Search

The government has rented 61,603 QR readers for 7 million euros to allow voter identification through the MiDNI app on mobile phones during the elections on November 29, although this decision is questioned by the PP for considering that the conditions of an emergency according to the law are not met. #VotoElectoral #MiDNI #ContrataciónEmergente (translated)

The Spanish government is trying to authorize voting with the ID card on mobile phones for the elections on November 29, although the Central Electoral Board has suspended it for security reasons and must validate the effectiveness of the new QR code readers that will be distributed at polling stations. #VotoDigital #MiDNI #SeguridadElectoral (translated)

Altair • Sunbringer Season wrote that Sunbringer received considerable nerfs in version 3.4.2 V2 of ZZZ and reminded that more versions were still to come. According to him, the placeholder Totallize was renamed Ashfall and the empowered state Midnight Sun increased its duration from 15 to 20 seconds. The damage of Maim dropped from 300% to 160%, while the damage considered for Ember Scar went from 75% to 65%. He also noted that Dracaene no longer consumed empowered state time upon entering the field, that each defeated enemy granted 40 resource points —once every 60 seconds— and that Dracaene's Daze changed from 0% to 50%. The author claimed that numerous MVs were weakened and listed several changes: the damage of EX Empowered (1) increased from 2162.6% to 2578.4%, and that of EX Empowered (2), from 1913.1% to 2338.6%. In contrast, the damage of Chain Attack went down from 1550.3% to 1485%, and that of Ult1, from 3900.1% to 3737.5%; Ult2 increased from 2246.2% to 2709.8%. He also said that the Mindscapes were modified and M4 and M6 were added. According to his description, M1 granted Sunbringer 120 resource points upon entering combat, increased Gash accumulation by 10%, and made his abilities ignore 15% of fire resistance. M2 increased the Ember Scar accumulated on enemies by 20% and allowed other abilities to accumulate Ember Scar equivalent to 15% of the damage they dealt. M4 immediately granted 1000 dB upon entering combat and increased Sunbringer's damage by 15%. M6 made it so that when using Ult2, Sunbringer immediately activated EX Empowered (1) and executed an Ashfall that dealt damage equivalent to 150% of the Ember Scar accumulated on the enemy by Ult2. Additionally, Sunbringer's abilities ignored 20% of enemy defense. Altair credited the image to Devileggooo. #Sunbringer #Gamer #Videojuegos (translated)

The author claimed that thousands of Poles were defending the Constitutional Tribunal at midnight and accused Donald Tusk’s left-liberal government of forcibly taking it over with the help of police. The author also alleged that Tusk intended to appoint a government minister described as his right-hand man as a judge at the tribunal. The post ended mid-sentence while beginning a claim about something that had never before happened in Poland. https://t.co/OZOc1rjs1z #Polska #TrybunałKonstytucyjny #Protesty #PL

A Taylor Swift Brasil wrote that Taylor Swift had released the album "Midnights" four years prior and stated that the record marked another phase of success for the singer, with tracks like "Anti-Hero" and "Karma." It also highlighted the critical acclaim and said that the album won the Grammy for Album of the Year in 2024, making Swift the first artist to win the award four times. The account mentioned "Maroon," "You're On Your Own, Kid," and "Would've, Could've, Should've" among the fans' favorites and asked what the three favorite tracks of its followers were. #TaylorSwift #Midnights #Grammy (translated)

Micromania announced that some stores would exceptionally open at midnight on the night of November 4 to 5 for the launch of The Legend of Zelda: Ocarina of Time. The retailer indicated that a replica of the Nintendo 64 box would be given, while stocks last, to customers who pre-ordered the game at participating stores, including through an online order. The affected stores were located in Antibes, Bordeaux City Center, Lille-Béthune, Lyon Victor Hugo, Nice Médecin, Paris Beaugrenelle, Paris Caumartin, Paris Général Leclerc, Reims City Center, Rouen Gros Horloge, and Toulouse St Rome. #Zelda #Nintendo64 #MidnightOpening (translated)

Wilson Pickett (Prattville (Alabama), 18 maart 1941 – Reston, 19 januari 2006) was een Amerikaans soulzanger. Hij begon zijn carrière als lid van de groep The Falcons. Zijn grootste hit had hij in de Verenigde Staten in 1965 met In the midnight hour. Daarna had hij succes met nummers als Mustang Sally en Fire and Water, zijn laatste hit (in de Verenigde Staten) uit 1972. Na 1972 bleven Amerikaanse hits uit en raakte Pickett aan lager wal. In Europa scoorde hij minder hits. Pickett trad verschillende keren op in Nederland, onder andere in 1995, als onderdeel van het North Sea Jazz Festival in Den Haag. https://hvdommelen.nl/p/PickettW.html

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

@midnightstarot Por que se incomodam quando a pessoa testa vocês? Existe tanto charlatões nesse ramo, se eu fosse fazer uma tiragem com alguém eu perguntaria sobre algo que eu já tenho resposta só pra ver se a tiragem está certa e confiar se eu posso fazer perguntas que eu não sei resposta ue #Tarot #Espiritualidade #Autoconhecimento

Ραντεβού στην «Αθηνάς Χωρίς Αυτοκίνητο» 🚲🌿 Από σήμερα, Σάββατο 19 Σεπτεμβρίου, στις 20:00 και για 24 ώρες, η οδός Αθηνάς κλείνει για τα αυτοκίνητα και ανοίγει για τους ανθρώπους! 🎶 Athens Disco 🎬 Midnight Express 🎤 Papazo Live 🧘 Yoga 🛹 Skate 🎨 Τέχνη και δημιουργία 🎲 Παιχνίδι για όλες τις ηλικίες Και δεν σταματάμε εκεί. Στο πλαίσιο της Ευρωπαϊκής Εβδομάδας Κινητικότητας, οι δράσεις συνεχίζονται σε ολόκληρη την πόλη: 📖 19/9, 11.00: Παραμύθια στον Εθνικό Κήπο 🚴 20/9, 10.00: Ποδηλατοπορεία από την πλατεία Κοτζιά 🚲 21/9, 10.00-19.00: Ποδήλατο για όλες τις γενιές» στη Δημοτική Αγορά Κυψέλης ♿ 22/9, 13.00: Προσβάσιμη ξενάγηση στο Εθνικό Αρχαιολογικό Μουσείο Ελάτε να γνωρίσουμε την Αθήνα αλλιώς: με βιώσιμες μετακινήσεις, ασφαλή δημόσιο χώρο και δρόμους ανοιχτούς για όλους! #Αθήνα #ΕυρωπαϊκήΕβδομάδαΚινητικότητας #ΒιώσιμεςΜεταφορές

Zara Larsson is woedend op het Witte Huis nadat haar nummer 'Midnight Sun' werd gebruikt in een deportatievideo van ICE, waarbij ze benadrukt dat dit soort video's onmenselijk zijn en bedoeld zijn om jonge mensen te rekruteren voor de controversiële handhavingsdienst. #ZaraLarsson #ICE #Deportatie

La pop star suédoise Zara Larsson a dénoncé l'utilisation non autorisée de sa chanson Midnight Sun par l'administration Trump dans une vidéo anti-immigration, la qualifiant de déshumanisante et accusant la Maison Blanche d'encourager la division sociale. #ZaraLarsson #Musique #Immigration

Zara Larsson se revolta com a Casa Branca e Donald Trump após usarem, sem autorização, seu hit “Midnight Sun” em vídeo promovendo o ICE: “Eu estou apenas triste. Meu coração está pesado vendo isso. Porque eu gostaria de poder falar com quem fez aquele vídeo. Eu gostaria de conversar com você e gostaria de ajudá-lo a se lembrar de que nós dois não somos tão diferentes. E também não somos tão diferentes das pessoas que aparecem no vídeo. A maior diferença entre nós é que recebemos oportunidades diferentes na vida. Eu me considero muito sortuda pela vida que tive, pelo fato de ter nascido na Suécia, ter tido acesso à educação e ter tido todas essas oportunidades simplesmente colocadas diante de mim. Eu posso viajar e fazer todas essas coisas incríveis. Isso é sorte. Existem pessoas por aí que não tiveram a mesma sorte e que querem ter uma vida melhor para suas famílias. Eu simplesmente não entendo como pode ser a pior coisa do mundo ser um imigrante indocumentado […] Esse vídeo é tão desumanizador. Essas pessoas no vídeo são pessoas reais. Tem um cara lá usando roupa de construção, tipo, ele está trabalhando. Essas pessoas que estão indocumentadas são pessoas comuns, com empregos, e estão apenas tentando ter um futuro melhor. É tão louco como tudo virou um meme, especialmente ‘Midnight Sun’, que é sobre se sentir conectado à natureza, ao universo e às pessoas. E isso simplesmente cria uma divisão enorme entre as pessoas. É tão, porra, nada a ver. Vocês são uns completos perdedores.” #ZaraLarsson #DireitosHumanos #Imigração

🚨 Zara Larsson DETONA Donald Trump após a Casa Branca usar “Midnight Sun” como trilha sonora de um vídeo que promove a crueldade do ICE: “Eu estou apenas triste. Meu coração está pesado vendo isso. Gostaria de falar com quem fez esse vídeo e lembrar que nós não somos tão diferentes das pessoas que aparecem nele. A maior diferença é que tivemos oportunidades diferentes na vida. Eu me considero muito sortuda por ter nascido na Suécia, ter tido acesso à educação e tantas oportunidades. Existem pessoas que não tiveram a mesma sorte e que apenas querem uma vida melhor para suas famílias. Esse vídeo é desumanizante. Essas pessoas são reais. São pessoas comuns, com empregos, que estão apenas tentando construir um futuro melhor. É absurdo transformar tudo em um meme, especialmente ‘Midnight Sun’, uma música sobre conexão com a natureza, o universo e as pessoas. Isso apenas cria uma divisão enorme entre nós. É extremamente inadequado. Vocês são uns grandes perdedores.” #ZaraLarsson #DireitosHumanos #Imigração