current margins of large manufacturers. Image | Apple In Xataka | We already know why mobile phones with 6,000mAh are not arriving in Europe: there is a clear person responsible

charge double for more speed

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Anthropic just launched Fast Mode for Claude Opus 4.6a configuration that allows you to obtain model responses up to 2.5 times faster. Of course, it will also affect our pocket, since the price also multiplies. Although right now this is an experiment aimed at professionals who need speed in critical tasks, it is also a move that we are starting to see more and more: monetizing AI tools with incremental improvements with what is already in place. And of course, if this reduces that margin between expenses and income of its operations, better and better. What Anthropic has announced. Fast Mode is neither a new model nor a trimmed version of Opus 4.6. It is the same intelligence, with the same reasoning capacity, but configured to prioritize speed of response over cost efficiency. According to the companyoffers 2.5 times faster responses while maintaining the same model accuracy. At the moment it is available in the testing phase for Claude Code users who have the additional use activated, and also on platforms such as Cursor, GitHub CopilotFigma or v0. The hit to the pocket. While Opus 4.6’s Standard Mode charges $15 per million input tokens and $75 per million output tokens, Fast Mode multiplies those fees: $30 input and $150 output for contexts under 200,000 tokens. In longer contexts, the output rises to $225 per million tokens. Anthropic is offering a 50% discount until February 16, but we’re still talking about a significant increase. The bill especially skyrockets if you activate Quick Mode mid-conversation, as it charges full price for all the previous context. Who does it make sense to? Anthropic says that Fast Mode is designed for interactive work where latency matters more than cost. Real-time debugging, fast code iteration, urgent fixes before a deadline. Situations where waiting breaks the workflow. According to the official documentationit doesn’t make sense for long standalone tasks, batch processing, or jobs where the budget is tight. If Claude is going to spend 30 minutes refactoring code in the background, paying more for speed doesn’t add anything. The signal that sends the market. Fast Mode is not just a premium option. It’s Anthropic testing how far its professional clients are willing to go to achieve fluency. And by the way, sending a message: improvements in speed and user experience are going to cost more and more. The company needs to close the gap between what it spends on computing and what it makes, and it’s doing it faster than its customer base needs to be faster on computing. Fast Mode is billed directly as additional usage, completely skipping the fees included in subscription plans. Between the lines. Anthropic’s move fits into a broader trend. AI models are reaching a level of capability where “revolutionary” improvements are increasingly rare. What remains are incremental adjustments: a little faster, a little more context, slightly more precise responses. But those settings require massive infrastructure and face. So companies in the sector are trying new ways to monetize what they already have. In this case, charge much more to do the same thing, only faster. It is making performance profitable as a premium service. The speed trap. “Speed ​​is addictive”, counted Civil Learning in his Medium article. Once you experience a model that responds instantly without losing reasoning ability, going back is frustrating. Anthropic knows this. Fast Mode doesn’t just sell speed, it sells the ability to maintain flow during intense programming or debugging sessions. And once you get used to it, it’s hard to give it up. And now what. Fast Mode is a research preview, meaning both features and pricing are subject to change. Anthropic plans to expand access to more API clients, but for now it keeps it under control. The key will be to see how many professionals are willing to pay that extra price on a sustained basis. Cover image | Anthropic In Xataka | ChatGPT is increasingly turning to a source that supplants Wikipedia: Elon Musk’s Grokipedia

can’t handle the tourists anymore

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A few years ago the inhabitants of Fujiyoshidaa city in the Yamanashi prefecture, in Japan, realized that they were missing out on a tourist treasure. The town is just a couple of hours by train from the capital and enjoys privileged views of one of the country’s great icons: Mount Fuji. With those wickers and taking advantage of their own landscapes, in 2016 Local authorities promoted a festival focused on the flowering of cherry trees. Now Fujiyoshida has a problem: his plan to attract visitors has worked surprisingly well. So much so that has decided to cancel it. What has happened? That at Fujiyoshida they have encountered a curious problem. In 2016, the authorities promoted an initiative to attract visitors from the rest of Japan and other countries. Now, ten years later, the plan is working so well that its proponents have backed down. In fact they have canceled it. The reason is simple: Fujiyoshida has become a very popular destination among foreign travelers, which in turn translates into the arrival of millions of yen. The problem is that its neighbors have concluded that even that flow of money does not compensate for the inconvenience of being invaded by hordes of tourists. But what about that… why? Basically because Fujiyoshida has ended up becoming a huge photocall outdoors. The city is very close to Fuji and also has large areas of cherry trees that become a real spectacle during the spring, during the flowering season. In 2016, those in charge decided to add both ingredients (the views of Fuji and the traditional Sakuracherry blossom) and promote a festival in Arakuyama Sengen Park. There, tourists will find cherry trees, a pagoda and, above all, impressive views of Fujiyoshida with Fuji in the background. everyone’s dream instagramer who wants to brag about their trip to Japan. What is the problem? That Fujiyoshida hit the nail on the head. Their festival was a success. Tremendous. According to precise According to the Kyodo News agency, during the cherry blossom season the city welcomes more than 10,000 visitors a day. Throughout the year the total count is around 200,000 tourists. Not bad for a population that in 2020 did not exceed 50,000 residents. The avalanche of tourists is so brutal that, despite its enormous economic impact, the city has decided to cancel the festival this year for the sake of something more important: preserving “the quiet life” of its residents, now “threatened”. Is it that serious? It seems so. At least if we pay attention to the local and international press. The BBC speaks from traffic jams, garbage problems and challenges directly related to bad visitor behavior. To be more precise, he cites cases in which tourists have sneaked into houses to use the bathrooms or even defecated in gardens. “We have an intense feeling of crisis,” confess the mayor of the city. From looking for a way to attract visitors, Fujiyoshida has become “overwhelmed” and saturated by an “excess of tourism” that “seriously impacts” the daily lives of its neighbors. And what is he going to do? The authorities have decided cancel the festival this year, although they are aware that after a decade of tradition it is likely that tourists will continue to arrive during the months of April and May to enjoy the views from Arakuyama Sengen Park. Hence they have decided to reinforce security and deploy extra measuressuch as installing portable toilets, strengthening security and establishing a system of temporary parking. Whatever it takes to control the congestion of tourists around the park and prevent the avalanche of visits from altering the lives of the neighbors. Is it a specific problem? No. And that is why the Fujiyoshida case is so interesting. The general recovery of international tourism after the pandemic, the yen weakness and above all the popularity it has gained on the networks has made Japan a coveted destination for tourists from half the planet. In 2025 the country will receive 42.7 million of foreign visitors, almost 16% more than in 2024 and well above the 31.9 million before the pandemic. This boom has not always been easy to digest in the busiest areas, such as in Kyoto, where there have been problems with tourists that harass the geishas. Probably the most popular case is Fujikawaguchiko’sa town that even installed a large screen that blocked the views of Mount Fuji. The objective was the same: to remove the attractiveness of a place that had become a hotbed of tourists. Beyond Japan, other countries such as Italy either even Spain They have moved to protect themselves from the avalanche of tourists and their impact. Images | Giuseppe Milo (Flickr) and Olivier Bruchez (Flickr) In Xataka | Japan has found the three most serious problems with the massive arrival of tourists. And none of it has to do with tourists.

ended up giving away $40 billion in bitcoins

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One of the largest houses in cryptocurrency exchange from South Korea wanted to reward its users with a symbolic promotion for their operations. However, a mistake has made the promotion of the company on everyone’s lips today…and not exactly for the better. For a few minutes, several hundred customers Bithumb They saw their accounts filled with bitcoins worth several billion dollars. What should have been a small promotional prize turned into a mistake that, on his screen, became billionaires to normal users. A conversion error. Bithumb’s original idea was to offer a reward of 2,000 won (approximately $1.37 in exchange) to users who participated in a company promotional event. The equivalent of a welcome coupon for newcomers. The problem came when, instead of sending that small amount in won, the system ended up sending bitcoins to the accounts of the new clients. According to published the BBCthe failure occurred when an employee entered the indicator “BTC” in the payment field instead of “Korean won”, so the platform executed the reward in cryptocurrencies instead of local currency. That simple misplaced piece of information led the company to mistakenly transfer some 620,000 bitcoins, a figure that, at current prices, is around $44 billion. A mistake that destabilized the market. Bithumb estimated that about 249 users of its platform received bitcoins by mistake and the failure affected about 695 clients who operated on the platform. It is estimated+ that, on average, each user was assigned about 2,490 bitcoins, which represents a value of around 144 million euros. Seeing the new balance of bitcoins in their account, several of these new “accident millionaires” rushed to sell, generating an avalanche of orders that caused the price of bitcoin to fall within Bithumb itself. about 10% in a matter of minutes. Bithumb hit the panic button. When the company realized the error, it began to apply restrictions to affected clients, temporarily limiting operations and withdrawals to stop the leak of funds. In its assessment of the incident, Bithumb assures which managed to recover approximately 99.7% of the 620,000 bitcoins that were left by mistake, which would leave about 125 bitcoins still pending recovery. The company also points out that what has already been recovered includes some 1,663 bitcoins that users they managed to sell before the platform’s “panic button” was pressed, which activated transaction blocks. Lee Jae-won, the company’s executive director, assured that the company will take the incident as a lesson and will prioritize “customer trust and peace of mind” over external growth. “Paper” Bitcoin. The case has reopened the debate about the so-called “paper bitcoin”, in reference to those transactions that exist within the internal systems of the exchanges but do not always have the real assets that support them behind them. The sum of bitcoins that suddenly appeared in the accounts far exceeds the $5.3 billion in bitcoin assets that Bithumb claims to be in custody, making it clear to what extent much of that “wealth” was only on paper in its internal books. It’s not the first time it happens. It is not the first time that a banking or financial entity makes its users millionaires in a “magical” way. He Financial Times counted a few days ago how Citibank made one of its clients a billionaire by transfer 81 billion dollars when he intended to send him a payment of $280. As happened with the South Korean bitcoin exchange, the bank realized the error and fixed it (unfortunately for the user) in 90 minutes. However, the simple fact that a human error when indicating a figure or inserting the type of currency can shake the entire bitcoin market has set off alarms in the South Korean Financial Supervisory Service, which has announced reviews and does not rule out opening formal investigations if they detect serious failures in internal controls or signs of illegal activity. In Xataka | Cryptocurrencies were supposed to become “independent” from the power of states. The US just killed him with a stroke of the pen Image | Unsplash (Michael Fortsch)

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