ITSPmagazine

The Last Touch: Why AI Will Never Be an ArtistI had one of those conversations... the kind where you're nodding along, then suddenly stop because someone just articulated something you've been feeling but couldn't quite name.Andrea Isoni is a Chief AI Officer. He builds and delivers AI solutions for a living. And yet, sitting across from him (virtually, but still), I heard something I rarely hear from people deep in the AI industry: a clear, unromantic take on what this technology actually is — and what it isn't.His argument is elegant in its simplicity. Think about Michelangelo. We picture him alone with a chisel, carving David from marble. But that's not how it worked. Michelangelo ran a workshop. He had apprentices — skilled craftspeople who did the bulk of the work. The master would look at a semi-finished piece, decide what needed refinement, and add the final touch.That final touch is everything.Andrea draws the same line with chefs. A Michelin-starred kitchen isn't one person cooking. It's a team executing the chef's vision. But the chef decides what's on the menu. The chef check the dish before it leaves. The chef adds that last adjustment that transforms good into memorable.AI, in this framework, is the newest apprentice. It can do the bulk work. It can generate drafts, produce code, create images. But it cannot — and here's the key — provide that final touch. Because that touch comes from somewhere AI doesn't have access to: lived experience, suffering, joy, the accumulated weight of being human in a particular time and place.This matters beyond art. Andrea calls it the "hacker economy" — a future where AI handles the volume, but humans handle the value. Think about code generation. Yes, AI can write software. But code with a bug doesn't work. Period. Someone has to fix that last bug. And in a world where AI produces most of the code, the value of fixing that one critical bug increases exponentially. The work becomes rarer but more valuable. Less frequent, but essential.We went somewhere unexpected in our conversation — to electricity. What does AI "need"? Not food. Not warmth. Electricity. So if AI ever developed something like feelings, they wouldn't be tied to hunger or cold or human vulnerability. They'd be tied to power supply. The most important being to an AI wouldn't be a human — it would be whoever controls the electricity grid.That's not a being we can relate to. And that's the point.Andrea brought up Guernica. Picasso's masterpiece isn't just innovative in style — it captures something society was feeling in 1937, the horror of the Spanish Civil War. Great art does two things: it innovates, and it expresses something the collective needs expressed. AI might be able to generate the first. It cannot do the second. It doesn't know what we feel. It doesn't know what moment we're living through. It doesn't have that weight of context.The research community calls this "world models" — the attempt to give AI some built-in understanding of reality. A dog doesn't need to be taught to swim; it's born knowing. Humans have similar innate knowledge, layered with everything we learn from family, culture, experience. AI starts from zero. Every time.Andrea put it simply: AI contextualization today is close to zero.I left the conversation thinking about what we protect when we acknowledge AI's limits. Not anti-technology. Not fear. Just clarity. The "last touch" isn't a romantic notion — it's what makes something resonate. And that resonance comes from us.Stay curious. Subscribe to the podcast. And if you have thoughts, drop them in the comments — I actually read them.Marco CiappelliSubscribe to the Redefining Society and Technology podcast. Stay curious. Stay human.> https://www.linkedin.com/newsletters/7079849705156870144/Marco Ciappelli: https://www.marcociappelli.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

131 years. Still handcrafted in Nashville. Still changing music.At NAMM 2026, Sean Martin and Marco Ciappelli sat down with Jeff Stempka, Global Brand & Marketing at Gibson & Gibson Custom, to talk about what makes this brand untouchable—the craftsmanship, the artist connection, and why people will stretch their budget just to hold one.From the Les Paul Studio Double Trouble to the ES-335 Fifties and Sixties refresh, Gibson is honoring its legacy while pushing forward.Jeff said it best: "These are tools that enable incredible musicians to take the instruments and do something we never intended."🎸 Les Paul Studio Double Trouble – Modern collection, coil splits, pure bypass 🎸 ES-335 Fifties & Sixties – Neck profiles for every player 🎸 100 Years of Flat Tops – From Orville Gibson to todayThis isn't just gear. It's functional art. It's history. It's emotion.Part of ITSPmagazine's On Location Coverage at NAMM 2026.🌐 https://www.itspmagazine.com/the-namm-show-2026-namm-music-conference-music-technology-event-coverage-anaheim-california__________________________This is a Brand Highlight. A Brand Highlight is an introductory conversation designed to put a spotlight on the guest and their company. Learn more: https://www.studioc60.com/creation#highlightGUESTJeff StempkaGlobal Brand & Marketing at GibsonRESOURCESLearn more about Gibson Guitars: https://www.gibson.com/Are you interested in telling your story?▶︎ Full Length Brand Story: https://www.studioc60.com/content-creation#full▶︎ Brand Spotlight Story: https://www.studioc60.com/content-creation#spotlight▶︎ Brand Highlight Story: https://www.studioc60.com/content-creation#highlight Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Snowboards and Guitars: Circle Strings x Burton at NAMM 2026Some collaborations make you stop and ask how nobody thought of this before.At NAMM Media Day 2026, Sean Martin caught up with Adam Buchwald and William Hylton from Circle Strings, a Vermont-based guitar company, to talk about their partnership with Burton. The concept is deceptively simple: matching snowboards and custom guitars built from the same materials.But the execution is anything but simple.Buchwald owns a wood company in Vermont. He had an entire tree of figured mahogany set aside, waiting for the right project. When Burton agreed to collaborate, he knew exactly what to do with it. The wood became the centerpiece—the visual and sonic foundation of everything that followed.Then William Hylton got to work.Hylton, Circle Strings' designer and CNC specialist, is a backcountry snowboarder. He chose Burton's Alakazam powder board shape as his starting point, drawn to its distinctive tail curve. That curve, he realized, was already guitar-esque. So he wove it through the entire instrument—the fingerboard extension, the pickguard, the bridge tips. The snowboard's DNA lives in every contour.But here's where it gets interesting.The core of a Burton snowboard is wood. Lightweight, durable, designed for performance. Hylton took that same core material and built a guitar body from it. The result feels right in your hands—balanced, resonant, purposeful. It's not a gimmick. It's a genuine instrument built from materials engineered to perform.The acoustic model features a sound hole that mirrors the snowboard's design. Inlays are crafted from Burton's core material, tying everything together visually and conceptually. Both guitars showcase snowflake inlays inspired by Snowflake Bentley, the Vermont photographer who first captured snowflakes in their true crystalline form over a century ago.It's a detail that says everything about how Circle Strings approaches their work. History. Craft. Place.Vermont runs through this collaboration. Buchwald and Hylton are snowboarders. They source their wood locally. They build instruments that reflect where they come from. Burton, also rooted in Vermont's snow culture, was a natural partner.The Burton team, according to Hylton, is thrilled. Many of them are musicians. Some are fans of the artists Circle Strings builds for. The connection was already there—this project just made it tangible.What strikes me about this collaboration is the underlying philosophy. Snowboards and guitars aren't that different when you strip them down. Both are built from wood. Both demand precision. Both exist to help someone express themselves—whether carving powder or carving a melody.Circle Strings and Burton understand this. They didn't force a partnership. They found the common thread and followed it.The result is a set of instruments that belong in a museum and on a stage. Objects that tell a story about craft, place, and the people who refuse to separate their passions.Snowboards and guitars. Same wood. Same craft. Different ride.Sean Martin reports from NAMM 2026 for ITSPmagazine.__________________________This is a Brand Highlight. A Brand Highlight is an introductory conversation designed to put a spotlight on the guest and their company. Learn more: https://www.studioc60.com/creation#highlightGUESTSAdam Buchwald and William HyltonRESOURCESLearn more about Circle Strings Guitars: https://circlestrings.comLearn more about Burton Snowboards: https://www.burton.comAre you interested in telling your story?▶︎ Full Length Brand Story: https://www.studioc60.com/content-creation#full▶︎ Brand Spotlight Story: https://www.studioc60.com/content-creation#spotlight▶︎ Brand Highlight Story: https://www.studioc60.com/content-creation#highlightKEYWORDSNAMM 2026, Burton, Circle Strings, custom guitars, snowboard guitar, handmade guitars, Vermont, guitar collaboration, Burton snowboards, NAMM, luthier, unique guitars Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Show NotesDay two at NAMM 2026 reinforces why this show continues to matter. Not just for product launches or celebrity sightings, but for the culture that forms when creators, builders, and technologists share the same physical space. From the Creator Lounge to the show floor, the conversation stays grounded in making, playing, and experimenting.This episode captures that energy in real time. Sean Martin and Marco Ciappelli reflect on how NAMM functions as a crossroads where legacy craftsmanship, modern production, and creative curiosity intersect. Guitars, basses, drums, microphones, and software all coexist here, but the real story is how people interact with the tools and with each other.Creativity on the FloorThe discussion touches on conversations with brands and builders like Gibson, John Page Guitars, and others shaping instruments that balance tradition with modern design. These are not abstract ideas. They are physical objects that invite musicians to explore sound differently, whether through lighter builds, new electronics, or rethinking classic forms.Technology Without Losing the SoulA recurring theme is how technology shows up at NAMM without overshadowing the human element. From live sound testing that occasionally overwhelms a recording to quiet moments in shared spaces, the episode highlights how tools serve creativity, not the other way around. The hosts reflect on artists who embrace technology while staying rooted in raw expression and performance.The Meaning of Being On LocationBeing present matters. This conversation underscores why on location coverage adds context that studio conversations cannot replicate. Background noise, spontaneous encounters, and unexpected access all become part of the story. NAMM is not polished. It is alive.The episode closes with anticipation. Major award events, standout performances, and conversations still to come point to why day two feels less like a midpoint and more like momentum building.GuestMarco Ciappelli, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.marcociappelli.comHostSean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/ResourcesThe NAMM Show 2026 is taking place from January 20-24, 2026 | Anaheim Convention Center • Southern California — Coverage provided by ITSPmagazine — Follow our coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026The NAMM Show 2026: https://www.namm.org/thenammshow/attendMusic Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/Keywordssean martin, marco ciappelli, namm 2026, namm show day 2, music industry, guitar gear, bass guitars, music technology, creator lounge, live music culture, instrument design, behind the scenes nammMore From Sean MartinMore from Music Evolves: https://www.seanmartin.com/music-evolves-podcastMusic Evolves on YouTube: https://www.youtube.com/playlist?list=PLnYu0psdcllTRJ5du7hFDXjiugu-uNPtWMusic Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/On Location with Sean and Marco: https://www.itspmagazine.com/on-locationITSPmagazine YouTube Channel: https://www.youtube.com/@itspmagazineBe sure to share and subscribe! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Show NotesThe first day at NAMM 2026 opens in the only way it can: loud, imperfect, and unmistakably human. Forklifts roll by, sound systems compete for attention, and instruments are already being pushed to their limits. This episode captures that moment before the show floor officially opens, when ideas are raw and expectations are still forming.Sean Martin, host of Music Evolves, and Marco Ciappelli, host of Redefining Technology and Society, use this Day 1 conversation to ground the week in a bigger question: what role does technology actually play in music right now? Not as a replacement for creativity, but as a set of tools shaped by the people using them.The discussion cuts through familiar narratives about automation and generative systems by pointing directly at what is happening on the floor. New products are being introduced, but very little of it is framed as machines making music on their own. Instead, the focus is on musicians performing, experimenting, and expressing themselves through instruments that blend analog craft with digital capability.From acoustic guitars rooted in century-old designs to hybrid instruments that invite unconventional inputs like wood, metal, or physical objects, the message is consistent. Innovation does not erase musical tradition. It extends it. The instruments change, the interfaces evolve, but the act of creation remains human-driven.The conversation also reflects on how easily fear can creep into discussions about new tools. At NAMM, that fear feels misplaced. Artists are not stepping aside. They are leaning in, learning new techniques, and pushing boundaries in ways that still require skill, memory, timing, and emotional intent.This episode sets the tone for the rest of the week. NAMM is not about machines replacing musicians. It is about musicians deciding what they want to do next, using whatever tools help them say it more clearly.GuestMarco Ciappelli, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.marcociappelli.comHostSean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/ResourcesThe NAMM Show 2026 is taking place from January 20-24, 2026 | Anaheim Convention Center • Southern California — Coverage provided by ITSPmagazine — Follow our coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026The NAMM Show 2026: https://www.namm.org/thenammshow/attendMusic Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/Keywordssean martin, marco ciappelli, namm 2026, namm show, music, musicians, instruments, creativity, technology, innovation, event coverage, on location, conferenceMore From Sean MartinMore from Music Evolves: https://www.seanmartin.com/music-evolves-podcastMusic Evolves on YouTube: https://www.youtube.com/playlist?list=PLnYu0psdcllTRJ5du7hFDXjiugu-uNPtWMusic Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/On Location with Sean and Marco: https://www.itspmagazine.com/on-locationITSPmagazine YouTube Channel: https://www.youtube.com/@itspmagazineBe sure to share and subscribe! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Vintage Dreams, Modern Hands: A Conversation with PRS Guitars at NAMM 2026They were literally closing down the show floor when I grabbed Alex Chadwick from PRS Guitars for a conversation I wasn't willing to miss.We'd been talking off-mic about something that kept nagging at me—this tension between technology and creativity that runs through everything in the music world right now. So I hit record, security guards circling, and asked him straight: Is technology helping musicians become better artists, or do you still need to learn the hard way?His answer was refreshingly honest. Technology isn't inherently good or bad. It's a tool. When it helps people be more expressive, more creative—that's the win. When it gets in the way of that expression? That's when we have a problem.It's the kind of nuance that gets lost in the usual gear coverage.PRS brought some beautiful new instruments to NAMM this year. The John Mayer Wild Blue Silver Sky stopped people in their tracks—a sharp turquoise finish with the first matching headstock ever produced from their Maryland factory on a Silver Sky. Limited to a thousand pieces worldwide. For Mayer fans and Silver Sky devotees alike, this one feels special.Then there's the Ed Sheeran Semi-Hollow Piezo Baritone. A 27.7-inch scale instrument tuned a fifth below standard, with discrete outputs for both magnetic and piezo elements. But here's what got me: each guitar ships with a signed print of Sheeran's original artwork that appears on the body. He's a visual artist too. The instrument becomes a canvas for multiple creative expressions at once.But the conversation that really stuck with me was about vintage guitars and why we romanticize them so much.Those 1950s and 60s instruments—the ones on posters, in documentaries, making the music that shaped entire generations—they've become holy relics. And the ones that actually sound magical? They cost as much as a house now. So how does anyone access that?Chadwick explained something about PRS's philosophy that I found genuinely compelling. They don't go back to the fifties. They go back to 1985. That gives them freedom—they can draw inspiration from those holy grail instruments without being trapped by their quirks, their inconsistent tolerances, their aged components. They can take what made those guitars legendary and build it into something repeatable, accessible, and comfortable.The goal, he said, is to create instruments that get out of the way. Guitars that let the person be more expressive instead of fighting against limitations.That phrase has been echoing in my head since I left Anaheim. Instruments that get out of the way.Because that's really what this is about, isn't it? All the gear, all the technology, all the innovation—it only matters if it helps someone find their voice. Make their own music. Tell their own story.PRS seems to understand that. In a world obsessed with vintage nostalgia and spec-sheet comparisons, they're building for expression.And that's worth a conversation, even when security is showing you the door.Marco Ciappelli reports from NAMM 2026 for ITSPmagazine, exploring the intersection of technology, creativity, and the humans who make music possible.__________________________This is a Brand Highlight. A Brand Highlight is an introductory conversation designed to put a spotlight on the guest and their company. Learn more: https://www.studioc60.com/creation#highlightGUESTAlexander ChadwickPRS GuitarsRESOURCESLearn more about PRS GUITARS: https://prsguitars.comAre you interested in telling your story?▶︎ Full Length Brand Story: https://www.studioc60.com/content-creation#full▶︎ Brand Spotlight Story: https://www.studioc60.com/content-creation#spotlight▶︎ Brand Highlight Story: https://www.studioc60.com/content-creation#highlightKEYWORDSNAMM 2026, PRS Guitars, John Mayer Silver Sky, Ed Sheeran guitar, PRS Wild Blue, baritone guitar, guitar gear, new guitars 2026, PRS limited edition, guitar innovation, NAMM Show, musician interviews Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Vincent Stoffer, Field Chief Technology Officer at Corelight, shares his predictions for 2026 and what security teams should prepare for in the coming year. With nearly a decade at Corelight and a background in network and security engineering, Stoffer brings a unique perspective on where the industry is heading.The conversation explores the emergence of the agentic SOC, where AI agents work alongside human analysts to accelerate detection, response, and incident resolution. Stoffer explains that while the protocols and tools have been in development, 2026 is the year organizations will finally see these capabilities deliver real results. The key differentiator, he notes, is data quality. Tools that provide rich, detailed, and comprehensive network evidence will thrive in this AI-enabled environment.Stoffer also addresses the persistent threat from nation-state actors, particularly China's Typhoon campaigns targeting critical infrastructure. From energy and telecoms to international partners, these threats continue to expand with AI-powered acceleration. Understanding your environment and detecting anomalous behavior remains essential for organizations facing these sophisticated adversaries.The discussion concludes with a look at post-quantum readiness. While quantum computing threats may be 10 to 20 years away, Stoffer emphasizes the importance of understanding cryptographic assets now. Corelight has published a white paper detailing how NDR provides the network visibility needed to locate cryptographic assets and plan migration to quantum-ready cipher suites.This is a Brand Highlight. A Brand Highlight is an introductory conversation designed to put a spotlight on the guest and their company. Learn more: https://www.studioc60.com/creation#highlightGUESTVincent Stoffer, Field Chief Technology Officer at CorelightOn LinkedIn: https://www.linkedin.com/in/vincent-stoffer-07057827/RESOURCESLearn more about Corelight: https://corelight.comAre you interested in telling your story?▶︎ Full Length Brand Story: https://www.studioc60.com/content-creation#full▶︎ Brand Spotlight Story: https://www.studioc60.com/content-creation#spotlight▶︎ Brand Highlight Story: https://www.studioc60.com/content-creation#highlightKEYWORDSVincent Stoffer, Corelight, Sean Martin, brand story, brand marketing, marketing podcast, brand highlight, agentic SOC, network detection and response, NDR, critical infrastructure security, nation-state threats, China Typhoon campaigns, Salt Typhoon, Volt Typhoon, post-quantum cryptography, quantum readiness, AI in cybersecurity, security operations, incident response, network visibility, Zeek Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Rafael Narezzi, Co-founder and CEO of Cyber Energia, specializes in OT cybersecurity for the renewable energy sector. He highlights the critical cybersecurity gaps in decentralized energy assets. Narezzi discusses how Cyber Energia translates technical risks into financial language for executives and the importance of compliance regulations. He emphasizes the unique challenges faced by asset owners who often lack technical staff. The conversation also delves into the metric of financial impacts from cyber risks, showcasing how understanding costs can drive better security decisions.

Giannina the Cat Giannina the cat lived in a house with a garden. The garden wall bordered a park where children gathered to play. The town was small but charming — from the windowsills of the houses, pots of geraniums and petunias tumbled down like colorful cascades. Her owner, Signora Mafalda, often took her around the town center. All the children knew her, and whenever they spotted her, they would run over and shower her with affection. Giannina was quite the little rascal. During the day she loved chasing lizards, hunting insects, butterflies, and anything that moved. To rest, she would stretch out in the sun on the warm stones, then cool off among the blades of grass. In the garden, among the pomegranate tree, the lemon tree, and the olive with its silvery leaves, she and Mafalda spent their afternoons playing together. But one day, Mafalda began to notice something strange. Giannina would leap to catch her prey, but she kept missing and ending up in the rose bushes. "Ow, ow, ow! I've pricked myself and my tail is tangled in the branches!" she meowed. She barely managed to dodge trees she used to climb with ease. She reached her food and water bowls with an uncertain gait. Worried, Mafalda took her to the Veterinarian. After listening to the little cat's strange adventures, the Doctor smiled and delivered his verdict with a wise air: "This little kitty can't see well. She needs glasses." No sooner said than done — in the blink of an eye, the veterinarian searched through a display case full of frames for pets and, finding the perfect one, exclaimed: "Here we are — a pair of glasses fit for an elegant lady!" As soon as they were placed on Giannina's sweet little snout, the cat looked around in wonder. She could see everything so clearly! She rubbed against the Veterinarian's legs and leaped into Mafalda's arms as if to thank her. The Doctor, touched by her sweetness, gave her a special gift: a golden chain with a small pearl at its center that glowed with its own light. Whispering, he told her: "If you close your eyes and touch this pearl with your little nose, you will gain magical powers that only you will have. They will help you help others." Giannina thought that perhaps this Veterinarian was also a Wizard, but she said nothing to Mafalda. It was a secret between her and the strange Doctor. On the way home, people turned to look at her, thinking: that cat seems mysterious — there's something glimmering around her. At home, Giannina's first wish was to climb onto a chair and gaze out the window. The flowers shone in their colors, and even the grass was a brilliant green, as if covered in dew. She smiled, happier than ever. Mafalda, sharing in her joy, decided to take her to the park. They arrived in no time. Squirrels scampered through the trees, birds sang as they flew from branch to branch. Small creatures popped out everywhere, and the children followed them with curiosity — they ran alongside the lizards, leaped with the butterflies dancing in the air, while red ladybugs landed on their skin like good luck charms. After chases, slides, and ring-around-the-rosy, the children sat down on the grass for their snack. From their colorful backpacks came tasty treats. That's when they arrived. "Vriiip! Vriiip! Vriiip!" At full speed, a platoon of ants zoomed in on rumbling mini-motorcycles. They wore shiny little helmets on their heads, round goggles over their eyes, and tiny boots on their feet. They braked sharply in front of the children, raising little clouds of dust. "Make way! We're here too!" shouted the lead ant, lifting her visor. "Can we collect the crumbs?" The children burst out laughing. "Yes, yes! Munch all the crumbs you want!" The ants parked their mini-motorcycles in a neat row, removed their helmets with theatrical gestures, and got to work carrying crumbs twice their size, singing a little marching song. In this joyful atmosphere, Giannina and Mafalda strolled along the pathways. And suddenly, as they passed, the trees bent their branches in a bow and their leaves rustled in greeting. The roses in the flower beds opened their petals and began to sing. The lizards beat their tails on the ground like drums: "Rattatatà! Rattatatà!" And the millipedes started tap dancing to the lively rhythm. "Oh my, what a wonderful commotion!" exclaimed Giannina, who was beginning to feel a mysterious aura around her. She couldn't help but think of the Wizard Veterinarian. What could these magical powers be? And what would happen if she touched the pearl with her little nose? She told Mafalda, who was carrying a book of fairy tales under her arm. They looked at each other and, understanding instantly, seized the moment. Giannina gathered the children in a circle. Some came quickly, others more shy joined in slowly. The ants too, their bellies full, put on their mini helmets again, did one last rumbling lap on their motorcycles, then climbed off and approached the group. It was the right moment. Giannina closed her eyes and touched the magic pearl with her little nose. A golden spark flashed in the air. She took the book from Mafalda's hands, opened it, and chose the tale that seemed to be waiting for her, glowing among the pages. In a gentle voice, she began to read. "Once upon a time, there was a little rabbit who lived in the woods. He kept tripping over tree roots and pebbles. At school, he made mistakes reading letters and numbers, so he didn't want to go anymore. When the teacher saw his drawings, she said: 'Well done!' His mom and dad said the same: 'Well done!' But to him, the colors seemed faded. The truth was, he couldn't see well, but instead of saying so, he would run away and hide in a burrow beneath a talking tree. And the tree, with the rustle of its leaves, whispered a secret: talk to your parents. So he did, and they helped him get glasses. And the world became beautiful again." Giannina closed the book. She understood: with the magic pearl, she could read the hearts of children, discovering emotions and secrets waiting to be brought to light. "You know," she said to her little listeners, "not long ago, I couldn't see well either. But I put on these glasses and poof! The world became clearer and more beautiful." A boy approached her, almost embarrassed, and whispered in her ear: "Maybe I need them too, like you." Giannina gently stroked him. "I helped you open your heart. Now talk to your parents, and everything will be fine." Just then, a little rabbit appeared suddenly from the bushes. He came up to Giannina, hugged her, and said: "You are magically magical!" And — you won't believe it — that little rabbit was wearing a lovely pair of colorful glasses. From that day on, Giannina took the children of the town by the paw, teaching them to believe in themselves and to have confidence. She became the mascot with the magic glasses, and everyone wanted to wear them just like her. But the true wonder was how she now saw the world from her window: brighter, more colorful, more alive. And every evening, before falling asleep, she would touch the pearl with her little nose and smile, knowing that the next day she would help someone else see the world with new eyes. It almost seemed like it had been a dream. But as we know, reality and fantasy often walk hand in hand. _— Written by Lucia & Marco Ciappelli_ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

CES 2026 Just Showed Us the Future. It's More Practical Than You Think.CES has always been part crystal ball, part carnival. But something shifted this year.I caught up with Brian Comiskey—Senior Director of Innovation and Trends at CTA and a futurist by trade—days after 148,000 people walked the Las Vegas floor. What he described wasn't the usual parade of flashy prototypes destined for tech graveyards. This was different. This was technology getting serious about actually being useful.Three mega trends defined the show: intelligent transformation, longevity, and engineering tomorrow. Fancy terms, but they translate to something concrete: AI that works, health tech that extends lives, and innovations that move us, power us, and feed us. Not technology for its own sake. Technology with a job to do.The AI conversation has matured. A year ago, generative AI was the headline—impressive demos, uncertain applications. Now the use cases are landing. Industrial AI is optimizing factory operations through digital twins. Agentic AI is handling enterprise workflows autonomously. And physical AI—robotics—is getting genuinely capable. Brian pointed to robotic vacuums that now have arms, wash floors, and mop. Not revolutionary in isolation, but symbolic of something larger: AI escaping the screen and entering the physical world.Humanoid robots took a visible leap. Companies like Sharpa and Real Hand showcased machines folding laundry, picking up papers, playing ping pong. The movement is becoming fluid, dexterous, human-like. LG even introduced a consumer-facing humanoid. We're past the novelty phase. The question now is integration—how these machines will collaborate, cowork, and coexist with humans.Then there's energy—the quiet enabler hiding behind the AI headlines.Korea Hydro Nuclear Power demonstrated small modular reactors. Next-generation nuclear that could cleanly power cities with minimal waste. A company called Flint Paper Battery showcased recyclable batteries using zinc instead of lithium and cobalt. These aren't sexy announcements. They're foundational.Brian framed it well: AI demands energy. Quantum computing demands energy. The future demands energy. Without solving that equation, everything else stalls. The good news? AI itself is being deployed for grid modernization, load balancing, and optimizing renewable cycles. The technologies aren't competing—they're converging.Quantum made the leap from theory to presence. CES launched a new area called Foundry this year, featuring innovations from D-Wave and Quantum Computing Inc. Brian still sees quantum as a 2030s defining technology, but we're in the back half of the 2020s now. The runway is shorter than we thought.His predictions for 2026: quantum goes more mainstream, humanoid robotics moves beyond enterprise into consumer markets, and space technologies start playing a bigger role in connectivity and research. The threads are weaving together.Technology conversations often drift toward dystopia—job displacement, surveillance, environmental cost. Brian sees it differently. The convergence of AI, quantum, and clean energy could push things toward something better. The pieces exist. The question is whether we assemble them wisely.CES is a snapshot. One moment in the relentless march. But this year's snapshot suggests technology is entering a phase where substance wins over spectacle.That's a future worth watching.This episode is part of the Redefining Society and Technology podcast's CES 2026 coverage. Subscribe to stay informed as technology and humanity continue to intersect.Subscribe to the Redefining Society and Technology podcast. Stay curious. Stay human.> https://www.linkedin.com/newsletters/7079849705156870144/Marco Ciappelli: https://www.marcociappelli.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.