Search

Notre peuple est en état d'exaspération. La sphère politique est quasiment désintégrée. En vue de l'élection présidentielle, le sujet n'est pas les candidats en eux-mêmes mais notre rapport avec cet état de fait, ce qu'on compte faire ! https://t.co/aGRozDhK39 #ÉlectionsPrésidentielles #Exaspération #Politique #FR

Je fais partie des Français qui ont voté pour Emmanuel Macron. J'y ai cru. J'ai pensé un temps qu'il serait celui qui pourrait secouer le Léviathan technocratique et alléger une sphère publique devenue tentaculaire. Je me suis trompé. Je l'ai dit chez David Pujadas. Certes, le premier mandat avait suscité un véritable espoir : flat tax, IS à 25%, réforme du marché du travail, French Tech, Choose France… Avec des résultats tangibles. Mais le problème, c'est que cette politique de l’offre n’a jamais été financée par des baisses de dépenses. En 2017, pourtant, nous disposions de marges de manœuvre exceptionnelles pour réformer la France en profondeur, avec un alignement des astres particulièrement favorable : pétrole bon marché, croissance mondiale, parité euro-dollar avantageuse, taux d'intérêt historiquement bas, une France qui empruntait à moins de 1%, et parfois même à taux négatif. Comme le disait Kennedy, c'est quand il fait beau qu'on doit réparer le toit. On ne l'a pas fait. À la place, la France a ouvert un crédit à la consommation de 1 400 milliards. Pas pour construire des centrales nucléaires. Pas pour l'éducation de nos enfants. Pas pour investir massivement dans l'IA ou préparer les technologies de demain... Mais pour financer des dépenses courantes, en faisant payer la facture aux générations futures. Et qu'on ne me dise pas que cette dette s'explique par toutes les crises que nous avons traversées : le Covid, l'Ukraine, la crise inflationniste, la crise énergétique... Ces crises, tous les pays d'Europe les ont subies ! Le Portugal, la Grèce, l'Espagne, l'Italie ont été confrontés aux mêmes chocs que nous. Pourtant, ils sont parvenus à se réformer, à redresser leurs comptes et à retrouver une dynamique économique. Quant à l'argument d'Emmanuel Macron lui-même, qui se vante d'avoir mieux « protégé les Français » que les autres pays du monde, je réponds que je n'ai pas besoin d'un État nounou qui prétend prendre soin de moi aujourd'hui en envoyant la facture à mes enfants demain ! C'est peut-être là le plus grand rendez-vous manqué de ces dix dernières années : avoir gouverné les yeux rivés sur le présent alors qu'il fallait préparer l'avenir. Quel gâchis ! Car le rôle d'un président de la République n'est pas de chercher à faire plaisir aux Français aujourd'hui pour les faire passer à la caisse demain. Son rôle, par-dessus tout, est de préparer la France de 2050 : une France qui maîtrise son énergie, forme ses enfants aux sciences et aux technologies, investit dans l'IA, réindustrialise, innove, produit davantage et retrouve sa puissance. Gouverner, ce n'est pas protéger le présent. C'est rendre l'avenir possible. #France #EmmanuelMacron #Politique

« IL N’Y A PLUS DE TITULAIRES ET PLUS DE REMPLAÇANTS AU PSG. » C’est ce que recherche Luis Enrique 🇪🇸 et son staff. Désireux de se fixer sans cesse de nouveaux défis pour continuer à progresser, Luis Enrique et son staff ont cogité sur les moyens de conserver la motivation d’un groupe double champion d’Europe, qui a tout raflé. La crainte, partagée par les hautes sphères du club, était que les joueurs se reposent sur leurs lauriers. Celle-ci semble d’ailleurs se justifier sur ce début de saison  : plusieurs témoins remarquent un léger relâchement, moins de niaque au quotidien, là où il y a un an le groupe parlait de deuxième étoile et de « mission »… En interne, on garde tout de même confiance en l’intouchable coach double champion d’Europe. ❤️💙 🗞️ @lequipe #PSG #LuisEnrique #Football

Lors de la campagne présidentielle de 2027, la France devra faire face à l'influence croissante de la sphère MAGA, qui cherche à modifier les débats politiques en Europe en faveur de la droite extrême, comme l'explique Melissa Bell dans son livre Sous influence américaine. #MAGA #Ingérence #Démocratie

35 years ago, Estonia joined the @UN as a free and independent nation. Today, Russia’s war of aggression against Ukraine and attempts to redraw borders by force are stark reminders that imperialism and spheres of influence are not relics of the past. Estonia knows what is at #Estonia #UN #Imperialism #EE #RU #UA

Sydney Sweeney suscite une nouvelle controverse en raison de sa participation à une campagne publicitaire jugée provocante pour l'application de trading sportif Novig, où elle apparaît nue, ce qui a suscité l'indignation parmi les athlètes féminines et a conduit à des accusations de récupération politique par la sphère masculiniste. #SydneySweeney #PublicitéControversée #Masculinisme

PUTIN: WHAT DID YOU KNOW BEFORE 9/11? There is a part of the 9/11 story that deserves far more scrutiny. Vladimir Putin became head of the FSB in 1998. Russia had deep intelligence networks across Afghanistan, Central Asia and the former Soviet sphere. Moscow knew Ahmad Shah https://t.co/TeNQGXhWGA #9/11 #Putin #Intelligence #RU #AF

I wanted a straight line to be drawn on a map to look like a straight line in reality if you followed a compass bearing. That was what it was intended to do, and that's what it does brilliantly well. I can preserve area, or I can preserve shape, or I can preserve distance and direction, but not everything at once perfectly, because otherwise I'd be back to a sphere.

“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.

“THE BATTLE OF CERIGNOLA (1503)” RETURNS TO THE CENTRE OF EUROPEAN HISTORY: FEATURED IN THE 'LONDON DAILY NEWS' SOURCE: https://www.linkedin.com/pulse/battle-cerignola-1503-returns-centre-european-history-sardella-ph-d--9urse/ SOURCE: https://www.londondaily.news/why-britons-should-recall-the-battle-of-cerignola-1503-the-battlefield-where-guns-killed-chivalry/ The prestigious London-based newspaper London Daily News—a publication exceeding 250,000 monthly readers and more than two million annual contacts—has released the first in-depth historical feature devoted to the Battle of Cerignola (1503), long regarded by scholars as Europe’s first modern battle: the moment when the arquebus and new tactical doctrines heralded the end of heavy cavalry and inaugurated a radically different way of waging war. A TRIBUTE TO PAST AND PRESENT MUNICIPAL ADMINISTRATIONS Due praise is owed to Cerignola’s current "Municipal Administration", including the Mayor and the Councillor for Culture, who in recent years—together with many other civic leaders—have steadfastly championed the valorisation of local history. Their commitment to initiatives, research programmes, and identity-building projects is now resonating well beyond Italy’s borders. A WELL-DESERVED RECOGNITION FOR PROF. MATTEO STUPPIELLO Heartfelt gratitude is extended to Professor Matteo Stuppiello, founder and president of Cerignola’s Centro Studi Torre Alemanna, who has devoted decades of archival, archaeological, cultural, and educational work to the Battle of Cerignola. His tireless scholarship has played a decisive role in restoring this event to the international historical debate. His contribution is now acknowledged not only within Foggia and Apulia, but across the national and European sphere. CERIGNOLA AT THE HEART OF EUROPEAN AND GLOBAL HISTORY The battlefield of 1503—where the Spanish forces of the “Great Captain”, Gonzalo Fernández de Córdoba, defeated the French army of Louis d’Armagnac, Duke of Nemours, through innovative strategy and the extensive deployment of arquebusiers—is today recognised by military historians worldwide, particularly in Spain, as a true turning point in global military history. Thanks to the synergy between institutions, scholars, and the local community, Cerignola is finally receiving the international visibility it has long deserved.

Harvard University Study on Stramurales Street Art (Stornara Life APS) in the National Law Review SOURCE: https://www.linkedin.com/pulse/harvard-university-study-stramurales-street-art-life-sardella-ph-d--y6lcf/ There is a small township of six thousand souls in the heart of Puglia that has just secured a place within the distinguished pages of one of the world’s foremost web sphere news. Its name is Stornara, and for several years it has been home to the Stramurales International Street Art Festival — the international festival of urban art founded in 2018 by the local artist Lino Lombardi under the auspices of Stornara Life APS. The news now circling the globe is this: the Health and Human Rights Journal of the FXB Center for Health and Human Rights at Harvard University has published a peer‑reviewed study — the first in history to be devoted entirely to a single street art festival — identifying Stramurales as a replicable model of community-based intervention for the promotion of mental health. From a village in decline to an open‑air museum Before 2018, Stornara followed the all‑too‑familiar trajectory of hundreds of small towns across southern Italy: shuttered shops, young people departing in search of opportunity, and an uncertain future. Southern Italy had lost approximately two million residents between 2002 and 2017. Then the festival arrived. What set Stramurales apart from so many other mural initiatives across Europe, the authors of the study – Dr Luciano Magaldi Sardella (Aspire Institute, Harvard Business School) and Professor Matteo Mantuano (lecturer in social sciences and psycho‑educational health at Unitre Milano) – explain, is its architecture of democratic participation. The themes of the murals are chosen by the community; building owners join freely; and the association remains open to all in order to avoid the kind of ‘elite capture’ that has undermined similar projects elsewhere. Today, Stornara boasts more than 150 murals created by artists from every continent, freely accessible as though part of a permanent open‑air museum. The numbers speak for themselves Between 2020 and 2025 — years that encompassed the full force of the pandemic crisis — Stornara’s tourism revenues grew by 25 per cent. New businesses reopened in once‑vacant premises. The community recorded a reduction in social isolation, a renewed sense of civic engagement, and a restored confidence in its collective future: outcomes that traditional rural development policies had failed to deliver. The study cites the right to health and the right to cultural life enshrined in international human rights law, framing the murals as a form of ‘visual health activism’ — public art that addresses the structural determinants of health. A paradigm for the world The authors’ conclusion is unequivocal: public health funding should support participatory cultural initiatives such as Stramurales, particularly in communities where conventional economic strategies have failed. The costs are modest — materials, hospitality for the artists, promotion — while the returns in terms of collective well‑being are, in their assessment, disproportionately high. Stornara thus becomes a point of reference not only for regional policymakers in Italy but also for public health authorities across North America, Europe and beyond. A small Puglian town that chose to paint its own future — quite literally — and is now showing the world how it can be done.

I wanted a straight line to be drawn on a map to look like a straight line in reality if you followed a compass bearing. I can preserve area, or I can preserve shape, or I can preserve distance and direction, but not everything at once perfectly, because otherwise I'd be back to a sphere.