Search

David Ágape wrote that, weeks before the first round of the elections, More in Common Brasil and researchers from UFRJ downloaded and politically categorized about 7,500 broadcasts of masses and services, totaling nearly 14,000 hours of audio. According to him, the church channels were monitored for two months in search of political and electoral references. Ágape stated that the NGO claimed to have used its own resources, but documents indicated that Luminate, an organization funded by Pierre Omidyar, had allocated around R$ 1.3 million to set up the Brazilian operation. He also mentioned Open Society, founded by George Soros, as a supporter of another research project by the branch. According to the author, the cost of monitoring and the source of the resources had not been detailed, and those responsible for the organization did not respond to some questions. https://t.co/MzuOako95t #Eleições2023 #Transparência #Religião (translated)

The author said the final part of #arraiolos2026 discussed how fear, anxiety and uncertainty reshape societies, and when intolerance becomes a dangerous political force, with philosopher and sociologist Renata Salecl. The post also began a statement about what politics must be able to do but did not complete it.

𝗜𝗿𝗮𝗻’𝘀 𝗳𝗮𝗸𝗲 𝗜𝘀𝗿𝗮𝗲𝗹𝗶𝘀 – 𝗵𝗼𝘄 𝗮 𝗳𝗼𝗿𝗲𝗶𝗴𝗻 𝗶𝗻𝗳𝗹𝘂𝗲𝗻𝗰𝗲 𝗻𝗲𝘁𝘄𝗼𝗿𝗸 𝗲𝗻𝘁𝗲𝗿𝗲𝗱 𝗜𝘀𝗿𝗮𝗲𝗹’𝘀 𝗲𝗹𝗲𝗰𝘁𝗶𝗼𝗻 𝗱𝗲𝗯𝗮𝘁𝗲 Ahead of Israel’s 27 October election, hundreds of social-media accounts have been presenting themselves as ordinary Israelis while injecting political messages into genuine domestic conversations. They appear as women, reservists, secular voters, religious activists and frustrated citizens. Some attack Benjamin Netanyahu, others have previously promoted narratives associated with the Israeli right, while many focus less on parties than on a broader message: Israel is divided, its institutions cannot be trusted and its political system is approaching crisis. A detailed investigation by the OSINT company Golden Owl has mapped this activity as a substantial Iran-linked influence network. Its October analysis identified at least 694 accounts, with 445 attributed at high or medium-high confidence to the operation. Between 11 August and 11 October, the network generated at least 4.7 million views and more than 160,000 interactions. The researchers found no evidence that these accounts were simply a group of independent Iranian commentators expressing political opinions. Their assessment rests instead on coordinated behaviour, false identities, account histories, copied content, language patterns and platform metadata linking significant parts of the infrastructure to Iran. 𝗙𝗿𝗼𝗺 𝟯𝟱 𝗽𝗲𝗿𝘀𝗼𝗻𝗮𝘀 𝘁𝗼 𝗵𝘂𝗻𝗱𝗿𝗲𝗱𝘀 𝗼𝗳 𝗳𝗮𝗸𝗲 𝗮𝗰𝗰𝗼𝘂𝗻𝘁𝘀 The investigation developed in two stages. Golden Owl’s first report, published in September, identified an operational core of 35 accounts: 32 personas presenting themselves as Israelis and three Hebrew-language media-style channels. During the 30-day period measured in that study, active accounts generated 947,322 impressions and more than 9,000 interactions. The October investigation expanded the dataset dramatically. Researchers analysed more than 560,000 data points, including tens of thousands of accounts, relationships between them and more than a quarter of a million posts. The wider network showed repeated patterns of identical texts, synchronised activity and accounts created in batches. The numbers therefore describe not a sudden explosion from 35 to hundreds of accounts, but the gradual exposure of a much larger infrastructure surrounding the original core. 𝗧𝗵𝗲 𝗳𝗮𝗸𝗲 𝗜𝘀𝗿𝗮𝗲𝗹𝗶𝘀 Some of the strongest evidence comes from the histories of individual personas. One account had spent years posting exclusively in Persian under the handle “mardeankabooti” before reappearing in August 2026 as an apparently Israeli user called “Alon Strauss”, complete with an Israeli flag and Hebrew political messaging. Other personas presented themselves as Israeli professionals, activists or ordinary citizens while X transparency information showed connections through the Iranian version of the Android application or locations inconsistent with their claimed identities. The account “Yaara Shalev” presented itself as an Israeli woman concerned with democracy and peace. Investigators found that photographs used to construct the identity were inconsistent, including borrowed and apparently AI-generated imagery. A small Hebrew-language channel called KigVoice, previously identified in Israeli government reporting as part of an Iranian influence environment, repeatedly published material that later appeared on the much more visible Yaara account. In one sample, 14 of 40 KigVoice posts subsequently resurfaced as captions or opening lines in Yaara’s content. Another persona, “Miriam Kozak”, had built an audience of more than 18,000 followers and had already been exposed as fictitious by Israeli researchers in 2024. Its political messaging changed substantially over time, moving between narratives associated with different sides of Israeli politics. That inconsistency is important: the apparent purpose was not necessarily to build a stable ideological following, but to enter whichever political argument offered the greatest opportunity to intensify division. 𝗔𝗜, 𝗰𝗼𝗽𝗶𝗲𝗱 𝗺𝗲𝘀𝘀𝗮𝗴𝗲𝘀 𝗮𝗻𝗱 𝗜𝗿𝗮𝗻𝗶𝗮𝗻 𝗳𝗶𝗻𝗴𝗲𝗿𝗽𝗿𝗶𝗻𝘁𝘀 The Iran attribution is based on more than political content. Researchers identified accounts using the Iranian version of the X Android application, repeated connections to previously identified Iranian influence assets, copied posts appearing across supposedly independent personas within minutes, and Hebrew containing unusual grammatical errors or Persian and Arabic keyboard artefacts. Generative AI also appears to have become part of the production process. Some accounts inadvertently published fragments resembling chatbot instructions, while other posts displayed patterns consistent with machine-generated Hebrew. AI-generated videos and synthetic profile imagery further reduced the cost of maintaining large numbers of apparently distinct personalities. However, none of these indicators was treated as proof on its own. Golden Owl explicitly excluded accounts where the evidence was insufficient and notes that VPNs, travel and platform location labels can create misleading signals. The attribution rests on multiple independent indicators converging across the network. 𝗧𝗵𝗲 𝗴𝗼𝗮𝗹 𝗶𝘀 𝗻𝗼𝘁 𝗻𝗲𝗰𝗲𝘀𝘀𝗮𝗿𝗶𝗹𝘆 𝘁𝗼 𝗲𝗹𝗲𝗰𝘁 𝗼𝗻𝗲 𝗽𝗮𝗿𝘁𝘆 The network repeatedly exploited issues that genuinely divide Israeli society: responsibility for the 7 October attacks, the war, the hostages, ultra-Orthodox military exemptions, economic pressure, emigration and confidence in state institutions. It also circulated misleading information about the election itself, including false voting dates, claims that voting had been postponed and posts suggesting online voting mechanisms that do not exist in Israel’s parliamentary election system. The pattern suggests a strategy broader than conventional electoral campaigning. Rather than consistently promoting one political faction, the network appears designed to weaken confidence in the government, military, democratic institutions and the electoral process itself. An influence operation does not need to persuade Israelis to support a particular candidate if it can convince different groups that defeat would prove fraud, betrayal or systemic failure. 𝗥𝗲𝗮𝗹 𝗜𝘀𝗿𝗮𝗲𝗹𝗶𝘀 𝗮𝘀 𝘂𝗻𝘄𝗶𝘁𝘁𝗶𝗻𝗴 𝗮𝗺𝗽𝗹𝗶𝗳𝗶𝗲𝗿𝘀 One of the network’s most effective characteristics is that it does not depend solely on its own followers. Fake personas enter comment sections and political discussions involving real Israeli journalists, politicians and ordinary users. Authentic Israelis then repost or interact with the material, sometimes carrying it far beyond the original account. Golden Owl does not classify those genuine users as participants in the operation. In most cases they appear to be unwitting amplifiers. But once a message passes from a fabricated Iranian-operated persona to an authentic Israeli account, its foreign origin becomes much harder for the next person to recognise. 𝗧𝗵𝗲 𝟰𝟬,𝟬𝟬𝟬-𝗯𝗼𝘁 𝗳𝗶𝗴𝘂𝗿𝗲 𝗯𝗲𝗹𝗼𝗻𝗴𝘀 𝘁𝗼 𝗮 𝗱𝗶𝗳𝗳𝗲𝗿𝗲𝗻𝘁 𝗽𝗲𝗿𝗶𝗼𝗱 A much larger figure has also appeared in recent reporting. In the first two days after the October 2023 Hamas attack, social-media intelligence company Cyabra identified more than 40,000 fake profiles participating in online discussions across major platforms. Their content generated hundreds of thousands of interactions and had a potential reach estimated at 531 million profiles. Those numbers are important historical context, but they should not be merged with the current Golden Owl investigation. There is no public evidence demonstrating that all of those 2023 accounts and the 2026 Iran-linked election network belonged to one continuous command structure. The 531 million figure is also an estimate of potential exposure, not proof that 531 million people saw or believed the content. 𝗪𝗵𝗼 𝗶𝘀 𝗮𝗰𝘁𝘂𝗮𝗹𝗹𝘆 𝗯𝗲𝗵𝗶𝗻𝗱 𝘁𝗵𝗲 𝗼𝗽𝗲𝗿𝗮𝘁𝗶𝗼𝗻? No confirmed individual operators have been publicly identified. Names such as Yaara Shalev, Miriam Kozak and Alon Strauss are personas, not verified identities of the people controlling the accounts. Golden Owl says its evidence supports an association with the Islamic Republic of Iran and with previously documented Iranian influence infrastructure, but it does not establish which Iranian institution, intelligence service, military organisation or contractor directs the network. That distinction is essential. Public OSINT supports attribution at the Iran-linked operational level. It does not currently justify naming individual Iranian officials as the people commanding this specific campaign. 𝗧𝗵𝗲 𝗱𝗲𝗲𝗽𝗳𝗮𝗸𝗲 𝗶𝘀 𝗻𝗼 𝗹𝗼𝗻𝗴𝗲𝗿 𝗼𝗻𝗹𝘆 𝘁𝗵𝗲 𝘃𝗶𝗱𝗲𝗼 The Israeli case illustrates a broader change in influence operations. The synthetic asset does not have to be a spectacular deepfake of a politician. It can be an apparently ordinary citizen who comments on politics, argues with neighbours, describes personal experiences and gradually becomes part of an authentic community. That can be more difficult to recognise because the propaganda does not arrive looking foreign. It arrives looking local. And when hundreds of fabricated citizens enter the same national conversation, they can manufacture the impression that political anger, despair or distrust is more spontaneous and more widely shared than it really is. 𝗦𝗼𝘂𝗿𝗰𝗲𝘀 Golden Owl — Exposing the Iranian Regime’s Influence Machinery Against Israeli Society https://web-dev-production-7a35.up.railway.app/resources/research/Exposing-the-Iranian-Regime-Influence-Machinery-Against-Israeli-Society Golden Owl Golden Owl — The Other Face of War: Iranian Regime–Linked Manipulation of Israel’s 2026 Election Debate https://web-dev-production-7a35.up.railway.app/resources/research/Iranian-Regime-Linked-Manipulation-of-Israel-2026-Election-Debate Golden Owl The Jerusalem Post — Iran-linked social-media accounts posing as Israelis to target election https://www.jpost.com/israel-election-2026/article-909863 The Jerusalem Post Ynet — Fake Israelis, real influence: Iran-linked network infiltrates Israel’s election debate https://www.ynetnews.com/tech-and-digital/article/syp119nqqzg ynetglobal Calcalist — Iranian influence network exposed ahead of Israel’s election https://www.calcalist.co.il/calcalistech/article/s1q0ifijzl calcalist Vesty / Ynet — Iranian fake-account network and October update https://www.vesty.co.il/main/article/rkwokjssgg vesty Israel Ministry for Diaspora Affairs — Iran’s active Hebrew-language influence campaign https://www.gov.il/BlobFolder/reports/israel-and-us-strikes-in-iran-daily-status_2_3_26/en/mashlat_Roaring_Lion_israel-and-us-strikes-in-iran-daily-status_2_3_26.pdf Government of Israel Israel Central Elections Committee — official 2026 election timetable https://www.gov.il/en/pages/time--table-26 Government of Israel Channel NewsAsia — historical Cyabra analysis of more than 40,000 fake profiles after 7 October 2023 https://www.channelnewsasia.com/singapore/how-fake-news-israel-hamas-stokes-outrage-hatred-and-potential-violence-southeast-asian-tiktok-5603221 𝗞𝗲𝘆𝘄𝗼𝗿𝗱𝘀 #DISINFORMED #Episode20 #Iran #Israel #IsraelElection2026 #IranianInfluence #IranianDisinformation #ElectionInterference #ForeignInterference #FIMI #Disinformation #InformationWarfare #InfluenceOperations #FakeAccounts #FakePersonas #SyntheticIdentity #ArtificialIntelligence #AI #AIPropaganda #SocialMediaManipulation #Astroturfing #NarrativeManipulation #PoliticalDisinformation #ElectionDisinformation #X #Twitter #Bots #BotNetwork #KigVoice #YaaraShalev #MiriamKozak #DigitalInfluence #InformationManipulation #ElectionIntegrity #GoldenOwl #OSINT #MediaManipulation #WRLD

The author wrote that yesterday’s strike had shown how workers, particularly those in the public sector, kept society running. They said there had been no weather forecast, Dáil or schools, no street cleaning and greatly reduced hospital services, and urged workers to recognize their power. https://t.co/l5pRE1bVUb #WorkersUnite #PublicSector #PowerToThePeople #IE

For those who do not feel that they can go to the Garda, I think this is part of some of the problem for people,‌Minister for Defence Helen McEntee said the attack was "violent criminality" and that drug debt collection was an "absolute scourge" on society. #Waterford #ArsonAttack #DrugRelatedViolence

Janis Ian, geboren als Janis Eddy Fink (Farmingdale, 7 april 1951), is een Amerikaans singer-songwriter en auteur. Ian leerde al op 3-jarige leeftijd pianospelen van haar vader, een muziekleraar. Op 14-jarige leeftijd debuteerde zij met een zelfgeschreven liedje, Society's Child, dat haar in de Verenigde Staten van 1966 meteen nationaal bekend maakte (top 15-notering in de Billboard Hot 100). De tekst ging over een relatie tussen een blank meisje en een zwarte jongen. De discussie of zoiets wel kon, brandde los en Ian stond in het middelpunt van de belangstelling. Haar carrière kreeg verder vorm toen zij het album Between the Lines uitbracht. Het nummer At Seventeen, over de gevoelens van iemand van die leeftijd die zich eenzaam voelt, werd een van haar bekendste liedjes. https://hvdommelen.nl/i/IanJ.html

The author said they and colleagues had met that day with members of Serbian civil society organisations, many of whom they said had faced smear campaigns and sustained public stigmatisation, as well as, in some cases, verbal attacks by public office holders. The author said such treatment had no place in a country. https://t.co/FZPH8K8Uyh #Serbia #CivilSociety #HumanRights #RS

The Political Hypocrisy: Condemning Islam at Home, Accepting Qatar’s Millions Abroad Donald Trump has repeatedly portrayed Islam as a threat to American society and championed restrictions targeting people from predominantly Muslim countries. Yet his administration accepted a luxury Boeing 747-8 from Qatar, a wealthy Islamic monarchy, for use as a presidential aircraft. The contrast is hard to ignore: if Islam and the countries associated with it are supposedly a threat to America, why is a gift worth hundreds of millions of dollars from one of those countries acceptable? When it comes to political rhetoric, Islam is framed as a danger. When it comes to diplomacy, power, and luxury, a wealthy Islamic state becomes a welcome partner. That raises serious questions about consistency, transparency, and accountability. Is this about defending American values, or does that principle become flexible when there are political and strategic benefits to be gained? The real issue is not Qatar’s religion. It is whether a president who warns Americans about foreign threats should be accepting such an extraordinary gift from a foreign government—and whether the public can be confident that American interests come first.

Oscar Ekman wrote that Ingmar Rentzhog, founder of We Don’t Have Time and former advisor to Black Rock, JP Morgan, and UPS, was a friend of Greta Thunberg's parents and had discovered her. He described the Greta Thunberg Foundation as very opaque and claimed that it mainly relied on awards that were regularly given to it. According to him, it started with 100,000 euros received in 2018 for the "alternative Nobel," then obtained other awards, including the Gulbenkian the previous year, worth one million euros. Ekman added that its funding sources were multiple and included the European Union, Open Society (Soros), and EuroPal Forum, which he described as a pro-Palestinian organization. #GretaThunberg #climat #financement (translated)

Arkadikuss wrote that numerous studies from academies and research teams indicated that games—even violent ones—did not influence actual aggression. He referenced the position of the American Psychological Association, which stated that there was insufficient evidence for a causal link between violent games and serious violence, although the organization recognized a slight connection with some aggressive behaviors. He also pointed to a study published in "Royal Society Open Science" in 2020, involving 28 trials and about 21,000 young people, which found no convincing evidence of a significant long-term impact of violent games on aggression, as well as a study from 2024, described as "Internet & society," involving over 3,000 teenagers observed in four waves. As he wrote, it did not demonstrate that games caused "desensitization" leading to an increase in aggression. The author also addressed the view attributed to Dave Grossman, author of the book "On Killing," that games and media might amplify behaviors of individuals with psychopathic or sociopathic tendencies and also shape similar behaviors in others. Arkadikuss considered this argument doubtful and wrote that a person attacking someone under the influence of a game or film should not be described as "normal." He added that, in his opinion, television, journalism, and journalists could be identified as greater sources of aggression than games. Writing about Roblox, Arkadikuss acknowledged that the platform has shortcomings but assessed that the arguments against it are also weak. He claimed that the issue is not the games themselves but rather the people who may behave improperly in various places. He compared blaming games to banning knives in schools due to the threat they may pose and advocated for parental control instead of placing all responsibility on the games. #gry #agresja #badania (translated)

In a speech at the Heritage Weekend of the National Hellenic Society, the author of the post mentioned that the Olympic truce symbolizes the ability for a child to wake up safely and for a doctor to be able to save a life. https://t.co/sRjmu6qFGp #Εκεχειρία #Ασφάλεια #Ελπίδα #GR (translated)

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