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Damien Jalet, a Belgian choreographer known for his transdisciplinary creations and collaborations with artists such as Madonna and Thom Yorke, discusses in an interview his atypical journey to dance, his emotions related to the Paris attacks, and his international fame, particularly in Japan. (translated)

“BROADWAY WORLD”, NEW YORK, PUBLISHES EXCLUSIVE PHOTOS OF GIORDANO's MARINA's WORLD STAGE PREMIERE IN TEATRO UMBERTO GIORDANO IN FOGGIA SOURCE: https://www.linkedin.com/pulse/broadway-world-new-york-publishes-exclusive-photos-sardella-ph-d--uxaie/ SOURCE: https://www.broadwayworld.com/bwwopera/article/Photos-MARINA-Umberto-Giordanos-Lost-Opera-Receives-World-Stage-Premiere-at-GIO-Festival-20260821 Has the "GIO Festival" of Foggia now entered the circuits of the international operatic press and the network of theatres that truly matter? This is, by every measure, an excellent beginning. The Umberto Giordano Theatre can no longer be dismissed as a provincial venue, as some once contended; it now emerges as a historic operatic institution of rising international stature. Broadway World itself has described the event as a global exclusive: “Exclusive 2026 Gran Gala Opening of Giordano’s Marina (1888) at the World Staging Premiere of the Giordano International Opera Festival (GIO Festival) in Foggia’s Umberto Giordano Theatre.” The "Giordano International Opera Festival (GIO Festival)" now possesses every requisite hallmark of a major cultural institution: - the world staging premiere of Marina (1888) by Umberto Giordano, marking a turning point in global operatic history; - Umberto Giordano, a verismo composer of international renown, born in Foggia; - world‑class operatic press coverage through Broadway World; - an international operatic event, emerging yet already significant in its inaugural edition; - national‑level collaborations with Teatro alla Scala and Fondazione Teatro Petruzzelli; - the Umberto Giordano Theatre, now making a decisive leap into the sphere of international opera. Here are the exclusive photographs from the world premiere of Marina (1888) at the Umberto Giordano Theatre in Foggia, marking a historic turning point in the annals of world opera and in the cultural history of Foggia, Italy, and the global legacy of Umberto Giordano. All of this has been formally acknowledged and underscored by "Broadway World", which has published an exclusive photographic gallery documenting, with remarkable completeness and precision, the historic world premiere of Giordano’s Marina, presented at the Umberto Giordano Theatre as part of the "GIO Festival" 2026. The visual collection constitutes a contribution of considerable value for scholars, opera enthusiasts and professionals, offering an in‑depth perspective on every element of the production. – Staging and Production: The gallery clearly reveals the director’s vision: First World War atmospheres, dramatic tensions, familial dynamics and the construction of a visual world fully coherent with the contemporary reading of the opera. The images capture the narrative strength of the staging choices and the meticulous attention to detail that distinguished this unprecedented premiere. – The Cast: The photographs portray the principal artists in their most intense moments: - Marina, performed by Valeria Sepe; - Giorgio Lascari, sung by Samuele Simoncini; - Lambro, portrayed by Elia Fabbian; - Daniele, interpreted by Cüneyt Ünsal. Each image conveys the interpretative quality of the performers and the emotional depth of their characters. – Scenery and Costumes: The visual documentation highlights the work of Alfredo Troisi, responsible for sets and costumes, and the lighting design by Massimo Russo. The images display carefully crafted environments, fabrics, colours and scenic solutions that recreate a historically credible and evocative context. – Highlights of the Inaugural Evening: The gallery also includes photographs capturing the atmosphere of the packed theatre, the participation of the audience, the emotion of the premiere and the city’s enthusiastic response. These images bear witness to a cultural event of notable significance, capable of uniting communities, institutions and admirers of the operatic art.

"RadioText-RadioSoftware (1983–1989)": The First (Forgotten) Radio Programme of Computer Science Dissemination in Italy SOURCE: https://www.linkedin.com/pulse/radiotext-radiosoftware-19831989-first-forgotten-sardella-ph-d--eqief/ Radiosoftware represents Italy's absolute pioneer in broadcasting digital literacy education over the airwaves in the Belpaese. Abstract This paper reconstructs the history of Radiosoftware, the first Italian radio programme which anticipated by over a decade the dissemination of microtelematics, computing, and digital technology, as well as modern methods of digital software distribution. Established in 1983 at Radio Popolare and subsequently developed as a national initiative on Rai Radio 3 from 1984 to 1989, Radiosoftware represents the first Italian radio programme to broadcast educational content and transmit executable software for home computers over the airwaves. Through analysis of its technical evolution, educational content, and cultural impact, this article demonstrates how the initiative constituted a significant precedent in national computer literacy, the democratisation of access to software, and the development of amateur programming communities, establishing itself as the progenitor of a media ecosystem dedicated to technological dissemination that has extended into the contemporary era. Keywords: history of Italian computing, technological dissemination, digital broadcasting, computer literacy, Radio Popolare Introduction: The Dawn of Computing Dissemination in Italy In the landscape of Italian digital media history, a fundamental chapter remains little explored in academic literature: that of computing dissemination through radio broadcasting in the 1980s. In an era characterised by the absence of network connectivity and economic and geographical barriers to accessing computer technologies, radio configured itself as a democratic instrument for the diffusion of nascent digital culture. Radiosoftware emerges in this context as an absolutely pioneering initiative in Italy, anticipating not only analogous Italian experiences but also positioning itself amongst the first European experiments in software transmission over the airwaves. Its genesis at Radio Popolare in 1983 and subsequent evolution as a national programme on Rai Radio 3 bear witness to a trajectory of technical and pedagogical innovation that merits in-depth analysis. Contenuto dell’articolo The Original Phase: Radio Popolare (1983) The birth of Radiosoftware at Radio Popolare in 1983 constitutes the foundational moment of radio-based computing dissemination in Italy. In a period when personal computers still represented niche objects, the programme set out to systematically explore programming languages, hardware architectures, and practical applications of home computing, addressing a heterogeneous audience composed of students, teachers, hobbyists, and professionals. This first incarnation established the conceptual paradigms that would characterise the entire subsequent tradition: linguistic accessibility, pedagogical vocation, attention to the social and cultural dimensions of technology, and promotion of active listener participation. Contenuto dell’articolo The National Evolution: From Radiotext to Radiosoftware (1984–1989) The experience gained at Radio Popolare found systematic development in the national initiative coordinated by Rai Radio 3. The pilot phase, denominated Radiotext, commenced on 11 May 1984 as an experimental segment within the current affairs programme Un certo discorso, presented by Pasquale Santoli. Eight 30-minute episodes, broadcast on Fridays at 16:00 with Sunday repeats, tested the technical feasibility and public interest in the transmission of executable software through audio signals. Curated by Luigi Grimaldi and Giovanni Sighele of the Lega Informatica of Florence, in collaboration with Arci Media, the pilot phase demonstrated the viability of the concept. In autumn 1984, the format consolidated with the definitive denomination Radiosoftware, expanding to one-hour episodes and maintaining its placement within Un certo discorso. Contenuto dell’articolo The third season, inaugurated on 7 February 1986, introduced a thematic structuring articulated in three distinctive segments: "Hard & soft news" (updates and reviews), "Studiare con il computer" (educational applications), and "Radio + informatica" (experimental intersections between broadcasting and computing). This phase evidenced a growing pedagogical sophistication and greater attention to formal educational applications. In late 1986, the programme acquired editorial autonomy, transforming into an independent transmission with nocturnal weekend scheduling. 1987 marked a significant technical innovation with the introduction of the 4800 bit/s hardware interface developed by the RAI Research Centre in Turin, which enabled direct connection to the RS-232 serial port, overcoming the limitations of the audio-cassette method. The concluding phase, from February to June 1989, adopted a brief daily format (10 minutes, Monday to Friday at 19:45), concentrating on MS-DOS-compatible software. Despite the announcement of a cycle for 1990, no national transmission is documented beyond June 1989. Contenuto dell’articolo The Audio-Cassette Method (1984–1987) The initial methodology replicated the cassette loading mechanisms typical of 1980s home computers. Programmes were encoded as sequences of audio impulses—electronic noises incomprehensible to the human ear—which listeners recorded onto blank audiocassettes by connecting a tape recorder to the radio's audio output. The recorded cassette was subsequently played through the computer's cassette interface, which decoded the signals, loading the software into memory. This approach, based on modulation techniques similar to frequency-shift keying (FSK), guaranteed compatibility with heterogeneous platforms such as the ZX Spectrum 48K, Commodore 64, Olivetti M10, subsequently extended to the Apple II, MSX, BBC Micro, Olivetti M24 and M28. Each episode transmitted sequentially platform-specific versions for each system. Whilst accessible and revolutionary for mass distribution in pre-Internet Italy, this method presented significant limitations: low transmission speed, susceptibility to errors induced by radio interference or ambient noise, and the necessity for precise volume and timing adjustments. Contenuto dell’articolo The RAI-Radiosoftware Hardware Interface (1987) In 1987, the RAI Research Centre in Turin developed an advanced interface documented in CCIR reports as the RAI-Radiosoftware system. The principal innovation consisted of direct transmission at 4800 bits/s utilising biphase modulation organised in packets, enabling connection to the computer's RS-232 serial port without cassette intermediation. The interface was designed for operating system independence, with management software adaptable for MS-DOS, CP/M, and potential future extensions to Macintosh. For Olivetti M24 and M28 computers, a version with an internal card was available. The Research Centre additionally developed management software, test cassettes, and manuals, considering initial commercialisation at approximately 90,000 lire. This technical evolution represented a significant advancement in terms of speed, reliability, and usability, whilst maintaining the audio-cassette method in parallel to guarantee universal access. Contenuto dell’articolo Types of Software Transmitted The catalogue of software distributed through Radiosoftware reflected a broad range of applications: practical utilities (thematic databases on fashion, music, itineraries, and personalised diets), educational tools (didactic programmes for secondary schools, upper secondary schools, and conservatoires), recreational software (games such as the Olympic pentathlon for the Commodore 64), graphic demonstrations, and creative tools (bases for musical composition and digital comics). Particularly significant was the introduction, from the third season onwards, of educational software developed in collaboration with the Ministry of Public Education, designed specifically for scholastic use across various disciplines, not limited to computing. Contenuto dell’articolo Community Participation: The ORSA Section The Osservatorio Radiofonico del Software Autoprodotto (ORSA) [Radio Observatory of Self-Produced Software], reintroduced in the third season from February 1986, constituted a space dedicated to the transmission of programmes created by listeners. This feature transformed Radiosoftware into a bidirectional platform, anticipating collaborative logics that would characterise, decades later, open-source communities and participatory digital cultures. The "listeners' post" section within "Hard & soft news" additionally facilitated continuous dialogue with the public, integrating feedback, questions, and suggestions into the programming. Questionnaires distributed at the end of cycles and surveys conducted by specialist magazines such as Sperimentare con l'elettronica e il computer provided further mechanisms for evaluation and editorial orientation. Contenuto dell’articolo Institutional Collaborations and School Experiments In 1987, Radiosoftware collaborated with the ITIS Enrico Fermi in Rome to produce a series of transmissions dedicated to the development and application of educational software in scholastic contexts. The initiative involved experimental reception centres in 60 Italian schools, where students and teachers utilised the specialised interfaces developed by the RAI Research Centre to capture and load directly the transmitted software. These experiments positioned Radiosoftware as an operational instrument of pedagogical innovation, extending its impact beyond the hobbyist user base towards formal integration within the national education system. Contenuto dell’articolo Comparison with European Experiences Although Radiosoftware represents the first Italian national initiative, it was not the first European experiment in radio transmission of software. In the Netherlands, the programme Hobbyscoop on the public broadcaster NOS began transmitting computer programmes via radio around 1979–1980, subsequently developing the Basicode standard (from 1982). This standardised format utilised a restricted subset of BASIC commands and platform-specific translation routines, guaranteeing portability across heterogeneous architectures through FSK modulation at 1200 bps. Contenuto dell’articolo In the United Kingdom, The Chip Shop on BBC Radio 4, presented by Barry Norman and launched in 1984, included a "takeaway" service that transmitted Basicode programmes during nocturnal hours on VHF. Contenuto dell’articolo Technical and Cultural Differentiation Unlike approaches based on Basicode, which privileged portability at the interpreted language level, Radiosoftware transmitted platform-specific executable files, often in machine code, encoded as audio tones analogous to cassette loading signals. This choice reflected different priorities: maximising performance and the specific capabilities of each architecture rather than guaranteeing universal compatibility through a standardised language. The subsequent introduction of the 4800 bit/s interface with RS-232 connection represented a further differentiation, bypassing cassette recording entirely. These technical specificities bear witness to an autonomous development pathway, oriented towards the characteristics of the Italian computing market and ecosystem. Contenuto dell’articolo Transition towards Telesoftware Between 1988 and 1989, Radiosoftware was progressively accompanied and superseded by telesoftware transmitted through Televideo, RAI's teletext system. Technically defined by the RAI Research Centre in collaboration with Olivetti, the system became operational in 1989 following scholastic experiments coordinated with the Ministry of Public Education and Seleco in 1988. Telesoftware represented a natural evolution that shifted distribution from radio to television, offering advantages in terms of bandwidth capacity and already widespread reception infrastructure. This transition reflected broader trends in media convergence and the evolution of digital broadcasting technologies. Contenuto dell’articolo Obsolescence and the Rise of the Internet The emergence of the Internet in the 1990s rendered obsolete both radio-based and teletext-based methods of software distribution. Bidirectional digital networks offered incomparable speed, scalability, and interactivity, radically transforming the paradigms of software access and distribution. However, the conceptual legacy of Radiosoftware persists: the idea of mass distribution of executable digital content through broadcasting channels anticipated logics that re-emerge in modern over-the-air distributions of firmware and software updates for mobile devices and IoT. Contenuto dell’articolo The Ecosystem of Italian Radio-Based Computing Dissemination COMPLETE TIMELINE From the birth of computing dissemination on radio to the contemporary digital ecosystem 🟦 1983 — THE ORIGIN Radiosoftware – Radio Popolare (1983) The first Italian programme entirely dedicated to computing, programming languages, and personal computers. The absolute progenitor of the Italian tradition of radio-based technological dissemination. 🟦 THE 1980s — THE FIRST HEIRS 1984–1989 — Bit, Byte & Musica – Radio Popolare Technology, electronics, early networks, hacker culture. Continues the pioneering spirit of Radiosoftware, exploring the countercultural and communal dimensions of nascent computing. 1987–1990 — Decoder / Cyberpunk – Radio Popolare First systematic discussions of BBS, cryptography, alternative telematics, anticipating themes that would become central in the Internet era. 🟩 THE 1990s — THE INTERNET ERA 1993 — Golem – Radio3 Critical reflection on media and digital technologies, situating technological transformation within a broader cultural and philosophical framework. 1994 — Eta Beta – Radio1 Innovation, information society, digital transformation. Technological dissemination for a general audience in the phase of initial digital literacy. 1995 — Internetworkcity – Radio Deejay Presented by Claudio Cecchetto and Marco Camisani Calzolari, represents the first pop-commercial programme dedicated to the Internet, introducing email, websites, chat, and cyber culture to the mass public with accessible language and a massified educational approach. 1996–1999 — Mediamente (radio version) – RAI Dissemination on the Internet, networks, digital culture, with particular attention to the social and cognitive implications of emerging technologies. 1997–2000 — Cybernet / Tecnologie e Libertà – Radio Sherwood Free software, digital rights, civic networks. Continuation of the critical and communal tradition inaugurated by Radio Popolare, with focus on the political and libertarian dimensions of technology. This timeline evidences how Radiosoftware does not represent an isolated phenomenon, but rather the point of origin of a continuous tradition that has traversed over four decades. From the programming languages and over-the-air software transmission of the 1980s, through explorations of BBS and alternative telematics, to mass literacy on the Internet in the 1990s and critical reflections on free software and digital rights, a connecting thread emerges that testifies to the role of radio as a privileged space for the cultural mediation of emerging technologies. Contenuto dell’articolo Contemporary Recognition and Archival Preservation In recent years, Radiosoftware has acquired renewed attention as a pioneering initiative in the history of Italian computing. In 2024, contributions by scholars such as Andrea Fortuna have described the programme as a fascinating chapter in the diffusion of personal computing in Italy, underscoring its innovative approach to the distribution of executable software in the pre-Internet era. RAI has preserved selections from the initial phase of the programme through digital platforms such as RaiPlay Sound, where a dedicated playlist in the "Via Asiago 10" series includes several pilot episodes from 1984, originally broadcast on Rai Radio 3. Preservation efforts by enthusiasts have further contributed to maintaining accessible portions of the programme's legacy, with partial audio recordings and listener interviews available on dedicated websites. Radiosoftware constitutes a significant case study from multiple disciplinary perspectives. From the standpoint of media history, it represents an innovation in the utilisation of radio broadcasting, extending its functionalities beyond the transmission of audio content towards the distribution of executable code. In computing history, it testifies to strategies of democratisation of software access in contexts characterised by scarcity of resources and infrastructure. From a pedagogical standpoint, it anticipates models of distributed and community learning that re-emerge in modern online educational platforms. The participatory dimension embodied by the ORSA section prefigures collaborative dynamics that would characterise open-source cultures. Its position as progenitor of a continuous media ecosystem dedicated to technological dissemination—from Radio Popolare through national public broadcasters to the experiences of the 1990s—underscores the role of radio broadcasting as essential cultural infrastructure in the processes of national digital literacy. In an era when over-the-air distribution of software updates has become ordinary practice for billions of connected devices, Radiosoftware emerges not as an antiquarian curiosity, but as a conceptual antecedent that illuminates often-neglected technological genealogies. Its rediscovery and archival preservation constitute essential operations for a complete understanding of the roots of Italian digital culture.

Mistral, the French champion of artificial intelligence, announced a strategic collaboration with the Saudi company HUMAIN, involving an investment of several hundred million euros for the development and deployment of AI solutions in Saudi Arabia, as part of the Saudi Vision 2030. (translated)

🚨 Sociologue de service » : ce que révèle l'interdisciplinarité qu'on n'ose pas dire 📒 Ni tout à fait dedans, ni tout à fait dehors : composer avec l'interdisciplinarité entre santé et sciences humaines et sociales ✍️ Ni discipline d'appoint, ni case à cocher - Revue Anthropologie & Santé, n° 32 | 2026 Capsules Audio de Pratiques en Santé 🎙️🎥 https://www.youtube.com/watch?v=d_wwZhYTw9U 🔬🧩 Interdisciplinarité santé/SHS : co-construire dès l'appel à projets, ou reléguer les sciences humaines à un rôle d'appoint. Une enquête (10 entretiens) montre ce que l'interdisciplinarité fait aux parcours de recherche — et pourquoi l'inconfort peut devenir une ressource. Analyse de Pratiques en Santé et lien vers la source ℹ️➕ https://www.pratiquesensante.com/blog/pratiques-15/ni-tout-a-fait-dedans-ni-tout-a-fait-dehors-composer-avec-l-interdisciplinarite-entre-sante-et-sciences-humaines-et-sociales-6139 📌 Ce texte n'est pas un guide de terrain : c'est une enquête réflexive sur ce que « faire de l'interdisciplinarité » fait concrètement aux chercheur·se·s qui croisent SHS et médecine. Son utilité est réelle mais ciblée : elle vaut d'abord pour qui construit, pilote ou évalue des collaborations recherche santé/SHS (unités de recherche, structures fédératives, encadrant·e·s de thèse, porteur·se·s de projets, CPTS ou services engagés dans la recherche). Elle éclaire pourquoi une SHS « ajoutée après coup » perd sa fonction critique, et pourquoi la co-construction dès l'appel à projets change tout. Pour l'acteur de prévention ou du médico-social, l'intérêt est plus indirect : une grille lucide pour lire les rapports de pouvoir et de légitimité qui traversent tout travail « entre plusieurs mondes » professionnels. 🇬🇧: Neither completely in nor completely out: composing with interdisciplinarity between health and human and social sciences - https://www.pratiquesensante.com/en/blog/practices-15/ni-tout-a-fait-dedans-ni-tout-a-fait-dehors-composer-avec-l-interdisciplinarite-entre-sante-et-sciences-humaines-et-sociales-6139 #️⃣ #Interdisciplinarité #RechercheEnSanté #SciencesHumainesEtSociales #HumanitésMédicales #CoConstruction #Réflexivité #SantéEtSociété #pratiquesensante

@bchartsnet Miley jamais trabalharia com ele de novo. Ela já denunciou antes mesmo das acusações contra ele que o produtor tentou tirar dela os creditos de wrecking ball. Quem conhece a Miley sabe que ela nao daria esse desgosto. Preguiçosa sim, desesperada jamais. #MileyCyrus #WreckingBall #Collaborations

Plas Johnson, le saxophoniste emblématique du célèbre thème musical de La Panthère rose, est décédé à l'âge de 94 ans le 15 juillet, laissant derrière lui une carrière marquée par des collaborations avec des légendes de la musique et un style distinctif qui a marqué l'histoire du cinéma. #PlasJohnson #Jazz #LaPanthèreRose

La Coupe du Monde 2026 se transforme en un événement largement médiatisé par des influenceurs, avec des collaborations entre la FIFA et des plateformes comme YouTube et TikTok, visant à attirer un public plus jeune grâce à un contenu innovant et à des accès privilégiés aux matchs. #CoupeDuMonde #Influenceurs #Foot

Le nouvel album des Rolling Stones, « Foreign Tongues », reçoit des critiques globalement positives, notamment pour la voix de Mick Jagger et des collaborations notables, bien que certains chroniqueurs dénoncent une certaine absence d'inspiration et une surenchère sonore. #RollingStones #ForeignTongues #MickJagger

(LA) HORDE, le collectif chorégraphique dirigé par Marine Brutti, Jonathan Debrouwer et Arthur Harel, remet en question le monde contemporain à travers la danse en abordant des thèmes sociopolitiques tels que l'effondrement écologique et le transhumanisme, tout en ayant marqué la scène artistique européenne avec des collaborations avec des artistes de renom comme Madonna et Angèle. #Danse #Chorégraphie #Politique

Stronger together isn’t a slogan — it’s a strategy. 💪 Today at #NATO HQ, BeNeLux brings its defence industries together to break down borders, spark new collaborations, and show Europe what an integrated ecosystem really looks like. 🇧🇪🇳🇱🇱🇺 https://t.co/iTZTIdZMDI #StrongerTogether #NATO #DefenseCollaboration #BE #NL #LU

Le ministère des Affaires étrangères français, via son compte French Response sur X, utilise un réseau d'influenceurs sur les réseaux sociaux pour combattre la désinformation et défendre la position officielle de la France face aux ingérences étrangères, tout en faisant l'objet de critiques sur la transparence de ces collaborations. #QuaidOrsay #Désinformation #Influenceurs

#RDC: Retour sur la séance d’information organisée par BJS Access et NetWor’Kin Signature au Novotel Kinshasa le 13 juin 2026, en préparation de la Mission Économique et Prospective « RDC–Égypte 2026 », qui se déroulera au Caire du 9 au 17 juillet 2026. 🇨🇩🇪🇬 Portée par Mme Berthe Shastri, Présidente-Directrice Générale de BJS Access, en partenariat avec Henri Désiré N’Zouzi, initiateur de NetWor’Kin Signature, cette rencontre s’est tenue en présence de Son Excellence Hesham Abdel Salam Elmekwad, Ambassadeur de la République arabe d’Égypte en République démocratique du Congo, témoignant de l’importance accordée au renforcement des relations économiques entre les deux pays. Cette séance d’information a permis de présenter les enjeux, les objectifs et les perspectives de cette mission stratégique, qui vise à favoriser les investissements, développer des partenariats durables et créer de nouvelles opportunités d’affaires au bénéfice des acteurs économiques congolais et égyptiens. Véritable plateforme de networking, d’échanges d’expertise et de mise en relation, la Mission Économique et Prospective « RDC–Égypte 2026 » s’inscrit dans une dynamique de coopération économique renforcée et d’ouverture vers de nouvelles perspectives de croissance et d’investissement. 🎥 Voici le reportage de B-One TV consacré à cette rencontre, mettant en lumière les opportunités qu’offre cette mission ainsi que l’engagement des organisateurs et des partenaires institutionnels à bâtir des passerelles durables entre les milieux d’affaires de la RDC et de l’Égypte. Une initiative porteuse d’avenir qui contribue à consolider les liens économiques entre Kinshasa et Le Caire, tout en ouvrant la voie à des collaborations stratégiques au service du développement et de la prospérité des deux nations. @Presidence_RDC @Anthony_Nkinzo @BienvenuIlambo @KayowaM @cpvsrdc @financesrdc @LikundeR @PatrickMuyaya @LouisWKabamba @TinaSalama2 @mbuyi_don @leParrainRDC @seigneurCHRIS01 @julienpalukucom @AnapexRdc @Mibeyachristian #RDC #Économie #Investissement

L'Ukraine exprime sa satisfaction concernant les accords bilatéraux sur les drones signés avec les Pays-Bas et le Royaume-Uni, lors d'un sommet dédié à la coopération en matière de technologie et de sécurité des drones, soulignant l'importance de ces collaborations pour la défense européenne. #Ukraine #drones #coopération

Jazz legend Sonny Rollins, known as the saxophone colossus, has passed away at the age of 95 at his home in Woodstock, New York, leaving behind a legacy marked by collaborations with iconic musicians, over 60 albums, and a reputation as one of the most influential figures in American music. #SonnyRollins #JazzLegend #SaxophoneColossus

🚨💙 Pep Guardiola will take up a role as a Global Ambassador for the City Football Group. He will give technical advice to the clubs in the group, working on specific projects and collaborations. https://t.co/W7GnQa10UQ #PepGuardiola #CityFootballGroup #FootballAmbassador #Nospecificcountrycodesarementionedinthetweet.

L'article de Marion Trommenschlager souligne que le mythe du fondateur dans la Silicon Valley, qui glorifie des figures individuelles comme Mark Zuckerberg et Sam Altman, masque en réalité le caractère collectif et systémique de l'innovation, qui repose sur des collaborations entre universités, entreprises et acteurs publics. #innovation #SiliconValley #intelligenceartificielle

L'Université de Gand (UGent) a demandé à la justice d'expulser des militants pro-palestiniens qui occupent ses bâtiments, en raison de nouveaux actes de vandalisme, après que les militants ont élargi leur occupation en installant des tentes sur le rectorat et en peignant des slogans sur les murs, en réponse à des collaborations de l'université avec des institutions israéliennes. #ProPalestiniens #UGent #Occupation