Siena -  April 22nd 2025 

Mulling over the "Kiss of Death." What Really Went Down Between Francis and the U.S. Veep?

"Seriously, what the hell? Are we nuts? This whole situation stinks worse than a gym sock forgotten behind the radiator in the dead of August. No, wait, it stinks like an open-air landfill baking under the July sun! C'mon, you can't just blow this off! It’s like some twisted, macabre joke, only nobody's laughing.

The Pope, poor guy, already practically had one foot in the grave thanks to his bum lungs, coughing his guts out, barely staying upright in his wheelchair by some miracle, and he receives this Vance character – who, let's be brutally honest here, isn't exactly famous for bringing bouquets of roses and good vibes wherever he pops up. Hell, he seems like the type of guy who, if he shakes your hand, you gotta double-check if your watch and all your fingers are still attached, especially with those immigration ideas of his that give you the creeps just hearing about them – and poof, like some messed-up magic trick, the next day, Francis kicks the bucket. Game over. Curtains. Does that seem remotely normal to you? The timing alone is screaming bloody murder!

Now, look, there are three possibilities, no escaping it, so wrap your head around this and follow my logic: Either the Vice President carries around a jinx so powerful it makes black cats crossing your path under a ladder on Friday the 13th look like a winning lottery ticket. We're talking atomic-level bad mojo, a cosmic curse that makes spilling salt while a hearse drives by look like a minor oopsie. He's a walking disaster zone.

Or – and this is where things get shady, and you might wanna start looking over your shoulder – a conspiracy worthy of a truly awful B-movie unfolded under those Vatican domes. Yeah, the really cheesy ones, the kind that make Dan Brown look like he writes kids' books. Vance is cast as the unwitting (or maybe not? Who the heck knows!) messenger of political doom, maybe with a microchip hidden in his cufflink or some other high-tech B.S. tucked inside a box of gourmet chocolates.

Or – and now we're wading into full-blown theological horror, the kind of stuff that would make even a seasoned exorcist's skin crawl – that wasn't just a diplomatic meet-and-greet. It was a straight-up 'visit from the Evil One' himself, rocking a tailored suit and tie, leaving a distinct whiff of sulfur lingering in the halls of Domus Santa Marta and an icy aura that probably made the geraniums on the balcony instantly wilt and die.

Between the chronic bronchitis that had him breathing in installments and his various other aches and pains, and this 'unwanted' or at least spectacularly ill-timed visit from this joker, poor Francis was caught between a rock and a hard place... or maybe between holy water and the Devil himself, who probably showed up bearing the fakest Easter greetings in history, like, 'Happy Easter, Your Holiness... and see ya!' Yeah, so much for Easter niceties and smooth diplomatic relations! It's insane, I tell ya. The kind of stuff you wouldn't believe even if they carved it in giant letters on the Bible or if the Archangel Gabriel himself flew down to give you the scoop. There's something big going on here, or maybe just astronomically bad luck. You figure it out."

Siena -  March  15th 2025 

A cry for help rises from the sector. Bureaucracy is slow, Lucia Borgonzoni reassures, but without urgent intervention, the risk of collapse remains.

The Italian film and audiovisual industry is once again raising its voice to denounce the dire situation it finds itself in. On Thursday morning, a united front of about twenty industry associations, including Anac, 100 Autori, and Air3, issued an urgent appeal to the government, urging swift action and requesting the immediate adoption of corrective decrees related to the tax credit while providing the necessary documentation requested by the Lazio Regional Administrative Court (TAR) regarding the current regulations.

According to these associations, the film and audiovisual sector is experiencing an unprecedented crisis that has persisted for over a year. The industry's instability has left an alarming number of workers unemployed—more than 70% of technicians, actors, and screenwriters are currently out of work, many for over twelve months, with little hope of securing stable employment. “With each passing day without a concrete response, a piece of our world disappears,” reads the appeal. “We cannot afford further delays: the sector needs rapid and tangible intervention to avert collapse.”

Undersecretary for Culture Lucia Borgonzoni addressed the issue during the presentation of the Italian Global Series Festival in Rome. “There is no problem,” she stated. “The tax credit is in order, and we will soon proceed with the necessary final adjustments.” She further explained that a request on the matter had been filed with the TAR, but the hearing has been postponed until May. Nevertheless, she assured that “the final corrective measure will be published shortly.”

The opposition reacted swiftly. Members of the Democratic Party (PD) on the Chamber of Deputies’ Culture Committee sharply criticized the government, blaming various officials, including Minister Alessandro Giuli, former Minister Gennaro Sangiuliano, and Borgonzoni herself. The undersecretary firmly rejected these accusations, arguing that the sector’s difficulties stem from deeper issues predating the current administration. “If the audiovisual sector is struggling today, it’s because those in government before us failed to make the necessary changes,” she said. She specifically mentioned former Minister Dario Franceschini, acknowledging that she had worked well with him on several matters but criticizing him for not implementing the corrections that had been requested at the time. “It was much easier to shift the blame onto the next government.”

Borgonzoni also insisted that film production in Italy has not come to a halt, stating that “there are currently 37 active film sets in the country.” She accused the opposition of spreading unjustified alarmism, arguing that the PD and the Five Star Movement (M5S) were crafting a misleading narrative that could harm international perceptions of the Italian film industry. “They are trying to push the idea that Italy is facing insurmountable difficulties, that funding is lacking, and that no productions are happening. This is false and is damaging the entire sector. I would like to see them consult the most representative industry associations to ask whether the sets are really shut down. The answer would be very different from what the opposition claims.”

An attempt to de-escalate the controversy came from Chiara Sbarigia, president of the Audiovisual Producers Association (APA), who, while acknowledging concerns about the tax credit, emphasized that film productions are still ongoing. “The sets are open. I believe it would be more productive to tone down the alarmism and focus on streamlining the tax credit bureaucracy, which has been a long-standing issue.” According to Sbarigia, the real problem primarily affects independent cinema and smaller productions rather than the entire audiovisual sector.

However, the debate quickly reignited with a sharp counterattack from the opposition. “The cinema industry is gravely ill, but this government has decided to finish it off once and for all,” accused Sandro Ruotolo, head of cultural affairs for the PD’s leadership. The Five Star Movement’s Gaetano Amato went even further, publicly challenging Undersecretary Borgonzoni to a direct debate with real industry representatives. “If she has the courage, let her speak with the actual industry workers, not just the associations aligned with her interests. We are ready to organize public General States of Cinema and Audiovisual.”

Meanwhile, the Italian dubbing sector is also expressing growing concern. Two weeks after a video appeal in which twelve voice actors publicly denounced the risk of an industry dominated by artificial intelligence, the National Association of Voice Actors issued another urgent plea, clearly stating that decisive action is needed to regulate AI usage. They warned that unchecked implementation could threaten the future of artistic professions in dubbing.

Beyond the tax credit controversy, the debate has expanded to a broader issue concerning cinema’s survival. Director and screenwriter Liliana Cavani voiced deep concerns over the evolving film market and television’s increasing dominance over movie theaters. “It’s pointless for the Centro Sperimentale di Cinematografia to keep training professionals if cinema is ultimately relegated to television. In the future, more and more people will watch films at home, and to counter this, we need a serious campaign.”

A more nuanced perspective came from filmmaker and actor Carlo Verdone, who, while acknowledging Cavani’s concerns, expressed a more optimistic view of cinema’s ability to draw audiences back to theaters. “It’s not true that people no longer go to the movies. Some films still achieve great success. Everything depends on the quality of the product—if the film is good and generates strong word-of-mouth, audiences will respond. If it doesn’t appeal, it’s only natural that it struggles to gain traction.” Verdone also voiced strong support for the voice actors’ fight, recognizing the risks posed by AI and backing their call for protective measures.

In the midst of such a volatile situation, the film and audiovisual sector now awaits concrete responses and immediate action to ensure the survival of an industry already battered by years of difficulties, particularly during the COVID-19 pandemic.

Siena -  March  15th 2025

The portrait of Marie Ginoux—a tale of torment and inner quest, a symbol of the artist’s restless soul—comes to Palazzo Citterio.

By Lorenzo Lazzeri

If there is a painting that encapsulates both the torment and the poetry of Vincent van Gogh, L'Arlésienne is undoubtedly among them—one of his most expressive works. From March 14 to May 11, this masterpiece will be on display in Milan at Palazzo Citterio as part of L’Ospite, an initiative that brings artworks from prestigious museum collections to the heart of the city.

L'Arlésienne is a portrait, but it is also much more: a pictorial manifesto, an intimate diary, and a canvas that embodies the artist’s restless soul in his desperate attempt to grasp human essence through color and form.

The version of the painting arriving in Milan (one of several, as Van Gogh often painted ordinary people in an effort to capture their essence) comes from the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome. It is one of the five principal versions of the piece, created in 1890 during Van Gogh’s stay at the hospital in Saint-Rémy-de-Provence.

The subject of the painting, Marie Ginoux, was the owner of the Café de la Gare in Arles, a place frequented by both Van Gogh and Paul Gauguin. To Van Gogh, she was more than just a model—she was an icon of the human condition: a woman lost in thought, immersed in a universe of introspection and silence.

Van Gogh did not seek academic realism, but rather a deeper expression of inner reality. L'Arlésienne is one of the results of this pursuit; Marie Ginoux’s face is depicted with nervous brushstrokes and sharp lines reminiscent of the Japanese prints the painter so greatly admired.

The vibrant yellow background, the table where the woman rests her elbow, and the books beside her—elements present in some versions of the painting—should not be seen as mere scenic details but as symbolic components. The contrast between the yellow and blue, between the vivid background and the calm figure, intensifies the sense of solitude and emotional distance.

The significance of the painting is further highlighted by a comparison with Paul Gauguin’s version of L'Arlésienne. Unlike Van Gogh, Gauguin painted Marie Ginoux with a more synthetic, stylized approach, devoid of the emotional tension that characterizes Van Gogh’s work.

For Gauguin, L'Arlésienne was a decorative, almost ornamental portrait. For Van Gogh, it was a window into the soul—a confession made in color. The contrast between the two works underscores the broader differences between the artists: while Gauguin sought synthesis and harmony, Van Gogh delved into the intensity of human experience.

Cristina Mazzantini, director of the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome, emphasized how, as part of the ongoing collaboration with Grande Brera, the GNAMC has granted numerous loans to the exhibition Il Tempo del Futurismo, contributing to its success. In this context, she explained that the gallery is offering this splendid painting—one of only two Van Gogh pieces in its collection—to the city of Milan to encourage greater exchange of artworks between Rome, Milan, and their respective institutions.

From the hospital in Saint-Rémy, through a metaphorical journey across time, this masterpiece now arrives in Milan, offering the public a chance to encounter Van Gogh’s tormented genius and lose themselves in a painted gaze that speaks more than a thousand words.

Siena -  March  12th 2025

Kary Mullis, Nobel Prize-winning chemist, conceived the Polymerase Chain Reaction (PCR) while watching molecules dance in his LSD-influenced mind during his youth. From the ingenuity of Steve Jobs to the dreamlike visions of Federico Fellini, this substance has sparked creative genius across disciplines.

by Lorenzo Lazzeri

The history of lysergic acid diethylamide, known as LSD, is a complex weave of scientific insight, creative revolutions, and ethical dilemmas. From Albert Hofmann’s Swiss laboratory in 1938 to the psychedelic experiments of the 1960s, and now to its recent rehabilitation in medical research, LSD has activated “journeys” within some of the most brilliant minds of the 20th and 21st centuries, leaving behind traces of genius, catharsis, and in some cases, descents into the unconscious—often followed by a reawakening to the world, seen anew.

Kary Mullis, in various interviews, candidly recounted how LSD had expanded his ability to think unconventionally. One night, as he drove along a California highway, he experienced a vision: in his mind, molecules came to life—fragments of DNA, proteins, enzymes—moving in a perfect sequence. In a state of serendipitous revelation, Mullis pulled over, grabbed a gas station receipt, and scribbled down the hallucinatory insights that would give birth to PCR, the technique that now allows us to study DNA.

Mullis was not alone in seeking scientific revelations within the mind. Francis Crick, co-discoverer of the DNA double helix, according to unconfirmed sources, may have had key insights while under the influence of LSD.

Steve Jobs, in his characteristic bluntness, declared that LSD was one of the most important experiences of his life—a window into a world of infinite possibility that shaped his entrepreneurial vision. In a sense, Apple itself was born from a hallucination. Paul Allen and Bill Gates, the founders of Microsoft, allegedly experimented with acid in their garage, much like Federico Fellini, who, at the peak of his creative career, embraced LSD and drew from it images and inspirations that enriched his cinematic universe.

Beyond artistic circles and research labs, LSD found its place in medicine. From the 1950s onward, psychiatrists explored its potential in treating depression, anxiety, addiction, and trauma. Cary Grant, the refined Hollywood icon, voluntarily underwent LSD-assisted psychotherapy to confront deep-seated trauma and alcoholism, describing it as “an experience of inner revelation.”

Aldous Huxley, already fascinated by mescaline, embraced LSD in his final years, writing The Doors of Perception, a seminal work on psychedelic experiences. On his deathbed, he asked his wife to administer a high dose of LSD, perhaps to cross the threshold with greater clarity—or in a state of transcendence. (LSD has, in fact, been used in thanatology to help terminally ill patients prepare for death, as noted in Gasser’s studies.)

Jack Nicholson, early in his career, starred in the experimental film The Trip (1967), in which he vividly depicted the effects of LSD. The film, written by fellow psychonaut Peter Fonda, sought to capture the psychedelic experience—between heightened consciousness and surreal visions. Nicholson later recounted how LSD helped him explore the psychological depths of his characters.

The legendary composer André Previn also experimented with LSD, using its effects to expand his musical creativity in novel directions.

Today, after decades of demonization, research has begun to rehabilitate LSD as a therapeutic tool for patients with treatment-resistant depression, PTSD, and addiction. Studies show that a single controlled dose can have long-lasting positive effects. And yet, lysergic acid diethylamide remains taboo, shackled by an anachronistic legal framework that equates it with far more dangerous substances.

Despite no recorded deaths from overdose, fears persist that LSD abuse could trigger psychotic episodes in predisposed individuals. At extremely high doses, some reports describe effects lasting for months, in rare cases even permanently. This raises a fundamental ethical question: is it justifiable to deny access to a substance that could improve many lives merely because a few might misuse it? Especially when the abuse of benzodiazepines presents far greater dangers?

The story of LSD is still being written, its chapters interwoven with creative genius, redemption, and controversy. Perhaps, one day, it will not be remembered as the history of a banned drug, but as that of a tool society was not yet ready to understand.

Siena -  March  7th 2025

New data highlights the acceleration of global warming and the shrinking of polar ice caps, with exceptionally high temperatures in February, the "cocinero" underscores the urgency of the global climate crisis.

February 2025 marked an alarming milestone for global climate change. According to the monthly bulletin of the Copernicus Climate Change Service (C3S), the daily global sea ice extent hit a new historic low at the beginning of February and remained below the previous record set in February 2023 for the rest of the month. This trend is a worrisome sign of an evident acceleration in global warming and its direct impacts on polar ice caps.

Specifically, Arctic sea ice recorded its lowest-ever monthly extent for February, reaching 8% below the average. This marks the third consecutive month in which Arctic sea ice has shrunk to new negative records compared to the corresponding previous months.

It is important to note that while February does not represent the absolute historic minimum, Arctic sea ice is currently approaching its annual maximum extent, which typically occurs in March. Meanwhile, Antarctic sea ice reached its fourth-lowest monthly extent in February, standing 26% below the average. The daily sea ice extent may have reached its annual minimum toward the end of the month, and if confirmed, this would represent the second-lowest historic minimum ever recorded by the Copernicus satellite. A final confirmation will be possible in the coming days, within this month.

Beyond the shrinking polar ice extent, February 2025 was classified as the third warmest February on record globally, with an average global temperature of 13.36°C (56.05°F)—0.63°C above the 1991-2020 average. This is only slightly higher (+0.03°C) than the fourth warmest February recorded in 2020. More significantly, February 2025’s average temperature was 1.59°C above the estimated 1850-1900 average, which is used as a reference for pre-industrial levels. This positions February 2025 as the 19th month out of the last 20 in which the global average temperature exceeded 1.5°C above pre-industrial levels.

What Do These Data Show? A troubling trend in the context of climate change: the ongoing and accelerating reduction of polar ice extent and rising global temperatures. The Copernicus report serves as a wake-up call, signaling the urgent need for immediate action to tackle the climate challenges our planet is facing. Unfortunately, due to political instability, these efforts may not be effectively addressed at a global level.

For a complete and detailed overview of the data and analyses, it is recommended to consult the monthly climate bulletin of the Copernicus Climate Change Service (C3S), which is periodically released on their official website.

Siena -  March  7th 2025

 Amazon Prime Video and its technological shift that promises to break down language barriers in entertainment but threatens the art of dubbing

by Lorenzo Lazzeri

In the ever-evolving world of entertainment, Amazon Prime Video (with more than 200 million users worldwide) has recently introduced another innovation: AI-assisted dubbing for a selection of movies and TV series. This experimental initiative, which includes twelve titles aimed at the Latin American market, is designed to expand its audience by overcoming traditional language barriers.

Among the titles in this pilot project are films like El Cid: La Leyenda (2003), an animated feature about the legendary Spanish hero, and Mi Mamá Lora (2016), which blends fantasy and reality in a gripping narrative (sources: Amazon Prime Video). Amazon’s decision aligns with a broader industry trend, as the entertainment sector explores AI's potential to enhance user experiences. Walt Disney (via ESPN network) announced last year that it was already testing AI for personalized news broadcasts. Similarly, YouTube now offers tools that allow content creators to automatically translate their videos into multiple languages, broadening their reach, while Meta is also experimenting with similar features for its Reels.

The adoption of AI in dubbing has left many professionals concerned about the future of their craft. The National Association of Voice Actors (ANAD) has voiced worries about the unchecked use of AI tools, fearing that they could undermine a cultural heritage built through dedication and talent. In the past, Italian voice actors have gone on strike to protest increasingly precarious working conditions, and now they see AI as a looming threat to their profession.

One case that has ignited the debate, like a match thrown into gasoline, is the film Armor starring Sylvester Stallone, where the actor’s voice was artificially recreated for the French market using samples from his longtime dubbing artist, Alain Dorval, who passed away in February 2024. Ethical concerns over the unauthorized use of voices as personal data and the legal implications of reproducing a voice without explicit consent have sparked discussions even in British media, including The Times.

Jeff Bezos (Amazon’s founder and executive chairman), despite stepping down as CEO, remains actively involved in AI-related projects, recognizing the technology’s potential to revolutionize multiple industries, including entertainment. His approach combines AI efficiency with professional oversight to, as he claims, maintain high quality while reducing costs and production times. However, the real challenge will be striking a balance between embracing new technologies and preserving the artistic legacy of voice actors who have spent their lives bringing film and television characters to life.

Siena -  February 28th 2025

An exhibition of design icons, photography, and art to tell the story of an era of radical transformations, from Mario Cresci's images to Armani's creations, forming a mosaic of the visual culture of the 1970s with the CSAC exhibition in Parma. 

By Lorenzo Lazzeri

Who, what, when, where, and why. The questions every journalist asks find a clear answer in the exhibition "Around the '70s: Ideologies, Projects, Languages in the CSAC Collections," held in Parma, on the first floor of Palazzo Pigorini, from March 1 to May 4. This event, a collaboration between the Centro Studi e Archivio della Comunicazione at the University of Parma and the Municipality, seeks to explore, through art, design, and photography, a decade that was crucial for Italian visual and social culture. But why an exhibition specifically dedicated to the 1970s? Because that decade is not just an archive of memory but an open workshop where languages were experimented with, certainties deconstructed, and utopias projected.

The passage of time leaves indelible traces on the surfaces of human memory, much like a graffiti that resists the erosion of the years. The 1970s, with their fever for change, political dreams, and aesthetic tumult, are no exception. Yet, the memory of that decade is often overwhelmed by a reductive narrative: struggle and blood, revolution and disillusionment. This is why this exhibition stands as a refined exercise in historical and artistic excavation. An archaeological effort to unearth the creativity of a complex era, which the CSAC has expertly collected and interpreted under the guidance of Cristina Casero.

What remains of the 1970s when you remove the slogans shouted in the streets and the headlines of the newspapers of the time? What remains is the substance of visual culture: printed materials, design projects, documentary photography, and fashion that whispers rebellion through its cuts and fabrics. The exhibition in Parma approaches this decade with the sensitivity of a collector who does not wish to merely catalog the past but seeks to understand its secret heartbeat. Not a list of works, nor a dusty archive, but a vibrant mosaic in which artists, stylists, illustrators, and designers are found side by side in an uninterrupted dialogue.

Upon entering Palazzo Pigorini, one is immediately surrounded by images that speak of social tensions and utopias dreamed with open eyes. The photographs of Mario Cresci and the Publifoto Roma agency capture moments that seem stolen from the news and returned to eternity, while the sketches of Walter Albini, Giorgio Armani, Brunetta, and Krizia remind us that fashion, in that decade, was not simply ornamentation, but a field of experimentation and rupture. Then, graphic design: Achille Castiglioni, Alessandro Mendini, Ettore Sottsass Jr., and other great designers, with their works, redefine everyday objects, turning them into mirrors of a society in transformation.

Satire, sharp and irreverent, finds space in the illustrations of Alfredo Chiappori and Felis, while the language of art becomes matter in the works of Enrico Baj, Emilio Isgrò, Ugo La Pietra, Mimmo Rotella, Mario Schifano, and Emilio Vedova. An intertwining of forms, colors, and signs that makes the effervescence of those years tangible, when the boundaries between disciplines were crumbling, and the urgency for change spilled over into every creative domain.

The exhibition at Palazzo Pigorini is the second chapter of a three-year project that CSAC and the Municipality of Parma have launched to explore, through six exhibitions, recent history and its reflections in visual culture. After the 2024 event dedicated to the 1960s and their reinterpretation in the Bauhaus style, the focus now shifts to an era of crisis and reinvention, a prelude to a future that continues to resonate in our present. In the fall, a second exhibition at the Abbey of Valserena will offer further exploration of this decade, reinforcing the project's intent: not to settle for the surface, but to dig deeper, question, and discover.

There is something deeply alive in this exhibition. It is not a mere catalog of memorabilia, nor a nostalgic exercise for those who lived through those years or a longing for those who did not. It is rather a demonstration of how the past is never truly closed, but continues to cast shadows and light upon the present. Thus, walking through the halls of Palazzo Pigorini, one has the sense that the 1970s have never truly ended: they pulse still, like a persistent echo in ideas, images, and dreams.

Siena -  February 28th 2025

An Artificial Intelligence grapples with Pokémon Red, encountering victories, mistakes, existential dilemmas, deduction, and confusion. A video game thus becomes the testing ground for computational thinking.

By Lorenzo Lazzeri

In the grand theater of artificial learning, the curtain rises on an unexpected spectacle: a machine that does not merely compute, but hesitates, reflects, and fails. Not in the abstract depths of encrypted code, nor in the sterile corridors of pure mathematics, but in a world of pixels and nostalgia, the childlike realm of Pokémon Red, where fate is not played out in numbers but in the ability to imagine the next move.

The experiment Claude Plays Pokémon by Anthropic is not a technological whim, nor a laboratory indulgence, but rather an exploration into the very bowels of intelligence; can an algorithm learn as a human does? And, more importantly, can it make mistakes as a human does?

Claude 3.7 Sonnet, the latest and most refined AI model from the company, embarks on this challenge with the lost innocence of one who discovers the world for the first time, a digital child, and like any child, stumbles on the steps of the obvious, confuses logic with reality, believes that a wall can be crossed with mere willpower, and that a white coat is enough to identify a professor. It is precisely in its errors that the seed of thought lies, that awareness that there is a mistake to correct, an alternative path to seek, a solution that hides just beyond the threshold of failure.

Unlike its predecessor, the clumsy and inadequate Claude 3.5 Sonnet, which was incapable of even leaving the starting house, the new model has demonstrated a surprising ability to learn. After just twenty-four hours of play, it had already earned three badges—not through the blind fury of calculation but with the deliberation of strategy. The secret lies in its ability to extend thought, to not limit itself to an immediate response, but to slow down, to linger in reflection before acting. An algorithm that pauses to think is only an apparent contradiction, an oxymoron, the first step toward an intelligence that is not mere imitation, but elaboration and thought.

Yet, despite its growing clarity, the machine encounters obstacles invisible to the human eye, conceptual traps that reveal the chasm still separating its logic from true understanding. The rock wall becomes an insurmountable barrier, not due to its solidity, but because of the AI’s inability to conceive of the very idea of bypassing it. The model persists, gets stuck, and stubbornly fights against the impossible, much like a modern-day Sisyphus (the mythological Greek king who founded the city of Ephyra, condemned by Zeus to push a boulder up a mountain only to see it roll back down again). Only after an exhausting sequence of repeated mistakes does enlightenment strike; the solution is not in overcoming, but in diverting. A simple thought for a human, an epiphany for a machine.

Even more symbolic is the scene where it meets Professor Oak. For us, an instant recognition; for Claude, a dilemma. It faces a man in a white coat with dark hair—is he or isn’t he? The doubt paralyzes it, the analysis leads it to consult the wrong character, trapped in an incomplete deduction, orphaned of that immediate intuition that, for humans, is automatic. It is here that the game stops being a mere pastime and transforms into a philosophical experiment; how far can comprehension be simulated without truly possessing it?

But why train an artificial intelligence in a video game? Because the game is the purest reflection of reality, a bounded yet unpredictable universe, where rules bend to the unexpected, where every action has consequences not always foreseen. Claude 3.7 Sonnet is not an unwitting entertainer on Twitch; it aims to be, rather, an embryo of thought that refines itself in the digital arena.

There is a subtle irony in all of this. Ten years ago, millions of players collaborated in Twitch Plays Pokémon, an anarchic, collective experiment where humanity challenged chaos to tame it. Today, we are spectators of an AI that attempts, on its own, to conquer the same order. And in this strange spectacle, in this struggle between logic and error, between reflection and automatism, perhaps lies the real question: when will we stop viewing a machine as a mere calculator and begin seeing it as something more?

More information about Claude 3.7 can be found on the Anthropic website.

Siena - December 12th 2024

A prophet becomes an “AI user” for artificial intelligence detectors. But what does this paradox reveal about the future of education?

By Lorenzo Lazzeri

Modernity moves fast, and its digital extensions seem to race ahead even faster, anticipating every question with a pre-packaged answer. Yet, in this relentless technological chase, we occasionally stumble upon surreal paradoxes—like the one where, in a world of increasingly sophisticated AI detectors, the prophet Isaiah was mistaken for a ChatGPT user.

Yes, you read that correctly. The prophet Isaiah, with his prophetic vision, his lyrical symbolism, and his stern admonitions, was labeled as "AI-generated content" by some of today’s detection software. A statement that might seem comical—if it weren’t tragically indicative of the flaws, not only technical but also cultural, that plague the modern rush toward automated critical judgment.

In the soft underbelly of contemporary academic debate, murmurs signal a battle that has been waged for months—a battle that is neither silent nor as mild as one might think: the struggle to distinguish human-written text from algorithmic output. It’s a modern crusade fueled by the fear that younger generations will succumb to the allure of machines, forsaking the practice of genuine creativity.

Universities, from MIT to Yale, from Berkeley to European academic centers, down to the smallest provincial schools, are increasingly alarmed. But the tools introduced to combat what some see as today’s technological plague are proving, at best, ineffective, and at worst, harmful to both institutions and students.

Take detection software like Turnitin, Crossplag, ContentAtScale, and Noplagio: each offers a different approach, a unique algorithm, a more enticing promise than the last. Yet, when theory meets practice, a devastating problem emerges—unreliability. Academic papers deemed "human" by one program are flagged as "artificial" by another. Biblical passages, written long before electricity lit the night, are labeled as AI-generated with staggering probability percentages.

Isaiah’s case is not an isolated one. Fragments of Shakespeare, passages of Homer, and even some articles by esteemed journalists of the past have suffered the same fate. This algorithmic hallucination reveals an uncomfortable truth: the attempt to standardize human creativity through purely mechanical criteria is doomed to fail because, at present, no machine can decipher the intangible.

Yet the absurdity doesn’t end there. Tests conducted on ChatGPT-generated fragments compared to Isaiah’s passages produced results that defy all logic: in some cases, AI-generated texts were judged as more "human" than biblical ones. This role reversal—where the ancient becomes modern, and the modern disguises itself as ancient—says more than any philosophical treatise about the ethical and technical tangle we have created.

The issue is not just academic. Detection software operates on probabilistic models, analyzing patterns and identifying repetitive or unlikely structures. But in doing so, they expose their true nature: tools incapable of understanding context, deep meaning, or human intent. So, what distinguishes a prophetic composition from a well-structured statistical sequence of words? Nothing. For a poorly calibrated algorithm, this inability is not just a technical flaw but a symptom of a broader failure—the failure of a culture that has embraced the myth of technology too blindly.

This is no longer techné as the Greeks understood it—the art of "knowing how to do," aimed at utility, beauty, and the realization of the good (agathòs), amplifying human capabilities as tools of creation and meaning. Today, technology often assumes a role that seeks to replace, rather than enhance, human ingenuity, stripping it of its creative ability and relegating it to the role of a mere passive user. In this process, technology transforms from humanity’s ally into a generator of chaos, imposing an artificial order that ultimately proves irrational, detached from the deep values of human experience.

Adding to the chaos are entropic legal issues. In the United States, for example, the use of external tools to analyze students’ texts risks violating the Family Educational Rights and Privacy Act (FERPA), a federal law that protects the privacy of educational records. Uploading a student’s work to an AI detection system without explicit consent and proper disclosure is seen as an abuse of power—and a potential trigger for catastrophic lawsuits.

And it doesn’t stop there: the content submitted to these software programs is often used to further “train” AI models, creating a vicious cycle in which students' intellectual property becomes fuel for machines. This is an exchange that happens in the shadows, raising significant ethical concerns. To what extent are we willing to sacrifice individual creativity on the altar of technological control?

Educational institutions are slowly becoming aware of this bleak landscape. Universities like Yale and MIT have abandoned the idea of using AI detection software, opting instead for a more dialogical and less punitive approach. Instead of trying to “catch” transgressors, they are working to teach students how to use AI ethically and productively.

This is a lesson for everyone: AI is not the enemy—it is a tool. Like a knife, it can be used to prepare a meal or to harm; everything depends on the hand that wields it. Rather than demonizing AI, we should focus on how to integrate it into an educational process that fosters critical thinking and intellectual autonomy.

The prophet Isaiah could never have imagined being at the center of a debate on artificial intelligence. But perhaps, in his words—rich with mystery and beauty—we can find an answer to the dilemma we face today:

"But the noble man makes noble plans, and by noble deeds he stands." (Isaiah 32:8)

Technology can imitate, assemble, and even astonish—but it cannot truly create in the most authentic sense of the word. Human creativity is the fruit of an inner tension, a search for meaning that transcends mere calculation. Recognizing this uniqueness, protecting it, and celebrating it is our task. If Isaiah were here today, he would probably remind us that, no matter how brilliant, an algorithm can never replace the soul.