CloudMinds is an operator of cloud-based systems for cognitive robotics. == History == CloudMinds was founded in 2015 and is backed by SoftBank, Foxconn, Walden Venture Investments, and Keytone Ventures. CloudMinds has developed research in smart devices, robot control, high-speed security networks, and cloud intelligence integration. CloudMinds developed the Mobile Intranet Cloud Services (MCS) based on these technologies in order to increase the information security of the cloud robot remote control. The technology has been applied in the fields of finance, medicine, the military, public safety, and large-scale manufacturing. == U.S. sanctions == In May 2020, CloudMinds was added to the Bureau of Industry and Security's Entity List due to U.S. national security concerns.
Sanchar Saathi
Sanchar Saathi (lit. 'Communication Partner' or 'Communication Companion') is an Indian state-owned app and web portal, operated by the Department of Telecommunications, designed to assist Indian mobile users in tracking and blocking stolen or lost mobile devices. In late 2025, a government order requiring Sanchar Saathi to be pre-installed on all mobile devices sold nationwide, with explicit provisions on preventing users from deleting the app or disabling any of its broad functionalities, triggered widespread backlash. The order was subsequently withdrawn. == Background == The Telecommunications Act 2023 introduced an exceptionally broad definition of the term "telecommunications" and conferred wide-ranging powers on the government. Although the Department of Telecommunications (DoT) assured reporters that this definition would not be used to justify government overreach, a November 2024 amendment to the Telecom Cyber Security Rules expanded it further and introduced the concept of the Telecommunication Identifier User Entity (TIEU), enabling users to be personally identified through their phone numbers. Sanchar Saathi was launched amid a widespread rise in cybercrime and hacking, as part of the Indian government's effort to prevent stolen phones from being used for fraud and to promote a state-backed application. In an official statement, the DoT said, "India has big second-hand mobile device market. Cases have also been observed where stolen or blacklisted devices are being re-sold. It makes the purchaser abettor in crime and causes financial loss to them." == Launch == Sanchar Saathi was originally launched as a web portal in May 2023. It was later launched as a mobile app in January 2025. Describing itself as a "citizen-centric" safety tool, Sanchar Saathi allows users to check a device's IMEI, report and block lost or stolen phones, and flag suspected fraud communications. Under Sanchar Saathi's privacy policy, it can make and manage phone calls, view and send messages, read call logs, access photos and files, access the location and camera of the device in which the app is used, as well as read and write into the device's storage. According to official government data, by December 2025, the Sanchar Saathi app had helped recover more than 700,000 lost and stolen mobile devices across India. Users report around 2,000 fraud incidents through the app each day. == Pre-installation controversy == On 28 November 2025, the Bharatiya Janata Party government, led by prime minister Narendra Modi, privately ordered phone manufacturers, including Apple, Samsung, Xiaomi, Vivo, Oppo, among others, to pre-install the Sanchar Saathi app on new devices sold in the country, alongside mandating that old devices get issued a software update for the installation of the app. The order had a 90-day deadline and further included explicit provisions to ensure that the app is to be "readily visible and accessible to the end users at the time of first use or device setup" and that users should neither be able to delete the app nor disable or restrict any of its broad functionalities. The order caused widespread political backlash. K. C. Venugopal, a general secretary of the main opposition party, the Indian National Congress (or simply the Congress), called the order "beyond unconstitutional" and said, "A pre-loaded government app that cannot be uninstalled is a dystopian tool to monitor every Indian. It is a means to watch over every movement, interaction and decision of each citizen", adding, "Big Brother cannot watch us." Another Congress general secretary, Priyanka Gandhi, termed Sanchar Saathi a "snooping app", and attacked the government for "turning this country into a dictatorship". Uddhav Thackeray, former chief minister of Maharashtra, compared Sanchar Saathi to the Pegasus spyware. Sanjay Hegde, a senior advocate at the Supreme Court of India, said "Here in the garb of security, the intrusion is vast, unfettered, unguided and is totally disproportionate. The app ought to be struck down on that account". The Internet Freedom Foundation (IFF), an Indian digital rights advocacy organisation, said, "Forcing every smartphone to carry a permanent government app for a simple verification task is excessive and violates the Puttaswamy proportionality standard", referring to Puttaswamy v. Union of India, a 2017 landmark decision of the Supreme Court, which asserted that the right to privacy should be protected as a fundamental right. The IFF further said, "For this to work in practice, the app will almost certainly need system level or root level access, similar to carrier or OEM system apps, so that it cannot be disabled. That design choice erodes the protections that normally prevent one app from peering into the data of others, and turns Sanchar Saathi into a permanent, non-consensual point of access sitting inside the operating system of every Indian smartphone user." Moreover, the organisation said that while the app was being "framed as a benign IMEI checker", a server-side update could allow the app to engage in "client side scanning for 'banned' applications, flag VPN usage, correlate SIM activity, or trawl SMS logs in the name of fraud detection. Nothing in the order constrains these possibilities." In reaction to the controversy, Jyotiraditya Scindia, the union minister of communications, said, "There is no snooping or call monitoring", adding, "Obviously you can delete it. There is no problem. This is a matter of customer protection. It is not mandatory. If you don't want to register, and don't want to use the app, don't use it; don't register, and it will lay dormant." Scindia compared the app to other pre-installed mobile apps such as Google Maps, which he said could be deleted if users wished so. However, contrary to Scindia's statement, on many phone brands, such pre-installed apps cannot be deleted, although users can disable them. Furthermore, upon enquiry, Scindia did not clarify whether his remarks applied to the app after the order took effect, making no comment on the provision in the order that would prevent users from deleting the app. When Congress member Renuka Chowdhury submitted an adjournment motion notice in the Rajya Sabha seeking the suspension of all other matters to discuss the Sanchar Saathi issue, Kiren Rijiju, the union minister of parliamentary affairs, accused the opposition of "manufacturing issues" to stall session proceedings. By 2 December, it had been reported that Apple did not plan to comply with the order, citing privacy and security concerns for the iOS ecosystem and the fact that the order would violate its internal policy against the pre-installation of third-party software in iPhones. Although it was clarified that Apple did not intend to take the matter to court or publicly oppose the government, it was said that Apple "can't do this. Period." The order would have also required Google to create a custom version of Android solely for India which would include the Sanchar Saathi app, a requirement described to "not be acceptable to the company". Following the backlash, the order was revoked on 3 December 2025. In a press release, the government said, "Given Sanchar Saathi's increasing acceptance, Government has decided not to make the pre-installation mandatory for mobile manufacturers".
Speech synthesis
Speech synthesis is the artificial production of human speech. A computer system used for this purpose is called a speech synthesizer, and can be implemented in software or hardware products. A text-to-speech (TTS) system converts normal language text into speech; other systems render symbolic linguistic representations like phonetic transcriptions into speech. The reverse process is speech recognition. Synthesized speech can be created by concatenating pieces of recorded speech that are stored in a database. Systems differ in the size of the stored speech units; a system that stores phones or diphones provides the largest output range, but may lack clarity. For specific usage domains, the storage of entire words or sentences allows for high-quality output. Alternatively, a synthesizer can incorporate a model of the vocal tract and other human voice characteristics to create a completely "synthetic" voice output. The quality of a speech synthesizer is judged by its similarity to the human voice and by its ability to be understood clearly. An intelligible text-to-speech program allows people with visual impairments or reading disabilities to listen to written words on a home computer. The earliest computer operating system to have included a speech synthesizer was Unix in 1974, through the Unix speak utility. In 2000, Microsoft Sam was the default text-to-speech voice synthesizer used by the narrator accessibility feature, which shipped with all Windows 2000 operating systems, and subsequent Windows XP systems. A text-to-speech system (or "engine") is composed of two parts: a front-end and a back-end. The front-end has two major tasks. First, it converts raw text containing symbols like numbers and abbreviations into the equivalent of written-out words. This process is often called text normalization, pre-processing, or tokenization. The front-end then assigns phonetic transcriptions to each word, and divides and marks the text into prosodic units, like phrases, clauses, and sentences. The process of assigning phonetic transcriptions to words is called text-to-phoneme or grapheme-to-phoneme conversion. Phonetic transcriptions and prosody information together make up the symbolic linguistic representation that is output by the front-end. The back-end—often referred to as the synthesizer—then converts the symbolic linguistic representation into sound. In certain systems, this part includes the computation of the target prosody (pitch contour, phoneme durations), which is then imposed on the output speech. == History == Long before the invention of electronic signal processing, some people tried to build machines to emulate human speech. There were also legends of the existence of "Brazen Heads", such as those involving Pope Silvester II (d. 1003 AD), Albertus Magnus (1198–1280), and Roger Bacon (1214–1294). In 1779, the German-Danish scientist Christian Gottlieb Kratzenstein won the first prize in a competition announced by the Russian Imperial Academy of Sciences and Arts for models he built of the human vocal tract that could produce the five long vowel sounds (in International Phonetic Alphabet notation: [aː], [eː], [iː], [oː] and [uː]). There followed the bellows-operated "acoustic-mechanical speech machine" of Wolfgang von Kempelen of Pressburg, Hungary, described in a 1791 paper. This machine added models of the tongue and lips, enabling it to produce consonants as well as vowels. In 1837, Charles Wheatstone produced a "speaking machine" based on von Kempelen's design, and in 1846, Joseph Faber exhibited the "Euphonia". In 1923, Paget resurrected Wheatstone's design. In the 1930s, Bell Labs developed the vocoder, which automatically analyzed speech into its fundamental tones and resonances. From his work on the vocoder, Homer Dudley developed a keyboard-operated voice-synthesizer called The Voder (Voice Demonstrator), which he exhibited at the 1939 New York World's Fair. Franklin S. Cooper and his colleagues at Haskins Laboratories built the pattern playback in the late 1940s and completed it in 1950. There were several different versions of this hardware device; only one currently survives. The machine converts pictures of the acoustic patterns of speech in the form of a spectrogram back into sound. Using this device, Alvin Liberman and colleagues discovered acoustic cues for the perception of phonetic segments (consonants and vowels). === Electronic devices === The first computer-based speech-synthesis systems originated in the late 1950s. Noriko Umeda et al. developed the first general English text-to-speech system in 1968, at the Electrotechnical Laboratory in Japan. In 1961, physicist John Larry Kelly, Jr and his colleague Louis Gerstman used an IBM 704 computer to synthesize speech, an event among the most prominent in the history of Bell Labs. Kelly's voice recorder synthesizer (vocoder) recreated the song "Daisy Bell", with musical accompaniment from Max Mathews. Coincidentally, Arthur C. Clarke was visiting his friend and colleague John Pierce at the Bell Labs Murray Hill facility. Clarke was so impressed by the demonstration that he used it in the climactic scene of his screenplay for his novel 2001: A Space Odyssey, where the HAL 9000 computer sings the same song as astronaut Dave Bowman puts it to sleep. Despite the success of purely electronic speech synthesis, research into mechanical speech-synthesizers continues. Linear predictive coding (LPC), a form of speech coding, began development with the work of Fumitada Itakura of Nagoya University and Shuzo Saito of Nippon Telegraph and Telephone (NTT) in 1966. Further developments in LPC technology were made by Bishnu S. Atal and Manfred R. Schroeder at Bell Labs during the 1970s. LPC was later the basis for early speech synthesizer chips, such as the Texas Instruments LPC Speech Chips used in the Speak & Spell toys from 1978. In 1975, Fumitada Itakura developed the line spectral pairs (LSP) method for high-compression speech coding, while at NTT. From 1975 to 1981, Itakura studied problems in speech analysis and synthesis based on the LSP method. In 1980, his team developed an LSP-based speech synthesizer chip. LSP is an important technology for speech synthesis and coding, and in the 1990s was adopted by almost all international speech coding standards as an essential component, contributing to the enhancement of digital speech communication over mobile channels and the internet. In 1975, MUSA was released, and was one of the first Speech Synthesis systems. It consisted of a stand-alone computer hardware and a specialized software that enabled it to read Italian. A second version, released in 1978, was also able to sing Italian in an "a cappella" style. Dominant systems in the 1980s and 1990s were the DECtalk system, based largely on the work of Dennis Klatt at MIT, and the Bell Labs system; the latter was one of the first multilingual language-independent systems, making extensive use of natural language processing methods. Handheld electronics featuring speech synthesis began emerging in the 1970s. One of the first was the Telesensory Systems Inc. (TSI) Speech+ portable calculator for the blind in 1976. Other devices had primarily educational purposes, such as the Speak & Spell toy produced by Texas Instruments in 1978. Fidelity released a speaking version of its electronic chess computer in 1979. The first video game to feature speech synthesis was the 1980 shoot 'em up arcade game, Stratovox (known in Japan as Speak & Rescue), from Sun Electronics. The first personal computer game with speech synthesis was Manbiki Shoujo (Shoplifting Girl), released in 1980 for the PET 2001, for which the game's developer, Hiroshi Suzuki, developed a "zero cross" programming technique to produce a synthesized speech waveform. Another early example, the arcade version of Berzerk, also dates from 1980. The Milton Bradley Company produced the first multi-player electronic game using voice synthesis, Milton, in the same year. In 1976, Computalker Consultants released their CT-1 Speech Synthesizer. Designed by D. Lloyd Rice and Jim Cooper, it was an analog synthesizer built to work with microcomputers using the S-100 bus standard. Synthesized voices typically sounded male until 1990, when Ann Syrdal, at AT&T Bell Laboratories, created a female voice. Ray Kurzweil predicted in 2005 that as the cost-performance ratio caused speech synthesizers to become cheaper and more accessible, more people would benefit from the use of text-to-speech programs. === Artificial intelligence === In September 2016, DeepMind released WaveNet, which demonstrated that deep learning models are capable of modeling raw waveforms and generating speech from acoustic features like spectrograms or mel-spectrograms, starting the field of deep learning speech synthesis. Although WaveNet was initially considered to be computationally expensive and slow to be used in consumer products at the time, a year after its
Evolutionary acquisition of neural topologies
Evolutionary acquisition of neural topologies (EANT/EANT2) is an evolutionary reinforcement learning method that evolves both the topology and weights of artificial neural networks. It is closely related to the works of Angeline et al. and Stanley and Miikkulainen. Like the work of Angeline et al., the method uses a type of parametric mutation that comes from evolution strategies and evolutionary programming (now using the most advanced form of the evolution strategies CMA-ES in EANT2), in which adaptive step sizes are used for optimizing the weights of the neural networks. Similar to the work of Stanley (NEAT), the method starts with minimal structures which gain complexity along the evolution path. == Contribution of EANT to neuroevolution == Despite sharing these two properties, the method has the following important features which distinguish it from previous works in neuroevolution. It introduces a genetic encoding called common genetic encoding (CGE) that handles both direct and indirect encoding of neural networks within the same theoretical framework. The encoding has important properties that makes it suitable for evolving neural networks: It is complete in that it is able to represent all types of valid phenotype networks. It is closed, i.e. every valid genotype represents a valid phenotype. (Similarly, the encoding is closed under genetic operators such as structural mutation and crossover.) These properties have been formally proven. For evolving the structure and weights of neural networks, an evolutionary process is used, where the exploration of structures is executed at a larger timescale (structural exploration), and the exploitation of existing structures is done at a smaller timescale (structural exploitation). In the structural exploration phase, new neural structures are developed by gradually adding new structures to an initially minimal network that is used as a starting point. In the structural exploitation phase, the weights of the currently available structures are optimized using an evolution strategy. == Performance == EANT has been tested on some benchmark problems such as the double-pole balancing problem, and the RoboCup keepaway benchmark. In all the tests, EANT was found to perform very well. Moreover, a newer version of EANT, called EANT2, was tested on a visual servoing task and found to outperform NEAT and the traditional iterative Gauss–Newton method. Further experiments include results on a classification problem.
Theaitre
Theaitre (stylized as THEaiTRE) is an interdisciplinary research project investigating to what extent artificial intelligence is able to generate theatre play scripts. The first theatre play produced within the project, AI: When a Robot Writes a Play, premiered online on February 26, 2021. == Goal == Following similar previous projects such as Sunspring, a short sci-fi movie with an automatically generated script, the THEaiTRE project investigates whether current language generation approaches are mature enough to generate a theatre play script that could be successfully performed in front of an audience. The project falls within the area of generative art, famously represented e.g. by the portrait of Edmond de Belamy which was generated by an artificial neural network. In this field, artists are trying to use automated techniques to create "art", questioning the modern definition of art itself. More broadly, the project aims at promoting cooperation rather than competition of humans and artificial intelligence as the more beneficial approach for both. The first theatre play created within the project, titled AI: When a Robot Writes a Play, was presented in February 2021 at the 100th anniversary of the premiere of the R.U.R. theatre play by the Czech author Karel Čapek to celebrate the invention of the word "robot". While R.U.R. was a play written by a human about robots (and humans), THEaiTRE tried to reverse this idea by presenting a play written by a "robot" (artificial intelligence) about humans (and robots). The script of the play was published online, with marked parts of the text which were written manually or manually post-edited. The analysis shows that 90% of the script is automatically generated, with 10% manually written or manually post-edited. The project also plans to produce a second play in 2022, addressing some of the many shortcomings of the approach used to generate the first play, as well as attempting to further minimize the amount of human influence on the script. == Approach == At the core of the project is the GPT-2 language model by OpenAI with various adjustments motivated by the task of generating theatre play scripts, for which the model is not particularly trained. The GPT-2 model is used in the usual way, providing it with a start of a document and prompting it to generate a continuation of the document. Specifically, the input for GPT-2 in this project is typically a short description of the scene setting, followed by a few lines to introduce the characters and start the dialogue. The model then generates 10 continuation lines, and hands control to the user, who can then either ask the model to continue generating, or make various edits before letting the model to generate further, deleting some parts of the script or adding new lines into the script. The adjustments include restricting the generator to only produce lines pertaining to characters appearing in the input prompt, limiting the repetitiveness of the generated text, and employing automatic summarization of the input prompt and the generated text to overcome the limitation of the GPT-2 model which only attends to the last 1,024 subword tokens. The limitations of the model include, among other, a lack of distinctiveness and self-consistency of the characters, an inability to generate the script for the whole play (scripts for individual scenes are generated independently), and errors due to the employment of automated machine translation, as GPT-2 generates English texts but the final play script is being produced in Czech language. The source codes of the project are available under the MIT licence. The project has also published some sample outputs. == Team == The project is a cooperation of the following experts, all based in Prague, Czech Republic: computational linguists from the Faculty of Mathematics and Physics, Charles University theatre experts from the Švanda Theatre and from the Theatre Faculty of the Academy of Performing Arts in Prague hackers from CEE Hacks The project is financially supported by the Technology Agency of the Czech Republic.
Synthesia (company)
Synthesia Limited is a British multinational artificial intelligence company based in London, United Kingdom. It is a synthetic media-generation software developer and creator of AI-generated video content, including audio-visual agents and cloned avatars. Britain's largest generative-AI firm, it is used by 70% of FTSE 100 and over 90% of Fortune 100 companies. == Overview == Synthesia is most often used by corporations for localized communication, orientation, employee training videos, advertising campaigns, reporting, product demonstrations, customer service, and to create chatbots. Its software algorithm mimics speech and facial movements based on video recordings of an individual’s speech and facial expressions. From this, a text-to-speech video is created to look and sound like the individual. Swiss bank UBS incorporated Synthesia AI-powered avatars of their human financial experts, for instance, in 2025. Users create content via the platform's pre-generated AI presenters or by creating digital representations of themselves, or personal avatars, using the platform's AI video editing tool. These avatars can be used to narrate videos generated from text. As of August 2021, Synthesia's voice database included multiple gender options in over 60 languages. Its free voice library doubled by 2025, to 140 languages and accents, and its Express-Voice technology can clone a user's own voice, or generate a synthetic one. === Deepfakes === The platform prohibits use of its software to create non-consensual clones, including of celebrities or political figures for satirical purposes. Explicit consent must be provided in addition to a strict pre-screening regimen for use of an individual's likeness to avoid “deepfaking”. While the company prohibits use of its technology for misinformation or "news-like content", an October 2023 Freedom House report stated that Synthesia tools had been used by governments in Venezuela, China, Burkina Faso, and Russia to create videos of fake TV news outlets with AI-generated avatars in order to spread propaganda. Actor Dan Dewhirst signed a contract with the company in 2021, becoming one of the first actors whose likeness would be made into an AI avatar, finding his likeness used in the Venezuelan generated-videos. The company stated, in February 2024, that it had improved its misuse detection systems, and, in April 2024, that new users of its technology are screened by the company, and content employing it is further vetted by Synthesia moderators. == History == Synthesia's software utilizes deep learning architecture developed by Lourdes Agapito and Matthias Niessner. The company was co-founded in 2017 by Agapito, Niessner, Victor Riparbelli, and Steffen Tjerrild. In 2018, the company first demonstrated the software's capabilities on the BBC programme Click when it presented a digitization of Matthew Amroliwala speaking Spanish, Mandarin, and Hindi. Through Synthesia's first two years of existence, it employed 10 people and struggled to make sales, leading to an expansion of the company's focus. It moved on from just targeting entertainment studios to a variety of businesses. In 2020, Synthesia users were reported to include Amazon, Tiffany & Co. and IHG Hotels & Resorts. In January 2024, the company introduced its AI video assistant, which turns text-to-video. That April, with a reported 55,000 customers, including half of the Fortune 100, Synthesia launched "expressive avatars". That September, an enhanced dubbing feature was launched, to translate video in 30 languages with naturalized lip-syncing. Peter Hill joined Synthesia as CTO in January 2025, following 25 years at Amazon, and two years as CEO and CPO of Wildfire Studios. That March, a million dollar base of shares was formed to furnish human actors, employed to generate digital avatars, with company stock, which all of its employees hold. By June of that year, 150,000 individuals from among Synthesia's 65,000 customers had created AI-generated avatars of themselves. In July 2025, the company's new global headquarters at Regent’s Place was opened by London mayor Sadiq Khan, who described Britain's largest generative-AI company, then valued at over $2 billion, as a "London success story". By that October, its technology was employed by 90% of the Fortune 100, and Synthesia 3.0 was launched, with hyper-realistic digital avatars equipped with AI-powered dubbing and translation, and a built-in video assistant. In January 2026, it reached a $4 billion valuation, with 70% of FTSE 100 companies noted among its customers. === Funding === The company raised $3.1 million in seed funding in 2019. In April 2021, the company raised $12.5 million in Series A funding. In December 2021, it raised $50 million in a Series B funding round led by Kleiner Perkins and GV (then Google Ventures). Synthesia gained a total valuation of $1 billion, and achieved unicorn status, when it raised $90 million from Accel and Nvidia partnership NVentures, in June 2023, during its Series C funding round. Counting 60,000 customers by January 2025, including over 60% of Fortune 100 companies; the company raised $180 million in a Series D round led by NEA, with new investors World Innovation Lab (WiL), Atlassian Ventures and PSP Growth, as well as existing investors GV, MMC Ventures and FirstMark, doubling Synthesia's valuation to $2.1 billion. Capital raised by 2025 had reached $330 million, with investments slated to further product innovation, talent growth, and company expansion in North America, Europe, Japan and Australia. In April 2025, Adobe Inc. invested £10 million in the company for a strategic partnership. Synthesia subsequently rejected a $3 billion acquisition offer from Adobe, choosing to remain independent. With a revenue stream then exceeding $100 million annually; GV led a Series E funding round in October 2025, resulting in Synthesia's $4 billion valuation, raising $200 million from GV, Nvidia and Accel to develop, in 2026, interactive audio-visual avatar "agents" that converse on topic, for automated sales training and corporate communications, such as recruiting. == Recognition == In 2021, Synthesia partnered with Lay's to create the Messi Messages campaign featuring Argentine footballer Lionel Messi. Users created personalized messages with Synthesia's software and sent custom artificial reality video messages from Messi based on their text input. The campaign received a Cannes Lion Award under the Bronze category. In February 2025, UK Science and Technology Minister Peter Kyle commended Synthesia's "pioneering generative AI innovations."
AI Snake Oil
AI Snake Oil: What Artificial Intelligence Can Do, What It Can't, and How to Tell the Difference is a 2024 non-fiction book written by scholars Arvind Narayanan and Sayash Kapoor. It is a critique of the tech industry's overly inflated promises and capabilities of artificial intelligence (AI) as well as a debunking of the flawed science fueling AI hype while attempting to outline both the potential positives and negatives that come with different modes of the technology. == Contents == === Publication === The book was published in September 2024 by the Princeton University Press. AI Snake Oil consists of 360 pages and features eight chapters, and sections for acknowledgements, references, and an index. An updated edition with a new preface and epilogue by the authors was published in September 2025. The authors use the term "AI snake oil" derived from the U.S. idiom for a fraudulent remedy, to describe overhyped AI systems. === Chapter one: Introduction === Narayanan and Kapoor argue that many individuals do not yet have the literacy to detect functioning aspects of AI compared to potential snake oil, which they identify as "AI that does not and cannot work as advertised". Some of the major examples utilized by the authors include Allstate's 2013 use of predictive AI, as well as the concern surrounding actors and AI attempting to replicate or use their likeness. Important discussions regarding discrimination are brought up and explored in the first chapter, including the false arrests of six Black individuals due to errors with AI facial recognition tools. The chapter concludes with a comparison to the Industrial Revolution, where Narayanan and Kapoor highlight the extensive human labour that is necessary for artificial intelligence technologies to function. === Chapter two: How Predictive AI Goes Wrong === Chapter two focuses on predictive artificial intelligence, and criticizes the overestimation of the capabilities of the technology. === Chapter three: Why Can't AI Predict the Future? === Chapter three works to inform the reader about the history of early computational prediction attempts, with examples from companies like Simulatics. === Chapter four: The Long Road to Generative AI === The fourth chapter goes in more in-depth in explorations of generative AI. Generative AI software examples include ChatGPT, Midjourney, and DALL-E. The section begins with a positive example of generative AI. As the chapter progresses, the authors begin to provide examples of harm produced by generative AI, including the suicide of a Belgian man after connecting with Chai, a generative chatbot. Issues of deepfakes and preservation of artistic property are also discussed. The use of generative AI to create non-consensual pornographic deepfake content is discussed in relation to female celebrities. === Chapter five: Is Advanced AI an Existential Threat? === The fifth chapter draws attention the AGI, or Artificial General Intelligence. The authors describe AGI as "AI that can perform most or economically relevant tasks as effectively as any human". They summarize that many contributors to the field of artificial intelligence believe AGI to be an impending threat that demands attention. However, they argue that the perceived threat of AGI would only exist if the technology continually functioned reliably. In order to better illustrate the hype surrounding AGI, Narayanan and Kapoor use the Ladder of Generality, which is described as a visual tool in which "each rung represents a way of computing that is more flexible, and more general, than the previous one". They note that we are not yet aware of the next rungs on the ladder, or if the ladder will eventually result in a dead end. The rungs that have been identified so far are as follows: (0, or floor) special purpose hardware, (1) programmable computers, (2) stored program computers, (3) machine learning, (4) deep learning, (5) pretrained models, and, finally, (6) instruction-tuned models. The potential for future rungs and what those rungs might be are currently undetermined. The chapter also discusses the ELIZA effect, which Lawrence Switzky discusses in his article "ELIZA Effects". Switzky attributes the coined term ELIZA Effect to Sherry Turke, who defined it as "our more general tendency to treat responsive computer programs as more intelligent than they really are". === Chapter six: Why Can't AI Fix Social Media? === The sixth chapter focuses on content moderation, why it is important, and how it has been and could be affected by artificial automation. The first issue raised in regard to AI-driven content moderation is the inability for computers and machines to understand context and nuance, resulting in potential for discriminatory moderation and shadow banning. While they note that there are issues with automating content moderation, Narayanan and Kapoor also highlight the psychological impact on human content moderators and their labour. They indicate the hidden labour behind moderation, which is often outsourced to less developed countries, where labourers sort through potentially traumatizing content for pay. However, the discussion focuses more heavily on why automated moderation can be problematic, including discriminatory algorithms and lack of nuance. To balance their argument, issues of discrimination and bias are also discussed in relation the human content moderators. To automate moderation, there are two types of AI used, which are fingerprint matching and machine learning. === Chapter seven: Why Do Myths about AI Persist? === The seventh chapter outlines possible factors that contribute to hype surrounding AI. Narayanan and Kapoor explain how companies often promote their new AI models without properly disclosing how the model works, and what it is learning from. They attribute hype to several different groups, including journalists, researchers, and companies. They explain the impact of companies and the misplaced hype that they spread can be attributed to greed and a desire to grow corporate funds. For journalists, one of the stated sources of hype, they argue that news media has a tendency to prioritize financial incentives over validity and quality of writing. As well, Narayanan and Kapoor point out the emergence of company statement regurgitation in news media, leading to clickbait. Hype from researchers is potentially linked to lack of reproducibility in studies as well as leakage, which occurs when AI models are tested on their training data. === Chapter eight: Where do we go from here? === The final chapter, chapter eight, turns its attention to the future. The authors express their ideas and predictions for how the technology will evolve and be utilized in the upcoming years. == Authors == Author Narayanan is a computer science professor at Princeton University. Kapoor is a doctoral candidate at the same university, and both scholars are located at the Center for Information Technology at Princeton. In 2023, Narayanan and Kapoor appeared on the TIME100 Artificial Intelligence list, which features influential figures in the field. == Reception == Nature, a science and technology peer-reviewed journal, released an article highlighting the top "10 essential reads from the past year", listing Arvind Narayanan and Sayash Kapoor's AI Snake Oil. The article states the that text is "one of the best on this controversial subject". Elizabeth Quill, in her review of the text in Science News, writes that the authors "squarely achieve their stated goal: to empower people to distinguish AI that works well from AI snake oil". Joshua Rothman of The New Yorker writes that "compared with many technologists, Narayanan, Kapoor, and Vallor [Shannon Vallor, University of Edinburgh], are deeply skeptical about today's A.I. technology and what it can achieve. Perhaps they shouldn't be". Rothman argues, following an interview with prominent computer scientist Geoffrey Hinton of University of Toronto, that the potential for AI to replicate complexity is already here and continues to be heavily funded, enhancing the prospective capabilities of the technology. However, he does praise the author's ability to address questions regarding the existential human experience. Alexya Martinez discusses the text in a book review for Journalism and Mass Communication Quarterly, critiquing AI Snake Oil for its extensive focus on the West. Martinez writes that Narayanan and Kapoor "do not fully explore how AI impacts other countries", and suggests more focus on countries outside of the United States to enhance their argument.