Soroush Khazaei, audiovisual artist, killed in an airstrike in Tehran - CDM Create Digital Music

Taipei, Oct. 4 (CNA) The government-funded Institute for Information Industry (III) and industry partners have developed an artificial intelligence-powered technology that turns old photographs, voice recordings and family stories into personalized videos for use in dementia care, the organization said Sunday. Developed by the III's Institute of AI Innovation (iAI), the "Multimodal Real-time Digital Scene Generation Technology Application Service" uses generative AI to recreate familiar scenes from patients' photos and life stories, replacing standardized care materials with personalized digital content. The technology has completed a proof-of-concept trial at the dementia care home of Mennonite Christian Hospital in Hualien, where it was used for reminiscence therapy, cognitive stimulation and rehabilitation. Carrie Huang (黃婉茹), deputy division head at the iAI, said familiar people, places and experiences can help trigger memories in people with dementia.

The Québec Film and Television Council (QFTC) is presenting the second edition of "The 360 Audiovisual Entertainment Week" in Montréal from September 29 to October 1, 2026. The strategic gathering convenes 12 international executives from the United States and the United Kingdom alongside companies and professionals from the local sector, aiming to expand global commercial partnerships. The visiting executives represent 12 international organizations active across scripted and unscripted production, animation, visual effects, and post-production. Building upon the 2025 inaugural event, which attracted over 300 delegates across roughly 40 sessions, this year's installment features two specialized tracks: one centered on scripted and non-scripted content, and another dedicated to post-production, visual effects, and animation. The three-day itinerary includes infrastructure tours, site visits, panel discussions, and structured networking.

'The fair is proceeding as planned and final preparations are underway,' a spokesperson said. The post After Protests and Riots, Art Basel Readies Paris Show appeared first on Artnet News .

In August 2019, Omar Rajeh sat in his bedroom, listening to the sound of pounding percussion with his world in crisis. In the midst of political instability, Citerne Beirut, a theatre and cultural centre Rajeh had founded in his native Lebanon, was forced to close, dismantled by order of the local government, who planned to build an incinerator on the site. Heartfelt … Omar Rajeh in Dance Is Not for Us. Photograph: Tristram Kenton/the GuardianRajeh tells us that as a teenager, coming of age at the end of the Lebanese civil war, dance had always seemed like the most revolutionary thing he could do. Now here he is, more than three decades later, still dancing – out of frustration, defiance, resistance and a desire to connect. As the percussive score gains momentum, Rajeh’s busy body builds up a sweat. In this danced stream of consciousness, Rajeh is not always an especially elegant mover, but he dances like it’s a necessary thing to do. Part of this year’s Dance Umbrella festival, Dance Is Not for Us is a solo that appears at times like an explosion of physical instinct, but it is mostly calm, considered musings on the nature of choreography, with all its workings exposed.

Sarah Kane revolutionised British theatre with five provocative plays written between 1995 and 1999. Her final work, 4.48 Psychosis, was her most personal, confronting the clinical depression she struggled with for years. The play was first performed posthumously in 2000, after she died by suicide in 1999. The Royal Opera and Guildhall School of Music and Drama commissioned Philip Venables to adapt the play as an opera, which debuted in 2016. The composer, also known for a certain “in-yer-face” approach, set Kane’s original text almost entirely, realising its 24 disjointed sections in a raw, imaginative score teeming with minimalist licks, prickly synth-pop and consoling nods to the baroque. The libretto shifts between poetic abstraction and scathing exchanges between a patient and a psychologist. An ensemble of six female singers navigates themes of depression, isolation and the agonising choices surrounding medication. One fractured personality … Sophia Burgos, Veena Akama-Makia, Hannah Edmunds and Jacquelyn Stucker in 4.48 Psychosis.