When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Microsoft to bring OpenAI's Sora video generation API to Azure AI Foundry next week Pradeep Viswanathan Neowin @pradeepviswav · May 19, 2025 18:32 EDT Microsoft's Azure AI Foundry provides developers access to more than 1,900 AI models suitable for a variety of use cases and industries. However, Azure AI Foundry currently lacks text-to-video generation models, which are already available on AWS via its Nova Reels API and on Google Cloud via its Veo API. Microsoft relies on OpenAI for all its frontier AI needs. Although OpenAI has developed the Sora video generation model, it has not yet been made available as an API for developers. However, ChatGPT Premium plan customers can use Sora to create videos using text prompts. Due to the significant GPU resources required to make Sora available to all ChatGPT users and developers, OpenAI has not yet rolled it out widely, despite launching it back in December 2024. At Build 2025, Microsoft announced that Sora will be available in Azure AI Foundry starting next week. The company also introduced a new 'Video Playground' section within Azure AI Foundry, where developers can experiment with video generation models like Sora. Developers will be able to customize the aspect ratio, resolution, and duration of the generated videos. Additionally, Sora will be accessible via the Azure OpenAI Service, allowing developers to integrate it into their applications. Microsoft also highlighted that T&Pm, a WPP company, is already using Sora through the Azure OpenAI Service to enhance its workflow. The company is leveraging Sora to easily visualize early concepts and scale big ideas through to production. You can read more such use cases for the Sora API here. Tags Report a problem with article Follow @NeowinFeed

Posted on : May 19, 2025 By Tech World Times General  Rate this post The fitness and social media guru Sam Sulek, in all probability most famous for his physique and workout regimen, has raised eyebrows regarding his towering height. The person in consideration is an impressive 6′ 3″ tall and weighing 205 pounds. His stature performs a significant role in Sulek’s online presence as well as influencing his audience. The Impact of Height on Social Media Influence Heights stretch back through time as a yardstick of perception among societies, affecting how individuals are treated. Height in social media has a bearing on engagement, eroding the credibility of potential influencers shorter than average; tall images are perceived as being more credible and charismatic. Influencers like Sam Sulek may also benefit from height as a distinguishing characteristic upon which they could essentially build their entire brand. Heights can speak to certain audiences who identify or relate to their image, creating a rather loyal following. Physical Presence and Intimidation Factor Certainly, Sulek’s height adds to his great physical presence. He stands tall in the fitness industry, where much importance is given to the physicality of a person. His tall stature adds to his muscular build and gives him an imposing physical presence. Physical intimidation, as mentioned earlier, is an advantage in the fitness industry, which generally regards confidence and strength with great value. Visual Content and Social Media Sulek frequently uses his workout videos and body updates on social media sites, especially YouTube and Instagram, to highlight his height. His height adds a visually appealing element to his material by enabling him to perform poses and exercises that accentuate his physical characteristics. By captivating his audience, this visual component can increase the engagement and shareability of his content. Relatability and Admiration Even though not everyone can relate to Sulek’s height, his followers may be inspired and motivated by it. His success in the fitness industry may be attributed to the fact that many people see his size as a benefit. His audience may feel inspired and motivated by this impression and try to accomplish comparable physical objectives. Brand Partnerships and Influencer Opportunities Sulek’s influencer opportunities and brand partnerships may also be impacted by his height and physical presence. His commanding presence and attractive physique may entice companies to collaborate with him. His online reputation and influence may be further cemented if this results in profitable sponsorship agreements and partnerships. Authenticity and Confidence Despite the possible benefits of his height, Sulek’s self-assurance and genuineness are key components of his online persona. His content demonstrates his confidence and self-assurance, which helps his audience relate to and like him more. With his followers, this genuineness can play a significant role in fostering loyalty and trust. Conclusion To sum up, Sam Sulek’s height plays a significant role in his online persona, impacting his physical attributes, visual content, and brand collaborations. Although it might not be the only element influencing his success, it surely helps to mold his persona and captivate his audience. Sulek’s height will probably continue to be a significant component of his identity and brand as he expands his online presence. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Le président américain, Donald Trump, aux côtés de la première dame, Melania Trump, signe la loi « Take It Down Act », dans la roseraie de la Maison Blanche à Washington, lundi 19 mai 2025. JIM WATSON / AFP Face à un phénomène en pleine croissance, le président américain, Donald Trump, a promulgué, lundi 19 mai, une loi criminalisant le partage sans consentement d’images pornographiques réelles ou créées par l’intelligence artificielle (IA), notamment à des fins de vengeance (le « revenge porn »). Lire aussi | Article réservé à nos abonnés Le nombre de « deepfakes » pornographiques explose du fait des progrès de l’intelligence artificielle Ce texte nommé « Take It Down Act », soutenu par la première dame, Melania Trump, avait été précédemment adopté par le Sénat américain et la Chambre des représentants, où il avait recueilli un large soutien des deux partis. « Il s’agira de la toute première loi fédérale visant à lutter contre la diffusion d’images explicites et fictives sans le consentement de la personne », s’est félicité le président républicain. « Quiconque diffusera intentionnellement des images explicites sans le consentement d’une personne encourra jusqu’à trois ans de prison », a-t-il détaillé, évoquant également des « responsabilités civiles » pour les réseaux sociaux qui hébergent ces images mais « refusent de retirer ces images rapidement ». Les jeunes filles et femmes particulièrement touchées La diffusion non consentie d’images à caractère sexuel, parfois créées grâce au concours de l’IA, est un phénomène qui touche majoritairement les jeunes filles et femmes – dont certaines célébrités comme la chanteuse Taylor Swift ou l’élue du parti démocrate, Alexandria Ocasio-Cortez. Lire aussi | Taylor Swift victime de fausses images pornographiques, l’intelligence artificielle en accusation Avec la popularisation des outils d’IA, la fabrication de ces montages photo ou vidéo hyperréalistes s’est simplifiée et a ouvert la voie à leur utilisation massive à des fins de harcèlement ou d’humiliation, prenant de court les législateurs du monde entier. « Cette législation constitue une étape décisive dans nos efforts pour garantir que chaque Américain, en particulier les jeunes, puisse se sentir mieux protégé contre les atteintes à leur image ou à leur identité par le biais d’images non consenties », a salué Melania Trump aux côtés de son époux, lors d’une rare apparition publique. La première dame, mobilisée sur ce dossier, avait pour l’occasion invité à la Maison Blanche plusieurs jeunes filles victimes de telles pratiques. Parmi elles, une adolescente texane qui avait découvert fin 2023 des montages hyperréalistes (deepfakes) à caractère sexuel d’elle et de plusieurs de ses camarades, fabriqués sans leur consentement par un élève de son collège puis partagés sur le réseau Snapchat. « Les filles ne faisaient que pleurer, et pleurer à ne plus en finir, elles avaient honte », avait à l’époque confié à l’Agence France-Presse (AFP) sa mère, Anna Berry McAdams, qui s’inquiétait que ces images ne resurgissent dans le futur. « Cela pourrait les affecter toute leur vie », alertait-elle, pointant du doigt l’impuissance des victimes à agir et faire défendre leurs droits. Lire aussi | Article réservé à nos abonnés « J’étais sous antidépresseurs, et lui simplement auditionné » : pour les victimes de « revenge porn », un long combat pour obtenir justice Risque de censure Seuls quelques Etats américains, dont la Californie et la Floride, disposaient jusqu’à présent de lois criminalisant la fabrication et la publication de fausses images à caractère sexuel. Cette loi fédérale représente donc un « pas significatif » dans la lutte contre ce phénomène, estime, auprès de l’AFP, Renée Cummings, criminologue et chercheuse en intelligence artificielle à l’université de Virginie. « Mais son efficacité dépendra de sa mise en œuvre rapide et fiable, de sanctions sévères à l’égard des auteurs de ces actes et de son adaptabilité en temps réel face aux menaces numériques émergentes », a-t-elle insisté. Et de prévenir : « Nous devons veiller à ce que les mesures législatives protègent la société et punissent les auteurs, sans pour autant éroder par inadvertance le cryptage ou étouffer l’expression légitime » sur Internet. Lire le décryptage | Article réservé à nos abonnés « Deepfake », un terme imparfait pour une réalité appelée à durer Un risque pointé par plusieurs associations de défense des libertés publiques, qui se sont inquiétées d’un risque de censure. « Si la protection des victimes face à ces invasions odieuses de l’intimité est un but légitime, les bonnes intentions seules ne suffisent pas à faire une bonne loi », a ainsi estimé l’Electronic Frontier Foundation, dénonçant des « définitions vagues et le manque de garde-fous » qui pourraient mener à la censure. Le Monde avec AFP Réutiliser ce contenu

Mercatorio season 4 kicks off on Friday May 16th. The season includes new resources, buildings, products and productions methods. This time it’s especially the forging and textile classes that are expanding. Posted by rune1 on May 14th, 2025 Mercatorio season 4 kicks off on Friday May 16th. The season includes new resources, buildings, products and productions methods. This time it’s especially the forging and textile classes that are expanding. The medieval trade and economy simulator with true markets is getting more products to produce and trade, new places to produce them, more ways to upgrade buildings and new, more intuitive, game mechanics. The Season 4 map Season 4 will take place on a new map, with most of the towns located on the two large landmasses in the south and east. Other than a new geography, the new map contains the new resources tin and silver. Buildings With new resources comes the need for new buildings to mine and process them. Along with some expansion of the production chains for existing products. Updates: Added mines for tin and silver The foundry splits of processing of ores into the new building the smeltery Added alloy smelter for production of bronze from copper and tin Added carding and fulling houses for processing wool and wool cloth Added tapestry weaver Added armoury for production of plate armour Added bell tower upgrades to religious prestige buildings Flax farm upgrade beehives removed (covered by apiary) Pasture fermentory removed (covered by dairy) Product updates Added fleece: wool as cut from the sheep, before carding Added raw cloth: cloth weaved from wool, before fulling Added tapestries: luxurious fabrics weaved from thread and dyed yarn, potentially incorporating silver and gold Added dyed yarn for use in tapestries Added tin ore and ingots Added silver ore Added bronze ingots Added bells Added plate armour Increased unit size for belts to bundles of 5, making storage and transportation easier Reduced premium of dyed cloth over cloth, both production and consumption increased accordingly Renamed light armor to light armour Production chain updates As usual there are many balancing adjustments and updates across all production chains, but as outlined above there are especially two areas that see major changes this time: Smelting and casting have many new production methods with the inclusion of tin, silver and bronze. The new smeltery deals with all ore processing (except iron), while the alloy forge alloys copper and tin into bronze. The foundry retains casting functions, including casting of the new bells. The textile production chain has been reworked by adding additional (optional) carding and fulling steps for wool, as well as reducing throughput of buildings lower in the chain while increasing garments production throughput Prestige and worker bonuses More tenants from prestige Less management points from prestige, making hiring and training apprentices a relatively more important source of management points Additional bonuses at high levels of prestige Specialist worker bonus reduced from 20% to 12% Game mechanics changes Season 4 will also see two significant changes to the game mechanics, relating to production at buildings and operation linked to a warehouse as well as how services and non-durable production function. Sequential operation The buildings and operations linked to a warehouse will now consume and produce products in the order they are listed, with outputs becoming immediately available to the operations coming after them. For durable goods this reduced the required buffer somewhat and gives quicker feedback when adjustments are made. Services are now truly intra-turn Services and non-durable / perishable products generally can’t be stored or transported, but due to the delayed operation of linked buildings previously, the labour from a farmstead would only become usable the turn after it was produced. This is now changing such that produced labour and other services becomes available for use immediately, allowing adjustments to production to take effect as you make them. In the case services are produced for sale, this means the production has to be finalized at the start of the turn instead of the end (remember production and consumption numbers are usually projections of what will take place at the end of the turn), in order to be available at the start-of-turn auction. This is the same concept that is already used for transports, which consume their inputs as they move, not at the end of the turn. How to start playing? Go to Mercatorio.io to play and join the discord server to meet other players, plan strategies and strike deals.

Author It’s not about designer numbers this timeIf I call QueryPerformanceCounter I have to use a large integer. After the call lets say the number that gets stored to that large integer is 68 trilionIf I convert that number to a float it becomes 6.8etc8e+13 does it mean that the precision is lost after conversion? 32 bit is 4 bilion maximum or ten digit number. The numbers that do not get displayed are replaced with 0 or what?Thank you for your time. I was having this discussion with JoeJ initially, I’m learning a lot from what he is posting

Menu Home News Hardware Gaming Mobile Finance Deals Reviews How To Wccftech Mobile Samsung Reportedly Upgrading Galaxy Z Fold 7 And Tri-Fold With Titanium Hinges For Enhanced Durability And Thinness, While Flip 7 Misses Out Ezza Ijaz • May 19, 2025 at 05:29pm EDT While Samsung has quite a lot of products and announcements in store this year, it seems to be that the South Korean tech giant is especially focused on its foldable this year and ensuring they are able to bring back its A-game and give tough competition to others in the foldable space. We have seen varied speculations about the upcoming foldable and what to expect from them, and as we near the unveiling, more leaks give away key information about the fold models. Now, a new report suggests we could see a titanium hinge on the Galaxy Z Fold 7 and the company's first tri-fold phone. Samsung would reportedly now be opting for a titanium hinge upgrade for its Galaxy Z Fold 7 and Galaxy G Fold Samsung seems to be gearing up for its Unpacked event, which will be held in July 2025 and mainly entail the launch of the company's much-anticipated foldable models,, with the focus being on the Galaxy Z Fold 7 and Z Flip 7. We are expecting some major improvements this year, especially with the company promising some significant upgrades. We will also be getting to see more of the tech giant's first tri-fold phone, which could come out as the Galaxy G Fold later in Q4 of 2025. The rumor mill seems to be churning in full swing, and now, new speculation seems to be letting us into a major update. As per a report by The Elec, Samsung will feature a titanium hinge this year on the Galaxy Z Fold 7 and the Galaxy G Fold, but what is surprising is that the Galaxy Z Flip 7 will not be coming with the same upgrade. Samsung has been actively working on improving the form factor of its foldable models. By opting for a titanium hinge on the Galaxy Z Fold 7, the tech giant would be significantly reducing the device's thickness and even making it more durable. Similarly, a triple-display format coming with this upgrade could also help the company's tri-fold truly stand out. It could be that the company is leaving out the Galaxy Z Flip 7 intentionally in order to keep the costs lower for the model and also help differentiate between the company's premium offerings. Previously, Samsung has been opting for stainless steel hinges for its foldable models, but a titanium hinge was used in the Galaxy Z Fold SE last year, and if we see it being continued for the upcoming fold models this year, it could help the company not only improve the model's design but also be a stepping stone in achieving more durability. Subscribe to get an everyday digest of the latest technology news in your inbox Follow us on Topics Sections Company Some posts on wccftech.com may contain affiliate links. We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com © 2025 WCCF TECH INC. 700 - 401 West Georgia Street, Vancouver, BC, Canada

SAG-AFTRA is objecting to the use of AI to recreate the late James Earl Jones’ bass intonations of Darth Vader in Epic Games’ “Fortnite.” The actors union said Epic-owned Llama Productions “chose to replace the work of human performers with AI technology” for the Star Wars-themed Fortnite Battle Royale mini-season that launched last week. “Unfortunately, they did so without providing any notice of their intent to do this and without bargaining with us over appropriate terms.” As such, SAG-AFTRA filed an unfair labor practice charge with the National Labor Relations Board against Llama Productions. Related Stories Reps for Epic Games did not immediately respond to a request for comment. Popular on Variety Jones, who died in 2024 at 93, had signed off an agreement to allow his archival voice recordings to be used to recreate his younger voice from the Star Wars films for future Lucasfilm projects. In addition, Jones’ family had granted permission for the use of his voice in “Fortnite,” according to Disney, Lucasfilm and Epic Games. “James Earl felt that the voice of Darth Vader was inseparable from the story of Star Wars, and he always wanted fans of all ages to continue to experience it,” his family said in a statement. “We hope that this collaboration with ‘Fortnite’ will allow both longtime fans of Darth Vader and newer generations to share in the enjoyment of this iconic character.” But SAG-AFTRA said “Fortnite’s” use of Jones’ AI-generated voice was not cleared by the union. In its statement, the union said, “We celebrate the right of our members and their estates to control the use of their digital replicas and welcome the use of new technologies to allow new generations to share in the enjoyment of those legacies and renowned roles. However, we must protect our right to bargain terms and conditions around uses of voice that replace the work of our members, including those who previously did the work of matching Darth Vader’s iconic rhythm and tone in video games.” Actors repped by SAG-AFTRA have been on strike against several game companies (including Epic’s Llama Productions) since July 16, 2024. In their “best, last and final” offer on a new contract sent to SAG-AFTRA last week, the game companies made concessions with respect to AI. The most significant of these was the removal of a one-time payment option for unlimited pre-generated content per game; with that change, performers who consent to the use of an AI-generated digital replica would receive compensation for that use comparable to what they would have received had they directly provided services. Last week, Darth Vader returned to “Fortnite” as a Battle Royale boss, letting players scheme with the ultimate Sith Lord and speak with him using conversational AI. “Be the first to recruit him and your whole team will be able to take turns talking to the Dark Lord,” Epic said in a May 16 blog post. In “Fortnite,” when players talk to the Darth Vader character, Epic Games “securely processes the voice audio to generate Vader’s responses, but audio and transcriptions of the conversation are not stored,” according to Disney.

The Legal Aid Agency (LAA), a Ministry of Justice-backed civil and criminal legal aid and advice service covering England and Wales, has fallen victim to a cyber attack that appears to have led to the compromise of personal data on anybody who applied for legal aid through its digital service in the past 15 years. The body said it first became aware of a cyber attack on its online digital services – used by legal aid providers to log their work and receive payment from the government – on 23 April 2025. These services were quickly taken offline. Following this, working alongside the National Crime Agency (NCA) and the National Cyber Security Centre (NCSC), the agency’s IT team took action to reinforce security while the wider LAA reached out to the providers affected. The LAA’s investigation initially appears to have shown that only legal aid providers were affected. However, on 16 May, it became apparent that the attackers had dug themselves far deeper into its systems than was first thought and accessed data on legal aid applicants dating back to 2010. This includes not just those facing criminal prosecution, but individuals involved in family law cases, victims of domestic violence, and more. It said the data includes contact details and addresses, birthdates, national ID numbers, criminal history, employment status and financial data. According to the Guardian, the intruders have stated they have accessed 2.1 million data points, although this is not verified. “I understand this news will be shocking and upsetting for people, and I am extremely sorry this has happened,” said LAA CEO Jane Harbottle. Since the discovery of the attack, my team has been working around the clock with the NCSC to bolster the security of our systems so we can safely continue the vital work of the agency Jane Harbottle, Legal Aid Agency “Since the discovery of the attack, my team has been working around the clock with the NCSC to bolster the security of our systems so we can safely continue the vital work of the agency.” She continued: “However, it has become clear that to safeguard the service and its users, we needed to take radical action. That is why we’ve taken the decision to take the online service down. “We have put in place the necessary contingency plans to ensure those most in need of legal support and advice can continue to access the help they need during this time,” said Harbottle. “I am incredibly grateful to legal aid providers for their patience and cooperation at a deeply challenging time.” The agency urged anyone who has applied for legal aid since 2010 to take immediate steps to safeguard themselves. As is frequently the case, the breadth of the data breached makes it useful to fraudsters and scammers involved in downstream cyber crime activity. Should the data be leaked, those affected may see an uptick in suspicious activity such as unsolicited text messages or phone calls. The agency gave no indication as to whether or not it is dealing with a ransomware incident. Toby Lewis, head of threat analysis at Darktrace, said establishing the full facts of what has gone wrong would be the number one priority for the investigators. “The Legal Aid Agency breach represents a significant but not unusual cyber incident facing public services today. Without confirmation of ransomware or system outages, we’re likely looking at either pre-ransomware exfiltration caught early or straightforward data theft. If it’s the latter, this could be as simple as misconfigured cloud storage or as complex as a nation-state operation targeting bulk personal data, similar to previous international government breaches,” he said. “What’s crucial now is determining which scenario we’re dealing with to properly assess the broader implications for government digital security.” Recent UK cyber attacks A cyber attack at Marks & Spencer has caused significant disruption to customers, leaving them unable to make contactless payments or use click-and-collect services. A developing cyber incident at Co-op has forced the retailer to pull the plug on some of its IT systems as it works to contain the attack. Harrods confirms it is the latest UK retailer to experience a cyber attack, shutting off a number of systems in an attempt to lessen the impact.

The south ramp of FIAT’s Lingotto complex is fully in bloom thanks to a new site-specific installation by artists Jennifer Allora and Guillermo Calzadilla. The duo has created Graft (Phantom Tree) for La Pista 500, an art gallery at the former FIAT raceway in Turin, Italy.  Created as the FIAT headquarters and car factory, the Lingotto complex was built in the 1920s by Giacomo Matte-Trucco. After closing its doors in 1982, an architecture competition, won by Renzo Piano, transformed the building into a multi-purpose complex. The restructuring by Renzo Piano took place from 1991 to 2003 over three consecutive phases. The Giovanni and Marella Agnelli Picture Gallery, Pinacoteca Agnelli, opened in 2002. Part of the approximately 30,000 square feet of space includes La Pista 500, an outdoor art project for temporary exhibitions on what once was the car testing track on the Lingotto rooftop.  Graft (Phantom Tree) is one of four new installations on display at La Pista 500. (Sebastiano Pellion di Persano/Courtesy Pinacoteca Agnelli, Torino) Graft (Phantom Tree) was positioned in such a way that it expands on the rooftop garden at the site, teasing the eruption of plantings visitors will find as they journey to the top. The work also draws from horticulture in its title. “Grafting” is a process used to join plants from different species, allowing them to grow together. Additionally, “ghost trees” are trees that have either been removed or never had a chance to grow due to deforestation. Delicately suspended amid the ramp’s industrial helix, Graft (Phantom Tree) is a bright intervention that gently commands the viewer’s gaze. The installation uses recycled polyvinyl castings of blossoms from the roble amarillo, an oak species native to the Caribbean. The artists chose this plant to shed light on the region’s significant loss of biodiversity from the colonial period to the present day. By displacing the flowers from their original place on a tree, the installation becomes a commentary on vanished roots. The plastic flowers are arranged like a tree without its trunk or branches. (Sebastiano Pellion di Persano/Courtesy Pinacoteca Agnelli, Torino) Based in Puerto Rico, Allora & Calzadilla have been active since 1995. Through their practice, the duo uses a wide variety of artistic media to explore interconnectivity between history, ecology, and geopolitics. Works in La Pista 500 feature international artists whose pieces engage with the architectural history, urban context, and surrounding landscape of the site. Allora & Calzadilla, along with three other artists, join installations by Thomas Bayrle, Monica Bonvicini, VALIE EXPORT, Sylvie Fleury, Dominique Gonzalez-Foerster, Marco Giordano, Louise Lawler, Finnegan Shannon, and SUPERFLEX on the Lingotto’s rooftop. Graft (Phantom Tree) will be on display until March 1, 2026.

Austin Russell, who became a billionaire after his lidar startup Luminar went public, appears to be out as CEO, according to the company’s board. Luminar’s board announced Wednesday — the same day of its first-quarter earnings report — it had replaced Russell and appointed Paul Ricci to the role. Ricci is the former chairman and CEO of Nuance. The press release states that Russell resigned as president and CEO and as the chairperson of the board, effective immediately. The board said in the press release the resignation followed a code of business conduct and ethics inquiry for the audit committee of Luminar’s board. Russell will remain on the board and be “available to the incoming Chief Executive Officer on transition and technology matters,” according to the release. A day after the leadership change was announced, board member Jun Hong Heng also resigned, according to a regulatory filing, which stated his decision was not due to any disagreements with the company on any matter relating to the company’s operations, policies or practices. It’s not clear if Russell was forced out or if he resigned willingly. Russell could not be reached for comment. Heng could not be reached for comment. The board did not provide further details of this ethics inquiry except that it “does not impact any of the company’s financial results.” In a further twist, the company’s earnings report and slide presentation makes no mention of the change of leadership. The first-quarter press release even includes an upbeat statement from Russell that outlines the company’s strategy to drive down cost with its new Halo product. “In a world of macro uncertainty and adversity, we’re firing on all cylinders to ramp up production, ramp down costs, and capitalize on the future, as evidenced by our announcements today,” Russell said in the statement. “This kicks off our new operating plan for Luminar with a unified product platform, enabling radical focus and streamlining of the business, as well as unlocking value throughout our organization.” Techcrunch event Join us at TechCrunch Sessions: AI Secure your spot for our leading AI industry event with speakers from OpenAI, Anthropic, and Cohere. For a limited time, tickets are just $292 for an entire day of expert talks, workshops, and potent networking. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW Meanwhile, the press release from the board tells another story. “We are excited to announce Paul as our next CEO,” board member Matt Simoncini said in a statement. “His track record speaks for itself. He is a visionary leader with a rare combination of technical insight and operational excellence. His commitment to innovation, his ability to scale organizations, and his instinct for anticipating where technology is heading make him the ideal person to lead us into our next chapter of growth. The Board has full confidence in his leadership, and we are excited about what lies ahead.” Simonici, who retired as CEO of Lear in 2018, is chair of the board’s audit committee, which also includes Jun Hong Heng, who is the founder and chief investment officer of technology investment firm Crescent Cove Advisers, Evergreen Capital Partners founder Dominick Schiano, and Daniel Tempesta, who served as executive VP and CFO at Nuance.Luminar burst onto the autonomous vehicle scene in April 2017 after operating for years in secrecy. Russell, who was just 22 years old at the time, was thrust into the spotlight and became a Silicon Valley success story. Luminar was founded by Russell in 2012, but it would be years before his company would be known by the public. He worked on the Luminar technology as a Thiel fellow, which gives young people $100,000 over two years to drop out of college and pursue their ideas. In 2021, Luminar merged with special purpose acquisition company Gores Metropoulos Inc., with a post-deal market valuation of $3.4 billion. Luminar raised $250 million prior to the SPAC announcement. This article originally published May 14. It has been updated to include information about a board member resigning.