jili jili tiktok
MALAGA, Spain (AP) — No. 1-ranked Jannik Sinner won matches in singles and doubles to lead defending champion Italy to a 2-1 comeback victory over Argentina on Thursday, earning a return trip to the Davis Cup semifinals. “I’m here trying to do the best I can in the singles,” Sinner said. “If they put me on the court in doubles, I’ll also try my best.” On Saturday, Italy will face Australia in a rematch of last year's final, but this time it will only be for a chance to play for the championship. Australia eliminated the U.S. 2-1 earlier Thursday to reach the final four at the team competition for the third consecutive year. The other semifinal, to be contested Friday, is the Netherlands against Germany. The Dutch got past Rafael Nadal and Spain in the quarterfinals earlier in the week, sending the 22-time Grand Slam champion into retirement. Italy fell behind 1-0 in the quarterfinals when Argentina’s Francisco Cerúndolo defeated Lorenzo Musetti 6-4, 6-1 on an indoor hard court at the Palacio de Deportes Jose Maria Martina Carpena in southern Spain. But then in stepped Sinner, whose season already includes two Grand Slam trophies — at the Australian Open and U.S. Open — plus the title at the ATP Finals last weekend in Turin, Italy. First he overwhelmed Sebastián Báez 6-2, 6-1. Then Sinner teamed with 2021 Wimbledon runner-up Matteo Berrettini in the deciding doubles match to win 6-4, 7-5 against Andres Molteni and Maximo Gonzalez. “He carried me today,” Sinner said about Berrettini. After arriving late to Malaga from Turin, Sinner did not get a chance to practice on the Davis Cup competition court before taking on Báez and stretching his streak to 22 sets won in a row. “In three minutes, he was perfectly comfortable on court,” Italy captain Filippo Volandri said. “He’s a special one.” Volandri swapped out his original doubles team, Simone Bolelli and Andrea Vavassori, for Sinner and Berrettini, and the change paid dividends. Australia, the Davis Cup runner-up the last two years, advanced when Matt Ebden and Jordan Thompson beat the surprise, last-minute American pairing of Ben Shelton and Tommy Paul 6-4, 6-4 in that quarterfinal's deciding doubles match. The Shelton-Paul substitution for Paris Olympics silver medalists Austin Krajicek and Rajeev Ram was announced about 15 minutes before the doubles match began. Ebden and John Peers beat Krajicek and Ram in the Summer Games final in August. The Australians broke once in each set of the doubles. In the second, they stole one of Shelton’s service games on the fourth break opportunity when Ebden’s overhead smash made it 5-4. Thompson then served out the victory, closing it with a service winner before chest-bumping Ebden. The 21st-ranked Shelton made his Davis Cup debut earlier Thursday in singles against 77th-ranked Thanasi Kokkinakis, who emerged from a tight-as-can-be tiebreaker by saving four match points and eventually converting his seventh to win 6-1, 4-6, 7-6 (14). No. 4 Taylor Fritz , the U.S. Open runner-up, then pulled the Americans even with a far more straightforward victory over No. 9 Alex de Minaur , 6-3, 6-4. When their match finally ended, on a backhand by Shelton that landed long, Kokkinakis dropped onto his back and pounded his chest. After he rose, he threw a ball into the stands, then walked over to Australia’s sideline, spiked his racket and yelled, before hugging captain Lleyton Hewitt. “I don’t know if I’ve been that pumped up in my life. I wanted that for my team,” said Kokkinakis, who won the 2022 Australian Open men’s doubles title with Nick Kyrgios. “It could have gone either way, but I kept my nerve.” AP tennis: https://apnews.com/hub/tennis
EAST RUTHERFORD, N.J. — If the Giants' franchise-record 10th straight loss proved anything, it's that New York could use a young franchise quarterback. Rookie Michael Penix Jr. showed what a young QB can do on Sunday against the Giants, who need to learn from it. The No. 8 overall pick in the draft, Penix played a nearly flawless game in his first career start to help the Falcons thrash the woeful Giants 34-7 in their best performance in weeks. The Giants gambled in 2019 that Daniel Jones would be their franchise QB and it really never panned out. The one exception was the 2022 season, when the No. 6 overall pick had a career year and led New York to a 9-7-1 record and a playoff berth in the first season after Joe Schoen was hired as general manager and Brian Daboll was named coach. The Giants even won a playoff game. With the release of Jones last month, the Giants (2-13) are now a team without a quarterback who can perform at the level required of an NFL starter. Tommy DeVito and Drew Lock have split the last four starts but neither has provided much of a spark for the league's worst offense. Lock handed the Falcons the game with two interceptions that were returned for touchdowns. To turn things around next season, the Giants must find a quarterback. “I’d say it’s very important,” Daboll said Monday. New York is going to have a high pick in the draft in Green Bay, Wisconsin, in late April. It could even be the No. 1 overall selection. Choosing the right quarterback is going to be hard. There isn't a can't-miss choice in 2025 draft and forcing one early would be a mistake. Unless the Giants are convinced that Cam Ward, Shedeur Sanders, Jalen Milroe or someone else is the next franchise player, they have have so many needs that it would be better to wheel and deal and fill as many holes as possible. Even if the Giants take a quarterback in the second round, there's bound to be someone available who has a chance to be better than what they have now. The calendar. The season ends in less than two weeks. The franchise is in disarray, and a shakeup appears likely. Daboll's future as the coach is not bright, considering the current skid and two straight losing seasons. Schoen has to share the blame and so do co-owners John Mara and Steve Tisch, who hired the GM and coach. LB Darius Muasau. The sixth-round draft pick out of UCLA has started the last three games since Bobby Okereke (back) was hurt and eventually put on injured reserve last week. Muasau had 11 tackles Sunday along with a quarterback hit and a tackle for a loss. He made the defensive calls after LB Micah McFadden left with a neck injury. Lock. In his starts, Lock has had three interceptions returned for touchdowns. He also lost a fumble on a strip-sack at Atlanta. Lock sustained a shoulder injury during the game and had an MRI on Monday. Besides Lock and McFadden, S Jason Pinnock (eye) also left the game. C John Michael Schmitz and RB Tyrone Tracy were evaluated for ankle injuries on Monday. 1 — Thanks to the Raiders' victory over the Jaguars, the Giants will have the No. 1 overall pick in the draft with two more losses. For the ninth and final time, the Giants will try to find a way to win at MetLife Stadium. New York is 0-8 heading into Sunday's game against the Indianapolis Colts. Its only other winless season at home was in 1974 when New York played at the Yale Bowl in New Haven, Connecticut, while Giants Stadium was being built.Colorado's 2-way star Travis Hunter eyes Big 12 title and more before 'for sure' entering NFL draft
Shopbook raises $ 150,000 to digitise bookkeeping for SMEs led by nVentures
David’s Bridal Launches Media Network With Love Stories TV Purchase
Insight Health System Appoints Dr. Maliha Hashmi as Global AmbassadorThe Chemours Company Announces Completion of Euro denominated Term Loan Repricing
, /PRNewswire/ -- Flagstar Financial, Inc. (NYSE: FLG) (the "Company") today announced the appointment of , Senior Managing Director and General Counsel at Liberty Strategic Capital ("Liberty"), to its Board of Directors, effective . Commenting on the appointment, , Chairman, President, and CEO said, "I'm pleased to have Brian join our Board. His proven track record and expertise in financial services, along with his strategic insights will be instrumental as we continue to execute on our transformation and long-term vision. Brian's perspectives will provide valuable guidance, and his leadership will play a critical role in driving sustainable growth, ensuring we achieve long-term success and maximize the value we deliver to our shareholders, employees, and clients." Callanan is a distinguished lawyer with extensive experience in financial regulation, regulatory compliance, and financial technology. At Liberty, Callanan leads the firm's legal function, serves on its Investment Committee, and focuses on financial sector investments. Prior to joining Liberty, he served as General Counsel of the U.S. Department of the Treasury, overseeing 2,000 lawyers across the department. As Chief General Counsel, he played a key role in major initiatives such as economic rescue programs during COVID-19, the design of new economic sanctions, and the implementation of tax reform. While serving as Deputy General Counsel, Callanan managed major litigation and advised on regulatory reform efforts, among other responsibilities. For his service, he received the Award, the department's highest honor. This appointment aligns with the equity investment in , which stipulated that two Board seats would be granted to lead investor Liberty Strategic Capital. With Callanan's addition, the Company's Board of Directors, which was reconstituted earlier in 2024, expands to nine members, including Chairman, President, and Chief Executive Officer, , , , , , Lead Independent Director Secretary , , and Jennifer Whip. Flagstar Financial, Inc. is the parent company of Flagstar Bank, N.A., one of the largest regional banks in the country. The Company is headquartered in . At September 30, 2024, the Company had of assets, of loans, deposits of .0 billion, and total stockholders' equity of .6 billion. Flagstar Bank, N.A. operates over 400 branches, including a significant presence in the Northeast and Midwest and locations in high growth markets in the Southeast and West Coast. In addition, the Bank has approximately 80 private banking teams located in over 10 cities in the metropolitan region and on the West Coast, which serve the needs of high-net worth individuals and their businesses. This release may include forward‐looking statements by the Company and our authorized officers pertaining to such matters as our goals, beliefs, intentions, and expectations regarding (a) revenues, earnings, loan production, asset quality, liquidity position, capital levels, risk analysis, divestitures, acquisitions, and other material transactions, among other matters; (b) the future costs and benefits of the actions we may take; (c) our assessments of credit risk and probable losses on loans and associated allowances and reserves; (d) our assessments of interest rate and other market risks; (e) our ability to execute on our strategic plan, including the sufficiency of our internal resources, procedures and systems; (f) our ability to attract, incentivize, and retain key personnel and the roles of key personnel; (g) our ability to achieve our financial and other strategic goals, including those related to our merger with Flagstar Bancorp, Inc., which was completed on December 1, 2022, our acquisition of substantial portions of the former Signature Bank through an FDIC-assisted transaction, and our ability to fully and timely implement the risk management programs institutions greater than $100 billion in assets must maintain; (h) the effect on our capital ratios of the approval of certain proposals approved by our shareholders during our 2024 annual meeting of shareholders; (i) the conversion or exchange of shares of the Company's preferred stock; (j) the payment of dividends on shares of the Company's capital stock, including adjustments to the amount of dividends payable on shares of the Company's preferred stock; (k) the availability of equity and dilution of existing equity holders associated with amendments to the 2020 Omnibus Incentive Plan; (l) the effects of the reverse stock split; and (m) transactions relating to the sale of our mortgage business and mortgage warehouse business. Forward‐looking statements are typically identified by such words as "believe," "expect," "anticipate," "intend," "outlook," "estimate," "forecast," "project," "should," "confident," and other similar words and expressions, and are subject to numerous assumptions, risks, and uncertainties, which change over time. Additionally, forward‐looking statements speak only as of the date they are made; the Company does not assume any duty, and does not undertake, to update our forward‐looking statements. Furthermore, because forward‐looking statements are subject to assumptions and uncertainties, actual results or future events could differ, possibly materially, from those anticipated in our statements, and our future performance could differ materially from our historical results. Our forward‐looking statements are subject to, among others, the following principal risks and uncertainties: general economic conditions and trends, either nationally or locally; conditions in the securities, credit and financial markets; changes in interest rates; changes in deposit flows, and in the demand for deposit, loan, and investment products and other financial services; changes in real estate values; changes in the quality or composition of our loan or investment portfolios, including associated allowances and reserves; changes in future allowance for credit losses, including changes required under relevant accounting and regulatory requirements; the ability to pay future dividends; changes in our capital management and balance sheet strategies and our ability to successfully implement such strategies; recent turnover in our Board of Directors and our executive management team; changes in our strategic plan, including changes in our internal resources, procedures and systems, and our ability to successfully implement such plan; changes in competitive pressures among financial institutions or from non‐financial institutions; changes in legislation, regulations, and policies; the imposition of restrictions on our operations by bank regulators; the outcome of pending or threatened litigation, or of investigations or any other matters before regulatory agencies, whether currently existing or commencing in the future; the success of our blockchain and fintech activities, investments and strategic partnerships; the restructuring of our mortgage business; our ability to recognize anticipated expense reductions and enhanced efficiencies with respect to our recently announced strategic workforce reduction; the impact of failures or disruptions in or breaches of the Company's operational or security systems, data or infrastructure, or those of third parties, including as a result of cyberattacks or campaigns; the impact of natural disasters, extreme weather events, military conflict (including the / conflict, the conflict in and surrounding areas, the possible expansion of such conflicts and potential geopolitical consequences), terrorism or other geopolitical events; and a variety of other matters which, by their nature, are subject to significant uncertainties and/or are beyond our control. Our forward-looking statements are also subject to the following principal risks and uncertainties with respect to our merger with Flagstar Bancorp, which was completed on , and our acquisition of substantial portions of the former Signature Bank through an FDIC-assisted transaction: the possibility that the anticipated benefits of the transactions will not be realized when expected or at all; the possibility of increased legal and compliance costs, including with respect to any litigation or regulatory actions related to the business practices of acquired companies or the combined business; diversion of management's attention from ongoing business operations and opportunities; the possibility that the Company may be unable to achieve expected synergies and operating efficiencies in or as a result of the transactions within the expected timeframes or at all; and revenues following the transactions may be lower than expected. Additionally, there can be no assurance that the Community Benefits Agreement entered into with NCRC, which was contingent upon the closing of the Company's merger with Flagstar Bancorp, Inc., will achieve the results or outcome originally expected or anticipated by us as a result of changes to our business strategy, performance of the U.S. economy, or changes to the laws and regulations affecting us, our customers, communities we serve, and the U.S. economy (including, but not limited to, tax laws and regulations). More information regarding some of these factors is provided in the Risk Factors section of our Annual Report on Form 10‐K/A for the year ended December 31, 2023, Quarterly Report on Forms 10-Q for the quarters ended , , and , and in other SEC reports we file. Our forward‐looking statements may also be subject to other risks and uncertainties, including those we may discuss in this news release, on our conference call, during investor presentations, or in our SEC filings, which are accessible on our website and at the SEC's website, . (516) 683-4286 (248) 219-9234 View original content to download multimedia: SOURCE Flagstar Financial, Inc.Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . Conceptual artist and critic Lorraine O’Grady, known for pivotal works that subverted the binaries of Western thought, died at the age of 90 in New York City on Friday, December 13. O’Grady has left an indelible impact across nearly five decades of performance, film, photography, collage, and text-based analysis that both contribute to and critique the contemporary arts sphere from a Black feminist perspective. The news of her death was confirmed by Mariane Ibrahim Gallery, which began representing the artist last year. O’Grady was born in 1934 to a middle-class immigrant Jamaican family in Boston, Massachusetts, where her parents Edwin and Lena were instrumental in establishing the first West Indian Episcopal church in the area. She was deeply impacted by the aesthetics of Episcopalianism but lost her faith during her mid-20s after the unexpected death of her only sister, Devonia Evangeline. O’Grady was educated in the city’s Girls’ Latin School and went on to graduate from Wellesley College with a degree in Economics and a minor in Spanish Literature. Soon after receiving her degree, she opted to find stability by working for the federal government, having cleared the challenging Management Intern Program exam as one of only six women and 200 total individuals who passed out of 20,000 candidates. The dawn of O’Grady’s art career was decades away as she worked for the Department of Labor as a research economist at the Bureau of Labor Statistics — which she described as a boys’ club and difficult to navigate as a single mother at the time. Finding no upward mobility, she switched gears and pivoted to translation while living in Chicago with her second husband, where she flourished due to her early education in Latin and her studies in Spanish literature. After an incomplete graduate education in fiction writing at the University of Iowa, she moved into writing as a rock music critic for the Rolling Stone and the Village Voice in the early ’70s. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Her visual arts endeavors started with Cutting Out the New York Times (1977), a collage series that O’Grady embarked on after accepting a position teaching literature at the School of Visual Arts and becoming interested in the works of the Futurists, Dadaists, and Surrealists. For 26 consecutive Sundays, she trimmed snippets of headlines from the publication and reorganized them to form her own poetry, which she has referred to as her first artwork. Then came “ Mademoiselle Bourgeoise Noire ,” a persona who donned a gown and cape made from 180 white leather gloves stitched together whom O’Grady embodied in performances from 1980 to 1983. The artist debuted the character, who was modeled after a ’50s pageant queen, at the Black-owned avant-garde gallery Just Above Midtown (JAM), turning heads by lashing herself with what she called “the whip-that-made-plantations-move” and shouting poetry. The piece targeted NYC’s art institutions for racial discrimination and Black artists whom she found to be suppressing their true sense of self to cater their practices to White audiences and collectors. Mademoiselle Bourgeoise Noire “invaded” exhibition and gallery openings throughout the city for three years, including at the New Museum for Contemporary Art. This fierce foray into performance art opened the floodgates for O’Grady, who soon staged her second performance work at JAM. “ Nefertiti/Devonia Evangeline ” (1980) not only analogized her relationship to her late older sister Devonia to that of Nefertiti and her younger sister Mutnedjmet, but also critiqued Black artists’ attempts to attach themselves to broader African traditions through their practice and the prevalence of racism in the field of Egyptology. Singular, site-specific performances such as “ Rivers, First Draft ” (1982) and “ Art is ... ” (1983) followed soon after. O’Grady began integrating photographic media into her practice after a years-long withdrawal from the arts precipitated by her mother’s declining health, specifically deploying the diptych in her artistic critiques of “both/and” and “either/or” binaries. Using family photos, archival images, and experimental photography and footage of herself, the artist’s serial photomontages often navigated the intersections of race, class, gender, sexuality, colonialism, and documented histories through confrontational and discomforting juxtapositions. O’Grady was a fervent writer and critic in addition to her art practice, making waves in 1992 with her seminal essay “ Olympia’s Maid ,” which identified the blatant lack of scholarly attention to the Black servant depicted in Édouard Manet’s “Olympia” (1863) (painted after the Black model Laure ) as a prime example of prejudice in the fine arts. “Olympia’s maid, like all the other ‘peripheral Negroes,’ is a robot conveniently made to disappear into the background drapery,” O’Grady wrote in the essay. “Laura’s [sic] place is outside what can be conceived of as woman. She is the chaos that must be excised, and it is her excision that stabilizes the West’s construct of the female body, for the ‘femininity’ of the white female body is ensured by assigning the not-white to a chaos safely removed from sight.” In 2020, the Duke University Press published Lorraine O’Grady: Writing in Space (1973–2019) , edited by critic Aruna D’Souza, spotlighting the artist’s writing from her time as a rock music critic throughout her artistic career, incorporating her interviews, scholarly essays, and performance transcripts that canonized the written word as essential to her practice. That same year, Hyperallergic published O’Grady’s essay that was included in Boston’s Apollo, Thomas McKeller and John Singer Sargent, including several photos documenting the artist’s upbringing in the Boston neighborhood of Roxbury. O’Grady became the subject of newfound institutional appreciation in recent solo shows, group exhibitions , and profiles , as well as in her 2021 retrospective at the Brooklyn Museum . Many of her works have found homes in the collections of the Art Institute of Chicago, the Brooklyn Museum, the Museum of Modern Art, the Los Angeles County Museum of Art, the Pérez Art Museum Miami, and several others. O’Grady is survived by her son and daughter-in-law, Guy David Jones and Annette Olbert Jones, her three grandchildren, and her eight great-grandchildren. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookESPN host fights back tears live on air after 41-year-old colleague dies just days before Christmas
Keysight Technologies Inc. KEYS shares are trading higher on Monday after JP Morgan analyst Samik Chatterjee upgraded the company to Overweight from Neutral and raised the price target to $200 from $170 . The analyst’ bullish stance reflects expectations of broadening demand drivers and a cyclical recovery in end-markets through 2025. After facing challenges in 2024, including higher capital costs, slower industry growth, and inventory digestion, the analyst sees recovery driven by the Spirent acquisition. Chatterjee says that this will enhance Keysight’s leverage in cyclical markets and improve margins through operational synergies, moving toward a long-term target of 31% – 32% operating margins. With earnings revisions showing upside after recent downward pressures, the analyst expects Keysight to return to premium valuation multiples, reflecting management’s strong track record and high-quality earnings with significant leverage on modest revenue gains. The analyst raised FY25 organic growth forecasts, anticipating stronger revenue growth, especially in the second half, and factoring in Spirent’s contribution. This leads to a forecast of 12% EPS growth in FY25 and 17% in FY26. Chatterjee expects demand drivers to broaden beyond the current focus on AI as the company transitions from FY24 to FY25. With lower interest rates and capital costs, the analyst anticipates increased customer spending, particularly from traditionally cautious sectors, adds the analyst. The analyst says that includes stronger demand from telecom customers, growth in semiconductor capital spending, and potential improvements in consumer and industrial demand. This will benefit R&D and production test demand from a wider range of customers, including smartphone chipset suppliers and industrial technology companies, adds the analyst. The analyst writes that Keysight is positioned to benefit from a more favorable industry environment compared to the challenges faced in FY24. Investors can gain exposure to the stock via VictoryShares THB Mid Cap ETF MDCP and American Century Mid Cap Growth Impact ETF MID . Price Action : KEYS shares are up 3.14% at $171.73 at the last check Monday. Read Next : Capri Holdings Stock Climbs On Report Of Potential Sale Of Versace, Jimmy Choo © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.A history of the Panama Canal — and why Trump can’t take it back on his own
Sabrina Ionescu is joining Unrivaled as the new 3-on-3 league’s final player
KU’s visual studies department hosts degree show The Department of Visual Studies of the University of Karachi arranged two two-day annual Degree Show 2024 at the STC building of the department. Students from fine arts, graphic design, textile design, Islamic arts, industrial design, architecture, film, and animation presented their performances on Sunday and Monday, December 15 and 16, 2024. As many as 123 students put their annual thesis and projects on display under the theme of These Project 2024. Twenty-four students from textile design, 23 students from animation class, 16 students from architecture, 16 students of graphic design, 15 students from fine art, 13 students from industrial design, nine students from Islamic art, and seven students from film presented their annual projects under various themes. While addressing the opening ceremony of the two-day event, KU Vice Chancellor Professor Dr Khalid Mahmood Iraqi during his visit mentioned that graduates of the Department of Visual Studies have a golden opportunity to effectively present societal and cultural heritage to the world. He noted that the capable faculty and creative students of this department are not only making the department but also the entire nation proud on a global scale. Art and design graduates are undoubtedly regarded as unique individuals in society, and industry-related students have introduced new trends with innovative thinking. Professor Iraqi said that it is encouraging that our designers and artists are introducing designs and products harmonious with Pakistani culture to the modern world, thereby enhancing the popularity of our culture not just in Pakistan but globally. On this occasion, external examiners from the professional field reviewed the artwork of 123 graduates. The in-charge VS Syed Shamoon Haider expressed that KU’s Department of Visual Studies has proudly hosted its annual Degree Show 2024, which is a celebration of creativity, innovation, and academic achievement. He mentioned that this event showcased the culmination of students’ hard work across all disciplines offered in the department. He said that the exhibition reflected a diverse range of projects, each embodying the students’ unique perspectives, technical skills, and creative problem-solving abilities. “The Degree Show served as a platform for students to present their work to peers, industry professionals, and the public, reinforcing the department’s commitment to excellence in design and the arts.” Shamoon Haider said that the vision for textile design is to merge traditional craftsmanship with modern technology to create innovative and sustainable fabric solutions. Students explored digital prints, advanced weaving techniques, and material experimentation to address contemporary trends and market needs. He added that graphic design aims to foster critical thinking and visual communication skills. The students presented branding projects, digital illustrations, and social campaigns, reflecting their ability to create impactful designs that bridge art and functionality. According to Haider, the animation discipline focuses on storytelling through motion. Students exhibited 2D and 3D animated films that combined imaginative narratives with technical proficiency, highlighting their potential to contribute to the growing media industry. He shared that film students showcased short films and documentaries that demonstrated their understanding of cinematic language, storytelling, and social themes. The programme encourages the development of filmmakers with a vision to create meaningful and thought-provoking cinema. He noted that industrial design emphasizes innovative product development and problem-solving. Students presented functional and aesthetically pleasing prototypes, addressing real-world challenges and contributing to sustainable and user-centered design practices. He said the vision for architecture is to create spaces that harmonize functionality, aesthetics, and sustainability. Students showcased projects that reimagined urban spaces, residential designs, and cultural landmarks, reflecting their understanding of structural and social dynamics. He said that fine arts nurture individual expression and artistic exploration. The exhibit featured paintings, sculptures, and mixed-media installations that delved into personal narratives and societal issues, pushing the boundaries of contemporary art. He concluded that Islamic arts focuses on preserving and innovating traditional art forms. Students displayed works inspired by Islamic calligraphy, geometry, and ornamentation, combining traditional techniques with modern interpretations to celebrate cultural heritage. He appreciated that the annual Degree Show not only highlighted the talent and dedication of the graduating students but also underscored the Department of Visual Studies’ commitment to fostering creativity, innovation, and professionalism in the field of design and the arts.
Grand Theft Auto 6 is going to cause a "global distraction event" when it launches, with millions taking time off of work and school to play it... but what about a beefed-up version on the PC? We're learning about GTA 6 on "next-gen consoles" and PC from the LinkedIn profile of a Principal Engine Programmer who has been working at Rockstar since 2020, with Grand Theft Auto 6 as the only project they've worked on over the last 4 years. The developer listed some details about working with RAGE, the in-house engine Rockstar uses for its games, with RAGE being used to power the next-generation world of GTA 6. The post teased that the developer has worked with ray tracing, ray-traced global illumination, and "procedural generation for objects and game environments". The full post on LinkedIn from the GTA 6 developer explains: "Oversee the design, development, and optimization of core engine of Rockstar's in-house RAGE engine. Including rendering, physics, AI, and memory management, ensuring the engine can handle open world environments and simulations. I collaborated with other technical leads, producers, and directors to define the technical vision and architecture of engine systems for current and future titles". The post continues: "Lead performance profiling and optimization efforts, pushing the limits of real-time rendering and processing to maintain smooth performance across multiple platforms, including next-gen consoles and PC. rrive the integration of new technologies and research into the engine pipeline, such as ray tracing, ray-traced global illumination, procedural generation for objects and game environments, and various other technical systems within the engine core".AKRON, Ohio and KANSAS CITY, Kan. , Dec. 23, 2024 /PRNewswire/ -- Truck Master Warranty, a leader in commercial medium and heavy-duty truck protection plans, donated hundreds of toy trucks to Ohio's Akron Children's Hospital and Children's Mercy Hospital of Kansas City . This initiative aims to brighten the holidays for children spending Christmas and Hanukkah in the hospital and bring smiles to their faces during a challenging time. "A toy truck is a timeless gift," said Rob Fox , Truck Master Warranty CEO. "I got one as a child, my kids got them, and even my grandkids. It's a classic holiday gift that has never ceased to bring a smile to kids' faces." Truck Master Warranty aims to not only serve its customers but also contribute to the communities where its employees live and work. As the company's growth has expanded its employee base nationwide, Truck Master Warranty has more opportunities to give back to local communities, proudly sharing its success by supporting local hospitals and other institutions spreading goodwill. Representatives from Truck Master Warranty personally delivered the toy trucks to both hospitals and spent time interacting with the children as they enjoyed their presents. The donations reflect a heartfelt commitment to giving back to the community and spreading joy to families during the holiday season. "We certainly appreciate this large gift of toy trucks from Truck Master Warranty and delivered just in time for Santa's visit with our patients," said Vicki Parisi , director of Volunteer Services for Akron Children's. "The community support for our patients and the doctors, nurses and other providers who care for them is something we never take for granted and it becomes even more special and magical during the holiday season." Truck Master Warranty invites other businesses and individuals to join in spreading holiday cheer by supporting local charities and hospitals. To learn how to donate to Akron Children's Hospital, visit www.akronchildrens.org or to Children's Mercy Hospital, visit www.childrensmercy.org . For more information about Truck Master Warranty, visit truckmasterwarranty.com . Media Contact: Shaun Petersen Chief Legal Officer Truck Master Warranty 800 326 5204 www.truckmasterwarranty.com About Truck Master Warranty: Since 2013, Truck Master Warranty has served the needs of the pre-owned Medium Duty (classes 3 through 6) and Heavy Duty (classes 7 and 8) Truck markets by offering the most comprehensive, industry leading, and feature rich service contracts. Truck Master Warranty is the exclusive provider of the Heavy Truck industry's only "Certified Pre-Owned" 90 Day limited warranty called CPO90. Truck Master Warranty combines technologically advanced dealer tools and resources to better serve a truck dealership's most valuable asset – their customers. View original content to download multimedia: https://www.prnewswire.com/news-releases/truckloads-of-cheer-truck-master-warranty-donates-toy-trucks-to-childrens-hospitals-for-the-holidays-302338637.html SOURCE Truck Master Warranty
FLAGSTAR FINANCIAL, INC. APPOINTS BRIAN CALLANAN TO BOARD OF DIRECTORSPTA can but won't block VPNs, says telecom regulator chief
Laser Photonics CleanTech Technology Being Utilized for Airplane Hangar Maintenance