22 May 2026 – Friday
22 May 2026 – Friday

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Articolo in collaborazione con Tra I Leoni. Dalle immagini generate dall’intelligenza artificiale agli NFT, l’arte digitale mette in discussione autorialità, proprietà e valore. Indaghiamo come il riconoscimento di un’opera si costruisca oggi attraverso prompt, token, mercato e istituzioni, osservando casi come Damien Hirst, Yves Klein, Marcel Duchamp e il recente ridimensionamento del mercato NFT.
di Greta Beluffi e Luigi Marsero Negli ultimi anni, la circolazione di immagini generate da sistemi di intelligenza artificiale è cresciuta in maniera esponenziale. Grazie a un semplice prompt, sistemi come Midjourney e DALL·E riescono a trasformare poche parole in immagini, spesso catalogate sotto la generica etichetta di “artistiche”. Di fronte a questa possibilità, la domanda è immediata: chi considerare come autore? E soprattutto: queste immagini sono davvero “arte”[1]?…

Monday Briefing: Special Edition

In this special edition of the Monday Briefing, we are going to line up a series of issues and situations that will develop in the next months, while our team is busy with exams and summer vacations. Tune in to have a brief look at what’s coming your way!
In this special edition of the Monday Briefing, we are going to line up a series of issues and situations that will develop in the next months, while our team is busy with exams and summer vacations. Tune in…

Believing in nothing, and why it makes us violent

Contemporary terrorism is no longer driven by structured ideologies, but by a radical form of nihilism that finds its ultimate purpose in violence itself. From online communities that fuel desensitisation to attacks conceived as viral performances, a scenario emerges in which subversion and chaos become ends in themselves, stripped of any political project. But what happens when destruction loses all purpose and turns into a language? In this new article from the “Strong Words” column, Pietro Cattaneo analyses the phenomenon of Nihilistic Violent Extremists, exploring its cultural and digital roots while questioning the role of the media in an ecosystem that risks amplifying its reach.
Contemporary terrorism is no longer driven by structured ideologies, but by a radical form of nihilism that finds its ultimate purpose in violence itself. From online communities that fuel desensitisation to attacks conceived as viral performances, a scenario emerges…

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The lights dimmed, the first beat dropped, and for two hours, no one stayed still. With “Tonight We Gotta Footloose!”, BLPSA turned Roentgen’s Aula Magna into something far bigger than a school stage: a space filled with movement, music, and the kind of energy that refuses to sit quietly.
The lights dimmed, the first beat dropped, and for two hours, no one stayed still. With “Tonight We Gotta Footloose!”, BLPSA turned Roentgen’s Aula Magna into something far bigger than a school stage: a…
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Bocconian Ideas for Composition: Stefano Corvino’s Thoughts on Contemporary Musicmaking  

Stefano Corvino, Bocconi alumnus and author of The Lost Composer, presented his piano suite Korean Inventions, Op. 2 in a recording session held in Milan with Spanish pianist Juan Francisco Otón Martínez. Through his reflections on contemporary musicmaking, Corvino criticizes the excessive self-referentiality of parts of the avant-garde and argues for a return to music as emotional and social communication. His artistic vision combines musical complexity with accessibility, proposing a contemporary language capable of reconnecting composers and audiences.
On Friday, April 10th, 2026 the recording of the piano suite Korean Inventions, Op. 2 by Stefano Corvino took place at the milanese studio OFFICINA in Via Tolstoj.  Now a manager at ATOZ Services (Luxembourg), Stefano Corvino belongs to an earlier generation of Bocconi graduates, with…

The Fragile Business of Making Films That Matter

Somewhere between the sequels and the franchises, a different kind of cinema is still quietly fighting for its life.
It begins fittingly, with a whisper of something strange. A girl confesses: “It was I… It was a witch.” At that moment, “The Witch” announces itself as something rare. A film uninterested in pleasing everyone. Austere, unsettling and unapologetically specific. It…

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