Search

“AI agents indeed pose risks precisely because they lack the capacity for self-reflection” The AIs Are Not Going Rogue | NOEMA https://t.co/LSvIRYFY0G via Instapaper #AI #Tecnología #Riesgos #Nocountrycodesarepresentinthetweet.

The overnight strikes on the Moscow area used the Flamingo cruise missiles and, if the Pelican mentioned by Zelensky is indeed the FP7 Pelican by Fire Point, for the first time a Ukrainian ballistic missile. Most of the damage was done by drones, as usually, though. #MoscowStrikes #UkrainianMissiles #Drone Warfare #RU #UA

"ANTENNA SUD": SAN SEVERO - THE WORLD'S SMALLEST THEATRE BECOMES A STANFORD CASE STUDY SOURCE: https://www.antennasud.com/san-severo-il-teatro-piu-piccolo-del-mondo-diventa-un-caso-di-studio-per-stanford/ SAN SEVERO (FG) - Six chairs, fewer than two square metres, and performances reprised at intervals of fifteen minutes. It was upon such unassuming premises that there came into being, at San Severo, in the province of Foggia, the teatro edicola - the "kiosk theatre" - a diminutive cultural space wrought from a disused and long-abandoned news-stand, which today draws audiences, curiosity, and attention far beyond Italy's borders. The enterprise has been elevated to the dignity of a case study by Stanford University. In the "Stanford Social Innovation Review (SSIR)", the international journal dedicated to innovative solutions to social problems, there has been published the article "The Six-Seat Revolution", authored by the Foggia-based researcher Luciano Magaldi and supervised by editor David V. Johnson. The contribution is featured in the journal's Dispatches section. "It is an achievement which rewards our labour," emphasises Francesco Gravino, artistic director of the theatrical company Foyer 97, the protagonist of the undertaking. The idea is as simple as it is original: to transform a space fallen into disuse into a cultural outpost capable of accommodating petite spectacles and of forging an immediate rapport with the public. The format has already excited interest in other Italian cities. "Requests to replicate the model have reached us from other parts of Italy, such as Lucca and Rome," Gravino recounts. Hence also the appeal for intervention upon disused spaces: "What is required is a regional law affording the possibility of reconverting these places, wherein one might give life to manifold activities. Veritable cultural garrisons." In the kiosk theatre, performances endure but a few minutes, and the public is admitted in small parties. Six seats are available, performances follow one another in close succession, and an audience composed of the young and the adult has responded with constancy, frequently to the extent of being sold out. An experiment which has attracted the attention of the world of entertainment itself. Between the end of July and the first days of August, during his tour in Lucera, even Biagio Antonacci paid a surprise visit to the kiosk theatre. The singer-songwriter tarried within the space and sang Iris, drawing the attention of passers-by. "It was truly a most beautiful encounter which captivated the attention of all," Gravino recalls. Foyer 97 is now preparing its forthcoming programme. Next year, indeed, the company shall celebrate a significant milestone: "It shall attain its thirtieth anniversary, and it is an occasion we shall mark with sundry novelties," Gravino announces.

"LOCAL NEWS": FOGGIA-PROVINCE-BASED NEWSSTAND THEATRE IN A STANFORD UNIVERSITY REVIEW SOURCE: https://www.newslocali.it/foggia/teatro-edicola-foggiano-su-rivista-stanford-university SAN SEVERO (FG) - The 'smallest theatre in the world' in San Severo becomes an international case study. Its singularity has been chronicled in the prestigious journal of Stanford University, thereby commanding global attention. A diminutive theatre conquers Stanford University The innovative teatro edicola of San Severo, in the Province of Foggia, has attained an extraordinary milestone. This space, styled the 'smallest theatre in the world', is now the subject of academic study. Its history and operational model have been expounded in a publication of considerable international repute. The journal Stanford Social Innovation Review (SSIR), renowned for its much-lauded analyses of global solutions, has devoted attention to the initiative. The article, entitled "Six-Seat Revolution", was authored by the Foggian researcher Luciano Magaldi Sardella. Editorial supervision was entrusted to David V. Johnson. The piece appears in the 'Dispatches' section of the review. This publication constitutes a point of reference for social innovations and impact strategies. The success of the model and future prospects Francesco Gravino, artistic director of the theatrical company Foyer 97, has expressed profound satisfaction. "It is an achievement that rewards our labour," Gravino declared. The notion of transfiguring a disused site into a cultural centre has met with resounding success. The newsstand theatre model has generated requests for replication from sundry Italian cities. Amongst these, Lucca and Rome have evinced interest. The objective was to create a cultural enterprise within a derelict space. Gravino advocates for regional legislation that would facilitate the reconversion of disused areas. These might become veritable 'cultural outposts' for communities. The Foyer 97 company is already labouring upon its forthcoming programme. The coming year shall mark a significant anniversary for the company. It shall indeed celebrate 30 years of activity. This milestone shall be commemorated with sundry novelties. A success with public and critics alike The newsstand theatre is distinguished by its diminutive dimensions. It comprises but six chairs and occupies less than two square metres. Notwithstanding its limited space, performances are reprised every 15 minutes. This frequency ensures a substantial influx of spectators, with consistently sold-out houses. The experiment has captured the interest of young and old alike. It has also aroused curiosity within the world of entertainment. A significant episode occurred between late July and early August. During a stop of his tour in Lucera, the singer Biagio Antonacci paid a surprise visit. Antonacci paused at the newsstand theatre and performed his song 'Iris'. "It was truly a most beautiful encounter," Gravino remarked. The event captivated the attention of passers-by, demonstrating the capacity of the diminutive theatre to engender memorable moments. Questions and Answers What is the newsstand theatre of San Severo? The newsstand theatre of San Severo is a cultural space of exceedingly reduced dimensions, defined as 'the smallest theatre in the world'. It affords a mere six seats and offers continuous reprises of performances. Why was the newsstand theatre published in the Stanford University journal? The newsstand theatre was the subject of a study published in the Stanford Social Innovation Review by virtue of its innovative model for reconverting disused spaces into successful cultural centres. The article The Six-Seat Revolution analyses its uniqueness and its impact.

"FOGGIATODAY": SAN SEVERO'S KIOSK THEATRE FEATURED IN THE "STANFORD SOCIAL INNOVATION REVIEW": THE MODEL WAS A CASE STUDY AT STANFORD UNIVERSITY SOURCE: https://www.foggiatoday.it/attualita/teatro-edicola-san-severo-rivista-stanford-university.html SAN SEVERO (FG) - An article authored by the researcher Luciano Magaldi Sardella in the Stanford Social Innovation Review analyseth the experience of the company 'Foyer 97'. The Artistic Director, Gravino: "Requests for replication have been received from Lucca and Rome; a regional statute for the reconversion of abandoned sites is required." The initiative of the kiosk theatre of San Severo, situated in the Province of Foggia and renowned as the smallest theatre in the world, hath become the object of scholarly analysis at Stanford University. In SSIR - an award-winning periodical devoted to innovative solutions to global problems - there had indeed been published the article The Six-Seat Revolution, written by the Foggia-based researcher Luciano Magaldi under the supervision of the editor David V. Johnson. The article appeareth in the Dispatches section of the "Stanford Social Innovation Review". "It is an achievement that crowneth our labour upon labour," emphasised to ANSA Francesco Gravino, artistic director of the theatre company Foyer 97. "Requests to replicate the model have reached us from other parts of Italy, such as Lucca and Rome. We conceived the idea of engendering a cultural enterprise from a place hitherto disused and in a state of dereliction. What is requisite is a regional law that affordeth the possibility of reconverting these disused places, wherein one might engender a multitude of activities. Veritable cultural outposts." Gravino and the actors of the company are preparing the new programme. "Next year our company shall attain its thirtieth anniversary," he said, "a momentous occasion which we shall celebrate with sundry novelties." Six chairs assembled in less than two square metres, performances repeated every quarter of an hour, and audiences at full capacity, amongst both the young and the adult. An experiment that hath attracted attention and curiosity even within the profession of the stage. Between the end of July and the beginning of August, during the engagement at Lucera (Foggia), Biagio Antonacci paid a surprise visit to the kiosk theatre and performed his Iris. "It was truly a most beautiful encounter that captivated the attention of passers-by," Gravino concluded.

FROM THE STREETS OF SAN SEVERO TO THE "STANFORD SOCIAL INNOVATION REVIEW": "TEATRO EDICOLA" BECOMES AN INTERNATIONAL CASE STUDY SOURCE: https://www.sanseverocitta.it/dalle-strade-di-san-severo.../ SAN SEVERO (FG) - Six persons enter a newsstand. Before them there are no newspapers, periodicals, or tobacco, but rather a theatrical stage of less than two square metres. The actors stand but a few paces from the spectators, with scarcely any separation betwixt performer and beholder. It is thus that a place abandoned for years in San Severo hath been restored to life. And today that modest theatrical experiment hath come under the glare of international attention. This is the history of the Teatro Edicola, the project realised by the company Foyer '97, under the artistic direction of Francesco Gravino, which hath transformed a former newsstand in Via Tondi into one of the smallest stages hitherto conceived. The project commenced on 27th March last with a formula at once simple and singularly original: six seats, a most circumscribed scenic space, and performances of but a few minutes' duration. A minimal distance betwixt public and interpreters that doth wholly transfigure the traditional relation between spectator and theatre. The wager, however, was immediately rewarded by the public. More than sixty persons attended the performances in a single afternoon, and the three days of the inaugural season recorded a complete sold-out. From a local experiment, the Teatro Edicola hath thus become a case capable of attracting attention far beyond the confines of the Province of Foggia. In September 2026, the Stanford Social Innovation Review, the journal of Stanford University, shall publish upon its website and in its Fall 2026 print edition the reportage "The Six-Seat Revolution", authored by Dr Luciano Magaldi Sardella and overseen editorially by Deputy Editor David V. Johnson. The interest of the American review doth not concern merely the originality of the theatrical proposition. The Teatro Edicola is, indeed, observed as a potential exemplar of low-cost social innovation and urban regeneration. The notion is particularly compelling in a country such as Italy, wherein numerous newsstands have ceased their activity and risk becoming vacant interstices within the urban fabric. The question, at bottom, is simple: may a place born to vend newspapers become anew a locus of encounter? In San Severo the answer hath been entrusted to the theatre. The newsstand hath not been merely restored in corporeal terms. It hath changed its function, transmuting itself into a place wherein artists encounter the public directly and wherein the performance becometh part of the quotidian life of the street. "The theatre cometh into the street wherein thou walkest every day," explained Francesco Gravino, thereby synthesising the philosophy underpinning the project. And it is precisely this aspect which hath rendered the experiment compelling also upon the plane of its possible replicability. Initial requests for information have already arrived from other cities, amongst them Lucca and Rome, desirous of apprehending the model and the modalities for its realisation. The strength of the Teatro Edicola resideth also in its apparent disproportion: a minimal investment and space to produce a far greater cultural effect. There is no need for a grand theatre, an auditorium of hundreds of seats, or complex structures. An unused space, an idea, and the will to restore it to the community suffice. That former newsstand in Via Tondi, therefore, narrateth something that transcendeth theatre itself. It narrateth the possibility of reconceiving the spaces of our cities, restoring a social function to places that seemed to have lost it definitively.

Graphic content indeed. Russia’s unjustified and brutal war brings pain, horror, death and destruction. The content is graphic because the reality is. #GraphicContent #Russia #WarCrimes #RU

“BROADWAY WORLD” OF NEW YORK WELCOMES THE TEATRO MERCADANTE OF CERIGNOLA IN THE NAME OF THE MASCAGNI FESTIVAL SOURCE: https://www.linkedin.com/pulse/broadway-world-new-york-welcomes-teatro-mercadante-sardella-ph-d--i5mbe/ by Stephi Wild, New York City. SOURCE: https://www.broadwayworld.com/italy/article/Photos-Teatro-Mercadante-and-Teatro-Goldoni-Partner-on-SOUNDTRACK-MASCAGNI-20260827 The most influential theatrical portal in the world, with at least six million global visitors per month, consecrates the cultural twinning between Cerignola and Livorno and the historical restitution of a verismo born in Puglia, southern Italy: there exists a moment when a local history ceases to be peripheral and, by the mere fact of being recounted in the right place, becomes universal history. That moment, for the Teatro Mercadante di Cerignola, has arrived. Broadway World, the bible of international theatre read daily by producers, artistic directors and critics from New York to the West End, has welcomed into its pages the cultural pact between the Mercadante and the Fondazione Teatro Goldoni of Livorno, sealed in spring 2026 by Artistic Director Savino Zaba and the Municipal Administration in the person of the Deputy Mayor and Commissioner for Culture, Maria Dibisceglia. The piece is signed by New York editor Stephi Wild, under the title: “Photos: Teatro Mercadante and Teatro Goldoni Partner on SOUNDTRACK MASCAGNI”. It is no mere detail. Broadway World does not review provincial seasons. When it does, it is signalling to the American and global theatrical system that something, down there, deserves to be seen. The heart of this recognition is Soundtrack Mascagni: the music that inspired cinema, the cinema that celebrated Mascagni, the co-production chosen as the closing event of the VII edition of the Mascagni Festival. A hybrid work, a concert-reading for narrating voice, ensemble, images and sounds, with dramaturgy and text by Vittorio Giacci, performed by the Artists of the Mascagni Academy and the Orchestra of the Teatro Goldoni di Livorno “Massimo de Bernart” conducted by Maurizio Colasanti. On stage, in the guise of an imaginary Mascagni, as narrator and guide through his own musical universe, the actor-director Maurizio Nichetti. A production, as the Italian notes record, “born from the synergy between the Teatro Mercadante di Cerignola and the Teatro Goldoni di Livorno”, which will see on stage the great actor and director Maurizio Nichetti and the Orchestra of the Goldoni, conducted by Maestro Maurizio Colasanti, with direction entrusted to Marco Voleri and Savino Zaba. What Broadway World has intercepted, moreover, is not merely a production but also a historiographical thesis that at last forces the international literature to catch up. For decades, Anglophone biographies have dismissed Pietro Mascagni’s Apulian decade as “years of poverty and obscurity”: the documentary truth, preserved in the Polo Museale of Piano San Rocco, is of a different temper entirely. In December 1886, on tour with the Maresca company, Mascagni stopped in Cerignola, where the mayor then in office, Commendatore Cannone, invited him to remain to conduct the newly founded philharmonic. The composer would stay, save for brief absences, in the house in Via Assunta until 1895, composing no fewer than five operas: Cavalleria rusticana; L’amico Fritz; I Rantzau; Guglielmo Ratcliff; Silvano. A third of his entire operatic output, written in feverish poverty, in an agricultural town of the Ofantine plain. It was there, in July 1888, that the verses of Cavalleria reached him by postcard from Livorno, sent by his poet friends Giovanni Targioni-Tozzetti and Guido Menasci. There, on 27 May 1889, he completed the autograph. The envelope, that morning, bore the postmark of Cerignola. The world premiere at the Costanzi in Rome, on 17 May 1890 before Queen Margherita, was an earthquake. As Zaba has synthesised it, in a formula destined to endure: “Livorno gave Mascagni to the world. Cerignola inspired him and kept the deepest part of his soul.” In fact, the productive parabola sanctioned by BroadwayWorld is exemplary in the way it overturns the traditional North-South axis of cultural projects. It begins on 23 August at the Mascagni Festival in Livorno with Soundtrack Mascagni. Then its debut in Cerignola, in the course of the Mercadante’s forthcoming season. Indeed, with a date already fixed: “Soundtrack Mascagni” will be presented in Cerignola on 24 October as the opening production of the 2026/2027 theatrical season of the Teatro Mercadante. An idea as simple as it is revolutionary: cinema as a lens through which to re-read Mascagni. The composer plundered by Scorsese and Coppola, cited by Visconti as a tutelary deity, already possessed in his own writing — dense, symphonic, almost edited by cuts — a cinematic vocation. Soundtrack Mascagni does not merely celebrate that filiation; it interrogates it. That BroadwayWorld should have chosen to capture precisely this — a provincial theatre that does not seek hospitality but co-produces as an equal with a historic theatre such as the Goldoni — says much about the shifting of Italy’s cultural axis. No longer a South that imports, but a South that generates archives, that preserves autographs, caricatures, unpublished letters, and restores them to the international circuit. For Cerignola, accustomed to being narrated as a land of wheat and not of music, this arrival on Broadway World is more than a press clipping. It is the certification that its Mascagni story is no longer a local footnote, but a necessary chapter in the history of verismo. And that the Mercadante, from a provincial municipal theatre, has entered in full right the ranks of those Mascagni theatres upon which the whole world now looks, and with admiration.

THE “TEATRO EDICOLA” BY ARTISTIC DIRECTOR GRAVINO AND FOYER’97 FEATURED IN THE PSYCHOLOGIST OF THE BRITISH PSYCHOLOGICAL SOCIETY SOURCE: https://www.linkedin.com/pulse/teatro-edicola-artistic-director-gravino-foyer97-sardella-ph-d--btibf/ Source: https://www.bps.org.uk/psychologist/worlds-smallest-theatre-and-psychologists-next-act We are genuinely proud to see the Teatro Edicola gaining international reach, now featured in the pages of The Psychologist, the publication of the prestigious British Psychological Society—the second most influential psychological association in the world, surpassed only by the American Psychological Association. In the article, I offer an in‑depth reflection on “the smallest theatre in the world” and its scientific potential. This recognition marks an important step in bringing new international visibility to the theatre company Foyer’97 and to the visionary project conceived by Francesco Gravino, which is increasingly becoming part of a wider global academic conversation. The Teatro Edicola is not merely an artistic experiment; it is also Performance Psychology and Theatre Neuroscience.Indeed, it has all the characteristics to become a fully fledged academic case study, one that neuroscientists and psychologists are beginning to examine closely in order to understand how extreme proximity between actor and spectator reshapes aesthetic experience and emotional dynamics. San Severo is thus beginning to enter the international map of cultural and psychological research. A small space that is generating a large conversation: we will see together how it continues to evolve, to the benefit of the entire artistic—and wider—community of San Severo.

“TG2 STORIE (RAI 2)” PRESENTS “TEATRO EDICOLA” BY FRANCESCO GRAVINO’S “FOYER’97 TEATRO”, SANSEVERO, PUGLIA, ITALY SOURCE: https://www.rainews.it/rubriche/tg2storieiraccontidellasettimana/video/2026/04/TG2-Storie-I-racconti-della-settimana---Puntata-del-18042026-05d944f6-117b-465d-b4cd-61d974750364.html?fbclid=IwY2xjawRRcj1leHRuA2FlbQIxMABicmlkETBQNUpVQ1lsUkZSU3FkaERhc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpBRvGV44HZ6t0PDugk5zvmF-EWCSKuxnI83onVvIaw5O33cojYfySFPPcJ4_aem_IG6gq-qCRd9f3mipgzoXLA At the stroke of midnight on 19 April 2026, the extraordinary adventure of Teatro Edicola will make its debut on Rai Due, within the “TG2 Storie” broadcast. Francesco Gravino, San Severo–born founder and artistic director of Foyer ’97, engaged in conversation with journalist Daniele Giannesi to illuminate the genesis, the vision, and the quiet audacity underpinning this singular project. It is a rare opportunity to discover how, in San Severo, within a former news kiosk graciously donated by Mr Pino Frau, a diminutive space of only a few square metres has been transformed into a workshop of proximity dramaturgy and urban poetics — a pulsating heart capable of resonating across Italy and beyond through its original and profoundly authentic narrative. A result that fills us with pride and reaffirms how culture born from the grassroots — even from the Province of Foggia, in the Alto Tavoliere at the foothills of the Gargano promontory— when genuine, can indeed transform both the places it inhabits and the people who embrace it.

“TG2 STORIE (RAI 2)” PRESENTS “TEATRO EDICOLA” BY FRANCESCO GRAVINO’S “FOYER’97 TEATRO”, SANSEVERO, PUGLIA, ITALY SOURCE: https://www.rainews.it/rubriche/tg2storieiraccontidellasettimana/video/2026/04/TG2-Storie-I-racconti-della-settimana---Puntata-del-18042026-05d944f6-117b-465d-b4cd-61d974750364.html?fbclid=IwY2xjawRRcj1leHRuA2FlbQIxMABicmlkETBQNUpVQ1lsUkZSU3FkaERhc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpBRvGV44HZ6t0PDugk5zvmF-EWCSKuxnI83onVvIaw5O33cojYfySFPPcJ4_aem_IG6gq-qCRd9f3mipgzoXLA At the stroke of midnight on 19 April 2026, the extraordinary adventure of Teatro Edicola will make its debut on Rai Due, within the “TG2 Storie” broadcast. Francesco Gravino, San Severo–born founder and artistic director of Foyer ’97, engaged in conversation with journalist Daniele Giannesi to illuminate the genesis, the vision, and the quiet audacity underpinning this singular project. It is a rare opportunity to discover how, in San Severo, within a former news kiosk graciously donated by Mr Pino Frau, a diminutive space of only a few square metres has been transformed into a workshop of proximity dramaturgy and urban poetics — a pulsating heart capable of resonating across Italy and beyond through its original and profoundly authentic narrative. A result that fills us with pride and reaffirms how culture born from the grassroots — even from the Province of Foggia, in the Alto Tavoliere at the foothills of the Gargano promontory— when genuine, can indeed transform both the places it inhabits and the people who embrace it.

“TG2 STORIE (RAI 2)” PRESENTS “TEATRO EDICOLA” BY FRANCESCO GRAVINO’S “FOYER’97 TEATRO”, SANSEVERO, PUGLIA, ITALY SOURCE: https://www.rainews.it/rubriche/tg2storieiraccontidellasettimana/video/2026/04/TG2-Storie-I-racconti-della-settimana---Puntata-del-18042026-05d944f6-117b-465d-b4cd-61d974750364.html?fbclid=IwY2xjawRRcj1leHRuA2FlbQIxMABicmlkETBQNUpVQ1lsUkZSU3FkaERhc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpBRvGV44HZ6t0PDugk5zvmF-EWCSKuxnI83onVvIaw5O33cojYfySFPPcJ4_aem_IG6gq-qCRd9f3mipgzoXLA At the stroke of midnight on 19 April 2026, the extraordinary adventure of Teatro Edicola will make its debut on Rai Due, within the “TG2 Storie” broadcast. Francesco Gravino, San Severo–born founder and artistic director of Foyer ’97, engaged in conversation with journalist Daniele Giannesi to illuminate the genesis, the vision, and the quiet audacity underpinning this singular project. It is a rare opportunity to discover how, in San Severo, within a former news kiosk graciously donated by Mr Pino Frau, a diminutive space of only a few square metres has been transformed into a workshop of proximity dramaturgy and urban poetics — a pulsating heart capable of resonating across Italy and beyond through its original and profoundly authentic narrative. A result that fills us with pride and reaffirms how culture born from the grassroots — even from the Province of Foggia, in the Alto Tavoliere at the foothills of the Gargano promontory— when genuine, can indeed transform both the places it inhabits and the people who embrace it.

What was the first Social Network in History? In Italy: Dada or InterNetWork City? SOURCE: https://www.linkedin.com/pulse/what-first-social-network-history-italy-dada-city-sardella-ph-d--ngw2f/ When discussing technological primacy, historical precision is fundamental. Particularly when too many narratives from the web risk generating confusion. Contenuto dell’articolo Abstract This article critically analyses contemporary narratives on the origin of social networks, distinguishing between journalistic reconstructions and academic historiography. It clarifies that platforms such as Internetwork City and Dada/SuperEva, whilst innovative, cannot be defined as "first Italian social networks" according to criteria recognised by international research. The text reconstructs the genealogy of social media from early digital communities (Usenet, BBS) through to modern social networks, highlighting the anticipatory role of systems such as Plato. Finally, it demonstrates how certain Italian publications have attributed primacy unsupported by historical sources, underlining the necessity for a rigorous and documented approach. Keywords: digital historiography, Italian proto-social platforms, Internetwork City, Dada/SuperEva, origins of social networks In recent years, various narratives have circulated regarding the origin of social networks, some of which attribute primacy to projects that, while innovative, do not correspond to the effectively documented chronology. To reconstruct with precision the history of global social networks, it is necessary to begin with academic sources and verifiable testimonies, excluding retrospective reconstructions devoid of historical corroboration. But first and foremost, let us provide an encyclopaedic British definition: social media constitute a form of communication on online platforms through which users share information, ideas, personal messages and other textual and audio-visual content. This should not be confused with social networking, that is to say, the modalities by which Internet users construct virtual communities amongst themselves by sharing their textual and audio-visual content; social media, conversely, concerns web-based platforms that enable one to build a friendly, familial and professional audience. The earliest forms of social media appeared almost as soon as technology could support them: electronic mail and chat programmes débuted in the early 1970s, but the first virtual communities did not emerge. They did not emerge until the creation of the Usenet discussion group network in 1979: these permitted users to post and receive messages within thematic areas called newsgroups. Usenet and other discussion forums, such as privately hosted Bulletin Board Systems (BBS), allowed individuals to interact, but each was essentially a closed system. With the release in 1993 of the Mosaic web browser, those systems were provided with an easy-to-use graphical interface. Furthermore, the architecture of the World Wide Web made it possible to navigate from one site to another with a click, and faster Internet connections permitted richer multimedia content than that which could be found in text-heavy newsgroups. The First Modern Global Social Network: SixDegrees.com Contenuto dell’articolo As the prestigious Encyclopaedia Britannica cites, the first globally known companies to create modern social networks based on web technology were Classmates.com and SixDegrees.com. Between these two, in truth, the academic community and historians of digital media concur in identifying SixDegrees.com as the first true modern social network: it was the first to introduce the fundamental characteristics that would define the sector: personal profiles, friends lists and an integrated private messaging system. Indeed, Classmates.com, founded earlier in 1995, employed an aggressive advertising campaign with pop-ups to attract web browsers to its site based upon connections between students from secondary school and/or university classes, branches of the armed forces and places of work. SixDegrees.com was launched after it, in 1997, but with most of the functionalities that would characterise such social networks: members could create profiles for themselves, maintain friends lists and contact one another through the site's private messaging system. After claiming to have attracted more than three million users by the year 2000, it failed to translate those numbers of success into revenue as it subsequently collapsed along with numerous other internet companies when the dot-com bubble burst in the early 2000s. The First Italian Social Network: Which One? Contenuto dell’articolo In recent years, a widespread narrative has emerged on the web according to which the first Italian social network would have been Internetwork City, a project born in May 1995 from the intuition of Claudio Cecchetto with the technical guidance of Perl and Java programmer Marco Camisani Calzolari. Other sources from the websphere (the totality of all globally accessible websites) narrate of the Dada/SuperEva group as the first Italian social network. In the first case, it was certainly, for the era, a story of radio and digital innovation made in Italy: in this interview with Giornalettismo from 29 June 2022 given to Gianmichele Laino (https://www.giornalettismo.com/marco-camisani-calzolari-internetwork-city/), Internetwork City is defined as the "first social network in history made in Italy". Contenuto dell’articolo And reading further, the interviewee, Marco Camisani Calzolari, a contract university lecturer and radio-television communicator on digital themes, states: "In May 1995, in a basement in Via Melzi D'Eril, a truly revolutionary idea was being born. Behind it was the intuition of Claudio Cecchetto and the guidance of Marco Camisani Calzolari: Internetwork City is the first social network in the world, a space within which users managed to interact, in an era when the network was a place where possibilities for interchange were still a futuristic eventuality." And whilst in the pioneering basement of Via Melzi D'Eril in May 1995 Internetwork City was being born, perhaps unbeknownst to its inventors, in January 1995, a full four months earlier, DADA (Design Architettura Digitale Analogico) had already been born, another entirely Italian social network, founded by four young Florentine architects (Paolo Barberis, Alessandro Sordi, Jacopo Marello and Angelo Falchetti), as one reads on the ZeroUnoWeb portal. The four Florentine friends transformed their architecture studio into a company in which Barberis and Sordi drew in the other two entrepreneurs, spending all their savings on the purchase of computers and multimedia equipment. It was not simply a matter of creating yet another web portal but a true digital ecosystem that anticipated many functions of contemporary social networks: profiles, communities, interaction and shared content. This narrative of DADA, however, is "once again refuted" if we read the journalistic article in La Repubblica of 27 May 2021 bearing the signature of journalist Riccardo Luna, entitled "In Milan, Claudio Cecchetto (and Marco Camisani Calzolari) launch a social network," readable by clicking the following link: https://www.repubblica.it/tecnologia/2021/05/27/news/a_milano_claudio_cecchetto_e_marco_camisani_calzolari_lanciano_un_social_network-302961639/ Contenuto dell’articolo The subtitle echoes: "It was the first social network in history and it was born in Italy. And in 1995 the web had practically only just been born," in addition to "In May 1995 the first social network in history was born and it was born in Italy. Perhaps the first. Who knows. But if one considers that Facebook is from 2004, Second Life and MySpace from 2003, one understands perfectly well the enormity of what I have just written. In 1995 the web had practically only just been born." But here, strangely, the discourse is not entirely clear: if in the subtitle one asserts decisively "it was the first social network in history," why does one then read: "Perhaps the first. Who knows." It seems to me a contradiction, quite frankly. But let us leave the arduous decisional task to impartial readers. Therefore, let us proceed with the rest of the article: "In the meantime, in Italy someone constructs a social network. Who? Claudio Cecchetto. Yes, him, the author of Gioca Jouer, the inventor of Radio Deejay and of another way of making radio. He was also a pioneer of the Internet. In May 1995 he launches a social network called Internetwork City, the city of the Internet network. It had been built, one line of code after another, by a young programmer who, thanks to this story, would become a brilliant communicator of digital matters (for some time he has been one of the faces of Striscia la Notizia): Marco Camisani Calzolari. When he thinks back to those times, MCC becomes enthusiastic: 'It was a social network in every respect. A place where one could register, have a profile and speak with others. It was one of the first in the history of the web, and Claudio Cecchetto had invented it. He had conceived it whilst navigating with Videotel, but then the World Wide Web had arrived. At the time I worked as a programmer for a fashion company: I had learnt to do it by downloading the instructions for writing code in Perl and in Java from the BBSs that were on the network'." Contenuto dell’articolo From this it emerges that the idea for the project was supported by the media personality of Claudio Cecchetto and brought to fruition by programmer Marco Camisani Calzolari: the two pioneers of the Italian web have (also in this journalistic article) confirmed how InterNetwork City was, in their opinion, the first social network in the world created precisely in the Belpaese. But will this be objectively and impartially true according to the historical historiography of Internet history? To ascertain this, we must analyse academic historiographical sources: these lead us back to the surprising computational history of a great (and semi-unknown) precursor of social networks present as early as the 1960s and 1970s: Plato. PLATO: The Precursor of All Social Networks in the World Contenuto dell’articolo PLATO (Programmed Logic for Automatic Teaching Operations) represents one of the most fascinating cases of anticipatory technology in the history of computing: developed at the University of Illinois at Urbana-Champaign from 1960 by Donald L. Bitzer, this system initially had purely didactic purposes, but evolved rapidly, becoming a true digital social ecosystem decades before the advent of the Internet as we know it. It introduced the concept of "Personal Notes" in 1973, a system of forums organised by subject where users could post messages, reply and create structured discussions. This anticipated by over twenty years web forums and Usenet newsgroups in accessible form. The "Talkomatic" system, created in 1973 by Doug Brown, permitted simultaneous conversations between multiple users in separate channels. Each user saw the letters of other participants appear character by character as they were typed, creating an unprecedented immediate communication experience. "Personal Notes" functioned essentially as an internal email system, permitting private communications between system users, with storage and reply capabilities. Users could create "term-talk," personal messages visible to others, sharing thoughts, updates or information: a conceptual precursor of modern social media posts. Plato was not merely technology: it was a true community. Thousands of users, primarily university students, teachers and researchers, connected through dedicated terminals with characteristic plasma screens: To play: it hosted some of the first multiplayer video games in history, such as "Empire" (a precursor of space games), "Moria" (one of the first dungeon crawlers) and "Airfight" (multiplayer aerial combat). To socialise: friendships, romantic relationships and communities formed around shared interests. To collaborate: study groups, research projects and academic discussions flourished on the platform. Despite its innovative capabilities, Plato remained confined principally to the academic environment and to certain business applications for several reasons: Plato terminals were extremely costly and the system required powerful mainframes; and unlike the Internet, it was a closed system, centrally controlled; dedicated terminals or specialised connections were required, not available to the general public; and whilst the Internet developed on open protocols, Plato remained an isolated ecosystem. In conclusion: even though the unknown Community Memory (1973) preceded Plato as a publicly accessible social system but with more limited functionalities, Plato had social functionalities as early as 1973. It was the first true precursor of modern social networks, but in a technological context that was solely academic, not mass-market, owing to prohibitive costs and the extremely rare and extraordinarily slow computer connections of those years. Therefore, all the first prototypes and first social networks born from the 1990s onwards (including the Florentine project Dada/SuperEva and the InterNetwork City of Claudio Cecchetto and Marco Camisani Calzolari) reinvented the same concepts in a technological and economic context that permitted their planetary diffusion shortly before the advent of the new millennium. Now, given that we live in a context of great development of large language models upon which artificial intelligence is based, just out of curiosity, I shall ask Microsoft's chatbot, Copilot (in my opinion, the most reliable to date) what it thinks about the journalistic narrative of Giornalettismo and La Repubblica in favour of InterNetwork City; therefore, this is my question: "Is it correct to assert, impartially, that Internetwork City of Cecchetto and Camisani Calzolari was the 'first social network in history Made in Italy'?" The answer emerges from the following photographs. Contenuto dell’articolo Contenuto dell’articolo I now report word for word the text generated by the large language model (LLM) Copilot: "Here is the most balanced and rigorous answer that can be given today, based on available sources and digital historiography. Is it correct to define it as 'first social network in history Made in Italy'? 🧭 Brief answer No: it is not correct to assert it impartially as an ascertained historical fact. It is, however, correct to say that certain publications and certain protagonists of the era present it as such, while the academic community and international historiography on social networks do not recognise Internetwork City as 'first social network in history'. 🔍 What the sources say The Italian journalistic sources consulted present Internetwork City as: "the first social network in the world" (Giornalettismo) "the first social network in history and it was born in Italy... perhaps the first. Who knows." (La Repubblica) "the first social network" (Giornalettismo) These are, however, journalistic narratives, not historical classifications shared by international research. 🧠 Why it is not possible to assert it as an impartial historical fact To be recognised as 'first social network in history', a project must satisfy criteria shared by the scientific community, for example: technical definition of social network (user profile, network of contacts, persistent interaction, user-generated content, etc.) international academic recognition verifiable technical and historical documentation comparison with previous platforms (e.g. The WELL, 1985; Usenet, 1979; Minitel, 1982; GeoCities, 1994) Internetwork City does not appear in any international academic taxonomy of social networks, nor in reference works on the history of the web. The sources that define it as 'first social network' are interviews, popular articles and narrative reconstructions, not historical studies. 📌 What can be correctly asserted An impartial and accurate formulation could be: Internetwork City (1995), conceived by Claudio Cecchetto and developed by Marco Camisani Calzolari, is one of the first Italian experiments in interactive online community. Certain journalistic publications have described it as 'the first social network in history Made in Italy', but this definition is not recognised by international historiography on social networks. This sentence is balanced, truthful and does not attribute undemonstrable historical certainties." In summary: in the impartial opinion of Microsoft Copilot, the assertion according to which InterNetwork City "was the first social network in history and was born in Italy" is enunciated only as a journalistic narrative but has no corroboration in reality whatsoever, not being in any way supported by international academic historiography of the history of social networks. Now, however, other articles taken from websphere publications assert that the first (and true) Italian social network was, instead, conceived and created by the Dada group and subsequently through SuperEva in January 1995, anticipating by four months the aforementioned Milanese InterNetwork City. But let us read it all directly in the StartUp Italia article bearing the signature of writer Aldo V. Pecora, which I shall report from this link: https://startupitalia.eu/education/scuola/quando-prima-di-facebook-4-italiani-avevano-inventato-un-social-network-la-storia-di-dada-e-di-supereva/#:~:text=Alla%20base%20di%20questa%20visione,il%20valore%20aggiunto%20del%20sito. Contenuto dell’articolo "When Zuckerberg was still at college there were those who, in Italy, had already invented social networks. A story, that of SuperEva and, above all, of those four 'madmen' of Dada, that would truly deserve a film. A story that we today attempt to recount by making a leap backwards of twenty years, whilst those who wrote it, or rather, designed it, had with every evidence made a journey into the future. Dada, the Martians come from the future The 'back to the future' of Paolo Barberis and Alessandro Sordi begins in the early 1990s, as young students at the University of Florence. It is 1992 when they decide to go before the examination board without even a sheet of paper, a drawing, nothing. Only a computer and a multimedia project, one of the first in Italy and perhaps in Europe developed in 3D. 'The board remained closeted for over an hour — recalls Sordi today — and we didn't know whether shortly thereafter they would send us packing.' Instead it was a success and the beginning of an adventure. Barberis and Sordi involve two other friends, Jacopo Marello and Angelo Falchetti, spend all their savings on the purchase of PCs and multimedia equipment and together open an architecture studio: Dada, acronym for Design Architettura Digitale Analogica. How Dada connected Florence to the Internet Year 1995. Things change. Dada becomes a limited company: 20 million initial investment (the computers purchased for the architecture studio). And the project of creating a multimedia city, Florence, becomes that of bringing the city online. Few know it, but it was precisely Dada that connected the Tuscan capital to the Internet. ADSL and so-called broadband connections did not yet exist. What years, those years. Whilst Alessandro Sordi reviews them, on the telephone he betrays a little emotion: 'Commercial internet was beginning, the first nodes in Rome and Milan, but in Tuscany there was nothing. We decided to purchase the cable and brought the first CDN to Florence.' It is the era of providers, or rather, ISPs, and anyone who manages to make a client dialogue with a server can sell dial-up connection services. Sordi and partners involve family and friends. Everyone does everything: Barberis answers the telephone and provides help desk support, the others concern themselves with making professionals and companies understand the potential of the Internet and sell annual subscriptions at 249 thousand lire. The web that found (and changed) Dada These are the years of a single browser, Netscape Navigator. It was conceived by that same Marc Andreessen who today can be called literally papa by people like Zuckerberg and half of Silicon Valley. It is web 0.0, that before Google, where the search engines are Lycos, AltaVista, Yahoo. In Italy for a couple of years a gentleman from Cagliari by the name of Nichi Grauso, founder of Video On Line, has been putting tremendous amounts of money into the Internet, whilst in Milan Marco Negri and Stefano Quintarelli launch I.Net and Joy Marino ITNet. The national telephone company, SIP, is reborn under the acronym Telecom Italia. A monopoly that begins to creak with the launch by Olivetti of Italia Online and, above all, of the first Italian search engine, Arianna, which will soon find itself duelling with Virgilio, the first creation of the Matrix of Paolo Ainio, Carlo Gualandri and Marco Benatti. Dada understood before others in which direction the web would go. 'From there a business model was born — recounts Sordi — because the provider collected network subscription fees in advance and we used that money to finance research on web services, something that was science fiction for those years.' 'One world alone, one network alone' Science fiction that was the fortune of the group of Tuscan architects. After a year turnover rises to 500 million and Barberis's company delineates the future of the web: content and, above all, community. On the Internet there are not only professionals and companies but people, who begin to use it daily and to focus on groups, first in mailing lists and newsgroups, but shortly thereafter also on websites. Dada intuited before others that there is a market, certainly formless, like water, but immediately monetisable, thanks to advertising. A large public company, SMA 2002, enters the capital of the Florentine company, and together the two entities found one of the very first Italian advertising concessionaire companies entirely focused on the Internet. 1997: Dada's phase 2 begins. The government passes new communications regulation and the Florence provider obtains authorisation to scale its core business of Internet access across the entire national territory. Sordi recalls, smiling. These are the years in which one thinks of monetising another business, that of so-called 'housing'. In the meantime, someone already has his head in the future. It is Paolo Barberis, who imagines a network where beyond computers being connected, people above all can be connected amongst themselves. 'I had something of a mania for putting things in the right place with respect to the order they would have in the future,' he tells us. An order that according to Barberis passes through the 'desk metaphor'. 'Many years ago — he recalls — it was clear to me that soon we would move from our desktop, with file management, archive, rubbish bin et cetera towards a map. What today we call "map as a service". We started from connectivity but then gave services, and as architects we wanted to construct the new places. Design the house imagining the use that must be made of it every day, how many people will pass through it, with attention also to the smallest particular, to individual objects. Those who design must focus, because a house must be beautiful but must above all make us live well and better.' From SuperEva to the Stock Exchange At the base of this vision the birth, in 1999, of a website that would make the history of the Italian web: SuperEva. The first embryo of Dada's portal comprised a search engine and the famous guides, which would become the backbone and added value of the site. Because, as always, the true novelty at the beginning of every great experience is camouflaged in a little corner. Through the guides, Dada begins to create thematic micro-communities that stand thanks to advertising. From there onwards Dada will begin to churn out millions upon millions. Of euros and no longer of lire. The Dada ecosystem counts more or less one-fifth of Italian web traffic, has consolidated its own technological asset and encounters various investors along its path: 'Today we would call them angels — says Sordi — but at the time they were enlightened entrepreneurs.' It is they who will help the Tuscan company take the great step: the Stock Exchange. It is 29 June 2000 when Dada SpA is listed on the Nuovo Mercato index of Piazza Affari. An injection of liquidity that brings tens of millions into the coffers of the Florentine internet company. In a few months the employees become 400, and there is almost no longer room to keep them all, in what was once the headquarters of Libreria Cima. Meanwhile, Barberis & Co. also begin to keep an eye on the foreign market, searching for partnerships to internationalise. Always keeping their feet on the ground. It survives (magnificently) the dot-com bubble 'At the time — recalls Alessandro Sordi, who in Dada was Vice President — they told us "spend everything, spend everything immediately". The tendency was to spend all the money that the stock exchange had given you. We were prudent but at the same time aware that we should not buy to satisfy the stock exchange.' And they did well, because shortly thereafter the so-called dot-com bubble would burst, which saw illustrious giants like Cisco lose in one blow something like 86% of their own value. In parallel, many Italian ISPs were forced to close their doors, crushed by Telcos, which in the meantime took control of the connections market, sweeping away with one stroke of the sponge the 'old' dial-ups in favour of broadband. Few know, however, that there was also a gift that Dada had given to all employees: stock options. They were given to all, but truly all, from secretaries, to developers, to graphic designers, to sales. Today for startups they are called equity; at the time the options of quoted companies like Dada were real money. From provider to internet company But the vision, the maniacal passion for the creation and consolidation of vertical communities and the development of a second asset dedicated to B2B services allow Dada to sleep soundly. Sordi recalls: 'In large companies the concept of pivot is not a rigid thing. It was very natural to ask oneself daily "what is the best thing to do today".' Because it is a large startup where things happen, before others. And where you can make them happen. If the BlackBerry arrives in Italy, for example, it is thanks to them, who had direct contacts with RIM as well as with the greatest tech companies in the world. The startups conceived by employees They experiment, they have fun, and greatly so. They launch themselves into the market of paid services (music, ringtones, WAP), which will become the third pillar of the new Dada, and constitute a small internal incubator, Dada Lab: 'We didn't know it was called an incubator. Every six months we set up a process where employees could propose new ideas. Pitches were made but they weren't called pitches. We decided to carry forward the best project,' recounts Sordi. Projects that, once launched, were followed scrupulously: 'We received an hourly email, with the metrics of all the business models. There were systems hooked to the models that recorded every hour. In short, a sort of automatic Analytics that informed us constantly and in real time of the progress of individual projects. Something that we maintain today, albeit in different form (monitors attached to the walls, editor's note), in Nana Bianca.' The Dada ecosystem, recounted by those who lived it We are in the middle of the first decade of the 2000s. At that time Dada experiences the epoch of maximum splendour. It enters the digital asset of the RCS Group, and acquires various startups and companies, such as Register.it, the first Italian registrar, the Wireless Solutions of Massimo Ciociola (now CEO of Musixmatch), free hosting communities like Freeweb.org and then the Clarence portal, and then the first Italian blog platform, Splinder, the Blogo network and so many other companies that, all together, will compose the galaxy of the Dada Group. It is the startup that becomes increasingly 'a platform from which to launch services. There were people of great talent, with whom you enjoyed working, stimulating changes,' recalls Paolo Barberis, who when he goes back with memory transmits even telephonically a mixture of emotions between nostalgia and pride: 'Marco Argenti, who in Seattle at Amazon is head of AWS mobile, Amazon's store, Max Pellegrini, now head, in New York, of mobile entertainment at Real Networks (those of the noted Real Player, editor's note), and then again Antonio Tomarchio (founder of Beintoo), Francesca Lerario, Mariano Di Benedetto, Roberto Barberis (now CEO of 4W), Filippo Satolli (COO of Instal.com), Stefano Sordi (marketing director of Aruba), Carlo Meglio (CEO of Moqu Adv), David Casalini...' Disclaimer: David Casalini, a name that is not new to us at Startupitalia, given that he is also our publisher. At this point a telephone call with him is obligatory. 'I was 23 years old when I arrived at Dada,' recalls Casalini. 'I was truly in another world: I had my office in Empoli, which for me was already the office of a lifetime, a 16th-century tower with my beautiful Linux server... The dream of my life was to be able to run the Empoli provider (Empoli Net, editor's note).' Then, one day, the telephone call from Angelo Falchetti arrives. 'In short order I found myself managing a team of 30 people. All talents with whom working was a spectacle. Dada was doing what today startups are not doing; it grew continuously, 40–50–60 million. There was a moment in which Dada was hiring people all over the world, like Brian Buschmann, who today is head of the UX unit of Gucci.' David is truly a torrent in flood, he begins to reel off on the telephone (and then on Messenger) a series of names and anecdotes that becomes truly difficult even to manage to note down, let alone recount them all. When Dada was truly scaling, in the USA Much abroad, USA, above all. In 2005 Dada had already consolidated for at least a couple of years what without fear of contradiction can be considered the first Italian social network, amongst the largest in Europe: Incontri di SuperEva, a community for lonely hearts with 2 million members, when the various Facebooks and, above all, Tinder did not yet exist. Social networks are discussed, and we have proof in the slides (see above) that Marco Argenti and Paolo Barberis will bring to Dada-Day 2004 and 2005. Precisely when, across the ocean, an unknown Harvard student by the name of Mark Zuckerberg was attempting to explain, to an empty hall, a website called The Facebook. And again through Dada passes one of the first experiments in competition with iTunes and iPods. A joint venture, in the United States, with Sony: 'Dada US — recalls Barberis — made a merger uniting its own mobile assets with those of Sony.' A deal that generated turnover only in the USA of something like 100 million dollars. The Dada model: 'design it as if you were already living it' The former twenty-year-olds of Dada, in short, had become adults and seemed almost to transmit the idea of being a group of Martians come from the future: 'I believe — recalls Barberis — that our difference with respect to that historical moment lies in what then consolidated itself in the broader reasoning of design thinking: having answers in the short term, whilst you are executing things, with visionary work. Imagining how the world will be in a few years and trying to design it as if you were already living it. Making certain, in short, that things respond to a vision and do not remain circumscribed to something imminent and nothing more. A bit like making the digital agenda today: you can set yourself the objective of 10 things to do, or else first imagine how the country will be in 10 years and then begin to do things, to create the conditions that will take you there.' However, like every most beautiful love story, that of Dada with its founders will also end. From the progressive farewell of those who had given it birth to the sale to the Buongiorno group, passing through the dismemberments of the various assets. Thus it happens that, by a strange trick of fate, today what remains of SuperEva coexists under the same roof as historical competitors like Virgilio and Libero, reunited in the new Italiaonline galaxy. But that is another story. Now, for intellectual objectivity, I shall pose the same question that I posed earlier to Copilot, but regarding the Florentine narrative of Dada/SuperEva: "Is it correct to assert, impartially, that Dada/SuperEva was the 'first social network in Italy'?" The answer emerges from the following photographs. Contenuto dell’articolo Contenuto dell’articolo I now report word for word the text generated by the large language model (LLM) Copilot: "Here is the most balanced, rigorous and historically founded version of the answer — with punctual citations to the sources you requested. Is it correct to assert, impartially, that Dada/SuperEva was 'the first social network in Italy'? 🧭 Brief answer No: it is not correct to assert it as an objective historical fact. It is, however, correct to say that certain journalistic sources and communications of the era presented SuperEva as a 'social network', but international historiography and academic studies do not classify it as such, nor as 'first Italian social network'. 🔍 What the sources say The available sources show two levels of narrative: 1. Journalistic and corporate narrative (post-2004) In 2004 a Marketpress communiqué announced: 'The social network lands in Italy: it is called SuperEva.com and bears the Dada marque' This is a communicative and promotional definition, not a historical classification. StartupItalia, in an article from 2016, recounts the story of Dada and SuperEva as Italian pioneers of the social web, but in narrative tone: 'When Zuckerberg was still at college there were those who, in Italy, had already invented social networks.' Here too: narrative, not historiography. 2. Historical and academic sources International historical reconstructions of social networks (Boyd & Ellison, 2007; History of the Web; Internet Histories) do not include SuperEva amongst the foundational social networks. Furthermore, Dada itself — in corporate reconstructions — describes SuperEva as: • a portal • a community • a content aggregator • a system of personal spaces and web services but not as a social network in the technical sense (profile, network of contacts, feed, structured interaction). Example: ZeroUno defines Dada as 'the most important Italian player for communities and social networks', but referring to the subsequent period and to the overall ecosystem, not to SuperEva as 'first social network'. 🧠 Why it is not correct to define it as 'first Italian social network' To be recognised as such, the following would be required: • technical criteria (profile, explicit social network, feed, internal messaging, declared relationships) • academic recognition • comparison with previous platforms (Clarence, 1996; C6, 1997; Digiland, 1999; Italian IRC and BBS communities already active from the 1980s–1990s) SuperEva does not satisfy these criteria and is not recognised as 'first Italian social network' by any academic or historical source. 📌 What can be asserted in an impartial and correct manner A balanced formulation could be: SuperEva (1999), developed by Dada, was one of the largest Italian portals and communities of the era. Certain journalistic sources and corporate communications presented it as a 'social network', but this definition is not recognised by international historiography nor can it be considered, in the technical sense, the first Italian social network. This sentence is accurate, documentded and does not attribute unsupported historical certainties." In summary: neither the Dada/SuperEva project nor InterNetwork City can be individually classified as "the world's (or Italy's) first social network", given that precursors to such platforms already existed, such as the aforementioned case of PLATO in the 1970s. Moreover, internet history confirms that Dada.it (1995) and SuperEva (1999) came to serve over 30 million private users and 500,000 companies across 11 countries: SuperEva became a veritable "mythical place" of the Italian web, one of the first major communities in the Bel Paese, while Dada transformed into a multinational corporation listed on the Stock Exchange from 2000 to 2018. Conversely, InterNetwork City (1995), created by Marco Camisani Calzolari with Claudio Cecchetto, remained a pioneering, experimental project, without a diffusion comparable to the major portals that followed, and never achieved the scale or notoriety of SuperEva. In this context, finally, we return to the matter of official digital historiography and the international academic taxonomy of social networks, which have never officially recognised the respective journalistic/corporate narratives that we have sought to document impartially in this article. In conclusion, at the international academic and digital historiographical level: The first social network in the pioneering computing history of the 1960s–1970s was Plato. The first modern social network was SixDegrees.com. In Italy in the 1990s, both InterNetwork City and Dada/SuperEva can be defined as the first two pioneering experiments of the Italian social web (of precocious, innovative and anticipatory nature in the Belpaese), whilst not being recognised by international historiography as 'true and proper social networks' in the modern sense.

Mosaics of reality for Bloomberg: the patriotic movement is gaining strength across Europe, leading the polls in almost every country. In Hungary, the liberal Brussels deep state has indeed taken control, led by a narcissistic prime minister. But the Hungarian patriots cannot be #Patriotism #Europe #Politics #HU #EU

This is such a tragic story. Jason Arday was indeed a victim of racism — not from the media who scrutinized his record, but from @Cambridge_Uni administrators and every institution and academic that enabled this deeply troubled con man, lowered the bar for him, elevated him to #Racism #Education #Accountability #GB

This is such a tragic story. Jason Arday was indeed a victim of racism — not from the media who scrutinized his record, but from @Cambridge_Uni administrators and every institution and academic that enabled this deeply troubled man, lowered the bar for him, elevated him to #Racism #InstitutionalFailure #JusticeForJason #GB

Many comments on the tweet about the risk of a public debt crisis in France point to the role of the central bank, the ECB in this case, in avoiding multiple equilibria. And, indeed, the ECB has a major role to play. On paper, it is easy. There are three zones, determined by #PublicDebt #ECB #FranceFinance #FR #EU