Mois : janvier 2025

The Most Dysfunctional Mother-Son Movie Relationships of All Time, Ranked  MovieWeb
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Bengaluru, a city of contrasts, blends its ancient temples with modern tech parks, embodying the harmony of two seemingly distinct worlds: spirituality and technology. As India’s startup capital, it attracts ambitious entrepreneurs striving to turn their innovative ideas into reality. Yet, amid this rush for success, few recognize the parallels between their entrepreneurial endeavors and the principles of spiritual growth.
Ancient wisdom teaches that true and lasting progress stems from a balance between material achievements and the spiritual values that ground us. Whether in crafting business strategies or building sustainable enterprises, the essence lies in integrating inner clarity with outward action.
In this dynamic city, spirituality doesn’t stand apart from the tech-driven hustle; instead, it offers a guiding light. By blending focus, mindfulness, and a sense of purpose with innovation, Bengaluru’s dreamers are shaping futures that honor both tradition and progress.
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The Meyer Plan: Governor-elect plans to reform Delaware education funding, launch universal pre-K  Newark Post
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By IANS | Published: January 1, 2025 10:26 AM2025-01-01T10:26:21+5:302025-01-01T10:30:12+5:30
New Delhi, Jan 1 Researchers have unveiled transformative insights into the relationship between inflammation and depression, a finding that can fundamentally change our understanding of depression’s biological underpinnings.
The research by neuroscientist Professor Raz Yirmiya from Hebrew University of Jerusalem extends far beyond the laboratory.
His discoveries about the role of microglia cells and interleukin-1 in stress-induced depression raise intriguing questions about therapeutic interventions: How might understanding inflammatory processes lead to more targeted treatments? What role do different types of immune responses play in various forms of depression?
“Most depressed patients do not have any overt inflammatory disease. However, we and others found that exposure to stress, which is the most significant trigger of depression in humans and animals, also activates inflammatory processes, particularly in the brain,” Yirmiya explained in a comprehensive Genomic Press Interview published in the journal Brain Medicine.
Through innovative approaches combining molecular techniques with behavioural studies, Yirmiya’s team identified several promising therapeutic targets.
Their work on microglial checkpoint mechanisms and stress resilience opens new avenues for understanding how the immune system influences mental health. These findings suggest potential for developing personalised treatments based on individual inflammatory profiles.
“My overarching aim is to harness the extensive knowledge from my research and others to accelerate the development of novel antidepressant therapeutics targeting inflammatory processes,” said Yirmiya.
His work suggests that both activation and suppression of the immune system can trigger depressive symptoms, highlighting the need for personalised treatment approaches.
Yirmiya’s Genomic Press interview is part of a larger series that highlights the people behind today’s most influential scientific ideas.
Each interview in the series offers a blend of cutting-edge research and personal reflections, providing readers with a comprehensive view of the scientists shaping the future, said authors.
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The advent of Agentic AI signals a transformative shift in the field of artificial intelligence. Big tech companies are at the forefront of this revolution. Google, for instance, recently unveiled its Gemini 2, an advanced AI agent that integrates multimodal capabilities with reasoning and planning. Similarly, Meta’s CICERO excels in strategic games, engaging in negotiations and planning collaboratively with human players. These developments highlight how Agentic AI is being adopted across industries, heralding a new era of interactive, intelligent systems.
But what exactly is Agentic AI? In simple terms, it refers to AI systems that can act like independent decision-makers, capable of understanding their surroundings, learning from experiences, and taking actions to achieve specific goals. Unlike traditional AI, which primarily responds to direct instructions, Agentic AI operates more like a collaborator or assistant, proactively solving problems and adapting to changes in real-time.
A study titled “Position Paper: Agent AI Towards a Holistic Intelligence,” published earlier this year on arXiv by researchers from Microsoft Research, Stanford University, and UCLA, delves deeper into the paradigm of Agentic AI. In this study, the researchers propose the Agent Foundation Model (AFM), a novel large action model aimed at enabling embodied intelligent behaviour. This model is designed to process multimodal data – such as text, images, and audio – allowing for seamless adaptation to complex and changing contexts.
The study defines Agentic AI as intelligent systems that embody and operate in both physical and virtual environments.
Unlike traditional AI systems that are confined to narrow tasks, Agentic AI integrates multiple facets of intelligence&mdashperception, reasoning, memory, and action—into a unified framework. This approach enables it to function as an active participant, navigating dynamic environments and handling complex, goal-oriented tasks autonomously. The proposed Agent Foundation Model (AFM) exemplifies this evolution by creating systems that can process diverse inputs, from visual stimuli to natural language, and adapt their responses based on the context.
For instance, an AI agent using AFM could operate as a healthcare assistant, analyzing medical records, cross-referencing research papers, and generating tailored treatment recommendations—all without requiring step-by-step instructions. This dynamic capability highlights how Agentic AI bridges the gap between narrow AI applications and a more general, holistic intelligence.
Key features include:
While promising, the rise of Agentic AI raises important questions about safety, ethics, and accountability. How can we ensure these systems act in unbiased and reliable ways? Who is responsible when autonomous agents make mistakes? The study emphasizes the need for rigorous control mechanisms, ethical guidelines, and transparent design processes to address these concerns effectively.
Moreover, the sim-to-real gap -where AI trained in simulations struggles to perform reliably in the real world—remains a technical hurdle. Overcoming these challenges will be essential for ensuring the safe and responsible deployment of Agentic AI systems.
As companies like Google, Meta, and Tesla continue to push the boundaries of AI innovation, Agentic AI is emerging as a transformative force with the potential to revolutionize industries and reshape human-AI interaction. The principles outlined in the Agent Foundation Model study provide a robust framework for advancing this paradigm, enabling systems that are not just reactive but proactive, adaptive, and intelligent.
The future of Agentic AI will depend on balancing innovation with responsibility. By addressing ethical considerations and ensuring transparency in design, researchers and practitioners can pave the way for a new generation of intelligent systems that enhance human capabilities while maintaining trust and safety.
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Are you tonight’s lucky winner? Grab your tickets and check your numbers. The Mega Millions lottery jackpot continues to rise after someone won the $1.22 billion prize on December 27.
Here are the winning numbers in Tuesday’s drawing:
13-22-27-29-35; Mega Ball: 01; Megaplier: 2X
The estimated jackpot for the drawing is $20 million. The cash option is about $9.0 million. If no one wins, the jackpot climbs higher for the next drawing.
According to the game’s official website, the odds of winning the jackpot are 1 in 302,575,350.
Players pick six numbers from two separate pools of numbers — five different numbers from 1 to 70 and one number from 1 to 25 — or select Easy Pick. A player wins the jackpot by matching all six winning numbers in a drawing.
Jackpot winners may choose whether to receive 30 annual payments, each five percent higher than the last, or a lump-sum payment.
Mega Millions drawings are Tuesdays and Fridays and are offered in 45 states, Washington D.C. and the U.S. Virgin Islands. Tickets cost $2 each.
If you have a gambling problem and are located in Pennsylvania, call 1-800-GAMBLER or contact the 24-hour helpline chat at https://www.pacouncil.com/chatline.
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Internet Archive data breach exposes more than 31 million user accounts: Reports  The Hill
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THE GLOBAL RESPONSE to the death of Rebecca Horn in September reflects her importance as a pioneer of transmedia artistic practice since the 1970s, as well as her continuing influence on younger artists in the twenty-first century. Early on, Horn created visionary symbols for the interconnection of bodies and technology. She explored existential questions at the blurred boundaries between nature and culture, human and nonhuman. Variously described as an inventor, a director, an author, a composer, or a poet, she considered herself first and foremost a choreographer, describing her practice as precisely calculated relationships between space, light, physicality, sound, and rhythm that come together to form an orchestration. Her works in performance, sculpture, and film aim at the visible, tangible, and audible stimuli that can be experienced through bodily understanding. Already in her early works she used the kinetic to make tangible the relationship be-tween inside and outside, as she would continue to do in her later oeuvre. She resisted the male-dominated relationship between “man” and technology and opened up new, nongendered perspectives on human perception. Inspired as her work might have been by  Surrealism, Fluxus, Arte Povera, body art, and feminism, it belonged to no particular movement, creating its own path.

In 1972, at the age of twenty-eight, she was the youngest artist to be included by Harald Szeemann in Documenta 5; she would also participate in the following three editions of the Kassel mega-exhibition, and continued to exhibit in biennials and art festivals around the world. The first work of hers that caught my attention was Hydra Piano, 1993, in which hidden motors make a puddle of mercury move like a snake across the bottom of a steel basin. I’d come across it in a collection presentation at the Kunstmuseum Bonn in the mid-2000s, where it was shown alongside the work of Joseph Beuys, whose anthroposophical worldview she greatly appreciated, as well as pieces by her frequent collaborator Jannis Kounellis. Alchemical, physical, and spatial hybrids have always appeared as allegories in Horn’s work. While she had already received attention in countless international solo exhibitions at the time, it was not until more than a decade later, with a selection of early video works in the Tanks at London’s Tate Modern in 2019, that I realized the extent to which all her moving objects were conceived with the body as their starting point. 

Andrea Lissoni, who with Valentina Ravaglia was responsible for the Tate’s presentation, had also drawn on the museum’s impressive holdings of Horn’s work—thanks to Nick Serota’s decades-long commitment to her practice—for a collection presentation for the opening of the institution’s Herzog & de Meuron–designed extension in 2016. Here I learned how Horn began to celebrate the power of transformation. Her compilations of assembled individual works like Performances I, 1972; Performances II, 1973; and Berlin. Exercises in Nine Pieces, 1974–75, were presented prominently again after a long time. Each of these compilations features body extensions, wearable sculptural constructions of cotton and other materials through which she augmented and controlled the body, resulting in movements of fantastic grace and menacing pain. Actions with masks, bandages, and feathers opened up a variety of associations. The tense relationship between intimacy and public display made for moments of maximum sensory experience, transferring codes and systems of seeing, hearing, and touching into new experiential spaces. Influencing the wearer’s movements and stretching their physical boundaries, these works connected the human body to a larger historical context by demonstrating how the energy of our bodies is connected to the surrounding space.
At Documenta 5 in 1972, Horn became friends with American artists such as John Baldessari and Vito Acconci. That same year, she set up a studio apartment in New York; she would commute between the United States and Berlin for almost a decade. New York inspired her: Horn became friends with Andy Warhol, met Man Ray, and appreciated Marcel Duchamp.  Experimental film became important to her at this time. Her work was seen widely in New York from the very beginning, for example with the screening of Berlin (10.11.1974–28.1.1975): Dreaming under water of things afar at the Anthology Film Archive in 1975 and her solo exhibitions with René Block in the 1970s and in the ’80s and ’90s at the Marian Goodman Gallery. In 1979, her first feature-length film, Der Eintänzer, 1978, was shown alongside works by Lawrence Weiner as part of the New American Filmmakers Series at the Whitney Museum of American Art, while hundreds of thousands of people in Germany watched it on public television. Her studio in New York, converted into a ballet studio, served as the set for that work. Ballet is omnipresent in the film’s fantastical scenes, but especially when the young dancers, connected to each other by strings, submit to the mechanistic control of their movements. Here, humans are no longer at one with their bodies: The desire for absolute synchronicity suggests an equivalence between human and machine. Horn used the symbolic nature of dance movements as a medium and catalyst for her choreographic fictions. For her, stillness and movement are mutually dependent; she is fascinated by contrasts and contradictions. The dancers in the film thus represent a preliminary to her later movement machines.
In one of her earliest sculptures, Überströmer (Over-flowing Blood Machine), 1970, she demonstrated the fusion of spatial and body art. By externalizing an implied blood circulation in the form of a wearable vein costume in which a motorized pump circulated red fluid, she drew parallels between biological and technical systems. Notably, this clinical contextualization of the body came about after Horn had spent more than a year recovering from a life-threatening lung disease caused by working with toxic materials during her studies at the University of Fine Arts of Hamburg and before she transferred to Saint Martin’s School of Art in London in 1971.
From her earliest drawings, such as Lippenmaschine (Lips Machine), 1964, she explored the idea of “incorporation,” and from the early 1980s, with her mechanical sculptures, she created symbols of technical physical interconnectedness. Her works seem to metaphorically intertwine modes of perception and action with contemporary technologies. They offer a daunting technoid embodiment of sexuality and affectivity: The monumental Pfauenmaschine (Peacock Machine), 1982, for example, first shown at Documenta 7, imitates the courtship ritual of male peacocks. Horn generated new human-animal relationships with machines that perform human gestures in abstracted animal forms, such as Kuss des Rhinozeros (Kiss of the Rhinoceros), 1989, prominently presented by Cecilia Alemani at the 2022 Venice Biennale in the context of post-humanist theories. Here and elsewhere, Horn renders networks of human and nonhuman actors visible.

Interwoven references from literature and the history of art and film run through Horn’s oeuvre, as Emma Lavigne and Alexandra Müller showed in the exhibition “Rebecca Horn: Théâtre des metamorphoses” at the Centre Pompidou-Metz in 2019, which ran parallel to the exhibition curated by Sandra Beate Reimann at the Museum Tinguely in Basel. Horn celebrated the horror of machines as a continuation of the body and referred to monsters, in both poetry and science, as figures of the unrepresentable and giving a face to the abysmal. For example, she created several site-specific works as memorials to the victims of the Holocaust. Similarly, she dedicated Turm der Namenlosen (Tower of the Nameless), 1994, to the victims of the Yugoslav Wars, demanding physical and mental empathy through the sound and discord of motorized violins in a towerlike construction of ladders.
In 1989, she became the first woman to be appointed to the new multimedia professorship at the Berlin University of the Arts (UdK), from which she retired in 2009. She set up her Moontower Foundation on her father’s reacquired estate, a former textile factory, that same year, dedicating it to the preservation and research of her life’s work. In 1993, Horn was honored with a major retrospective at the Solomon R. Guggenheim Museum in New York, curated by Germano Celant and Nancy Spector, which then traveled to the Neue Nationalgalerie in Berlin and the Kunsthalle Wien in Vienna. In retrospect, the New York show seems to have stimulated Horn to work on an ever-increasing scale from then on. In an interview I conducted with her for the catalogue of the six-decade retrospective of Horn’s work that I recently curated for the Haus der Kunst in Munich, Spector remembered Horn’s special way of occupying the museum in its architecture and vision, calculating an address to the public that could have a hypnotic, spiritual, or psychological character.
In her poignant late works, Horn transformed her artistic grammar into an abstract choreography full of poetry and grace. Her oeuvre is a lifelong and explosive echo of the progressive decentering of humanity. She explored the interaction of the senses and placed the sensuality of the body in relation to the environment through performance. I was deeply moved that Horn, already seriously ill, traveled to the opening of the retrospective in Munich in April, four months before her death. I will never forget feeling her joy and gratitude. 
Jana Baumann is senior curator at Haus der Kunst, Munich.
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ONE OF THE FIRST IMAGES that visitors see in “For Dear Life: Art, Medicine, and Disability” is of a hand. Projected high on the wall at large scale, Hand Movie is Yvonne Rainer’s first film, which the artist made in the hospital while she recovered from major surgery in 1966. With the rest of her body immobile, she danced the only way she could: by stretching her fingers one by one and rotating her palm to explore its full range of motion. “This moment,” curators Jill Dawsey and Isabel Casso write in the exhibition’s catalogue, “designates the hospital bed, and the experience of illness itself, as a generative space for art.”
That is, in brief, the core argument of this sprawling exhibition, which includes more than 120 works by eighty-five artists. Shown alongside photographs of Pope.L crawling down the streets of New York and a monumental watercolor of healing hands by Richard Yarde, Rainer’s hand invites us into an exhibition that is, at its most ambitious, a revisionist history of American art since the 1960s that centers mental and physical disability and the sociopolitical conditions that turn mere difference into vulnerability. “For Dear Life” builds on several recent exhibitions and more than a decade of rigorous scholarship by Tobin Siebers, Alison Kafer, and Amanda Cachia (who served as an adviser for this project), among others, while also expanding the range of artists and practices encompassed within the framework of disability studies to allow productive adjacencies and rereadings. Lynn Hershman Leeson’s haunting work about life-threatening pregnancy complications, for example, appears in proximity to Tee A. Corinne’s ghostly photographs of caressing lovers who use mobility aids.

For a show about disability, though, the body is in some places conspicuously absent. In lieu of the more obvious inclusion of Hannah Wilke’s affecting self-portraits made in the throes of cancer treatment is a flower study drawn on a pillowcase marked with hospital insignia. Nearby, David Wojnarowicz is represented not by his photographs of Peter Hujar’s hands after death, but by a cryptic photograph of buffalo falling off a cliff, explained in the label as a critique of US policy relating to the AIDS epidemic and to the forced displacement of Indigenous communities. These works imply that disability and its attendant social conditions are inscribed even where they’re invisible. But I couldn’t help wondering whether these choices were also about protecting artists from the voyeuristic gaze of visitors, or visitors from the potential discomfort of encountering what the curators call “unruly” bodies.   
Bob Flanagan and Sheree Rose’s installation Video Coffin, 1994, dramatizes and refuses these tensions. Inside an open casket covered in roses is a hidden camera, capturing the face of the viewer and transmitting it, in real time, to a monitor at the head of the coffin, literalizing memento mori and flipping voyeurism into self-contemplation. Elsewhere, Joseph Grigely’s brilliant work of Conceptual art United States of America v. GPH Management, LLC, 1996–2011—the archive of a disability access lawsuit he filed against a New York hotel that dragged on for fifteen years—withholds the body altogether but evokes its needs in intimate detail, giving form to the concept of “crip time” and making evident its unbearable cost.
As the rhetoric of election season has reminded us, we live in a culture dominated by a fear of otherness, a disgust for weakness, and a shocking tolerance for cruelty. The work in “For Dear Life” traces the outlines of an alternative: a culture that finds beauty in fragility and strength in interdependency, in which community is not a marketing buzzword but a vital part of life for the disabled and the able-bodied alike. What will it take to reshape our society into this image, into a society that replaces hurdles with ramps and handholds—not as an inconvenience or a concession, but because we all deserve the safety and support necessary to thrive? The image has never been clearer, and we’ve never felt farther from its realization.
“For Dear Life: Art, Medicine, and Disability” is on view through February 2.

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“The Deliverance” was released to Netflix on August 30 and is full of spirits and demons. It is an interesting take on a movie based on an exorcism of a spirit. This movie features Andra Day as Ebony and Glenn Close as Morgan. The film is based on a true story which makes it more creepy.
The film is about a family living in Indiana, the mother Ebony moves her children into a new home. This home turns out to be full of evil spirits that are targeting the youngest child Andre (Anthony B. Jenkins). The movie has aspects of drama that Ebony surrounds. She almost lost custody of her children due to neglect and drinking. Cynthia (Mo’Nique) the social worker checks on her and her children for most of the film.
Highs
The highs in this movie are minimal. It is mainly centralized around the performances of the actors. The acting of Ebony was good, showing the emotion of a caring but struggling single mother. There were elements of comical humor that helped ease the tension between the mother and children. The acting of Glenn Close as Morgan was entertaining considering she was the more blunt grandma. This gives the movie the humorous aspect that was needed in the household. Another highlight of the film is the makeup of the possession of Andre. It is detailed and creepy which completes the look of a demon.
Lows
The lows within the film are that the plot is confusing. It has to do with the children becoming possessed but the abuse from the mother was unnecessary. It showed that the mother was not paying attention to her children. It was filled with abuse and neglect from the beginning. This takes away from the plot of focusing on the evil spirits.
Another low was that Ebony seemed clueless because of how drunk she became all the time. She was distracted and did not notice her children were being possessed. On the other hand, the grandma would protect the children but not correct her daughter. Grandma would make things worse for the children instead of better.
Ebony opposes her mother for an undisclosed reason, which makes the background of the film poor. For unclear reasons, the father is likewise not present in the lives of the children. More background context would have helped to explain why Ebony was distressed.
The exorcism part of the movie was missing something. Some scenes are reminiscent of the original movie “Exorcism.” This could show the movie’s inspiration but it was not performed well. It was missing the aspect of the evil spirit becoming very alive.
Verdict
“The Deliverance” is not worth the watch considering elements are missing from making it a true exorcism movie. If there wasn’t as much tension and drama throughout, it could’ve been more focused on the evil spirits.
Rating: 4.5 out of 10

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