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Impact reported that Jean-Luc Mélenchon unveiled a program for the 2027 presidential election featuring 1,069 measures, including 238 new ones. According to the report, he proposed to immediately raise the minimum wage (SMIC) to €1,700 net per month, to index salaries to inflation, and to increase housing assistance (APL) and the index point for civil servants by 10%. He also planned to establish a maximum salary gap of 1 to 20 within companies and a 32-hour work week for demanding or night jobs. Regarding pensions, the program aimed to gradually lower the retirement age to 60, with full benefits after 40 years of contributions, by first abolishing the reform raising it to 64. Impact also reported proposals for a pension at least equal to the revalued SMIC for a full career, considering the RSA to validate trimesters, and guaranteeing autonomy set at the poverty line, which is €1,337 for a single person. The program included the reinstatement of the wealth tax (ISF), a minimum 2% tax on assets of at least €100 million, a maximum inheritance of €12 million, and increasing the income tax brackets from 5 to 14. On security, Mélenchon proposed, according to Impact, to dismantle BAC and BRAV-M, to abolish IGPN and IGGN in favor of an independent authority, and to prohibit LBDs, tasers, de-escalation grenades, kettling during demonstrations, and widespread facial recognition. The program also planned the regularization of undocumented workers, students, and parents of schoolchildren, and aimed to make the 10-year residence permit the reference title. For housing, he proposed to construct 200,000 public housing units and 30,000 youth housing units each year for five years, to prohibit evictions without public rehousing, and to limit tourist rentals such as Airbnb to 60 days per year. In health, he planned for 100% reimbursement of prescribed care and the recruitment of 100,000 caregivers and doctors in hospitals, as well as 300,000 professionals in the medico-social sector and nursing homes (EHPAD). He also aimed to ensure access to a public health service within less than 30 minutes. In education, the program intended to make schooling compulsory until the age of 18, compared to 16 currently, reduce class sizes to below the European average of 19 students, and establish a nine-month ecological citizen service paid at the revalued SMIC before the age of 25. Regarding energy, it set a target of 100% renewable energies by 2060 at the latest and proposed to ban night flights between 11 p.m. and 6 a.m. Finally, Impact reported that Mélenchon advocated for a sixth Republic, withdrawal from NATO's integrated command, and disobedience to certain EU rules. He also proposed to recognize the massacre of Algerians on October 17, 1961, as a crime against the state, to ban artificial intelligences simulating emotional relationships, and to combat media concentration. #Mélanchon2027 #Élections #PolitiqueFrançaise (translated)

🟥 𝗘𝗶𝗻𝘀𝗮𝘁𝘇𝘁𝗲𝗰𝗵𝗻𝗶𝗸 Vehicle recovery in Zöberau On the afternoon of November 4, 2026, the volunteer fire departments of Krumbach and FF Weißes Kreuz were called to a vehicle recovery in the Krumbach district of Zöberau. A female driver was involved for unknown reasons … read more → https://schau.jetzt/vhh3r Reactions concern the Volunteer Fire Department Krumbach and Volunteer Fire Department Weißes Kreuz Red Cross Lower Austria Police Lower Austria #FireDepartmentsAT #firedepartment #car #stream #FeuerwehrenAT #feuerwehr #pkw #bach (translated)

From "Ghost Town" to UN Case Study: The Stramurales of Lino Lombardi and Stornara Life APS Conquers the United Nations of Europe Thanks to the Stramurales of Lino Lombardi (Stornara Life APS), Stornara ranks first in the world for the intensity of foreign murals per inhabitant. ORIGINAL TITLE: "From Local Scenes to Global Recognition: Talent Mobility in Street Art." STORNARA (FG) — WIPO places Stornara, through the “Stramurales International Street Art Festival” founded, presided, and artistically directed by Lino Lombardi of Stornara Life APS, in the GLOBAL TOP 20 of the top twenty most important cities in the world for street art that attract the most significant street artists from the six continents. And it is FIRST IN THE WORLD for mural density per inhabitants. Here’s what their website indicates: “The World Intellectual Property Organization (WIPO) is the Agency of the United Nations of Europe, based in Geneva, serving innovators and creators worldwide, ensuring that their ideas reach the market safely and improve the lives of all. We do this by providing services that enable creators, innovators, and entrepreneurs to protect and promote their intellectual property (IP) across borders and acting as a forum to address the most pressing issues in IP. Our IP data and information guide decision-makers around the world. And our impact-oriented projects and technical assistance ensure that IP benefits everyone, everywhere.” WIPO used data from the international street art platform, “Street Art Cities”, for their extensive research project on the driving forces behind global street art, based on a comparison between global talents vs local talents in world street art. As cities worldwide increasingly promote themselves as attractive tourist destinations and places with a high quality of life, competition intensifies to attract the best global talents and most famous artists, who will embellish the streets and urban appearances. Therefore, it is essential to choose where traveling artists decide to operate and find favorable conditions to create new works. An analysis of street art data conducted by WIPO reveals a picture of an art form that is fundamentally “glocal”, meaning a cross between global and local: primarily local in practice but capable of generating global circuits of talent, influence, and recognition. Understanding this duality is essential to understand where street art thrives and why. LOCAL STREET ART: MY HOME IS MY CASTLE Most street artists create their works in their hometown or where they live. More than 80% of artists create in one or more cities within a single country, never realizing works abroad. This means that only about 20% of street artists have created one or more works abroad. Almost 40% of this group of traveling artists can be considered highly “mobile”, practicing their art in different countries and building their global digital credibility and artistic brand, in addition to local roots. This pattern is consistent with that of high-profile international street artists like Banksy, Os Gemeos, or Invader, whose famous works appear on the walls of many continents. GLOBAL ATTRACTION POLES: CITIES THAT ATTRACT INTERNATIONAL STREET ARTISTS Global talent flows depend on the geographical, cultural, and linguistic proximity between countries of origin and destination. Countries that share borders, culture, or language are more easily accessible and cheaper for artists, which is why they often see a larger influx of talent. In addition, individual artists may seek opportunities abroad and obtain support from city festivals, cultural exchange programs, international galleries, or rely on their personal networks and reference community when relocating. For artists crossing national borders, some cities prove to be powerful attraction poles for international street art. An analysis of the 20 global cities with the highest number of street art pieces created by foreign artists reveals an intriguing geography of creative centers that transcend the boundaries of their national art scenes to become global destinations. North America dominates in size, with New York, Los Angeles, and Miami serving as significant attraction poles for foreign street artists. The combination of art market infrastructure, cultural diversity, and the role of cradle of the street art movement in these cities attracts international artists eager to make their mark on the American urban landscape. Western Europe offers a dense network of opportunities, with Berlin standing out as one of the top destinations, along with Paris, Amsterdam, Vienna, Ghent, Brussels, Basel, Grenoble, and Rotterdam. This concentration reflects the vibrant European circuit of street art festivals and the ease of movement within the Schengen area, allowing artists to visit multiple cities simultaneously. Lisbon, the capital of Portugal, along with Barcelona, Spain, has strategically positioned itself as street art destinations thanks to supporting municipal policies and high-profile festivals. IN CONTRAST, STORNARA, A SMALLER TOWN AND TALENT POLE, EXEMPLIFIES HOW STREET ART CAN CATALYZE COMMUNITY RENEWAL. THANKS TO ITS ANNUAL STRAMURALES FESTIVAL, LAUNCHED IN 2017, THIS STRUGGLING APULIAN TOWN HAS ACCUMULATED OVER 150 MURALS, ABOUT 50 OF WHICH WERE CREATED BY INTERNATIONAL ARTISTS. GOOGLE TRENDS DATA REVEAL SIGNIFICANT INTEREST IN STORNARA, DEMONSTRATING THE SUCCESS OF THE FESTIVAL IN CAPTURING NATIONAL AND INTERNATIONAL ATTENTION. THIS PROVIDES ANECDOTAL EVIDENCE THAT STREET ART INITIATIVES CAN GENERATE MEASURABLE CULTURAL AND TOURIST IMPACTS EVEN IN PERIPHERAL AND ECONOMICALLY DISADVANTAGED PLACES. Meanwhile, Melbourne stands out as the only representative from Oceania, reflecting the vibrant culture of Australian street art and the city’s reputation as one of the most artist-friendly destinations in the world. Northern Europe contributes with Bergen, London, Belfast, and Stavanger, demonstrating how cities of varying sizes can attract international artists through the right mix of policies and favorable conditions. But what does this mean for the "Stramurales International Street Art Festival"? IT MEANS THAT STORNARA IS NOT FIRST FOR THE TOTAL NUMBER OF FOREIGN MURALS, BUT IT IS FIRST IN THE WORLD FOR DENSITY. AND THIS DIFFERENCE IS EVERYTHING. THE FORMULA → THE INDICATOR IS THIS: (FOREIGN ARTISTS’ WORKS IN A CITY / INHABITANTS OF THAT CITY) X 100,000 THIS SERVES TO COMPARE CITIES THAT ARE NOT COMPARABLE AT ALL: NEW YORK WITH 8 MILLION INHABITANTS AND STORNARA WITH ABOUT 6,000. WHY STORNARA WINS LIKE THIS: IN THE WIPO TEXT, STORNARA IS MENTIONED WITH OVER 150 TOTAL MURALS, ABOUT 50 OF WHICH ARE BY INTERNATIONAL ARTISTS, THANKS TO THE ANNUAL STRAMURALES FESTIVAL. IF YOU CALCULATE WITH THOSE NUMBERS: 50 FOREIGN WORKS / 6,000 INHABITANTS X 100,000 = ABOUT 833 FOREIGN WORKS PER 100,000 INHABITANTS THE LARGE GLOBAL CITIES IN THE TOP 20, LIKE NEW YORK, LOS ANGELES, MIAMI, BERLIN, PARIS, AMSTERDAM, ABSOLUTELY HAVE FAR MORE FOREIGN WORKS, BUT DIVIDED BY MILLIONS OF INHABITANTS, THEIR VALUE PER 100,000 INHABITANTS PLUMMETS BY A FEW POINTS. IN PRACTICE, IN STORNARA EVERY RESIDENT "SHARES" MANY MORE FOREIGN WORKS THAN IN ANY OTHER CITY IN THE RANKING. THIS DOES NOT MEAN: "STORNARA HAS MORE FOREIGN MURALS THAN NEW YORK" BUT IT MEANS THAT, IN PROPORTION TO ITS SIZE, NO CITY IN THE WORLD IN THE TOP 20 ATTRACTS AS MANY FOREIGN ARTISTS AS STORNARA. IT IS AN INDICATOR OF RELATIVE INTENSITY AND ATTRACTION CAPACITY, NOT OF VOLUME. AND IT IS POWERFUL FOR A SMALL RURAL TOWN, BECAUSE IT SHOWS THAT THE IMPACT OF STREET ART THERE IS NOT DILUTED IN A METROPOLIS, BUT IS CONCENTRATED IN EVERY STREET, IN EVERY INHABITANT. GLOBAL STREET ART Street art remains deeply rooted in local communities and territories. Although about one in five artists is traveling and has created works abroad, the overwhelming majority creates in their hometown or nearby cities. Yet, for those who cross borders, clear patterns emerge in the global race for artistic talent: certain cities attract many creators, regional networks facilitate movement, and personal ties connect artistic communities across continents. Understanding global talent flows is crucial, as their impact extends well beyond the painted surfaces. Street art generates potential multiplier effects, catalyzing broader economic, social, and cultural transformations. CITIES LIKE STORNARA DEMONSTRATE HOW STREET ART ATTRACTS TOURISM, GENERATES MEDIA COVERAGE, AND CAN STIMULATE LOCAL BUSINESS ACTIVITIES. THIS EXPLAINS WHY MUNICIPAL ADMINISTRATIONS ARE INCREASINGLY VIEWING STREET ART AS A STRATEGIC CULTURAL INFRASTRUCTURE AND INVESTMENT, THE BENEFITS OF WHICH MANIFEST IN AN IMPROVED CITY IMAGE AND THE REVITALIZATION OF NEIGHBORHOODS. However, success depends on careful implementation and greater involvement of artistic communities, as otherwise, public initiatives may be perceived as “predatory” by artists who prioritize credibility in the urban context. The predominantly local nature of global street art reflects the essential character of this art form: it arises from local communities, addresses local issues, and is created by artists deeply rooted in their urban contexts. International mobility may reveal global ties among street artists and the capacity of places to attract talent, but the true vitality of this art form lies in its local roots. SOURCE: World Intellectual Property Organization (WIPO), EUROPEAN UNITED NATIONS AGENCY, Geneva, Switzerland. “From local scenes to global recognition: Talent mobility in street art.” https://www.upov.int/en/web/economics/w/blogs/from-local-scenes-to-global-recognition-talent-mobility-in-street-art (translated)

"FROM A “GHOST TOWN” TO GENEVA "EUROPEAN UNITED NATIONS" CASE STUDY: LINO LOMBARDI’S STRAMURALES AND “STORNARA LIFE APS” CONQUER THE UNITED NATIONS OF EUROPE" ----------------------------------------------------------------- SOURCE: https://www.upov.int/en/web/economics/w/blogs/from-local-scenes-to-global-recognition-talent-mobility-in-street-art By virtue of the Stramurales of Lino Lombardi (Stornara Life APS), Stornara now ranks FIRST IN THE WORLD for intensity of foreign murals per inhabitant. Original title: “From Local Scenes to Global Recognition: Talent Mobility in Street Art (Dalle Scene Globali al Riconoscimento: La Mobilità dei Talenti nella Street Art).” ----------------------------------------------------------------- SOURCE 1: https://www.wipo.int/en/web/about-wipo SOURCE 2: https://www.upov.int/.../from-local-scenes-to-global... SOURCE 3: https://www.linkedin.com/.../the-world-intellectual.../ By Egbert Amoncio, Alexander Cuntz, Alessio Muscarnera. ------------------------------------------------------------------ Dr Egbert Amoncio: Bachelor of Science in Statistics at the University of the Philippines, Diliman, Master of Science in Quantitative Economics, PhD at Goethe University Frankfurt. Dr Alexander Cuntz: PhD in Innovation Economics, Technische Universität Berlin; Head of Creative Economy Section, WIPO at the European United Nations, Geneva. Dr Alessio Muscarnera: PhD in Economics and Finance at Tor Vergata University of Rome, Research Fellow at WIPO, WIPO at the European United Nations, Geneva. — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — STORNARA (FG), The World Intellectual Property Organization (WIPO) has placed Stornara, through the “Stramurales International Street Art Festival” of the founder, president and artistic director of Stornara Life APS, Lino Lombardi, in the GLOBAL TOP 20 of the first twenty cities most important in the world in the field of street art that attract most strongly the most eminent street artists of the six continents. And it is the FIRST IN THE WORLD for density of murals per inhabitant. This is what their site states: “The World Intellectual Property Organization (WIPO) is the European United Nations Agency, based in Geneva, at the service of innovators and creators throughout the world, which ensures that their ideas reach the market in safety and improve the life of all. We do this by providing services that enable creators, innovators and entrepreneurs to protect and promote their intellectual property (IP) beyond borders and by acting as a forum to address the most pressing questions in matters of IP. Our data and our information on IP guide decision makers throughout the world. And our impact oriented projects and our technical assistance ensure that IP brings benefit to all, everywhere.” WIPO has utilised the data of the international street art platform, “Street Art Cities”, for their extensive research project upon the driving forces that are guiding global street art, based upon the comparison between global talents versus local talents of world street art. While the cities of the whole world promote themselves ever more as attractive tourist destinations and places with an elevated quality of life, the competition and the race to secure the finest global talents and the most celebrated artists, who shall embellish the streets and the urban aspect, intensify. It is therefore fundamental to choose where itinerant artists decide to operate and to find the favourable conditions for creating new works. An analysis of the data upon street art conducted by WIPO reveals a picture of an art form fundamentally “glocal”, that is to say, a crossroads between the global and the local: predominantly local in practice, but capable of generating global circuits of talent, influence and recognition. To comprehend this duality is essential in order to understand where street art flourishes and why. ------------------------------------------------------------------ LOCAL STREET ART: MY HOME IS MY CASTLE The majority of street artists create their own works in their native city or in the place in which they live. More than 80 per cent of artists create in one or more cities within a single country, without ever realising works abroad. This means that only about 20 per cent of street artists have created one or more works abroad. Almost 40 per cent of this group of itinerant artists may be considered highly “mobile”, practising their art in diverse countries and building their global digital credibility and their artistic brand, besides their local roots. This pattern is consistent with that of international street artists of high profile such as Banksy, Os Gemeos or Invader, whose celebrated works appear upon the walls of many continents. ------------------------------------------------------------------ GLOBAL POLES OF ATTRACTION: THE CITIES THAT ATTRACT INTERNATIONAL STREET ARTISTS Global flows of talent depend upon geographical, cultural and linguistic proximity between the countries of origin and of destination. Countries that share borders, culture or language are more easily accessible and less costly for artists, and for this reason they often register a greater influx of talent. Moreover, individual artists may seek opportunities abroad and obtain support from city festivals, cultural exchange programmes, international galleries, or rely upon their own personal networks and upon the community of reference when they transfer. For artists who cross national borders, certain cities reveal themselves as powerful poles of attraction for international street art. The analysis of the 20 global cities with the greatest number of street art works realised by foreign artists reveals a fascinating geography of creative centres that transcend the confines of their national artistic scenes to become global destinations. North America dominates in terms of magnitude, with New York, Los Angeles and Miami representing important poles of attraction for foreign street artists. The combination of art market infrastructures, cultural diversity and the role of cradle of the street art movement in these cities attracts international artists desirous of leaving their mark upon the American urban panorama. Western Europe offers a dense network of opportunities, with Berlin standing forth as one of the principal destinations, together with Paris, Amsterdam, Vienna, Ghent, Brussels, Basel, Grenoble and Rotterdam. This concentration reflects the vibrant European circuit of street art festivals and the ease of movement within the Schengen area, which permits artists to visit several cities contemporaneously. Lisbon, capital of Portugal, together with Barcelona, in Spain, have strategically positioned themselves as destinations for street art thanks to supportive municipal policies and festivals of high profile. ON THE CONTRARY, STORNARA, A SMALLER TOWN AND A POLE OF TALENT, EXEMPLIFIES HOW STREET ART MAY CATALYSE THE REBIRTH OF THE COMMUNITY. THANKS TO ITS ANNUAL “STRAMURALES” FESTIVAL, LAUNCHED IN 2017, THIS PUGLIESE TOWN IN DIFFICULTY HAS ACCUMULATED MORE THAN 150 MURALS, OF WHICH APPROXIMATELY 50 WERE REALISED BY INTERNATIONAL ARTISTS. THE DATA OF GOOGLE TRENDS REVEAL A REMARKABLE INTEREST FOR STORNARA, IN DEMONSTRATION OF THE SUCCESS OF THE FESTIVAL IN CAPTURING ATTENTION BOTH NATIONAL AND INTERNATIONAL. THIS FURNISHES ANECDOTAL PROOF OF THE FACT THAT STREET ART INITIATIVES MAY GENERATE A MEASURABLE CULTURAL AND TOURISTIC IMPACT EVEN IN PERIPHERAL AND ECONOMICALLY DISADVANTAGED PLACES. Meanwhile, Melbourne distinguishes itself as the sole representative of Oceania, in testimony to the vibrant culture of Australian street art and to the reputation of the city as one of the most favourable destinations in the world for street artists. Northern Europe contributes Bergen, London, Belfast and Stavanger, in demonstration of how cities of diverse dimensions may attract international artists thanks to the right mixture of policies and favourable conditions. ------------------------------------------------------------------ BUT WHAT DOES THIS SIGNIFY FOR THE “STRAMURALES INTERNATIONAL STREET ART FESTIVAL”? IT MEANS THAT STORNARA IS NOT FIRST FOR TOTAL NUMBER OF FOREIGN MURALS, BUT IT IS FIRST IN THE WORLD FOR DENSITY. AND THIS DIFFERENCE IS EVERYTHING. THE FORMULA, THE INDICATOR IS THIS: (WORKS BY FOREIGN ARTISTS IN A CITY / INHABITANTS OF THAT CITY) X 100,000. IT SERVES TO COMPARE CITIES THAT ARE NOT COMPARABLE IN ABSOLUTE TERMS: NEW YORK WITH 8 MILLION INHABITANTS AND STORNARA WITH APPROXIMATELY 6,000. WHY STORNARA PREVAILS THUS: IN THE WIPO TEXT STORNARA IS CITED WITH MORE THAN 150 TOTAL MURALS, OF WHICH APPROXIMATELY 50 BY INTERNATIONAL ARTISTS, THANKS TO THE ANNUAL STRAMURALES FESTIVAL. IF ONE MAKES THE CALCULATION WITH THOSE NUMBERS: 50 FOREIGN WORKS / 6,000 INHABITANTS X 100,000 = APPROXIMATELY 833 FOREIGN WORKS PER 100,000 INHABITANTS. THE GREAT GLOBAL CITIES OF THE TOP 20, SUCH AS NEW YORK, LOS ANGELES, MIAMI, BERLIN, PARIS, AMSTERDAM, IN ABSOLUTE TERMS HAVE MANY MORE FOREIGN WORKS, BUT DIVIDED BY MILLIONS OF INHABITANTS THEIR VALUE PER 100,000 INHABITANTS COLLAPSES TO A FEW POINTS. IN PRACTICE, IN STORNARA EVERY RESIDENT “SHARES” MANY MORE FOREIGN WORKS THAN IN ANY OTHER CITY OF THE CLASSIFICATION. IT DOES NOT MEAN: “STORNARA HAS MORE FOREIGN MURALS THAN NEW YORK” BUT IT SIGNIFIES THAT, IN PROPORTION TO ITS DIMENSIONS, NO CITY IN THE WORLD IN THE TOP 20 ATTRACTS SO MANY FOREIGN ARTISTS AS STORNARA. IT IS AN INDICATOR OF INTENSITY AND OF RELATIVE CAPACITY OF ATTRACTION, NOT OF VOLUME. AND IT IS MOST POWERFUL FOR A SMALL RURAL TOWN, BECAUSE IT DEMONSTRATES THAT THE IMPACT OF STREET ART THERE IS NOT DILUTED IN A METROPOLIS, BUT IS CONCENTRATED IN EVERY STREET, IN EVERY INHABITANT. --------------------------------------------------------------- GLOBAL STREET ART Street art remains profoundly rooted in local communities and territories. Although approximately one artist in five is itinerant and has realised works abroad, the overwhelming majority creates in their native city or in neighbouring cities. Yet, for those who cross borders, clear patterns emerge in the global race for artistic talent: certain cities attract many creators, regional networks facilitate movements and personal bonds connect artistic communities across continents. To comprehend global flows of talent is fundamental, since their impact extends well beyond painted surfaces. Street art generates potential multiplier effects, catalysing broader economic, social and cultural transformations. CITIES SUCH AS STORNARA DEMONSTRATE HOW STREET ART ATTRACTS TOURISM, GENERATES MEDIA COVERAGE AND MAY STIMULATE LOCAL COMMERCIAL ACTIVITIES. THIS EXPLAINS WHY MUNICIPAL ADMINISTRATIONS INCREASINGLY CONSIDER STREET ART AS A STRATEGIC CULTURAL INFRASTRUCTURE AND AN INVESTMENT, WHOSE BENEFITS MANIFEST THEMSELVES IN AN IMPROVEMENT OF THE IMAGE OF THE CITY AND IN THE REVITALISATION OF NEIGHBOURHOODS. However, success depends upon careful implementation and upon greater involvement of the artistic communities, since otherwise public initiatives might be perceived as “predatory” by artists who privilege credibility in the urban context. The predominantly local nature of global street art reflects the essential character of this art form: it is born from local communities, addresses local problematics and is created by artists profoundly rooted in their urban contexts. International mobility may reveal the global bonds between street artists and the capacity of places to attract talent, but the true vitality of this art form resides in its local roots. -------------------------------------------------------------------- SOURCE: World Intellectual Property Organization (WIPO),EUROPEAN UNITED NATIONS AGENCY, Geneva, Switzerland. “From local scenes to global recognition: Talent mobility in street art: https://www.upov.int/.../from-local-scenes-to-global...

SwordOfSalomon indicated that he reported in February to the director of the La Cadenelle high school in Marseille that Noé Saker, whom he had presented as an anti-Semitic and pro-Hamas student, had completed a Bachelor's degree there. He wrote that the institution responded to him, after verification, that the student was not on their lists and thanked him for not associating the school with him. The author then asserted that photos published by La Cadenelle seemed to contradict this response: one, taken on August 25, 2025, during the start of the International Business Bachelor's program, would show Noé Saker among the students; another, dated April 9, 2026, would show him alongside the director during a graduation ceremony. SwordOfSalomon asked the director to explain these images in light of his response. #Antisémitisme #Éducation #Vérification (translated)

In Chelles, a LR elected official, Angela Avond, was targeted by a thrown bottle of gasoline during a demonstration for the reopening of the Gaston-Bachelard high school and filed a complaint, leading to the opening of an investigation for attempted voluntary homicide. #ViolenceUrbaines #MouvementLycéen #Chelles (translated)

The message indicated that the Paris procession had completed its route at Place d'Italie. It also reported that at the Gaston Bachelard high school in Chelles, an elected official doused with gasoline was filing a complaint for attempted murder. #manifestation #lycée #lycées #lycéens #colère #blocus https://t.co/Ya70kgviVK #manifestation #lycée #colère #FR (translated)

The author indicated that the Paris procession had left the Panthéon heading towards Place d'Italie. He also reported that an elected official sprayed with gasoline at the Gaston Bachelard high school in Chelles had filed a complaint for attempted murder. https://t.co/I1Q7fqya0K #Paris #Manifestation #Actualités #FR (translated)

The president of the Île-de-France region announced on X, Tuesday, November 10, that a regional councilor from her group, Angela Pascoa Dos Santos, was the victim of a gasoline bottle throwing in front of the Gaston-Bachelard high school in Chelles (Seine-et-Marne). #violenceurbaine #lycée #Chelles (translated)

The author indicated that an elected official doused with gasoline at the Gaston Bachelard high school in Chelles had filed a complaint for attempted murder. He also mentioned an arson fire in the corridors of the Émile-Zola high school in Aix-en-Provence. https://t.co/d8kX2kYVzz #incendie #sécurité #justice #FR (translated)

The author described it as a criminal act to throw a bottle filled with gasoline at an elected official who, according to him, was trying to prevent a garbage fire. He expressed his support for Angela Avond, whom he said had been targeted in front of the Gaston-Bachelard high school in Chelles and had filed a complaint. #Soutien #Justice #Sécurité #FR (translated)

Laurent Nuñez stated that an elected official had been doused with gasoline at the Gaston Bachelard high school in Chelles. He believed that it was no longer a student movement, but urban violence requiring a firm and determined response. https://t.co/d8kX2kYVzz #violencesurbaines #lycée #Chelles #FR (translated)

The author stated that regional councilor Angela Pascoa Dos Santos had been targeted by a gasoline bottle in front of the Gaston Bachelard high school in Chelles, while she was alongside parents of students mobilized for the resumption of classes. He indicated that she had filed a complaint for attempted assault. https://t.co/ysPFPHArgZ #Chelles #Éducation #Violence #FR (translated)

The publication claimed that regional councilor Angela Pascoa Dos Santos received a bottle of gasoline in front of the Gaston Bachelard high school in Chelles, while she was alongside parents mobilized for the resumption of classes. She indicated that Angela Pascoa Dos Santos had filed a complaint for attempted assault. https://t.co/dWihHw9viR #Chelles #Éducation #Violence #FR (translated)