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Belarus's plans to expand the Astravets nuclear power plant (NPP) would increase security risks for Lithuania, Lithuanian Foreign Minister Kęstutis Budrys announced after a meeting with Rafael Grossi, Director General of the International Atomic Energy Agency (IAEA) on Tuesday in Warsaw. #Baltkrievija #Kodoldrošība #KrievijasAgresija (translated)

The OCU has requested information from Aesan about a salmonella outbreak linked to a batch of eggs that has caused at least 13 cases of poisoning in Spain, highlighting the lack of data on brands and their distribution. #Salmonela #IntoxicaciónAlimentaria #SeguridadAlimentaria (translated)

The LR mayor of Asnières-sur-Seine, Manuel Aeschlimann, is implementing the "damagers-pay" method to hold parents accountable and try to reduce delinquency, an approach that is gaining more and more support among elected officials in France. #AsnièresSurSeine #CasseursPayeurs #Délinquance (translated)

Tafouk TV – how three Sahel military governments are building a common information system Mali, Burkina Faso and Niger are no longer relying only on speeches, social media or their existing national broadcasters to shape the information environment around the Alliance of Sahel States. They are building a shared, permanent media infrastructure. At its centre is Tafouk TV, the confederal television channel of the AES, broadcasting from Bamako. Its creation was formally agreed by the three governments in December 2025, its governing structure was installed in 2026 and regular programming began in September. The project is explicitly presented by AES authorities as an instrument of “information sovereignty” and what Malian Foreign Minister Abdoulaye Diop has called “narrative sovereignty”. A television channel built by three military governments Tafouk TV is fundamentally different from a covert bot network or a collection of anonymous propaganda accounts. Its ownership and political purpose are public. It is an institutional broadcaster created by the governments of Mali, Burkina Faso and Niger, all currently led by military authorities. Malian government documents describe the channel as a common media instrument intended to strengthen communication across the confederation, promote regional identities and respond to what the AES sees as hostile narratives and disinformation. The project sits alongside Daandè Liptako, a shared radio service, and broader plans to develop common information structures across the three states. That institutional architecture is important. A social-media influence network can disappear when accounts are suspended. A television channel, radio network and future news agency can develop journalists, archives, correspondents, distribution agreements and continuous daily output. The result is not a temporary campaign but potentially a long-term information system. Russia enters through RT The Russian connection is also public. In July 2026, Tafouk TV signed a cooperation agreement with RT, the Russian state-funded international broadcaster. The memorandum was signed by Tafouk TV director-general Salif Sanogo and Natalia Lebedeva, director of RT en français. It provides for content exchange, expertise-sharing and joint coverage of major events in Russia and the Sahel. RT described itself as Tafouk TV's first international partner. This makes Tafouk part of a much broader geopolitical realignment in the Sahel. Mali, Burkina Faso and Niger have reduced cooperation with France and other Western partners while deepening political, diplomatic and security relations with Moscow. But the distinction is important: there is no public evidence that Russia owns Tafouk TV, finances the entire channel or directly controls its editorial decisions. The most precise description is therefore a state-owned AES broadcaster with a formal partnership with Russian state media, rather than a Russian-controlled television station. The battle over the narrative AES officials make little attempt to hide the strategic role they expect the channel to play. During a visit to Tafouk TV shortly after regular broadcasting began, Abdoulaye Diop described communication as another strategic front alongside defence, diplomacy and development. He spoke of a geopolitical environment characterised by a “war of narratives” and said the AES needed its own media to defend its interests and strengthen its narrative sovereignty. Mali's government has similarly described Tafouk TV as an instrument of information sovereignty, regional cohesion and Sahelian identity. The first governing-board meetings emphasised digital distribution, national languages and the creation of a new generation of Sahelian journalists capable of carrying the confederation's message at home and abroad. Early reporting examined by the Financial Times found patriotic programming, interviews with officials and positive reporting from conflict zones. The newspaper described the project in the context of the three governments' attempts to challenge Western media narratives and strengthen their legitimacy while facing continuing jihadist insurgencies. Why this is not simply another disinformation operation It is important not to use propaganda and disinformation as synonyms. A state broadcaster can systematically promote the government's preferred interpretation of events without every story being false.Tafouk TV's significance therefore lies less in individual fabricated claims than in the information architecture being created around it: three governments operating a shared broadcaster, common radio infrastructure and potentially other confederal media, while cooperating with Russia's international state-media system. This development is taking place while independent media conditions across the three countries are deteriorating. Reporters Without Borders ranked Burkina Faso 110th, Niger 120th and Mali 121st in its 2026 World Press Freedom Index, pointing to arbitrary detentions, restrictions on journalists and suspensions of media outlets across the AES states. That context changes the importance of Tafouk TV. A new state broadcaster entering a diverse and competitive media environment is one thing. A common government-controlled broadcaster expanding while alternative sources face restrictions is another. From influence campaigns to permanent infrastructure Tafouk TV illustrates an important evolution in the information contest in the Sahel. Russian and pro-Russian influence in Africa has often relied on social-media networks, influencers, fake experts, local partners or apparently independent media outlets. Tafouk represents something more durable: formal state institutions can now carry many of the same geopolitical narratives openly and continuously. The audience figures are not yet sufficiently established to demonstrate how influential Tafouk TV will become. It may eventually reach far fewer people than some viral online operations, or its television, radio and digital infrastructure may give it far greater long-term significance. Sources Government of Mali — Tafouk TV governing board and strategic mission https://gouvernement.ml/conseil-dadministration-de-tafouk-tv-installe-a-bamako-le-ministre-alhamdou-ag-ilyene-trace-les-orientations-strategiques-de-la-chaine-confederale/ Government of Mali — Abdoulaye Diop and “narrative sovereignty” https://gouvernement.ml/communication-confederale-de-laes-sem-abdoulaye-diop-a-la-decouverte-de-tafouk/ Government of Mali — creation of Tafouk TV and Daandè Liptako https://gouvernement.ml/conseil-national-de-la-transition-le-cnt-adopte-deux-textes-majeurs-relatifs-a-la-creation-de-tafouk-tv-et-de-la-radio-daande-liptako/ Government of Mali — ratification and information-sovereignty objectives https://gouvernement.ml/2026/05/30/ Government of Mali — Tafouk TV board and Prime Minister Abdoulaye Maïga https://gouvernement.ml/television-de-lalliance-des-etats-du-sahel-tafouk-tv-les-membres-du-conseil-dadministration-prennent-les-orientations-et-conseils-du-premier-ministre-abdoulaye-maiga/ RT en français — cooperation agreement between RT and Tafouk TV https://rtenfrance.tv/news/136036-rt-devient-premier-partenaire-international-tafouk-tv-chaine-commune-aes APA News — Tafouk TV and Daandè Liptako common AES media infrastructure https://fr.apanews.net/communication/tafouk-tv-et-daande-liptako-le-mali-consolide-les-medias-communs-de-laes/ APA News — Tafouk TV begins regular programming https://fr.apanews.net/communication/aes-tafouk-tv-demarre-ses-programmes/ Financial Times — Sahel juntas launch Tafouk TV with Russian backing https://www.ft.com/content/259b49a1-8eda-4e8d-84c7-45323988b07b Reporters Without Borders — 2026 Press Freedom Index: Africa https://rsf.org/en/classement/2026/afrique Keywords #DISINFORMED #Episode18 #TafoukTV #AES #AllianceOfSahelStates #Sahel #Mali #BurkinaFaso #Niger #Russia #RussianInfluence #RussianMedia #RT #RussiaToday #StateMedia #StatePropaganda #InformationSovereignty #NarrativeSovereignty #InformationWarfare #InfluenceOperations #StrategicCommunication #MediaInfluence #MediaControl #Propaganda #Disinformation #ForeignInfluence #FIMI #Africa #WestAfrica #MilitaryGovernment #MilitaryRule #SahelMedia #DaandeLiptako #MediaInfrastructure #NarrativeControl #PressFreedom #MediaFreedom #Geopolitics #OSINT #WRLD

info aespa Brasil stated that SM Entertainment refused to enter "LEMONADE" in the Best Asian Pop Performance category at the Grammy Awards, despite projections from Billboard and Gold Derby pointing to aespa as a strong candidate for victory. The profile criticized the company's management of the group's international career, saying it squandered recognition opportunities and questioning its commitment to aespa's success. #aespa #GrammyAwards #SMEntertainment (translated)

LETTERE MERIDIANE — “TEATRO-EDICOLA” OF SAN SEVERO CONQUERS THE WORLD SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA After “Broadway World”, the “Los Angeles Journal”, “The Psychologist (British Psychological Association)” and Hollywood Beat Magazine, its “academic consecration” has now arrived courtesy of Stanford University. As I have already emphasised in my article on the revival of the GIO Festival in Foggia, celebrated by BroadwayWorld for the world stage premiere of the Giordano’s opera Marina (1888), the province of Foggia has long ceased to be peripheral. It happens when it finds an idea that shifts the coordinates: well, in San Severo, 40 kilometres from Foggia, it has happened again. Only this time an orchestra was not needed; six chairs were enough. The celebrated Teatro-Edicola of San Severo artistic director Francesco Gravino of the theatre company Foyer ’97 has been featured in the academic journal “Stanford Social Innovation Review (SSIR)” as an academic case study. The news, relayed on 19 September 2026 by ANSA Nazionale, looked like a misprint. Then it became clear that it was not. SSIR, an award-winning publication covering multisectoral solutions to global problems, included the project in its Dispatches section with the reportage “The Six-Seat Revolution”. It is the inverse trajectory to that of the GIO Festival: not a forgotten opera returning to a grand historic Italian horseshoe theatre, but an entire theatre reborn inside a disused place, forgotten by man. There are moments when past and future intertwine to create something visionary, innovative, artistically “revolutionary”: San Severo experienced one of those moments on the morning of 27 March 2026, during World Theatre Day, when the shutter of a newsstand closed for six years in Via Matteo Tondi was reopened “not to sell newspapers, but to offer stirring stories”, to quote Gravino’s motto. The idea of the visionary Francesco Gravino, artistic director, stage director and actor of the San Severo company Foyer ’97, active for at least 30 years in Capitanata, centred on the kiosk, hexagonal in metal and glass, granted free of charge by its owner Pino Frau, by now an urban relic created by the publishing crisis of the early 2000s: today in Italy active newsstands have fallen from about 35,000 in 2005 to about 20,000 in 2024, a decline of 42.8%. Gravino and eleven other actors restructured it in two weeks of work, without institutional funding, and transformed it into what is now under examination by the London commission of Guinness World Records as the “world’s smallest theatre”. The formula is deliberately austere: six spectators at a time outside, actors inside at less than a metre’s distance, 15-minute performances, continuous rotation from 11:00 to 20:45, texts ranging from Goldoni to Chekhov, from Ibsen to Dacia Maraini. On the door a QR code with an original theatrical warning: “Warning! This QR code transforms passers-by into actors. Scan only if ready.” The numbers immediately showed that it was no boutade: more than 60 people in a single afternoon, three inaugural days that sold out. But above all a positive echo that went beyond the borders of San Severo. “Broadway World” (just as in the previous case of the GIO Festival), the world’s most influential theatre criticism outlet with over 5.5 million monthly views, devoted exclusive coverage to it on 27 April 2026: “An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre”. Not a mere listing, but an analysis: “There is no foyer, there is no balcony, there is no grid. There is barely a wing. What there is is something almost unrecognisable as an evening at the theatre, and for that very reason it is all the more powerful.” “Broadway World” captured Gravino’s manifesto idea: “This is a theatre of proximity. In an era of digital distance, we are putting human contact back at the centre,” framing it as “More than a clever exercise in site-specific theatre. It is a reappropriation.” All of this, in a Mezzogiorno of Italy often narrated only in terms of organised crime and marginalisation. To that seal of approval was added another, even more disorienting for a newsstand in San Severo: the “Los Angeles Journal”, one of the most influential publications on the West Coast for the performing arts. On 12 May 2026, it headlined thus: “San Severo’s Teatro-Edicola as an Innovative Model for Los Angeles Theaters?” opening as follows: “In a city in southern Italy that Hollywood has never heard of, a theatre director has just built the smallest stage in the world: six seats, fifteen minutes, zero distance. Los Angeles should pay attention.” The “Los Angeles Journal” does not indulge in folklore, but places the kiosk in Via Matteo Tondi alongside the prestigious 1,600-seat Ahmanson Theatre in Los Angeles, the Pantages of Broadway in Hollywood, the 99-seat plan of Rogue Machine, the Odyssey, the Victory Theatre and the Hollywood Fringe. It even recalls Ethan Marks’s Electrical Box Theatre, a veritable electrical box lined with red velvet in downtown Los Angeles, to argue that Gravino has taken to the extreme the question Los Angeles has been asking itself for decades: How small can a stage become before it ceases to be a stage? And it recognizes the San Severo urban model: almost zero cost, two weeks of work and six chairs, in return for immediate provincial, regional and national media coverage, recognition by the San Severo’s Municipal Administration, and a format exportable anywhere. Then, the third American piece came from “Hollywood Beat Magazine” on 20 April 2026: Six seats. Fifteen minutes. One actor. No stage. The magazine recounts the kiosk in Via Tondi left disused for almost six years, the contemporary six-seat cultural outpost, placing Francesco Gravino in a distinguished genealogy: Richard Schechner and environmental theatre, Jerzy Grotowski and poor theatre, Nicolas Bourriaud and relational aesthetics. But it closes with pragmatism: it is not a thesis, it is fixing a street corner, that is, repairing an urban street corner by asking not how large a theatre can become, but how small it must become again to recover its original power. And finally, the celebrated London-based “The Psychologist”, the journal of the “British Psychological Society (BPS)”, the oldest psychological society in the world, transformed the Teatro-Edicola into a scientific case study: on 30 July 2026 it published “The world’s smallest theatre — and Psychologists’ next act”, starting from the same detail, the morning of 27 March when the metal shutter of the hexagonal kiosk in Via Tondi reopened after six years, six people inside, an actor at less than a metre’s distance beginning Chekhov. It describes the formula: six spectators, 15 minutes, 11 actors over 10 hours, from Goldoni to Euripides, inside a kiosk where the fourth wall does not break because architecturally it never existed. But the BPS goes a step further: it cites the 2025 studies by Damien Gabriel in IBRO Neuroscience Reports, that live performance generates measurably stronger emotional and physiological activation than video, and introduces Edward Hall’s proxemics: below one metre is intimate space, reserved for doctors, close friends, lovers. In that one-square-metre space, the actor’s breath is audible, micro-expressions legible, the self-other boundary becomes permeable. The Teatro-Edicola “does not make theatre better, it makes it inevitable”. And it is here that one understands why Stanford is studying it as an academic case study in social innovation, not as a case of artistic originality. In Italy, meanwhile, the national media circuit had already picked up the phenomenon: RaiNews — TG2 Storie brought it to RaiDue at midnight on 19 April. RTL 102.5 devoted space to the format conceived by Gravino and developed by Foyer ’97 in the heart of San Severo in Via Tondi, defining it as a permanent micro-stage capable of bringing theatre into public space. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, Swiss RSI, ANSA Brazil and many others followed. And for the record: Fiorello praised it in La Pennicanza as an artistic case inspired by his Edicola Fiore, and Biagio Antonacci, on his tour in the Augustan amphitheatre of Lucera, made a “fact-finding” stop at the Teatro-Edicola singing the celebrated and nostalgic Iris in front of an audience certainly larger than the “six seats”. Francesco Gravino’s theatre company Foyer ’97 was not born yesterday: behind it lie the Teatro-Cantina of 2016, the underground theatre, and in 2011 a performance on the bell tower of a church in the centre of San Severo at 45 metres high. The Teatro-Edicola completes, in Gravino’s words, “the entire vertical extension of theatre: underground, street level, rooftop”. And it is preparing for its thirtieth anniversary in 2027 aiming to purchase the kiosk to make it permanent, exporting the “San Severo Model” to Rome, Lucca, and to the festivals of Santarcangelo and Todi. As with the GIO Festival, someone might dare to claim that it is merely a stunt, but when BroadwayWorld places you alongside the Los Angeles Opera House, the “Los Angeles Journa”l proposes you as a model for Hollywood, “Hollywood Beat Magazine” reads you through Grotowski and the “British Psychological Society” uses you to explain mirror neurones, it is no longer a stunt but an excellent artistic and academic positioning. To those who still whisper that Foggia and Capitanata are provincial, the answer is now written on two opposite and complementary fronts: on 5 June in Foggia a 138-year-old opera found the stage again at the Giordano ending up on BroadwayWorld; on 27 March in San Severo a 4-square-metre kiosk invented a stage that did not exist, ending up at Stanford, in Los Angeles, in Hollywood and in London. The periphery, when it has a precise idea, becomes the centre. Even with six chairs. Luciano Magaldi Sardella

Mar Cogollos, president of Aesleme, highlights that traffic accidents are a pandemic that causes death or disability to many people, and celebrates the recognition of her foundation for more than 35 years of work in traffic accident prevention and support for victims. #SiniestrosViales #Prevención #Discapacidad (translated)

The info profile aespa Brasil stated that supporters of Jair Bolsonaro were trying to contact SM Entertainment to have the company sue for allegedly using the profile's name in a political campaign for Lula. The profile asked to be notified if the initiative progressed and also requested that the company pay for a lawsuit that it claimed to have won against SM Entertainment and Ticketmaster Brazil. According to the profile, it was still waiting for reimbursement and compensation for moral damages. #Bolsonaro #PolíticaBrasil #aespa (translated)

The aespa Brazil info page stated that its posts on X were reaching people outside the K-pop universe who did not follow aespa, citing likes, comments, and new followers. The page said that the information claiming that the mobilization of fandoms was not yielding results was false and alleged that they aimed to intimidate the participants. The profile asked people to continue posting, commenting, and sharing, and said that larger pages could expand the reach of the information. It also advocated for mobilization to prevent possible fascism and declared support for Lula 13. #Kpop #Mobilização #Lula13 (translated)

The author wrote that the rise of artificial intelligence had made it increasingly urgent to distinguish human art from machine-generated work. They argued that the difference was ontological before it was aesthetic, describing machine output as the product of statistical calculations.

Hiring of teachers and staff, renovation of schools, salary increase for teachers, recruitment of AESH, reduction of the number of students per class, repeal of Parcoursup: the response to the demands of high school students can be found in the program of France. https://t.co/63w0AoSpDS #Éducation #Recrutement #Réformes #FR (translated)

Et si on parlait enfin des revendications des lycéens ? À la rentrée, il manquait des professeurs dans la moitié des établissements à la suite d'un budget qui a supprimé 4 000 postes d'enseignants. Partout il manque des AESH pour accompagner les élèves en situation de handicap. https://t.co/SfDaBy7ypD #Lycéens #Éducation #Revendications #FR

📍 Esta noche, en #WWERAW desde el Fiserv Forum de Milwaukee, WI: 🔴 LA Knight hablará de su combate contra Roman Reigns en Money in the Bank 🔴 Stephanie Vaquer hablará de su primera defensa titular 🔴 Oba Femi tiene un mensaje para The Vision 🔴 Lola Vice vs. Roxanne Perez 🔴 Dragon Lee vs. Big Cass El show antes de la semana de Money in the Bank. Que descanse en paz, Adrian Neville, PAC. ⏰ Horarios para ver #WWERAW en directo: 🇺🇸🇨🇦 8pm ET, 5pm PT 🇪🇸🇩🇪🇫🇷🇮🇹🇵🇱🇧🇪 02.00 horas 🇮🇨🇬🇶🇵🇹🇬🇧🇮🇪 01.00 horas 🇦🇷🇺🇾🇵🇾🇧🇷🇨🇱 9pm 🇻🇪🇧🇴🇵🇷🇩🇴🇨🇺 8pm 🇨🇴🇵🇪🇵🇦🇪🇨 7pm 🇲🇽🇨🇷🇸🇻🇭🇳🇬🇹🇳🇮🇧🇿 6pm 🇸🇦 3am 🇮🇳 5.30am 🇯🇵 9am 🇵🇭 8am 🇦🇺 11am AEDT, 10.30am ACDT, 10am AEST, 8am AWST 📺 El show se podrá seguir en Netflix en directo en todo el mundo (España y Latinoamérica, incluidos) #WWERAW #WWE #LuchaLibre

"Establishment satire ridicules the behaviors, aesthetics, or followers of corrupt leaders while leaving systemic inequalities completely untouched. It mocks individual figures but implicitly validates the underlying political and capitalist institutions, breeding cynicism among #Satire #PoliticalCommentary #Cynicism #Thetweetdoesnotmentionanyspecificcountries #sotherearenocountrycodestoreturn.

🇬🇧 Short Press Release (English) FOR IMMEDIATE RELEASE “Wet Heels Symphony” introduces a bold new performance concept featuring three actresses and one actor who step into water wearing high, glossy heels. Blending choreography, rain‑based sound design, and fashion‑driven aesthetics, the production transforms each heel impact into a precise rhythmic gesture. The performance highlights how wet heels, droplets, and shimmering reflections create a unified visual and acoustic language — theatrical, daring, and unexpectedly poetic. As Wet Heels Symphony expands with new ensemble studies, audiences are invited to experience water as a fully expressive stage medium. For media inquiries or collaboration proposals, please contact the project team.

Il calcoladôr al dîs: 0,025 €. La note di paiament e dîs: 250 €. A cual crodistu? 100 fruts che a son al Science Center si sentin aes taulis par fâ une pause. A rivin 100 sucj, un par ognidun. Un suc al coste 2,50 €. Un student al tire fûr il telefon e al vierç il calcoladôr par savê trop che a costin in dut i 100 sucj. Dome che, invezit di fracâ ×, par erôr al frache ÷. Sul visôr al comparìs: 0,025 € Al student i pâr strani, ma il numar al è sul visôr e nol controle plui. Intant, i 100 sucj a son za su lis taulis e i fruts a tacadin a vierziju. Dopo cualchi minût e rive la note di paiament: 250 € I students si cjalin un cul altri. Cualchidun al dîs subit che al à di jessi un erôr. Il student al tire fûr di gnûf il telefon e al controle ce che al veve fat. Dome che, invezit di fracâ ×, par erôr al veve fracât ÷. Une sole pressade sbaliade e veve trasformât 250 € in 0,025 €. E i 100 sucj a jerin za vierts. Cuant che il calcoladôr ti da un risultât, ise suficient viodi un numar sul visôr — o covential ancje domandâsi se il risultât al à sens e cual che al è il so ordin di grandece? L’analfabetisim funzionâl nol vûl dî dome no capî un test. Cualchi volte al vûl dî ancje viodi un risultât assurdi sul visôr e no rindisi cont che nol à sens. Dulà crodistu che si rompi la cjadenie: tal calcul stes, tal capî il risultât o te mancjance de abitudin di controlâ la rispueste? ======================= Cemût sestu rivât a cheste publicazion? A. Dal Trending B. Dal profîl di Mr. Numberwise C. Di un hashtag D. Dal feed / racomandazions E. Par mieç di un repost F. In altri mût In ce paîs sestu? Scrîf la letare e il paîs tai coments. #Bundì #RepubblicaItaliana #Italia #edu #educazion #analfabetisimfunzionâl #PISA #pisa2025 #disinformazion #MrNumberwise #Furlan #20260914_2243 #0115