It is common for younger generations to share their geolocation as a sign of affection and trust. Mobile phones have a function that can be activated to indicate location to other chosen devices, and there are also applications that facilitate this information. Each user can decide, in principle voluntarily, which people they want to know where they are at all times. Initially, it was used to locate the mobile phone in case of loss or theft. Then it became useful for keeping track of minors when they began to have some autonomy. It allowed knowing if they had already arrived home or at school and provided a dose of tranquility thanks to rapid and distant, but precise, surveillance. But in the end, it has become a form of socialization and relationship that can lead to abusive forms of control.

Among the watermelons of Verdcamp Fruits, in Cambrils, flowers of all colors grow. There are yellow, lilac, and orange ones, in a floral mosaic where bees and butterflies dance tirelessly. A few years ago, that same field was maintained with phytosanitary products to combat an aphid infestation and didn't breathe so much life. The problem was that the chemicals also killed the pollinators and production ended up falling. "One night I thought: what if the solution is to attract more life instead of fighting it?", recalls Ernest Mas, a farmer and member of the family business.That intuition led him more than a decade ago to plant strips of flowers among the crops to attract insects naturally. It worked. But, above all, it was the beginning of a much deeper change in mentality: to stop seeing agricultural land as a simple support for producing food and to start treating it as a living ecosystem.Today, Mas is part of a generation of farmers who are committed to organic and regenerative agriculture, a model that seeks to restore soil health so that it becomes fertile again, capable of hosting biodiversity and better withstanding the impacts of climate change such as droughts. Some of their techniques include leaving chemicals behind, not plowing, and using cover crops.The proposal gains traction in a particularly delicate context for agriculture. According to the European Environment Agency, 89% of agricultural soils show signs of critical loss of their functions. For decades, the intensive use of pesticides, chemical fertilizers, and heavy machinery has degraded many soils to the point of impoverishing them and making them increasingly dependent on external products. On the other hand, the benefits observed in the field are also beginning to be supported by recent scientific studies indicating that regenerative soils can store more carbon than conventional ones, retain water better, and have a network of beneficial microorganisms, some of which even act as natural pesticides.This is why farmers like Mas have decided to bet on the regenerative model. Their stories are different, but they share a single conviction: without living soil, there is no future for the countryside.Grow among flowers

At Verdcamp Fruits, the floral strips that cross the crops are called intercropping floral: a technique that combines biodiversity and agricultural production to attract pollinators.But the change didn't happen overnight. First, they took the step towards organic farming. Then, seven years ago, Mas decided to do a master's degree in agroecology at the University of Barcelona and also began to apply other techniques to restore soil health, such as not plowing and maintaining vegetation cover. "I understood that the key was not only to take care of what was visible, but also what is underground," he explains.

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His book Capital in the Twenty-First Century (2013) catapulted him to global fame. But even then, the French economist Thomas Piketty had been one of the most respected names in economic theory for over a decade, as co-founder of the Paris School of Economics and co-creator of the World Inequality Database. A specialist in the study of inequalities and wealth distribution, Piketty now presents the Global Justice Report, an ambitious economic roadmap that outlines how global inequality can be eliminated and the climate crisis curbed before 2100.

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Following a personal experience – the arduous task of getting rid of some of your belongings when you move house – Maria Andrés, 27, and her family launched Pompina Home Reborn, a company with which they aim to redefine what it means to empty a home. After carrying out an extensive inventory, for three days, they organize markets open to the public within the property itself and offer the opportunity to buy furniture or objects that the owner of the flat does not want or cannot take with them. Andrés explains that in the process of emptying flats, they have found items they didn't even know what they were, such as an antique stereoscope, an optical instrument that became very popular in the late 19th century and allows you to view flat photographs in three dimensions.

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From the young Lamine Yamal and Pedri González, main hopes of the Spanish team, to legendary veterans like Leo Messi, Cristiano Ronaldo, and Luka Modrić, still references for Argentina, Portugal, and Croatia, respectively. Few World Cups in history have had such a wide spectrum in terms of the age of the stars who will be part of it. The World Cup starting this June 11 will be the longest to date (48 teams), and also one of the most fiercely contested. Will the albiceleste" repeat the ecstasy of 2022? Will France be as superior as its starting lineup suggests? Will Brazil once again be a feared opponent by everyone? What will be the surprise team? All these predictions will depend on the role of the ten essential footballers in a tournament that will shake the planet for five exciting weeks.

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A World Cup had never had 48 teams nor had it been played in three different states. For six weeks, the United States, Canada, and Mexico will host 104 matches, creating a different scenario. A total of 16 stadiums will host matches, most of them in the United States, although there will also be three Mexican venues and two in Canada. Most stadiums are relatively new and for a good part of the season, American football matches are played there, with some exceptions. Some stadiums, like those in Atlanta or Seattle, have become the home of local football teams, although they combine it with other sports. All stadiums in the United States, in fact, are venues prepared to host different disciplines, concerts, or events, with top-level technology. However, the state of the grass worries the coaches, as it would not be the best.

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On Tuesday, June 2, the presenter of the TVE program Al cielo con ella, Henar Álvarez, starred in an unusual scene that soon went viral. During her usual opening monologue, she complained that not a week goes by without some viewer asking her why she presents the program "dressed as a man". The question is not anecdotal.

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Tulles, bows, sequins, pearls, corsets... could be the ingredients of a Parisian haute couture fashion show, but these days they are part of one of the great stages of world sport: Roland Garros. Tennis player Naomi Osaka has once again turned her entrance onto the court into a visual event, with a series of outfits designed by Swiss creator Kevin Germanier that have generated as much conversation as some of the tournament's matches. It wasn't the first time. Last year she had already surprised with a spectacular Robert Wun dress inspired by a jellyfish. This year, Osaka took to the court dressed to the nines, with a transparent tulle skirt and a bodice made from recycled pieces. Once in place, however, she sheds this first layer to reveal another, copper-colored one that blends with the clay court, but at the same time emits metallic reflections inspired, according to Germanier himself, by the night lighting of the Eiffel Tower. An authentic scenic transformation thus occurs: first Naomi the celebrity appears, almost as if walking down a red carpet; then Naomi the sportswoman emerges, ready to compete. This structure of revelation traditionally belongs to the language of fashion and spectacle rather than sport. It is not surprising that some commentators have coined the term court-ure, a fusion of court and couture, to describe this phenomenon. And all of this takes on a curious historical resonance when we consider that the scene takes place on the Suzanne Lenglen court, the great French tennis player who, at the beginning of the 20th century, understood before anyone else that transforming the players' clothing also meant transforming their place in society.

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The Iranian national team will be one of the main protagonists of this World Cup. The team of a state at war with the United States will play precisely in the United States. Two clashing governments, enmities, with bombings every so often, have finally agreed to prevent the Iranian team from making a sports boycott. Never in the history of the World Cups has a qualified team boycotted. There had been boycotts in the qualifying rounds, such as when the Soviet Union withdrew from the play-off prior to the 1974 World Cup in protest of Pinochet's coup d'état in Chile, but never has a qualified team renounced the championship for political reasons. Nor will Iran do so.

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The somewhat sudden arrival of the heat has prompted the return of evening strolls. When the sun sets and it cools down a bit, it's as if the cities take on a different rhythm. People who take their dog out for its last pee are around all year, but at this time, it's as if the owners need to go out as much as their pets. They take it more calmly and take a longer walk. The noise of traffic decreases, and open windows allow the sounds of homes to reach the street. You can hear someone beating eggs to make an omelet, and further on, a neighbor playing the trumpet with a mute provides a soundtrack that lends a nostalgic air to the atmosphere.

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Despite Donald Trump, the men's soccer World Cup matches to be played in the United States are marked by uncertainty. The militarization of Democratic cities and images of ICE's para-police violence against citizens are imposed on the pristine security that the White House wants to sell. Less than a month before the first match on American soil, hotel bookings are far below expectations. A reality that FIFA President Gianni Infantino will hardly be able to mask by inventing a new trophy like the FIFA Peace Prize to feed Trump's ego.

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On June 11, millions of people will be paying attention to everything happening at the Azteca Stadium in Mexico City. For the third time in its history, this venue will host the opening match of a World Cup, in this case the duel between Mexico and South Africa. Never before has a stadium been the venue for three different World Cups, although this year it will not be able to host the final, as it will take place on July 19 at the MetLife Stadium in New Jersey. In a modern 21st-century World Cup full of newly built stadiums with commercial brand names, the Azteca connects with the past. A stadium with its own personality, now that all modern stadiums look alike. The venue in the south of Mexico City has undergone a major renovation to adapt it to modern times, although it remains the stadium where in 1970 Pelé led the most beautiful team of all time and where in 1986, Maradona touched the sky with Argentina. A stadium to which songs have been dedicated, which appears in films, and which hides a surprising history, as to build it, one man was on the verge of losing everything.

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Can Gabriel is a house that explains how it is made. Also how the building in the historic center of Palma where it is located is made. The radical intervention carried out by the architects of TEd’A, the team led by Jaume Mayol and Irene Pérez, is explained through an architecture that turns construction processes into part of the daily experience of living. This is a work that claims the beauty of bare materials, of joints, of seams, of textures, and of visible imperfections. And it shows that, sometimes, a good way to transform a space is to start by leaving it to the bones. This project has become one of the most celebrated works of recent Spanish architecture: awarded at the XVII Spanish Biennial of Architecture and Urbanism, distinguished with an award by La Casa de la Arquitectura, finalist of the FAD 2025 awards, and selected for the Mies van der Rohe awards.

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When we talk about beautiful bodies, we tend to imagine a kind of natural grace or exceptional physical attributes that only a minority of people are lucky enough to have received at birth. But what we consider beauty is not a universal or immutable reality, but a cultural construction that each society defines according to its values, imaginaries, and ways of looking. A beauty that, far from being sought for the personal enjoyment of inhabiting one's own body, needs the external gaze to exist and acquire meaning through the approval of others. It is no coincidence, then, that throughout the 20th century and as the means of reproducing and disseminating images multiplied, beauty ideals became increasingly conditioned by technologies of visibility.

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A.J. Alfafara is 47 years old and has a life rebuilt on the ashes of a past that civil law refuses to bury. Although she hasn't heard from her husband in over a decade, the Philippine state still considers her his wife. This activist encountered the cruelty of the system when trying to buy a home: a routine procedure became a wall when the notary informed her that, without the signature of a man who had been missing for ten years, she had no legal standing to acquire her own roof over her head. Her case is not an anecdote, but a reflection of a legal structure that keeps tens of thousands of women in the Philippines – one of only two countries in the world, along with the Vatican, where divorce is illegal – trapped in marriages that now only exist on the republic's stamped paper.

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When Marilyn Monroe died on August 4, 1962, her belongings went to Lee Strasberg, who had been her teacher at the legendary Actor's Studio and had become her confidant. Among the actress's possessions were a handful of manuscripts, letters, and some of her own poems, texts that Monroe often scribbled on hotel stationery wherever she stayed. All these personal writings were first edited in 2010, under the title Fragments" (Spanish edition published by Seix Barral), and they offer a privileged glimpse into the inner world, expressed in the first person, of this actress who was born a century ago, on June 1, 1926. They also give us a lesser-known image of the star: that of the avid reader; that of the actress who feels secure in front of photographers but not when she has to speak with journalists; that of the woman who connects with the progressive political concerns of the time; that of the performer who finds in New York a territory for artistic enrichment at the antipodes of Hollywood glamour.

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In the first Bad Bunny concert in Barcelona, fans who had paid five hundred euros to enjoy the show from the VIP area posted very distressing videos on social media. Trapped in a supposedly privileged space, they were compressed, with no possibility of moving. They were stuck against each other as if they were traveling on the worst Renfe routes. Some videos showed people crushed against the fences, asking staff for help to leave that place, lamenting an inhumane situation that barely allowed them to breathe. The organization has contradicted the complaints, but, in any case, the situation for fans who had spent the equivalent of a month's rent for a small apartment to see Bad Bunny seemed more like an ordeal than a night of euphoria.

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In 1874, Jules Duruof and his wife got lost while trying to cross the Atlantic in a balloon. At that time, balloons – and airships too – had no maneuverability and were often at the mercy of the wind. They fell into the water, but a fishing boat was able to pick them up. Other aeronautical adventurers were not so lucky. All this led Baldomer Oller, an aeronautics enthusiast born in Calaf and exiled in Paris, to want to devise a device that would allow the balloon to be directed wherever its crew wished, and from this came the patent for the airship Catalunya. But the story of this Catalan exiled in Paris is much more interesting and goes beyond technological entrepreneurship. It is a story of unionism, anarchism, imprisonment and torture, exile and return, with the culmination of a surprising invention that was never built.

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