okbet sports betting Army-Navy game has added buzzPhillies gamble on 1-year contract for 2-time All-Star closer Jordan RomanoMUTXAMEL TOWN COUNCIL say keep your agenda clear this March for the Spring in the Park festival. They have already announced their activities and festivals for 2025 and that tickets can be bought now online. In March the town hall has put together two days of concerts, to celebrate the beginning of Spring. Most Read on Euro Weekly News John Hardy: Missing from Benidorm A Brilliant Landing: New art exhibition in Alicante Teulada-Moraira Lions support the local community On March 28 and 29 there will be various groups in concert at the Municipal Park El Canyar de les Portelles, alongside other additional activities on these dates. On both days, venue doors open at 7:00pm and concerts will begin at 8:00pm. Friday, March 28’s schedule will start with La Fúmiga, one of the best-known Valencian groups of recent years. Then Sandra Monfort, an artist who unites traditional and popular music with electronic music will follow. Finally, Quinto will take to the stage, he is one of the new must hear voices in Valencian urban music. On Saturday, March 29, the group O’Funk’illo are set to start the festivities, a funky Sevillian group with a great collection of sounds like reggae, flamenco and even metal. Following them the Colectivo Panamera, who are a Spanish band that fuse Latin American sounds and rhythms such as merengue or bolero and create a fantastic beat to enjoy and dance to all evening long. Tickets to attend this event and these concerts are now available on the Endralia website. For more information on upcoming events view our social scene articles by clicking here.

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 . Kim Hong-hee illuminates a vision of Korean art history in which no one is othered in Korean Feminist Artists: Confront and Deconstruct (2024). The curator and scholar traces the history and trajectory of Korean feminist artists from the 1970s through today around 15 themes, including body art, queer politics, ecofeminism, and the North American diaspora, across essays on 42 artists — all but two of whom were alive at the time of publication. The structure of the publication is modeled after Kim’s monthly column in the Kyunghyang Shinmun newspaper, published between 2021 and 2022, which considered the work of Korean artists through a feminist lens in 17 installments. Originally published in Korean by Youlhwadang earlier this year, Phaidon’s book marks its English translation. How does this treatment of Korean feminist art translate to Western readers? One consideration is “K-feminism’s” strong influence on the West. In the wake of Trump’s reelection, American social media has co-opted Korea’s mid-2010s fringe 4B, or “Four No’s” movement , shorthand for bihon , bichulsan , biyeonae , and bisekseu , or “no marriage,” “no childbirth,” “no dating,” and “no sex with men.” But while declaring yourself a feminist is still taboo within Korea’s relatively conservative and overwhelmingly patriarchal society , Western feminism has had time to develop over decades. Against this backdrop, Kim provides a substantial overview of the Korean feminist movement as it intersects with art to aid the general reader, albeit one rife with academic language. Kim, for instance, trusts the audience to decipher the difference between “non-modernism,” “anti-modernism,” “de-modernism,” and “post-modernism,” nuanced concepts that could be broken down more for a non-specialist. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities As a brief overview: Korean feminist art started in the early 1970s, marked by the Pyohyeon (Expression) Group, which resisted the modernist abstract work of the 1960s by emphasizing femininity through craft methods, including textiles and sewing. The movement gained traction in the mid-1980s with the Yeoseong misul yeonguhoe (Women’s Art Research Association), which honed a realist style that reflected the conditions of working women. By the mid-1990s, sinsaedae (New Generation) culture challenged the existing commercial art world by emphasizing issues of gender and identity. Korean feminist art of the 2000s reflected the globalized art world by beginning to incorporate intersectionality theory, a framework that explores how race, gender, and class, among other identities, combine to create systems of oppression and privilege. The thematic chapters begin by discussing post-essentialism, which views female-ness as constructed by social processes, as opposed to first-wave feminism’s focus on the biological, through the work of Yun Suknam and Jang Pa. Though four generations separate them — Yun is a pioneering feminist artist and radical activist focusing on themes of motherhood across painting, sculpture, and installation, while Jang is an emerging artist whose multimedia work subverts gender hierarchies and patriarchal norms — they both engage deeply with this conversation around the representation of womanhood. Foregrounding this debate, which is central to the trajectory of feminism, builds a solid foundation to understand further developments while emphasizing that such movements are not solely tied to the time at which they first emerged. Kim follows this with a discussion of body art via the work of Lee Bul , one of Korea’s most prominent conceptual artists, and emerging figures Fi Jae Lee and Mire Lee , who recently debuted her Turbine Hall Commission at the Tate Modern . All three artists employ cyborgs and humanoid machines to explore how the female body figures into our post-human, hybridized condition, wherein identity is not bound by its physical vessel but instead constructed through patterns of information. Kim draws connection between the artists’ grotesque and monstrous aesthetics, which breaks down the gender binary as well as the boundaries of normality. siren eun young jung, Black Jaguar, and Nahee Kim examine queer politics, demonstrating the diversity of the category’s calls for inclusivity, including disruption of perceived normativity and broad civil rights. This chapter perhaps best exemplifies Kim’s championing of equitable intersectionality, demonstrating how breaking down societal extractions linked to gender politics can make room for other vulnerable facets of society to be uplifted, including people with disabilities, refugees, and laborers. Shifting to sociopolitical subjects, the book examines the work of Minouk Lim , Sanghee Song, Yang Ah Ham, and Ayoung Kim in relation to resistance art, which critiques modernism’s implicit truths and grand narratives associated with Western constructions of history and mythology, particularly in relation to South Korea’s rapid urbanization. These artists advocate for what Kim calls the “little narratives” of socially marginalized groups, including women, employing research-based new media practices that incorporate autobiographical stories of overlooked private and public grief. One example is Lim’s “New Town Ghost” (2005). In this performance piece, a female activist raps slam poetry through a loudspeaker to the beat of a drum through Seoul’s busy Yeongdeungpo Market, singing the stories of memories lost to the rapid development of commercialized “new towns.” The chapter on the North American diaspora also has strong political undertones, highlighting the work of the late artists Theresa Hak Kyung Cha and Yong Soon Min , as well as Jin-me Yoon, who all emigrated as children. Kim borrows Homi K. Bhabha’s phrase “the genealogy of that lonely figure” to describe the displacement inherent in migrant communities as a direct effect of globalization. She discusses, for instance, Min’s series Defining Moments (1992), which includes six self-portraits that overlap with words and numbers, representing historical links to her identity, including the 1960 student uprising , the 1980 Gwangju Uprising , and the 1992 Los Angeles Riots . These artists also consider the displaced body of an Asian woman as a site of erasure, violence, and instability, acknowledging the unfilled desire to return to a unified Korea or feel a sense of belonging in America. As a whole, the book offers an expansive and intimate survey of Korean feminist art, analyzing inter-generational female artists intervening in art history’s patriarchal canon. With her more than three decades of experience working in the field, including as director of the Seoul Museum of Art from 2012 to 2016, Kim’s expertise as an early and enduring proponent of feminist art shines through. And poet Kim Hyesoon’s accompanying essay rightfully praises Kim Hong-hee’s “breathless” writing, which is tuned to the specificity of each artist’s practice. Adapting its overly academic language to more accessible terms could help incorporate a broader readership, but Korean Feminist Artists nonetheless exemplifies how such artists continue to break down the boundaries of patriarchal convention, while hinting at a future where the goals of feminism have long been met. Korean Feminist Artists: Confront and Deconstruct (2024) written by Kim Hong-hee with a contribution from Kim Hyesoon and published by Phaidon , is available for purchase online and through independent booksellers. 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 Facebook

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Today, OpenAI released its video generation model Sora to the public. The announcement comes on the fifth day of the company’s , a 12-day marathon of tech releases and demos. Here’s what you should know—and how you can use the video model right now. Sora is a powerful AI video generation model that can create videos from text prompts, animate images, or remix videos in new styles. OpenAI first previewed the model back in , but today is the first time the company is releasing it for broader use. The core function of Sora—creating impressive videos with simple prompts—remains similar to what was previewed in February, but OpenAI worked to make the model faster and cheaper ahead of this wider release. There are a few new features, and two stand out. One is called Storyboard. With it, you can create multiple AI-generated videos and then assemble them together on a timeline, much the way you would with conventional video editors like Adobe Premiere Pro. The second is a feed that functions as a sort of creative gallery. Users can post their Sora-generated videos to the feed, see the prompts behind certain videos, tweak them, and generally get inspiration, OpenAI says. You can generate videos from text prompts, change the style of videos and change elements with a tool called Remix, and assemble multiple clips together with Storyboard. Sora also provides preset styles you can apply to your videos, like moody film noir or cardboard and papercraft, which gives a stop-motion feel. You can also trim and loop the videos that you make. To generate videos with Sora, you’ll need to subscribe to one of OpenAI’s premium plans—either ChatGPT Plus ($20 per month) or ChatGPT Pro ($200 per month). Both as well. Users with ChatGPT Plus can generate videos as long as five seconds with a resolution up to 720p. This plan lets you create 50 videos per month. Users with a ChatGPT Pro subscription can generate longer, higher-resolution videos, capped at a resolution of 1080p and a duration of 20 seconds. They can also have Sora generate up to five variations of a video at once from a single prompt, making it possible to review options faster. Pro users are limited to 500 videos per month but can also create unlimited “relaxed” videos, which are not generated in the moment but rather queued for when site traffic is low. Both subscription levels make it possible to create videos in three aspect ratios: vertical, horizontal, and square. If you don’t have a subscription, you’ll be limited to viewing the feed of Sora-generated videos. OpenAI is starting its global launch of Sora today, but it will take longer to launch in “most of Europe,” the company said. OpenAI has broken Sora out from ChatGPT. To access it, go to Sora.com and log in with your ChatGPT Plus or Pro account. ( was unable to access the site at press time—a note on the site indicated that signups were paused because they were “currently experiencing heavy traffic.”) A number of things have happened since OpenAI first unveiled Sora back in February. Other tech companies have also launched video generation tools, like Meta and . There’s also been plenty of backlash. For example, artists who had early access to experiment with Sora the tool to protest the way OpenAI has trained it on artists’ work without compensation. As with any new release of a model, it remains to be seen what steps OpenAI has taken to keep Sora from being used for nefarious, illegal, or unethical purposes, like the creation of deepfakes. On the question of moderation and safety, an OpenAI employee said they “might not get it perfect on day one.” Another looming question is how much computing capacity and energy Sora will use up every time it creates a video. Generating a video uses much more computing time, and therefore energy, than generating a typical text response in a tool like ChatGPT. The AI boom has already been an energy hog, presenting a challenge to tech companies aiming to rein in their emissions, and the wide availability of Sora and other video models like it has the potential to make that problem worse.

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With each team coming off a come-from-behind win, West Virginia and North Carolina Central square off Tuesday night in Morgantown, W.Va. West Virginia (6-2) has won two straight games and is in the midst of a 16-day, four-game homestand that kicked off with a 73-60 win over Georgetown in the Big 12-Big East Battle on Friday night. North Carolina Central (4-7) comes off a 78-77 road win over Gardner-Webb on Saturday night. Javon Small led the Mountaineers with a game-high 26 points against Georgetown as they overcame a second-half deficit with a decisive run. "The way we played in the second half (against Georgetown), I'll take that team everywhere," West Virginia coach Darian DeVries said. "You have to be able to do that every single night, every single possession you don't always get to go on a 16-0 run to pull you out of it. That's where we are still growing as a team." Eduardo Andre was questionable for the Georgetown game after he missed the Mountaineers' 83-76 overtime win against Arizona on Nov. 29. But the fifth-year senior center returned with four points, three rebounds and four blocks. "It was good to have him back in the lineup for a reason," DeVries said. "That presence, especially defensively and the ability to block shots, that's a huge deal for us." Against Gardner-Webb, Po'Boigh King led NCCU with 28 points, well above his 17.4 points per game average, as the Eagles rallied from a 17-point second-half deficit to win on a late 3-pointer from Isaac Parson. On offense, the Eagles take care of the ball. They are seventh in the nation in turnover margin at plus-7.5 per game. They seek extra possessions on defense and are second nationally with 18.9 turnovers forced per game "We're good enough, we just need to fine tune some things," NCCU coach LeVelle Moton said. "We've got to cross some T's, dot some I's and close. We can't be a really good basketball team until we get the mindset that when winning time presents itself in the last five minutes, (the other team) has to earn it." --Field Level MediaNoneOttawa police warning of ongoing card swap scam involving taxis and rideshares

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Published 3:33 pm Thursday, December 26, 2024 By Staff Reports The injury report for the Houston Rockets (20-9) ahead of their game against the Minnesota Timberwolves (15-14) currently has two players. The Timberwolves have three injured players listed on the report. The matchup is slated for 8:00 PM ET on Friday, December 27. Watch the NBA, other live sports and more on Fubo. What is Fubo? Fubo is a streaming service that gives you access to your favorite live sports and shows on demand. Use our link to sign up. The Rockets came out on top in their last outing 114-101 against the Hornets on Monday. In the Rockets’ win, Jabari Smith Jr. led the way with a team-high 21 points (adding 11 rebounds and two assists). In their most recent outing on Wednesday, the Timberwolves earned a 105-99 win over the Mavericks. In the Timberwolves’ win, Anthony Edwards led the way with 26 points (adding eight rebounds and five assists). Sign up for NBA League Pass to get live and on-demand access to NBA games. Get tickets for any NBA game this season at StubHub. Catch NBA action all season long on Fubo. Not all offers available in all states, please visit BetMGM for the latest promotions for your area. Must be 21+ to gamble, please wager responsibly. If you or someone you know has a gambling problem, contact 1-800-GAMBLER .LocalCableDeals Highlights Essential Instagram Business Tools for Streamlined Success