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CHATTANOOGA, Tenn. (AP) — Honor Huff had 24 points in Chattanooga's 85-63 victory against Alabama A&M on Sunday. Huff shot 6 for 12 (6 for 11 from 3-point range) and 6 of 6 from the free-throw line for the Mocs (7-4). Trey Bonham added 21 points while going 6 of 9 from the floor, including 3 for 6 from 3-point range, and 6 for 6 from the line while he also had three steals. Makai Richards shot 4 of 6 from the field to finish with eight points. The Bulldogs (4-6) were led by Anthony Bryant, who posted 19 points and four steals. Alabama A&M also got 11 points from Darius Ford. Chad Moodie had nine points. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .MONTREAL, Dec. 24, 2024 (GLOBE NEWSWIRE) -- Opus One Gold Corporation (OOR: TSXV) (" Opus One Gold ” or the " Company ”), is pleased to announce the closing of a non-brokered private placement of flow-through shares (" FT Shares ”) and units of the Company (the " Units ”) for aggregate gross proceeds of $1,495,750 (the " Offering ”). In total, the Company issued 25,104,545 FT Shares for gross proceeds of $1,380,750 at a price per FT Share of $0.055 and 2,300,000 Units for gross proceeds of $115,000 at a price per Unit of $0.05, with each Unit being comprised of one common share of the Company (a " Share ”) and one common share purchase warrant (each a " Warrant ”, and together, the " Warrants ”), with each Warrant entitling the holder to acquire one common share (each a " Warrant Share ”) at an exercise price of $0.10 per Share for a period of 36 months following the closing of the Offering. The gross amount raised from the issuance of FT Shares will be used by the Company for exploration on its mineral exploration properties and the net proceeds raised from the issuance of Units will be used for general working capital of the Company and payment of fees related to the Offering. The FT Share and Units were offered by way of the "accredited investor” exemption under National Instrument 45-106 - Prospectus Exemptions in all the provinces of Canada. The Units, FT Shares, Shares, Warrants and Warrant Shares are subject to a four-month hold period in Canada following the closing of the Offering. In aggregate, the Company paid 8% in cash finders fees and issued a total of 363,636 compensation warrants to arm's length finders, with each such compensation warrant being exercisable for a period of 24 months following the closing at a price of $0.055 per Share. Closing is subject to the approval of the TSX Venture Exchange and other customary closing conditions. Related Party Transaction Patrick Fernet, a director of the Company, acquired 600,000 FT Shares for total consideration of $33,000. Patrick Fernet is hereinafter referred to as the "Insider”. The Insider is considered a "related party” and "insider” of the Company for the purposes of applicable securities laws and stock exchange rules. The subscription and issuance of FT Shares by the Insider constitutes a related party transaction but is exempt from the formal valuation and minority approval requirements of Regulation 61-101 - Protection of Minority Security Holders in Special Transactions as neither the fair market value of the common shares issued to the Insider, nor the consideration paid by such Insider, exceeds 25% of the Company's market capitalization. The Insider abstained from voting on all matters relating to the Offering. Clarification regarding previous private placement On August 12 th and September 11 th , 2024, the Company announced the closing of a previous private placement of units of the company. The Company wishes to clarify the intended use of the net proceeds raised from said private placement, being $361,000, as follows (noting that no amount was payable to investor relations service providers, and less than 10% was payable to non-arm's length parties): ABOUT OPUS ONE GOLD CORPORATION Opus One Gold Corporation is a mining exploration company focused on discovering high quality gold and base metals deposits within strategically located properties in proven mining camps, close to existing mines in the Abitibi Greenstone Belt, north-western Quebec and north-eastern Ontario - one of the most prolific gold mining areas in the world. Opus One holds assets in Val-d'Or and Matagami areas. For more information, please contact: Louis Morin Chief Executive Officer & Director Tel.: (514) 591-3988 Michael W. Kinley, CPA, CA President, Chief Financial Officer & Director Tel: (902) 402-0388 [email protected] Visit Opus One's website: www.OpusOneGold.com
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MACON, Ga. (AP) — Ahmad Robinson had 25 points in Mercer's 75-63 win over winless Chicago State on Sunday. Robinson shot 9 of 16 from the field and went 7 for 8 from the free-throw line for the Bears (6-4). Marcus Overstreet scored 10 points and grabbed seven rebounds. Angel Montas had nine points. Noble Crawford led the Cougars (0-12) with 20 points, nine rebounds, six assists and two steals. Cameron Jernigan added 18 points, seven rebounds, two steals and two blocks. Troy McCoy scored 11. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .
Biden signs bill officially making bald eagle national bird of USStocks in Bangladesh yesterday stretched their losing streak to two days consecutively as investors grappled with the fallout of Moody's recent downgrade of the country's foreign credit rating. The US-based credit rating agency also revised its long-term economic outlook for Bangladesh from stable to negative. As a result, the market saw thin participation of investors, who cautiously traded selective shares to make short-term gains amid price fluctuations. Like the previous trading session, both the Dhaka and Chattogram bourses witnessed massive sale requests as the investment climate has remained unresponsive. The DSEX, the broad index of the Dhaka Stock Exchange (DSE), plunged by 0.98 percent from the day prior to close at 5,146 points, indicating a downtrend in the market. The other two indexes of the country's premier bourse saw the same as the DSES, which represents the performance of Shariah-compliant companies, receded by 0.18 percent to 1,149 points. Similarly, the DS30, which reflects the condition of blue-chip stocks, fell by 0.99 percent to 1,899 points. Out of the 392 issues traded at the DSE yesterday, 110 saw their prices rise while that of 228 closed lower and 54 did not see any movement. The DSE's daily turnover, which indicates the collective value of shares traded, stood at Tk 302 crore, down 16.97 percent compared to the previous day. The banking sector dominated the turnover chart, accounting for 17.84 percent. Block trades, meaning high-volume securities transactions that are privately negotiated and executed outside the open market, contributed another 4.6 percent to the turnover. NRB Bank Limited was the most-traded stock, registering turnover of Tk 15.0 crore. All the sectors that comprise companies with high market capitalisation, which refers to the value of their outstanding shares, posted negative performances, according to BRAC EPL Stock Brokerage. The pharmaceuticals sector experienced the largest loss of 1.79 percent followed by Food and Allied (0.76 percent), banking (0.54 percent), non-bank financial institutions (0.52 percent), telecommunication (0.37 percent), engineering (0.26 percent), and fuel and power (0.14 percent). Sector-wise, information technology, services and real estate, and general insurance were the three that closed in positive territory while ceramics, pharmaceuticals, and textiles became the top three that closed in negative territory. At the Chittagong Stock Exchange (CES), the CSE All-Share Price Index (CASPI) saw a similar trend as it slipped by 1.13 percent to close at 14,419 points. At the CSE, shares of companies like Square Pharmaceuticals, BRAC Bank, BAT Bangladesh, Renata, Islami Bank, Eastern Bank, Robi Axiata, Alif Industries, Al-Arafah Islami Bank and Jamuna Bank suffered losses. Drug maker Square Pharmaceuticals alone contributed 26.56 points to the fall. Investors showed the most interest in shares of Beximco Pharmaceuticals, National Bank, Prime Bank, Genex Infosys, BSRM, Shahjalal Islami Bank, Bangladesh Submarine Cables, Al-Haj Textile, Orion Pharma and Olympic Industries. However, none of these companies saw doubt-digit growth in their share values, with Beximco Pharmaceuticals gaining the most by adding only 1.52 points.
-- Shares Facebook Twitter Reddit Email “Why do you draw?” A seemingly innocuous question that in truth carries immense weight. It’s the kind of question that you can brush off with a casual wave of the hand, or it can leave you speechless, unable to even find the words. Art isn’t numbers on a spreadsheet. It’s life itself. In “Look Back,” the film based on Tatsuki Fujimoto’s one-shot manga, two teenage girls bond over their love of creating manga. Fujino handles the characters and story, while Kyomoto takes care of the background art. They make a powerful team. When Kyomoto asks Fujino why she draws, we don’t get an explanation. We don’t need it. We’ve seen it. Every moment the pair shares with each other is why. Seasons change outside Fujino’s window as she and Kyomoto work on their first manga together. The duo quietly scribbles away, creating in the presence of one another, as pages of manuscript pile up. We see that life and art are intimately linked. That creation is born out of the wonder, the mystery and of course, the tragedy of life. This is not a review of “Look Back.” Enough beautiful words have already been said about the film, and it is most certainly one that any fan of anime, manga, cinema or art in general should see. But it is that simple-but-not question, “Why do you draw?” asked by Kyomoto to Fujino, that echoed in my head, clanging and clattering in the space between my ears in the days and weeks after I saw “Look Back.” I think it struck a chord because it increasingly feels like the creative process, and deeper and more troubling than that, humanity itself, is under attack . Related The 12 biggest moments in animation in 2023 There is a contingent of craven capitalists who have slowly turned the entertainment industry into just another financial market. Moving into senior positions at major studios in film, television and video games, these ghouls seek only to maximize profit. The art at the center of these industries is, to many of these bigwigs, a means to an end. That end being stock prices and shareholder satisfaction. It’s why we got “ Inside Out 2” and “ Moana 2” this year. Unnecessary sequels that a bunch of suits knew would rake in the dough. Although talented people worked on both, when art is kept within the confines of a giant, soulless corporation, art (and the people creating it) is held captive by the profit motive. Money becomes the mantra. When someone’s life’s work, their passion, their expression of creativity, is diminished to merely being seen as content, as numbers on an earnings report, it is an attack on art. This year, “Coyote vs. Acme” was shelved and seems destined to become lost media , buried before even being given a chance for audiences to see it. The hard work of hundreds of people, a mere tax write-off under the mighty pen of Warner Bros. Discovery CEO David Zaslav . One of my favorite shows from last year , “Scavengers Reign,” was unable to avoid the axe. Despite winning an Emmy (for background design) and being nominated for outstanding animated program, the show didn’t bring in the viewer hours so it was unceremoniously thrown on the heap. Critical acclaim or simply letting art exist in the world and be received by the people (with no concern for the size of the audience) aren’t things that Zaslav and his ilk consider. Imagine if “Mad Men” or "The Sopranos" was cut after its first season because target demos, algorithm data and KPIs just didn’t support renewal. In 2024, the only concern is that the numbers look good, so that CEOs can line their pockets with millions in compensation. And if recent reaction to UnitedHealthcare CEO Brian Thompson’s murder is anything to go by, the people are getting a little fed up with the unfettered greed of the C-suite. Art isn’t numbers on a spreadsheet. It’s life itself. We need your help to stay independent Subscribe today to support Salon's progressive journalism “Look Back” implores the viewer to see how art and life are intertwined. Every adventure that Fujino and Kyomoto go on becomes the inspiration for another manga. They visit the ocean, and that leads to the duo writing “The Sea Cities.” Looking for bugs in summer turns into “The Cicada Humans.” A trip to the aquarium yields “The Man Who Ate the Crab.” The pair experiences life, and their art echoes those experiences. Reverberating through the creative process, those echoes twist and distort just enough to give the art they produce a fantastical fiction, but at its core, their art is quite literally their lives. The works of Dickens capture Victorian London so well because he lived it; he worked in the warehouses, and his worldview was shaped by these formative experiences. Nintendo’s Shigeru Miyamoto explored forests and hunted for bugs as a child, and wanted to recreate that feeling in a video game, eventually leading to the creation of “The Legend of Zelda.” Hayao Miyazaki ’s works are tinged with autobiographical moments, such as his mother’s hospitalization with tuberculosis — an element of both “My Neighbor Totoro” and “The Wind Rises” — or his father building rudders for fighter planes during World War II, a piece of his own history we see alluded to in the Oscar-winning “The Boy and The Heron.” And for Miyazaki in particular, art and life are nearly one and the same as we come to learn in this year’s documentary that sneakily landed on Max this summer, “Hayao Miyazaki and The Heron.” The documentary chronicles the entire production timeline for “The Boy and The Heron,” starting with Miyazaki announcing his retirement in 2013 through to the film’s Oscar win this year. The iconic director has been the subject of a few documentaries in the past, but in those, Miyazaki always remained guarded, never really letting the viewer understand the man we have so endlessly mythologized. His politics are evident in the films he has made over the past 40 years, but what motivates this man, now nearly 84 years old, to create the worlds of “Nausicaa,” “Castle in the Sky” or the Great Uncle’s tower in “The Boy and The Heron”? Much like Fujino in “Look Back,” the answer seems to be human connection. Throughout “Hayao Miyazaki and The Heron” there is an urgency to Miyazaki’s work. People close to him are passing away; there is guilt and there is sadness. “Why am I still here? Why am I the one that lived?” he wonders aloud. Miyazaki “reeks of death” like Mahito the titular boy of the film. But he storyboards furiously, creating characters based on the people he has lost. Michiyo Yasuda, the color designer on Miyazaki’s films at Studio Ghibli, passed away in 2016, but she appears in the documentary’s footage like a ghost, a vision of the past that haunts the present day Miyazaki. She was the one who told him to make another film, and he felt a sense of obligation to do it. He creates Kiriko in “The Boy and The Heron” based on Yasuda. But no one looms larger than Isao Takahata, Studio Ghibli co-founder and director, who passed away in 2018. And it's in their relationship where it becomes clear that nearly everything Miyazaki has ever made has been driven by the man he affectionately calls Pak-san. Pak-san, Pak-san, Pak-san. A clap of thunder rumbles in the distance while on a walk. “That’s Pak-san.” When Miyazaki is asked if he ever dreams, he responds “Only about Pak-san.” A missing eraser is Pak-san playing a trick on him. Studio Ghibli producer Toshio Suzuki says that “Miyazaki idolized Takahata, but it was always one-sided.” The Boy and the Heron (Hayao Miyazaki/Studio Ghibli) Miyazaki agonizes over the character of the Great Uncle who has built the fantastical world of the tower in “The Boy and The Heron.” The character is Pak-san. In this one-sided relationship, made even more so by the divide between the living and the dead, Miyazaki is determined to show the world who Takahata was. He wants people to know what this man meant to him. The man who was his idol, his rival, his friend. The documentary cuts to a particularly powerful quote from Takahata back in the ‘80s, talking about Miyazaki, where he says, “I’d like to see him make all kinds of films. There are things he hasn’t shown me. I hope to see them one day.” The interview cuts to a wide shot showing Miyazaki beside him with a beaming smile, “Really?” he asks Takahata gleefully. This is how art comes to be. For Miyazaki. For Fujino in “Look Back.” It is driven by the desire for human connection, by wanting to express one’s self to someone, to honor someone who has passed to ensure that they are remembered. Which is why when AI software is used to generate an image , or write a story, it is so revolting . You can’t tell AI to create the Great Uncle. You can’t tell it to create an old man who kinda looks like a wizard who was the whole world to me and everything I did was for him and all I wanted was for him to see my films and enjoy them and I want people to know that. It can’t convey that level of emotional depth, or any emotional depth. AI is mere facsimile (and poorly done at that), and yet, it has been integrated into nearly every piece of technology creating nothing but slop. Related "It's going to destroy jobs": When an AI image won a photo contest, its human refused the award AI is a threat to art, a threat to culture, a threat to humanity itself. How far are we willing to go to utterly dehumanize ourselves? Late capitalism is already turning us away from one another, with the convenience of technology isolating us, keeping us from making a connection to someone. Companies like Disney are fully on board with AI , where acting in a “responsible way” means, “How much can we get away with and not pay people for?” So don’t be surprised when a round of layoffs is announced, so more money can be funneled up to executives at the top. Companies like X are training their AI by using (read: stealing) art uploaded to the platform by artists. And it would be easy to write a whole thesis on how the demands of AI usage and development is causing emissions at companies like Microsoft to rise at a staggering rate, decimating any plans of reaching previously set carbon-neutrality goals. This AI slop, this soulless mimicry of human life, is accelerating the planet’s demise. AI is anti-human in all facets. How far are we willing to go to utterly dehumanize ourselves? 2024 felt like a year where, more than ever before, art was under attack. From corporate fat cats cutting jobs to AI software to humanities programs getting slashed in higher education, the assault on engaging with our world, and on engaging with art is in full effect. It is deeply distressing. But 2024 also produced a film that tells us why art needs to exist, why it is so special, and what it means to be human. “Look Back” yells from the rooftops that art is tough, it is work, but the reward is it connects us like nothing else can. Look Back (Tatsuki Fujimoto/Shueisha Art is beautiful because of the humanity it contains within it. There is energy in a work of art that cannot be quantified, cannot be calculated, cannot be replicated by a machine. It reflects us, it connects us, it bears all of our tragedy, all of our joy. I’m hardly the best writer out here. There are people who write much more eloquently than I do. I admire these writers greatly. But I just want to connect. I want someone to read my words. Someone. Anyone. Even if it just ends up being my family or friends. I have entire worlds inside my head that I want others to experience the way I see them in my mind’s eye. No AI program can scrape these worlds accurately out of my head. There are so many thoughts and ideas in here that I want to share. I hope that my words make someone feel something. I just have to do the work to get them onto the page. That, to me, is something very worth the effort. Art is what makes us human, so why would we want a robot to do it for us? I just want to connect. To prove that I’m alive. I’m not a machine. Read more about this topic The ethics of eating monsters "The Lord of the Rings: The War of the Rohirrim" is another barrel-scraping twist on Tolkien "Blue Eye Samurai" addresses multiracial shame, "to be ostracized from both sides," in Edo-era Japan "Spider-Man: Across the Spider-Verse" is beyond subtitles — and the white gaze By Michael Lee Michael Lee is a writer who might take anime and video games a little too seriously. For more musings on animation, fandom and game worlds, follow him on X @kousatender . MORE FROM Michael Lee Related Topics ------------------------------------------ Ai Animation Anime Artificial Intelligence Best Of 2024 Commentary Hayao Miyazaki Look Back The Bird And The Heron Related Articles Advertisement:Stephen Olowoniyi scores 18 as Southern Indiana knocks off Shawnee State 91-56
A Delaware judge has once again slapped down Elon Musk's pay package from Tesla. "The large and talented group of defense firms got creative with the ratification argument, but their unprecedented theories go against multiple strains of settled law," a Monday from Delaware Chancellor Kathaleen St. J. McCormick reads. In her ruling, McCormick stuck to her earlier finding that Tesla's board was unduly influenced by Musk when it came to creating his compensation package — which at the time was the to be awarded to a CEO. McCormick ruled that Musk and Tesla's board members and executives had no procedural grounds to change the outcome of her original determination "based on evidence they created after trial." She also found that the arguments used to challenge her initial ruling were not valid and weren't raised in a timely manner, and ordered Tesla to pay the plaintiffs $345 million, which the judge ordered Tesla may choose to pay in freely tradeable stock. Stock for the automaker dipped nearly 1.5% in after-hours trading following the news. Representatives for Tesla did not immediately respond to a request for comment from Business Insider. Tesla investors voted to for the second time in June. Tesla shareholders had originally voted in favor of the compensation plan in 2018, but McCormick ruled to void the agreement in January after a Tesla shareholder alleging the agreement was "beyond the bounds of reasonable judgment." At the time, McCormick said Musk had too much power over the agreement due to his close relationships with board members and the ties led to an "unfair price." In her earlier ruling, she said Tesla had failed to make sure investors were fully informed regarding the proposal. When the compensation package was voided, it was estimated to be worth about . "Contrary to how some have read the Post-Trial Opinion, the court did not find that the Board should have paid Musk nothing," McCormick wrote in her Monday filing. "There were undoubtedly a range of healthy amounts that the Board could have decided to pay Musk. Instead, the Board capitulated to Musk's terms and then failed to prove that those terms were entirely fair." In the months that followed the judge's original ruling, for Musk's pay and eventually came away with approval from over 70% of the voting shares. The company then presented the vote to McCormick, arguing that the shareholder ratification had addressed her concerns. However, McCormick in her latest ruling, wrote: "Even if a stockholder vote could have a ratifying effect, it could not do so here." Read the original article on
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