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A professor from Malaga decided to rewrite ‘Don Quixote’ in Gothic calligraphy. Now he says it’s worth a million euros

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Manuel Marín Navarro, artistic drawing teacher from Vélez-Málaga, had an idea. “A madness”, rather, as he himself says: rewriting the entire great work of Miguel de Cervantes using Gothic calligraphy. By hand, dedicating between 7 and 8 hours a day. It’s been six years, seven months and 26 days and he still hasn’t completed the 344,000 words that make up the, why not say it, best book in the history of universal literature. Anyone would say of ‘The Quixote’ rots sanity. Wait, I emphasize it well, then Jesús G. Maestro gets angry: ‘The ingenious gentleman Don Quixote of la Mancha’. Miguel de Cervantes gave birth to a textually transmitted virus and, four centuries later, the pathogen is still free. Rewriting the 2.1 million characters in a Gothic font, letter by letter, ink on paper, is his great dream, the legacy of a life. A retiree doing lettering with the pulse of a teenager on TikTok? The difference here lies in the commitment. His company borders on the wild: the final book is on its way to weighing 20 kilos and, if it goes on sale, the author values ​​this monstrosity at one million euros. Shooting low. That million euros is a calculation that obeys pure labor arithmetic. Marín Navarro added hours, days and years, after such a monastic confinement in front of the folio, he estimates a salary equivalent to that of a medieval copyist in the current market. Not in vain has he drawn two million one hundred thousand characters with a pen. Pens that he has made himself. It has filled one thousand three hundred and five giant-sized (A3) pages. His cellulose monster is called ‘El Quixote Axárquico’, an orthographic nod to the princes edition of 1605. A geographical tribute to his native Andalusian region. The best book, the neatest edition. “I play music from the 17th century, I get into the character, I read the chapter first, I get the idea and then I start writing. I’ve enjoyed it a lot.” The devotion of this professor and writer for the work of Cervantes is indisputable. Of his personal library, which houses more than 4,000 volumes, three hundred of them are different editions of the hidalgo from La Mancha. At home he keeps eccentric jewelry and pays fortunes at closed auctions. Its most expensive copy cost 6,000 euros. It treasures absurd physical oddities, like a miniature tome printed on a single sheet. That is, the reader needs a powerful magnifying glass in front of that tiny paper. But his recent Gothic manuscript breaks any balance. The dimensions of the work require a brutal binding, so the professor is looking for a brave craftsman. It will take the entire skin of a cow to cover the caps. From prison to museum. And anyone who knows the biography of the writer from Alcalá de Henares well will know that he set foot on the cobbled streets of Vélez-Málaga. The roots go back a long way: he walked there in the hot summer of 1594, acting as a tax collector for King Philip II. He collected money and wheat for the coffers of an insolvent and corrupt empire. And the crown excommunicated the novelist twice for his zeal. What’s more, Cervantes collected debts from the all-powerful Church and it is said that the priests kicked him out of the atriums. A Sevillian bank went bankrupt with the royal collections deposited and that is how Cervantes ended up in a damp and gloomy cell in Seville. And there the figure of the crazy gentleman was born, influenced by Italian literature. Andalusian tradition venerates this prison origin of the work. And of course, Marín Navarro has decided to return the geographical favor to his land, giving his manuscript to the city Museum. The old San Juan de Dios Hospital will host this literary mammoth as long as no one sells the original volume to private funds, nor prints cheap copies for clueless tourists. He reserves a personal and final facsimile: the mother manuscript will sleep under institutional lock forever. Why gothic letters and not Comic Sans. It’s not because Marín Navarro is reviewing HIM or the work of Bauhaus and The Cure. On the contrary, the man from Malaga listens to lute and harpsichord madrigals locked in his study, assimilating tragedy and comedy in silence, using the best black Chinese ink, writing slowly. It takes a whole day to fill out a single page—the first page took a full week of trial and error. To avoid frustration with marks, ten handmade pens were made from reed and metal and it was imposed not to use modern white correctors, scraping the paper with a sharp blade if a mistake was made. As for the use of Textura font, which imposes straight lines and sharp angles, it is simple: history. Johannes Gutenberg applied it in his first printed Bible and German monks perfected it in monasteries. It is not the natural calligraphy of the Spanish Golden Age but it is the one associated with arcane knowledge. The Gothic line provides a brutal dramatic weight and requires much greater physical rigor in the wrist. Navarro does not give up: infected with COVID-19, during confinement the fever kept him in bed. Giving classes with a webcam, he pondered whether to give up or what, but in the end he pulled through and returned to writing the hard way. Between dirty cottons and blows, he already accumulates typos for the interior endpapers of the book. Illustrated by the best. Pictorial art always attacked the Cervantes novel with obsession. It was Gustave Doré who established the visual image in the 19th century—he traveled through Spain in 1861 and drew 370 detailed engravings. Many others wanted to repeat the play. Pablo Picasso sketched the starving silhouette in 1955, using the same black India ink. Salvador Dalí did the same with an American edition in 1946. And ignoring the works of Salvador Tusell, even the comedian Antonio Mingote contributed his … Read more

Airbus leaves its aircraft engines in the hands of others. With hydrogen he has decided to enter that business

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Airbus has built some of the world’s most important commercial aircraft for decades, but its engines have always come from outside. Rolls-Royce, GE Aerospace, Pratt & Whitney and CFM International have occupied that specialized space, while the European manufacturer concentrated on design, integrate and assemble the aircraft. That separation has been one of the unwritten rules of the industry. Now, the search for a hydrogen-powered plane has led the group to cross a border that until today it had preferred to keep intact. The movement will take shape, if it overcomes the pending steps, in a joint venture between Airbus and MTU Aero Engines. Its objective will be to bring together in a single organization the development, testing, certification and commercialization of a fully electric propulsion system powered by hydrogen fuel cells. For now, both companies have signed a non-binding agreement and the operation remains subject to regulatory authorizations and the corresponding labor consultation processes. The forecast is that the new company will begin operating in 2027. Airbus wants to manufacture the heart of its future hydrogen plane The operation represents Airbus’s first foray into the manufacture of complete aeronautical engines. The step breaks with a model in which manufacturers define and integrate the aircraft, but leave the propulsion in the hands of specialized companies. The European firm does not intend to compete with them in the conventional engines that its models currently use. Its entry will be limited, at least for now, to a technology still in development that Airbus and MTU want to transform into an industrialized and certifiable system. The two partners come to the project from complementary positions. Airbus brings its knowledge of commercial aviation programs and its experience in fuel cell and liquid hydrogen propulsion; MTU adds capabilities in engine design, integration, validation, certification and maintenance. The final terms of the future partnership are still being negotiated. The Financial Times maintainsbased on two sources close to the talks, that the European manufacturer would have close to 75%, that the valuation could exceed 1.2 billion euros and that both parties are inclined to install it in Germany. Recreation of the ZEROe turboprop concept presented by Airbus in 2020 The initiative also reflects how ZEROe has changed since its launch in 2020. Airbus initially aspired to introduce a hydrogen aircraft around 2035, but ended up recognizing that the technology and the necessary ecosystem would not advance in time to meet that horizon. The British newspaper now places the launch in the 2040s and claims that the readjustment included a budget reduction and the reassignment of staff. After reviewing the program, the group decided to prioritize an all-electric architecture based on fuel cells. The prioritized architecture would not burn hydrogen inside a turbine. The fuel, stored in a liquid state, would power fuel cell systems that would electrochemically combine it with oxygen to produce electricity; That energy would later reach the electric motors responsible for moving the propellers. It should not be confused with the direct combustion demonstrator that Airbus and CFM International had planned to test on an A380. That was a different technological path. The system would not produce direct CO₂ emissions during the flight and would have water as a byproduct of the reaction. The announcement does not immediately bring a hydrogen plane closer to airports. As we say, the future society must still be established, convert the research and results of the demonstrators into an industrialized and certifiable system, and face obstacles ranging from weight and cooling to fuel supply. There is also no assigned model nor a confirmed commercial calendar. Images | Airbus In Xataka | Spain promised them very happy with the European hunting megaproject. Until a rival appeared out of nowhere: Italy

Every time a rocket ship fails, an industry grows. And China has just decided that it wants to be the owner and mistress

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In 2016, a SpaceX’s Falcon 9 exploded at Cape Canaveral destroying Israel’s Amos-6 communications satellite. Luckily, like when you get hit by a car while parking, there was insurance behind it that paid for the mess because the incident cost almost 300 million dollars. Because imagine that your latest and most ambitious project explodes and that as a consequence you end up bankrupt. Insurance is that industry that when everything goes well seems like a superfluous expense and that saves you when there is an accident. Applied to space, they move more than 4 billion dollars a year. Well, space insurance is undergoing a historic transformation: China has decided who no longer wants to be a mere customer, she wants to be the owner of the business. China goes from client to insurer. China had been insuring its satellites for years through the state insurer PICC, but part of the real risk was absorbed by the international market via reinsurance. So when ChinaSat-18 failed in 2019, it was foreign insurers that absorbed part of the hit, according to SpaceNews. China paid the premiums and London and Paris, where space reinsurance business is concentratedthey stayed with the business. Everything changed in March 2025: a consortium from Beijing covered 25 private launches for $1.47 billion in its first year, bringing together domestic insurers so that everything, money and control, stays at home, according to Caixin Global. It is the first consortium dedicated exclusively to the Chinese commercial aerospace sector. Why is it important. Because if there is no insurance, there is no investment and without that financing there are no rockets either. A fact: a geostationary satellite costs between 150 and 400 million dollars to manufacture and launch, according to the Satellite Industry Association. If there is a failure, the economic impact is tremendous and could lead to the bankruptcy of the operator, so having an insurance policy is a condition for any investor to dare to put money into a space project. Controlling space insurance is controlling who can take certain risks and how. The Chinese government is clear: according to the IISSShanghai allocated 300 million yuan in subsidies to the commercial aerospace sector in April 2025, and Beijing has announced targeted insurance premium subsidies for space companies. China replicates the move it has already used in semiconductors or batteries: state push to achieve strategic independence. Context. The space insurance market is growing simply because the commercial space sector is also growing, and because insurance is an essential condition for operating in it: Space Liability Convention of 1972 establishes that states are responsible for damages caused by their space objects. Lloyd’s of London has been insuring satellites since 1965 and for decades, this was a closed market dominated in Europe by companies such as Munich Re, Swiss Re or AXA XL. According to Orbital Radarthis market generates between 500 and 600 million in annual premiums and remains concentrated in London, Paris and Bermuda. SpaceX changed everything: more launches, lower unit cost, new risk profiles… and now new Chinese private launchers such as LandSpace, CAS Space, Space Pioneer bring a new transformation: everything stays at home, China cooks it and China eats it. In detail. As with cars, insurance premiums depend on the history of the rocket and here China has a potential gap to slip through: for new rockets with no history, the premiums are very high. Orbital Radar Explained that launch premiums range between 5% and 15% of the insured value depending on the vehicle and orbit. Therein lies the great advantage of the Chinese consortium: it can take risks where other insurers put their “buts.” A revealing fact: of 10,000 active satellites in orbit, only 300 have insurance, according to Space Insider. In fact, SpaceX does not even externally secure its own Starlink. Yes, but. The market that China wants to enter with everything is in trouble: in 2024 it paid more in claims than it earned in premiums, according to Insurance Business Magazineamong other things due to the loss of Intelsat 33e. And it’s going to get worse: space debris is growing faster than the ability to calculate it and here China is largely to blame. Furthermore, in accordance with the regulations OFAC of the US Department of the Treasury.when a Chinese rocket fails, American and European insurers can’t always pay: Western sanctions legally prohibit them from dealing with certain Chinese assets, so the market is fragmented. In Xataka | SpaceX has always been 10 years ahead of the competition. The problem is that in China that law no longer applies. In Xataka | The race to become “China’s SpaceX”: who’s who in its private space launch sector Cover | Ivan Diaz and zhang kaiyv

After Germany did not rate Uwe Boll’s new film by age, Elon Musk decided to premiere it himself on X

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The German FSK, the German age ratings body (private, self-regulated by the film industry, not related to the government) has been denying age ratings to films of extreme violence for decades. This time a controversial decision with the latest film by one of the most disastrous directors of all time has ended up resulting in the richest man in the world publishing it on his social network as an act of resistance against state censorship. Let’s see who is right in all this hubbub. But who…? Uwe Boll is a German director and producer known primarily for his film adaptations of video games. Terrible adaptations: ‘BloodRayne’, ‘Alone in the Dark’, ‘In the name of the king’ (based on ‘Dungeon Siege’) or ‘Postal’ are some of them. Despite some occasional successes (‘House of the Dead’ has a very nice trotting edge), Boll has deservedly earned the fame of being one of the worst directors in history, a fame only surpassed by his ingenuity when it comes to organizing publicity stunts, such as sketching evenings against his critics. What is it about? A former American military man based in Europe inherits his father’s real estate business. After witnessing the murder of a mother at the hands of migrant criminals, he decides to take justice into his own hands and begins a violent campaign against criminals and corrupt judges that turns him into a viral phenomenon: celebrated by many, and also persecuted by law enforcement and powerful enemies. Citizen Vigilante. His new film, written, produced and directed by Boll himself, was released on June 19 in a few theaters in the United States and on digital through Quiver Distribution. The protagonist is Armie Hammer, a detail of the casting that adds murky layers to the film: it is Hammer’s most relevant role since his career sank following allegations of sexual assault and emotional abuse in 2021 (with unspeakable overtones of cannibalism), although the investigation concluded without charges. Hammer recognized that ‘Citizen Vigilante’ was his first job offer in five years, and that when Boll called him, he burst into tears. Boll, very cunning, chose Hammer deliberately. As explained“I hired him because he is a great actor and also because he had been canceled and wanted to work. They didn’t accuse him of anything, there was no lawsuit. He was just a famous guy who had behaved badly.” It is an important detail: the casting is already a political statement, as it could not be otherwise, anti-woke. The role of the FSK. The FSK denied the film an age rating in two successive rounds. And although Boll calls it state censorship, it is not. The FSK is an entity serving the film industry itself, not a government body. The State only intervenes when a work violates current criminal laws, so Boll could have released his film without going through the FSK. Of course, there are commercial consequences: without the rating, the film cannot be shown in multiplexes or sold on DVD in large stores, and platforms such as Netflix in Germany do not include it in their catalog. But of course: Boll himself welcomes this decision by the FSK: without this extra publicity, ‘Citizen Vigilante’ would have gone unnoticed. The scandal is part of the film’s dissemination campaign. Enter Musk. Since December 2025, X has been in open conflict with the European institutions. That month the European Commission imposed a fine of 140 million dollars to X for failure to comply with the Digital Services Act, the law that forces platforms to combat misinformation and illegal content. In February 2026, X filed an appeal with the General Court of the European Union, alleging serious procedural errors and bias in the investigation. The publication of ‘Citizen Vigilante’ in Musk’s TL It fits perfectly with that narrative: Europe censors, X is a territory of freedom. Of coursethe reactions of those close to Musk (Libs of TikTok, Alex Jones, Milo Yiannopoulos) were immediate. But we have already seen the reality of the matter: no one has censored ‘Citizen Vigilante’, which has simply been rejected at a private ratings board. To watch. As is usual in cases of films used as throwing weapons between political factions, opinions are dispersed: audience score of the 93% on Rotten Tomatoesbut only three critic reviews, all negative. Variety He said the film is “so astonishingly bad that it almost seems like Boll is deliberately sabotaging his protagonist, whose return can only be harmed by this project.” But thanks to Musk’s push, he is in the 31st place on IMDB. For now, until tomorrow the film will be able to be seen on X, on Musk’s own account. The movie is possibly horrible. But not everyone can boast of having Elon Musk as an enthusiastic distribution partner. In Xataka | Elon Musk is going to turn 4,000 workers into millionaires and himself into a billionaire thanks to one thing: SpaceX

Centuries ago, the merchants of a town in Segovia decided that no one would understand them. They ended up creating a unique language

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It does not reach 3,700 inhabitants and it is almost an hour from Segovia capital and 90 minutes from the center of Madrid, but Cantalejo (Castilla y León) hides a fascinating treasure, one of those that cannot be valued in euros or any other currency. For centuries this small town in the Duratón region has been the epicenter of a unique dialect: the gallerya jargon once used by threshing floor merchants and which, according to some experts, draws on words taken from other languages, such as Basque, Galician, French or Arabic. Now he keeps a pulse so as not to disappear. What is the gagaría? The “jargon of the Cantalejo thrillers.” Or at least this is how he defines it the ‘Dictionary of Current Spanish’ of the BBVA Foundation. However, to fully understand the history and relevance of the gacería (or briquero) more nuances must be taken into account. Its richness of lexicon means that it is often presented more as a ‘dialect’a ‘linguistic variant’ or even a language. Its use has also transcended artisans and threshing floor merchants to extend to other areas. Nowadays there are websites where is documented the vocabulary and expressions of the slang and even published works in the slang, including a hobby book and a translation from ‘The Little Prince’ by Antoine de Saint-Exupéry, whose briquero title would be ‘The cocky pitoche’. Its footprint also expands beyond the municipal area of ​​Cantalejo, with echoes in other neighboring towns in Castilla y León. More than 300 words. As Professor Sara Engra explains in an article On the subject, the gazería presents some interesting peculiarities. At a linguistic level, in terms of word structures and intonation, it conforms to Spanish norms. Also its syntax. What differentiates it is its lexicon. “It is limited to replacing Spanish words with (mostly) borrowings from other languages,” explains the linguist, who gives as an example ‘The gazebo is garnished by the briqueros of Vilorio Sierte’which would be translated as ‘The gacería is spoken by the inhabitants of Cantalejo’. The structure of the sentence, the use of verbs or plurals is similar to Spanish, the lexicon changes. What makes slang so amazing is your vocabulary and how you have formed it. The web Cantalejo.comwhich is dedicated to collecting words and disseminating the characteristics of speech, assures that the briquero is made up of 353 terms, almost all nouns, although there are also 40 verbs and a handful of adjectives, such as ‘serte’, ‘gazo’, ‘pitoche’ either ‘sievo’which in Spanish mean, ‘good’, ‘bad’, ‘little’ and ‘old’. Other sources raise their lexicon to about 500 words. From Basque to Arabic. Beyond its greater or lesser richness of vocabulary, the most striking thing about the gacería is the origin of those more than 300 words that make up its slang. Engra remembers that there are terms from Basque, Galician and Catalan, but also others imported from Arabic or even Galicianisms. The linguist specifies that in some of the words of Cantalejo’s slang another phenomenon can be seen: metathesiswhich basically consists of changing the place of one or more sounds or syllables of a word, as may be the case of ‘miraglo’ instead of miraculo or ‘murciégalo’ for bat. If we review the lexicon of the gacería we can see that there are terms that derive from Spanish through this ‘deformation’. It is not his only strategy for creating words. Another, just as interesting, is to recover rarely used words and use them to indirectly refer to a new reality. Engra cites a specific case: significant (“carrying a sign”) is changed to ‘sinifaro’which means ‘civil guard’. Other peculiarities of speech are its intonation and gestures. The origins. The authors do not always agree on the details of the origin and antiquity of the gacería, although they do tend to agree on several details. The first, which dates back centuries. The second, the key role played by the inhabitants of Cantalejo who traveled through Spain to sell threshes and cattle. Engra, for example, slide which served as a code, a ‘secret’ speech shared by the Cantalejans that allowed them to “encrypt conversations and hide information” when negotiating with merchants from other regions. The gaceria would therefore be like a code created and nurtured by the residents of Cantalejo who traveled around Spain to trade their goods. When they wanted to exchange information with each other, safe from other people’s ears, they resorted to their own jargon that was indecipherable to merchants from other areas. Regarding its origins, it is usually pointed to 13th centuryalthough there are who points rather to the 16th, 18th or 19th century, with its peak well into the 20th century. a living speech. “When our ancestors toured Spain and went through Galicia, the Basque Country, Extremadura… they heard different dialects, words that they did not understand, so they brought many of them with them. In the workshops they were later unified, forming phrases. And thus the gacería was born,” explains to The Newspaper Ana Rosa Zamarro, mayor of Cantalejo and leading voice in the defense of slang. “They used it to warn each other during sales deals.” With the changes in agriculture and the depopulation of rural areas, the gacería has been losing ground, which does not mean that Cantalejo has forced its speech. A jargon for the 21st century. Zamarro assures that continues to be heard on the street and in recent years steps have been taken to guarantee its future, which includes since the publication of hobby books or to the translation of classic works. Even the local public school works to pass it on to the new generations. The objective: that Cantalejo (and the province of Segovia and Castilla y León) does not lose one of its great linguistic treasures. Images | Wikipedia1 and 2 and From Tuma In Xataka | In 1953, North Korea and South Korea spoke the same language. In 2026, they begin to be two different

in Cádiz they have decided that playing soccer on the beach is a prohibited activity

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It doesn’t matter the year, the city, or the beach. Every summer on the sandy beaches of Spain there are a series of images that are religiously repeated: the queues in the beach barsthe crowded parking lotsthe tourists who They approach at dawn to the beachfront to hang his umbrella and reserve the best spaces… and the groups of children playing with balls among bathers who just want to lie in the sun, which sometimes leads to the occasional fight. In Cádiz they have decided that they want to save that last one. What has happened? For a few days now, the beaches of Cádiz have been the protagonist of a curious controversy: Balls yes or balls no? Should ball games be prohibited on sandy beaches? Do a group of children who want to have a party in the sand have the same right to enjoy the coast as a retired couple who just want to sunbathe, or should the latter be prioritized? These are questions that tend to be repeated year after year, but a few days ago Canal Sur recovered them in a report in which he reveals that in Cádiz the Local Police have gotten to work to put an end to the little parties on the beach. @zona.cousins 🚨€750 FINE for playing ball on the beach? 😳🏝️ Is it fair or does it seem exaggerated? #zonacousins #fine #beach #cadiz #news ♬ original sound – Zona Primos Why’s that? By pure regulations. The ordinance of Cádiz is very clear and limits the spaces in which you can (and cannot) play with balls in the city’s sandy areas during the summer. The key is that the City Council has decided to move from theory to action and has mobilized local agents to enforce this rule. In a matter of two days they seized 18 balls. And that is the least of the problems for the ‘hunted’ players red-handed. Those who disturb other bathers by playing with a ball may commit a minor offense, for which they risk fines of up to 750 euros. If they are also repeat offenders and are caught twice, the punishment can increase to 1,500. He reportage of Canal Sur shows another reality, just as important: the norm is far from arousing consensus. Their reporter interviews bathers who call it “atrocious” or “exaggeration” that someone is fined 750 euros just for kicking a ball. Also to others who complain about “lack of control.” “The boy with the ball again, I’m going to have to get up because if he hits me with the ball…” complains one of the women interviewed. “What bothers me is that they get close, hit me with a ball and break my glasses.” What does the ordinance say? The most curious thing, as a local Cádiz police officer reminds Canal Sur, is that the restrictions that affect ball games on the town’s beaches are not new. The ordinance It was published in the Provincial Gazette in August 2023 and in its article 29, dedicated precisely to “games and recreational activities” in the city’s sandy areas, it is very clear about it: “The walk, the stay or the bath in the sea will have preference over any other use on the beaches of Cádiz (…). People who practice sports on beaches will make normal, rational and peaceful use of the beach space, without causing inconvenience or damage to the rest of the users or to the natural attributes of the beaches.“. And in case it is not clear, underline: “During bathing season, and in order to avoid possible inconvenience to other users, the activities and ball sports will take place in the areas marked and enabled for this purpose, included in the Operation Plan. When the sports activities in question may cause inconvenience to other users, the sports areas will be provided with protections and background nets, in order to prevent the projection of balls and balls towards the bathing area, walkways over the sand, shower areas, changing rooms, first aid kits or any other facility. Does it only happen in Cádiz? Not at all. Controversy has arisen in Cádiz due to the Local Police campaign and the removal of 18 balls in just 48 hours, but the Cádiz City Council is not the only one that prioritizes bathers over those who want to play with the ball on the beach. At least during the summer months. The municipal regulations de Vigo also clarifies that games with balls or paddles “both in sand and water” can only be played when “they do not pose a nuisance” to the rest of the users. A similar pattern is found in the ordinances of To Coruña, Alicante either Malagato cite a few examples. More or less clearly, permanently or depending on each context, all the rules agree on the same thing: the games cannot interfere with the rest of the people who enjoy the sand. “It is prohibited in bathing areas and waters and during the bathing season (…) to carry out activities, games or exercises that may disturb others,” he clarifies. the Malaga norm. Does it only affect the beaches? No. A quick Google search comes in to find articles and forums in which the loss of spaces is pointed out in which a few years ago one could play without a problem and now they veto the use of balls. “In this park where generations have grown up playing soccer and with a ball in their hands, they have put up this sign prohibiting it,” commented In February, a Reddit user next to a photo showed a sign banning balls. “I can’t help but wonder: where does the city council want to focus children’s leisure? There are fewer and fewer spaces for free play and more regulations.” What is the priority? “Then we worry that children will spend more time with screens, consoles and mobile phones, ‘like zombies’, but what real alternatives are we leaving them if even the most basic … Read more

90 years ago a Basque company decided to manufacture the “Rolls-Royce of staplers”. It hasn’t gone particularly well

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What do they have in common the MoMA, Vladimir Putinthe former Colombian president Andres Pastrana and the veteran reporter Gillian de Bonowho for decades dedicated himself to advising wealthy readers of Financial Times How to spend your money in style? The answer is only two characters long: M5the Basque brand stapler The Helmet. His name may not ring a bell, but it sure does. your imageneat, efficient, sophisticated. So much so that it has elevated the stapler to the category of art worthy of the desks of leaders and museums. Despite all that and its centuries-old history, El Casco has not managed to avoid bankruptcy. After declare bankruptcynow his legacy is sold to the highest bidder. The art of putting together pages. Life offers us many kinds of pleasures, but there is one that we did not know about until the Basque company El Casco got to work: collecting papers. This was recognized a few years ago, Gillian de Bonothe veteran reporter of the How I spend it (‘How I spend it’) from the diary Financial Times. In 2017, after testing the M5 stapler from the Guipuzcoan company, recognized to his readers that he had never enjoyed stapling papers so much. It hasn’t been the only one. The design, efficiency and above all the elegance of El Casco staplers (the M5 is perhaps the most famous and exclusive, but in the catalog of the company there are many more models) has led them to such unexpected places such as the collection of the MoMA museum in New York or the desks of Vladimir Putin and Andrés Pastrana, as well as the offices of executives from around the world. After all, stapling report sheets may be a mundane task, but that doesn’t mean it can’t be done glamorously. “The Roll-Royce of staplers”. Perhaps the best definition of the M5 was given years ago by designer Juli Capella. For him, remember The Countrythe Basque creation is something like “the Rolls-Royce of staplers.” It may sound like an exaggeration, but the phrase is better understood if several factors are taken into account. First, the design of the article, which has allowed it to be passed from parents to children in many cases and continue to fulfill its function. just like decades ago. Second, its history: the company behind it traces its origins to before the Civil War. Third, its exclusivity (and prices): in its online catalog You can find different models ranging from 150 to almost 400 euros. And yet… All of the above guarantees El Casco staplers a privileged place in the history of national design, but that does not mean that at a business level they have to do well. On the contrary. The passing of the decades, the change of habits, digitalization and competition of articles low cost Asia is over taking its toll to the company, unable to balance its accounts. At the beginning of the year, Tuncalya, the Eibar-based company behind the El Casco brand, declared bankruptcy and months later, in May, was auctioned most of the machinery and facilities that allowed it to manufacture its staplers. Brands, domains and know-how. Now comes the second (and final) chapter of its corporate epilogue. As I remembered a few days ago The Mailthis week the other part of his business legacy is auctioned: around twenty trademark registrations in different countries, the know-how accumulated after decades of activity, its commercial fund and a series of web domains that will remain valid at least until October 2026 or 2030. The bid is organized by Pacelma Auctions, it comes out in a single Lope with a starting price of 50,000 euros and is part of the bankruptcy procedure supervised by a court in San Sebastián. More than just design. Although what probably made Putin, Pastrana and Bono fall in love with it is the design of the staplers, El Casco stands out for another reason: its history. The roots of the company must be found in the Basque Country of the 20when Juan Olave and Juan Solozabal (former Orbea employees) founded a business in Éibar that was initially dedicated to weapons. After a few years marked by the Great Depression and the Civil War, the company decided to focus on office supplies. What didn’t change was his mentality. “A staple should move through the stapler with the same precision as a bullet through the barrel of a revolver,” explains Joan Solozábal, grandson of the founder. Against all odds. Throughout its extensive history, the firm has encountered the occasional crisis. In 1937, just a few years after it began manufacturing stationery, the business suffered the blow of the Civil War: the town suffered bombings that left the company damaged. Over time, it was able to resume its activity, it was equipped with a larger factory and, already in the 60s, it gathered around 200 employees. The crises of the following decades, digitalization and competition from low cost However, they undermined his business. In 2014 the company was forced to bankruptcya delicate situation that was saved thanks to the Turkish investor (and former client of the firm) Bayrak Vedak. Their disembarkation gave a boost of oxygen to the Gipuzkoan company, but it has not allowed them to fully weather the storm. Twelve years after that critical episode and despite attempts to refocus the business, the firm declared bankruptcy at the beginning of 2026. Now its future remains in the air. Images | The Helmet and Wikipedia In Xataka | What happened to Barreiros, the Spanish automotive company that manufactured Dodges “made in Spain” in the second half of the 20th century

ByteDance has decided that Intel and AMD are too expensive. So you’re going to make your own CPUs

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ByteDance, TikTok’s parent company, has been purchasing the processors it needs for its data centers from Intel and AMD for many years. He’s going to stop doing it. And this Chinese company has decided that this model has just come to an end. According to Reutersis already developing its own processors with the purpose of supporting its infrastructure. artificial intelligence (IA) in response to a combination of supply shortages and price increases that have made dependence on external suppliers unsustainable. The increases are not marginal: Intel and AMD have raised their rates between 10% and 35% quarter by quarter in recent months, a pressure that is difficult to bear for a company that plans to invest around $22.8 billion in AI infrastructure during 2026. However, the underlying trigger is not only the price. The industry is experiencing a structural change in the way AI is used because it has left behind the phase of mass training of models dominated by Nvidia GPUs to enter into the age of inference. That type of workload demands much more from the CPUs, which work in tandem with the GPUs and have become the new bottleneck of AI. The most immediate consequence of this scenario is a shortage of processors that Intel and AMD are not able to meet. In fact, the company led by Lip-Bu Tan has warned its Chinese customers, again according to Reutersthat their delivery times are going to be extended up to six months. And Lisa Su, the CEO of AMD, has declared that the global CPU market is stressed and the situation is not going to improve in the short term. ByteDance has two weapons: Arm and RISC-V The strategy that ByteDance has developed involves developing two architectures in parallel: one based on Arm and another on RISC-V, the open source standard that China has embraced with great interest precisely because of its independence from Western licenses. Designing two variants simultaneously is not at all a symptom of indecision: it responds to the usual coverage of large technology companies before committing to large-scale production of a specific proposal. In 2024 ByteDance partnered with Broadcom to design a custom AI accelerator and manufacture it with TSMC’s 5nm lithography ByteDance has been hiring talent specialized in chips since 2022. In 2024 it partnered with Broadcom to design a custom AI accelerator and manufacture it using TSMC’s 5nm lithography, known as the SeedChip. Its mass production is planned for this year. However, the CPU it is developing is a different piece of the puzzle: a general-purpose processor for servers and not a specialized accelerator. Even so, both initiatives point in the same direction: they pursue reduce dependence on external suppliers in a context in which US export restrictions and market volatility make this dependence increasingly costly. This moment is also relevant because of what is happening at the other end of the market. Nvidia has built its dominance on GPUs, but is now entering the CPU market with your Vera processors with the intention of capturing an additional $200 billion market. In March it also presented an inference system developed with Groq technology in a clear attempt to consolidate its positions before the fragmentation of the AI ​​chip market reduces its share. Be that as it may, ByteDance for the moment continues to depend on Nvidia for its GPUs, although it is already playing on that same board with its own cards. Image | Intel More information | Reuters In Xataka | The condemnation that afflicts China: after decades of manufacturing a competitive desktop processor, it is six years behind

In the 16th century someone decided that Da Vinci’s notebooks had to be dismembered. It took us 400 years to solve their mistake.

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Upon his death, in 1519, Leonardo da Vinci He left more than just paintings and frescoes that crown him as one of the great references of Renaissance painting. Just as (or even more) important to understanding the depth of his genius are his personal notebooks, full of notesillustrations, graphics… come from his own handwriting and sprinkled with his characteristic mirror writing. By chance of history, in the 16th century this bibliographical treasure suffered a ‘act of editorial vandalism’ that has conditioned the way we understand Leonardo. Until now. An unfortunate legacy. The name of Francesco Melzi Maybe it doesn’t tell you much. And it’s normal. Melzi was an Italian painter of the 16th century whose memory has been eclipsed for posterity by geniuses of the stature of Michelangelo, Raphael Sanzio and Leonardo Da Vinci, of whom he was a disciple. However, Melzi does stand out for something, a role that has conditioned our way of understanding the author of ‘La Mona Lisa’: upon Leonardo’s death, Melzi became his executor, responsible for looking after his manuscripts. That enormous legacy made up of hundreds and hundreds of manuscript sheets ended up in the hands of Pompeo Leoni (1533-1608), a sculptor from Arezzo, in Tuscany, who one day decided to dismember Leonardo’s notebooks. The result was disastrous, although to be honest Leoni’s objective was not to destroy the notebooks, but to ‘reorganize’ them following an arbitrary criterion. And what was the result? Basically Leoni dedicated himself to separating, classifying and putting together sheets of Leonardo’s notebooks and loose pages in a whimsical way. Based on what he considered best. The result was that many of the annotations that Da Vinci had recorded in the same set of manuscripts between the mid-1470s and his death in 1519 were divided into two different codices. In one, the largest, Leoni included all material (drawings and writings) of a technical or scientific nature. The second, smaller codex was reserved for material that in his opinion had an artistic and figurative character. From Italy to England. Leoni’s ‘attack’ did not end there. At the beginning of the 17th century his son-in-law, Polidoro Calchi, decided to get rid of the material he had inherited from the sculptor, which caused Da Vinci’s old notebooks to end up scattered around the world, separated by hundreds of kilometers. The first codex, that of technical annotations, today known as Codex Atlanticusended up in the hands of Count Galeazzo Arconati, who in turn donated it in 1637 to the Veneranda Biblioteca Ambrosiana. The second codex traveled even further. Around 1620 he ended up in England and half a century later was integrated in the Royal Collection at Windsor. Righted the wrong. More than four centuries later that capricious dismemberment of Da Vinci’s annotations has been amended at last. At least in part. A few days ago the Italian embassy in the United Kingdom, the Ministry of Culture and representatives of the Galileo Museum, the Veneranda Biblioteca Ambrosiana and the Royal Collection Trust presented in London a new tool named ‘Leonardotheka 2.0’. The name gives a clue to its approach: it is nothing more nor less than an immense ‘library’ digital of Da Vinci’s legacy, a resource that allows many of the manuscripts of the Renaissance genius to be consulted in an accessible and agile way. The Galileo Museum slide that from now on, whoever wishes will be able to explore the material by accessing the archives independently or with cross searches, in addition to “the results of more than 200 years of research” on Da Vinci’s career and work. 3,500 pages. Beyond that advantage, what is really important about Leonardotheka 2.0. is that, as remember The authorities of Florence have gathered around 3,500 manuscript pages by Leonardo that in some cases had been separated since the end of the 16th century. It is a virtual union, not a physical one, but it is still a milestone and helps to right the mistake made centuries ago by Pompeo Leoni. In total, the digital library brings together the 1,119 folios of the Codex Atlanticus and 550 pages from the Royal Collection of Windsor. Some sources specify that it is about one third of Da Vinci’s entire surviving legacy, which also includes the codices preserved in Madrid. Is it that important? Regardless of what it may mean for researchers, Leonardotheka 2.0 is important for several reasons. The main one is that it has allowed us, in words of the Galileo Museum, “reconstruct the original state of Leonardo’s manuscript legacy before Leoni’s disastrous intervention” in the 16th century. And that is not a minor detail. Although the separation between art and science might make sense to Leoni, the truth is that goes against of the Renaissance mentality that Leonardo embodied. “It offers a new perspective on his thinking, vision and working methods,” they underline from Florence. “The platform highlights the connection between scientific studies and the figurative drawings of the Tuscan genius.” Beyond Leonardo. “This project not only helps to recover the complexity of Leonardo’s work in its original form, but also contributes to the new interpretation, in development for several years, of this crucial period in European history. Using digital tools designed to analyze the original texts, Leonardotheka 2.0 will make this challenge possible,” highlights Michele Ciliberto, from the National Institute of Renaissance Studies. Filling gaps. The second reason why the project is so important is that it has allowed us to recover pieces that had been damaged when the notebooks were dismembered in the 16th century. To be more precise, those responsible for the Leonardotheka they assure who have been able to “reconstruct” 50 manuscripts “thanks to the insertion of fragments preserved in Windsor within the pages of Codex Atlanticus, restoring their original context.” One of the reconstructions carried out by the experts has made it possible to “reconcile” the drawing of a horse preserved in the British collection with a note on an equestrian monument preserved in the Codex Atlanticus. “The restored folio probably … Read more

Spain had been using the cutter in pharmacies for half a century. Until you decided to digitize it

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Entering the pharmacy in 2026 and that the method to mark the traceability of the medicine was to cut a small tape with a cutter did not seem like the most technological method in a European country. Finally, it is something that will change forever. what has happened. The Council of Ministers yesterday approved the modification of Royal Decree 1345/2007which updates the regulation of the Spanish Medicines Verification System. Until now, upon arriving at the pharmacy the pharmacist would peel off or cut the seal from the box, paste it on a sheet of paper and this documentation would demonstrate to the administration that a prescription medication had been dispensed and that it would be reimbursed. This is about to end. The new. The Minister of Health, Mónica García, has celebrated the modernization of the new identification system. This relies on the national drug repositoryin operation since 2019 and which allows each medication to be identified using a unique code. “We’re talking about the sealed coupon. That’s what pharmacists did when you came to the pharmacy to pick up a drug and they had to cut out a piece of cardboard and paste it on a sheet of paper. Well, we’re going to eliminate all of that.” Monica Garcia. The difficulty of the process is that it is not enough to make the first identification: it is necessary to justify that this container cannot be re-introduced onto the market. To solve this problem, as advanced by the pilot test that was carried out in the Valencian Communitythe medication will be linked to the prescription, the buyer’s data and registered in the system. Nothing prevents the medication from circulating again through unofficial channels, but it is impossible for it to go through official channels again as new. Now each box will have a unique identity. The batch, expiration date and route of the medication are known. If a problem appears with a batch, you can know: which patients received it, in which pharmacy, how many containers were dispensed. not so fast. Palace things are going slowlyand more in Spain. The full transition has not been marked, and what we know to date is that the new system will coexist with the old. Once the integration of the systems in all the autonomous communities is completed, the traditional sealed coupon will disappear forever, in favor of a 100% digitalized model. In Xataka | After years of debate and 1,000 “medicines” withdrawn, Spain finally has a verdict on homeopathy: it is useless

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