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A group of fascists is attacking the students who are mobilizing in front of their university in Paris Fortunately, they eventually dispersed thanks to the large mobilization Caution ⚠️ not to remain isolated (translated)

I wanted to remain sober at first and not speak, but I have thought a lot about Malek since the announcement of his passing, and I told myself that it was a good thing to pay tribute to him. I met him on a TeamSpeak we called "TS Netteux" back in the day, over 10 years ago now. It was a TS where almost the entire French subtop scene of the early CS:GO was present. I still don't know how I ended up there since I was just a guy who played on FACEIT and had never played as a team. I found myself with pros and semi-pros from the scene, and I was so happy to be with those guys and to be able to play with them. My only obsession was for one of them to give me a chance to play with them as a team. There were several young players in the same situation on the TS, we had no concept of team play, we only thought about individual skill and making highlights to impress the subtop players. I remember one day when Malek had us join a server, with other guys like me who were hanging around on the TS. We were on Dust2, and he was telling us to imagine a line that divides the map in two, the bombsite A and the bombsite B, and that the goal as terrorists was to go to the bombsite where there were the least CTs. He also made comments about our approach to the game: "You only think about shooting and getting kills, but in a round, the time you spend shooting an enemy is 2 seconds. You put all your attention on those 2 seconds, but what are you doing for the next 1 minute and 40 seconds, and what can you do to help your team win the round?" He was teaching us the basics of team play, and we listened to him attentively. I had the opportunity to run into him at LANs from time to time and chat a bit with him. We weren't particularly close, but the exchanges were always fascinating and very direct with him. I think he wanted to be validated by his peers, like all of us, the players and more broadly, the actors of the CS scene in France. And it's true that having a track record helps a lot to obtain that validation, but I think it's important to value his work, and more broadly the work of passionate people in the scene, whether they have a track record or have done great things in the competitive scene or not. Rest in peace, Malek. (translated)

🚨🌧️ ALERT The GARD & HÉRAULT are on RED ALERT for FLOODING!! Torrential rains are expected all day and significant flooding is forthcoming, take care of yourselves 💙 (translated)

The article emphasizes the increasing integration of artificial intelligence into various aspects of daily life, with particular attention on the upcoming technological interface, smart glasses, which will succeed computers and smartphones in the battle of tech companies. (translated)

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.

"On manifeste aussi en solidarité avec les établissements davantage en difficulté comme en Seine-Saint-Denis où ils manquent d'énormément de moyens."Dora, qui étudie dans ce dernier lycée, témoigne de quelques désagréments liés à des absences d'enseignants mais considère que cette grève sert surtout à attirer l'attention sur la situation dans des départements moins privilégiés: #LycéensEnMobilisation #Parcoursup #Éducation

Aux lycéens mobilisés je dis notre soutien. Vous n’avez attendu personne pour faire entendre vos renvendications. Elles sont parfaitement légitimes. Face au piège de la violence tendu par le gouvernement faites attention à vous. https://t.co/C5tEqL9rPJ #Soutien #Enseignement #Mobilisation

“ORTA NOVA SOUND LAB” FROM ORTA NOVA (PUGLIA) ON “BROADWAY WORLD,” NEW YORK, by LUCIANO MAGALDI SARDELLA SOURCE: https://www.broadwayworld.com/italy/article/Orta-Nova-Sound-Lab-Launches-Youth-Community-Band-in-Southern-Italy-20260928?fbclid=IwY2xjawUnzKtleHRuA2FlbQIxMABwZG9mAWJyaWQRMHZzU2xWWTdTNU5UMDFNY1lzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeKFYDfacdBYHnYGZu4M9ZmxOT_wnVa7M53_p_1yfAmpSZSvn3ZDHF-BXqMr4_aem_Jd46xeSFwcUn5qapLvtu8w “Orta Nova Sound Lab Launches Youth Community Band in Southern Italy” The season includes free training with instrumental workshops for winds and percussion, ensemble lessons, and more. By: Chloe Rabinowitz ‘Orta Nova Sound Lab’, a new community music project in Puglia, southern Italy, is creating a brand-new youth-driven community band through free instrumental training, ensemble workshops and a season of live performances. Promoted by the ‘Associazione Nazionale Bande da Giro (ANBG)’ and funded by the Italian Ministry of Culture, it reimagines the brass band tradition as a tool for inclusion, cultural growth and social regeneration. Since the Italian government’s 2023 “Caivano Decree” (Decree-Law 123/2023), which targeted youth distress, educational poverty and juvenile crime, attention has turned to communities in Southern Italy where culture, education and public space can be rebuilt together. Orta Nova, in the Puglia region, is part of that broader conversation as ‘Orta Nova Sound Lab’ replying to local Mafia with music: a “social laboratory” that connects young people, schools, associations and institutions around a shared, tangible goal, a band of their own. It is the first initiative of its kind in Italy, to repurpose the distinctive tradition of the ‘touring brass bands’ and youth orchestra within a ministerial call devoted to urban peripheries and social vulnerability. Its explicit aim is to offer young people a real alternative to the screen and to the youth disenfranchisement associated with the anti-mafia “Caivano model”. The project was presented on September 21 at Luca ed Erminio Ferrandina C-Lab MAO facility and is funded under the Ministry of Culture’s public call for the promotion of musical practices in suburban and socially Mafia-rooted vulnerable areas, and it is supported by the Municipality of Orta Nova. Project partners include the cultural association APS MAO FM 19.77, the “A. Olivetti” secondary school, the “Sandro Pertini” comprehensive school, the Music Art association and C.I.S.A. Foggia. At the heart of the project is a simple idea: give young people a reason to be together, in person, making something real. “A music band is aggregation!,” said Antonella Spagnoletti, ANBG project director. She explained that the band means cohesion, and that bringing young people together to train and live differently from the social-media world is among the association’s primary goals. Mayor Domenico Di Vito called it an important project that can make a real difference, with all the ingredients to connect the town’s cultural and social networks with anti-mafia roots. He added that the administration is committed to making the initiative sustainable, structured and lasting. The presentation also involved Benedetto Grillo, president of ANBG; Grazia Maria Starace, regional councillor; Sebastiano Battista, councillor for relations with third-sector organizations; Vittoria Mastrogiacomo, councillor for culture; and Alfredo Coppola, representing the Olivetti school. Journalist Giuseppe Di Bisceglie moderated. The season ahead: Free training: instrumental workshops for winds and percussion, ensemble lessons and rehearsals led by qualified teachers and conductors, open to aspiring musicians, families, schools and citizens. October: a parade of marching bands and youth orchestra through the streets of Orta Nova, Puglia, southern Italy. November-December: concerts by the Gran Concerto Bandistico di Conversano and the Gran Concerto Bandistico “Biagio Abbate” of Bisceglie, giving the young musicians a chance to learn from professional ensembles. A special evening of women’s music with the all-female Orchestra Note di Puglia, reinforcing the project’s values of inclusion and equal opportunity. January 2027: the first concert of the new Orta Nova community band. In particular, ‘Orta Nova Sound Lab (Community Band and Social Regeneration through Music)’ is a project of the ‘Associazione Nazionale Bande da Giro (ANBG),’ a national association of bands active across south-Italians regions like Abruzzo, Basilicata, Calabria, Campania, Molise and Puglia. Funded by the Italian Ministry of Culture and supported by the Municipality of Orta Nova, it offers free music education and live performance opportunities to strengthen inclusion, cultural growth and community cohesion.

“ORTA NOVA SOUND LAB” DA ORTA NOVA (PUGLIA) SUL “BROADWAY WORLD” DI NEW YORK by LUCIANO MAGALDI SARDELLA SOURCE: https://www.broadwayworld.com/italy/article/Orta-Nova-Sound-Lab-Launches-Youth-Community-Band-in-Southern-Italy-20260928?fbclid=IwY2xjawUnzKtleHRuA2FlbQIxMABwZG9mAWJyaWQRMHZzU2xWWTdTNU5UMDFNY1lzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeKFYDfacdBYHnYGZu4M9ZmxOT_wnVa7M53_p_1yfAmpSZSvn3ZDHF-BXqMr4_aem_Jd46xeSFwcUn5qapLvtu8w “Orta Nova Sound Lab Launches Youth Community Band in Southern Italy” The season includes free training with instrumental workshops for winds and percussion, ensemble lessons, and more. By: Chloe Rabinowitz ‘Orta Nova Sound Lab’, a new community music project in Puglia, southern Italy, is creating a brand-new youth-driven community band through free instrumental training, ensemble workshops and a season of live performances. Promoted by the ‘Associazione Nazionale Bande da Giro (ANBG)’ and funded by the Italian Ministry of Culture, it reimagines the brass band tradition as a tool for inclusion, cultural growth and social regeneration. Since the Italian government’s 2023 “Caivano Decree” (Decree-Law 123/2023), which targeted youth distress, educational poverty and juvenile crime, attention has turned to communities in Southern Italy where culture, education and public space can be rebuilt together. Orta Nova, in the Puglia region, is part of that broader conversation as ‘Orta Nova Sound Lab’ replying to local Mafia with music: a “social laboratory” that connects young people, schools, associations and institutions around a shared, tangible goal, a band of their own. It is the first initiative of its kind in Italy, to repurpose the distinctive tradition of the ‘touring brass bands’ and youth orchestra within a ministerial call devoted to urban peripheries and social vulnerability. Its explicit aim is to offer young people a real alternative to the screen and to the youth disenfranchisement associated with the anti-mafia “Caivano model”. The project was presented on September 21 at Luca ed Erminio Ferrandina C-Lab MAO facility and is funded under the Ministry of Culture’s public call for the promotion of musical practices in suburban and socially Mafia-rooted vulnerable areas, and it is supported by the Municipality of Orta Nova. Project partners include the cultural association APS MAO FM 19.77, the “A. Olivetti” secondary school, the “Sandro Pertini” comprehensive school, the Music Art association and C.I.S.A. Foggia. At the heart of the project is a simple idea: give young people a reason to be together, in person, making something real. “A music band is aggregation!,” said Antonella Spagnoletti, ANBG project director. She explained that the band means cohesion, and that bringing young people together to train and live differently from the social-media world is among the association’s primary goals. Mayor Domenico Di Vito called it an important project that can make a real difference, with all the ingredients to connect the town’s cultural and social networks with anti-mafia roots. He added that the administration is committed to making the initiative sustainable, structured and lasting. The presentation also involved Benedetto Grillo, president of ANBG; Grazia Maria Starace, regional councillor; Sebastiano Battista, councillor for relations with third-sector organizations; Vittoria Mastrogiacomo, councillor for culture; and Alfredo Coppola, representing the Olivetti school. Journalist Giuseppe Di Bisceglie moderated. The season ahead: Free training: instrumental workshops for winds and percussion, ensemble lessons and rehearsals led by qualified teachers and conductors, open to aspiring musicians, families, schools and citizens. October: a parade of marching bands and youth orchestra through the streets of Orta Nova, Puglia, southern Italy. November-December: concerts by the Gran Concerto Bandistico di Conversano and the Gran Concerto Bandistico “Biagio Abbate” of Bisceglie, giving the young musicians a chance to learn from professional ensembles. A special evening of women’s music with the all-female Orchestra Note di Puglia, reinforcing the project’s values of inclusion and equal opportunity. January 2027: the first concert of the new Orta Nova community band. In particular, ‘Orta Nova Sound Lab (Community Band and Social Regeneration through Music)’ is a project of the ‘Associazione Nazionale Bande da Giro (ANBG),’ a national association of bands active across south-Italians regions like Abruzzo, Basilicata, Calabria, Campania, Molise and Puglia. Funded by the Italian Ministry of Culture and supported by the Municipality of Orta Nova, it offers free music education and live performance opportunities to strengthen inclusion, cultural growth and community cohesion.

Researchers proved AI has deleted every reason universities exist. Harvard University ran a controlled experiment pitting a custom AI against their own top-tier classrooms. And the results are going to collapse the higher education bubble. They took 194 undergraduates and split them up. One group learned physics in one of Harvard’s best hands-on, active-learning physical classrooms. Group work. Instructor support. The premium university experience. The other group went home and learned the exact same material with an AI tutor. The AI didn't just win. It embarrassed the institution. Students using the AI learned more than twice as much as the students in the elite Harvard classroom. They scored 30% higher on the final assessment. And they did it in less time. Let that sink in. A piece of software sitting on a laptop outperformed a world-class faculty in one of the most elite learning environments on Earth. Universities have always justified their exorbitant tuition with two things: access to elite knowledge and the physical classroom experience. This study just proved both of those moats are gone. When software can teach you complex physics twice as well as a $60,000-a-year institution, the math of higher education breaks permanently. The AI didn't just give the students answers. It used strict pedagogical guardrails. It guided. It questioned. It forced the students to do the cognitive work. It offered perfect, one-to-one tutoring, personalized to the exact moment a student misunderstood a concept. That level of attention is mathematically impossible to scale in a physical lecture hall. For a thousand years, the university was the only place to get a premium education. Now, it’s the bottleneck. If AI can double your learning speed for a fraction of the cost, what exactly are students taking on decades of debt to pay for? https://x.com/thesupermannx/status/2104519995292344521

🚨 Mauricio Pochettino on Man City charges: “It's fair to ask WHERE the controls were for the rules to be broken like that. That's what catches my attention the most”. “It's a very difficult situation that causes astonishment given the magnitude of the verdict”. https://t.co/YwOxdnIqyM #Pochettino #ManCity #FootballRegulations #GB

L’Europe que nous connaissons, avec son patrimoine spirituel et moral, plonge ses racines dans la vie et l’œuvre d’hommes et de femmes qui ont vécu, prêché et partagé les enseignements de l’Évangile. Les principes moraux du monde dans lequel nous vivons nous ont été transmis à partir de là : des principes tels que la primauté de la personne et le caractère sacré et inviolable de la vie humaine ; la protection de la liberté ; l’importance première de la famille ; l’attention portée aux pauvres et aux plus démunis ; l’accueil de l’étranger, le respect des personnes âgées. #VoyageApostolique #France #Europe #Évangile #Valeurs

accessible, with particular attention to people at higher risk and underserved communities. We need to move from treating illness to anticipating risks: acting earlier, preventing more and detecting sooner. https://t.co/3CvL7x9khF #PublicHealth #PreventiveCare #HealthEquity #Nospecificcountrycodesarementionedinthetweet.

🚨🚨 Heimir Hallgrímsson, sélectionneur de l’Irlande 🇮🇪, après la victoire 3-0 contre Israël 🇮🇱 : « Ça a été tellement difficile pour tant de nos joueurs (de jouer ce match)… ILS ONT DÉMONTRÉ LEUR SOUTIEN AUX PROTESTATIONS CONTRE LA GUERRE. ✊ ILS ONT PERMIS D’ATTIRER L’ATTENTION DU MONDE SUR CE SUJET. ❤️‍🩹🇵🇸 » 🎙️ via @lequipe #Irlande #Football #Solidarité

Les gars on ne le dira jamais assez : faites tres tres attention a votre sante mentale c’est limite plus important que la sante physique Dans cette societe de merde un homme qui est mal est un homme faible mais c’est faux , c’est justement courageux qu’avouer que parfois bah on a une passe de merde , on est vide ou triste ou une autre emotion et on devrait ressentir aucune honte a en parler ou a consulter Demain si t’as un cancer tu vas voir un cancerologue, une fracture tu vas aux urgences, par contre une douleur mentale qui te creer des pensées sombres on consulte pas car c’est la honte en tant qu’homme ? Aucune logique Faites attention a vous les gars vraiment , et Allah y rahmo pour le frere Malek bien sur #SantéMentale #BienÊtre #Courage

Dévasté, choqué il y a 3 jours il me parlait d’acheter une belle voiture il voulait se faire kiffer c’est horrible de se dire à quel point on sait pas ce qui se passe dans la vie des gens et j’ai rien vu, on se dit ça va et toi mais c’est que du bla-bla faites attention autour de vous, repose en paix mon frérot et grosse pensée à sa petite famille #RIP #Pensées #Bienveillance