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The West is changing beyond recognition. We do not have to follow it into a sinkhole. ❌ No war. ❌ No mass migration. ❌ No gender ideology. ❌ No surrender of our Christian heritage. That may be Brussels’ and Tisza’s vision for Hungary. It is not ours. Hungary must chart its https://t.co/EcU0EwuVuP #Hungary #ChristianHeritage #Sovereignty

The Daycare Governance Model Something sinister is lurking behind the curtain of compassion. We have told ourselves that caring for others is the highest good, but there is a pathological side to it that we refuse to acknowledge. There is a phenomenon known as Munchausen syndrome by proxy. It is a form of child abuse in which a caregiver—typically the mother—fabricates or induces illness in someone under her care in order to gain attention or sympathy. The mother is not indifferent to the child’s well-being, and that is the most disturbing part. She is devoted to the child. Around the clock, she visibly tends to the infant’s needs. This is depicted in *The Sixth Sense*. A young boy who can see and speak to the dead is brought to the wake of a girl named Kyra. She leads him to a box containing a videotape. The tape shows Kyra’s mother quietly lacing her daughter’s food with poison, only to play the role of a saint at her bedside for the gathered relatives—absorbing their pity and praise for how selflessly she cared for her dying daughter. The town saw a devoted mother, but the reality was manufactured sickness. We have scaled this pathology up to the level of civilization. The will to care is one of the most powerful drives in women. Properly channeled, it is deeply necessary and virtuous. But as social institutions—therapy, academia, law, NGOs, and bureaucracies—are increasingly comprised of women, this instinct is redirected from individual children, where it can be extremely beneficial, toward society at large, where it becomes disastrous. I call this the daycare governance model. It has only three roles: infants to be protected, or the oppressed; caregivers to administer care, or the dissenters. The caretaking class, or its allies, gains power and influence by managing human suffering. They are rewarded with prestige, funding, and greater authority—all of which increase in proportion to the number of victims under their care. Those incentives resemble the logic of Munchausen syndrome by proxy: increasing the number of sick people under their supervision will, in the end, produce more sick people.

🌖🇺🇸 ANALYSE - Donald Trump ne peut PAS juridiquement faire de la Lune un territoire américain. Les États-Unis ont ratifié en 1967 le Traité de l’espace, dont l’article II interdit explicitement toute appropriation nationale de la Lune, que ce soit par une revendication de souveraineté, une occupation ou "tout autre moyen". Son "THE MOON IS OURS" n’a donc, en l’état, AUCUNE portée juridique et relève d’une déclaration symbolique et politique. Les États-Unis peuvent en revanche explorer la Lune, y mener des missions et exploiter certaines de ses ressources. La législation américaine permet même de posséder et vendre les ressources effectivement extraites, mais cela ne donne pas aux États-Unis la propriété du territoire lunaire lui-même. Les accords Artemis réaffirment d’ailleurs que cette exploitation doit rester conforme au Traité de l’espace. #Espace #Lune #DroitInternational

FG and FF are bringing in the British Royal Navy and the RAF to police Irish sea's and airspace. Ireland should be independent and we should defend ourselves. At the same time the government want to end the Triple Lock. https://t.co/RgxoLobttJ #Ireland #Independence #TripleLock #GB #IE

PORTAL-ANALITIKA.ME publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/portal-analitikame-publishes-edicola-teatro-foyer-97-sardella-ph-d--6i2of/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://www.portalanalitika.me/clanak/na-drugoj-obali-jadrana-otvoreno-najmanje-pozoriste-na-planeti Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

WP TURYSTYKA.PL publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/wp-turystykapl-publishes-edicola-teatro-foyer-97-san-sardella-ph-d--hs5pf/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://turystyka.wp.pl/najmniejszy-teatr-swiata-ustawiaja-sie-kolejki-7273686077245632a Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

E-TEATR.PL publishes the “Edicola Teatro” of Foyer ’97, founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/e-teatrpl-publishes-edicola-teatro-foyer-97-founded-sardella-ph-d--bhrnf/ The format devised by the Apulian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://e-teatr.pl/wlochy-najmniejszy-teatr-swiata-w-dawnym-kiosku-z-gazetami-6789 Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

Elon Musk cites the “Edicola Teatro” of Foyer '97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.linkedin.com/pulse/elon-musk-cites-edicola-teatro-foyer-97-francesco-san-sardella-ph-d--jvudf/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived—as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.

Elon Musk cites the “Edicola Teatro” of Foyer ’97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.lagazzettadisansevero.it/elon-musk-cita-ledicola-teatro-di-foyer97-francesco-gravino-di-san-severo-nella-sua-enciclopedia-grokipedia/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. Become a Medium member The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary — an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived — as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry — on a par with established cultural institutions — confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.

Our two peoples want the same things: borders that protect us ; work that pays ; energy that we produce ourselves ; freedom that no one can take away from us. And they want Nations strong enough to decide their own future. @reformparty_uk https://t.co/0EfJgCTaqC #SelfDetermination #EnergyIndependence #StrongerNations #Nospecificcountrycodescanbeidentifiedinthetweet.

📺“So Europe has to, you know, rethink about how do we defend ourselves? What lessons do we need to learn from Ukraine? How do we know who's in charge? We've been for decades led by the American generals. Now who would be in charge?” 5/5🧵 https://t.co/IBzndIkXw2 #Europe #Ukraine #Defense #EU #UA #US

The Age of Experts Is Over If the past two decades—COVID-19, the 2008 financial crisis, and the net-zero charade—have taught us anything, it is this: the age of unquestioned experts is over. Authority issued by corrupt, bloated institutions no longer commands automatic respect. We are entering an era in which trust must be earned, not assumed. Credentials matter less than results. Expertise can become conformity wrapped in a credential; status is no substitute for trustworthiness. The future belongs to those with proven track records, not merely letters after their names. Friedrich Nietzsche warned of this more than a century ago. He distrusted experts who served the spirit of their age—those who mistook consensus for courage and conformity for principle. To Nietzsche, many authorities were functionaries of the status quo: too timid to challenge the sacred assumptions of their time. University professors, state philosophers, and moral enforcers wore obedience as a badge of honor. They did not think; they repeated. They did not challenge; they conformed. They made the ordinary seem profound through jargon, complexity, and ambiguity. Nietzsche saw these not as signs of insight, but as camouflage—cowardice in disguise. He also distinguished knowledge from wisdom. Knowledge can be taught, measured, and tested. Wisdom must be earned through suffering, struggle, and brutal self-examination. Nietzsche admired those who forged their own paths rather than simply climbing institutional ladders. Even in science, he saw a danger. He respected its methods but feared their sanctification. Science, he argued, still required justification; materialists confused method with meaning and data with truth. Experts who presented science as the only path to knowledge were, in Nietzsche’s eyes, dogmatists in lab coats. So the question is no longer, “What are your qualifications?” It is: What have you done? What have you risked? What have you proved? We must recover the courage to think for ourselves—and place our confidence only in those who have earned it through action, not appointment.

Empathy, Compassion, and the Limits of Emotional Moral Judgment Empathy is widely regarded as a foundation of morality, but psychological research suggests that it is not an unqualified virtue. Paul Bloom (2017) argues that affective empathy—the experience of sharing another person’s feelings—has important limitations when used as a guide for moral judgment. First, empathy is biased. We respond more strongly to suffering that is vivid, identifiable, and psychologically close. Research on the “identifiable victim effect” shows that people can be more willing to help a specific individual than anonymous victims, even when the latter represent a much larger number (Kogut & Ritov, 2005; Lee & Feeley, 2016). Emotional salience therefore does not necessarily correspond to moral significance. Second, empathy is innumerate. Human emotional responses do not naturally scale with the number of people suffering. A single identifiable victim can evoke a powerful response, while thousands or millions of anonymous victims may produce comparatively little emotional engagement. This creates a problem when moral decisions concern suffering on a large scale (Bloom, 2017). Third, empathy can be exhausting. Repeatedly sharing the distress of others may produce empathic distress and emotional fatigue. Research suggests an important distinction between empathic resonance and compassion: while empathic engagement can increase negative affect, compassion can promote positive affect, motivation, and prosocial behaviour (Klimecki et al., 2014; Weng et al., 2013). The implication is not that we should care less. Rather, caring and feeling are not the same thing. Compassion allows us to recognize suffering and remain motivated to alleviate it without necessarily absorbing the suffering ourselves. Empathy may therefore be valuable for human connection, but it is a poor stand-alone system for making large-scale moral decisions. When millions of lives, limited resources, and competing needs are involved, compassion must be combined with reason, evidence, and deliberate judgment. The goal should not be to feel everything others feel. It should be to care deeply enough to help, while remaining clear-headed enough to help effectively. References: Bloom (2017); Kogut & Ritov (2005); Klimecki et al. (2014); Lee & Feeley (2016); Weng et al. (2013). Empathy and Its Discontents https://pubmed.ncbi.nlm.nih.gov/27916513/?utm_source=chatgpt.com

The End of Blind Authority If the past two decades—through COVID-19, the 2008 financial crisis, and the net-zero charade—have taught us anything, it is this: the age of unquestioned experts is over. Authority granted by corrupt, bloated institutions no longer commands automatic respect. We are entering an era in which trust must be earned, not assumed. Credentials alone are not enough. Results matter more. Expertise can become conformity wrapped in a credential. The age of trusting people solely because of their status is fading. What matters now is trustworthiness, not titles. The future belongs to those with proven track records, not simply to those with letters after their names. Friedrich Nietzsche warned about this more than a century ago. He distrusted experts who blindly served the spirit of their age—those who mistook consensus for courage and conformity for principle. To Nietzsche, many authorities were not pioneers of truth but functionaries of the status quo: people too timid to challenge the assumptions of their time. He mocked the bureaucrats of knowledge: professors, state philosophers, and moral enforcers. They wore intellectual obedience like a badge of honor. They did not think; they repeated. They did not challenge; they conformed. To Nietzsche, jargon, complexity, and ambiguity were not always signs of insight. They could also be camouflage—cowardice in disguise. He distinguished between knowledge, which can be measured, taught, and tested, and wisdom, which must be earned. Wisdom comes through suffering, struggle, and honest self-examination. Nietzsche admired those willing to rise above institutional thinking. Even in science, he saw a danger. He respected its methods but feared their sanctification. He believed materialists could confuse method with meaning and data with truth. Experts who presented science as the only path to knowledge were dogmatists in lab coats. The question is no longer, “What are your qualifications?” It is: What have you done? What have you risked? What have you proved? We must rediscover the courage to think for ourselves and trust those who have earned authority through action—not appointment.

J’abonde dans le sens d’Alla Poedie, et je vais même plus loin : après « Masha et Michka », il faut absolument interdire « Petit ours brun ». Il faudrait être naïf en effet pour ne pas voir dans ce dessin animé présentant une famille ours décidée à bien élever son ourson, une tentative insidieuse de l’affreux Poutine de rentrer dans la tête de nos enfants et de leurs parents… @lci @AllaPoedie #DessinsAnimés #Éducation #LibertéDExpression

🚨 MOMENT SURRÉALISTE ! Un streamer américain a eu la peur de sa vie aujourd’hui en live après qu’un ours brun l’ait chargé pour attraper un poisson lors de leur voyage en Alaska 😱 OH MON DIEU. https://t.co/5ARxV4pX7g #Alaska #Streamer #Ours

On the day it celebrates 35 years of independence, Ukraine continues to fight courageously for its sovereignty and territorial integrity, as well as for its own security and ours. Honouring the courage of its people and the determination of the entire country, I recall the deep #Ukraine #IndependenceDay #Sovereignty #UA