Google Clips is a discontinued miniature clip-on camera device developed by Google. == History == It was announced on October 4, 2017 and went on sale on January 27, 2018. Google Clips automatically captured video clips (without audio) at moments its machine learning algorithms determined to be interesting or relevant. An indicator flashed when the camera was looking for scenes to capture. Google Clips' artificial intelligence (AI) could learn the faces of people to take photographs with certain people, and could automatically set lighting and framing. It had 16 GB of storage built-in storage and could record clips for up to 3 hours. This camera was originally priced at US$249 in the United States. It was withdrawn from sale on October 15, 2019, but supported until the end of December 2021. == Reception == The Independent wrote that Google Clips is "an impressive little device, but one that also has the potential to feel very creepy." According to The Verge's generally negative review, "it didn't capture anything special" over two weeks of testing.
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
Rohit Chadda
Rohit Chadda (born 26 August 1982) is an Indian investment banker and entrepreneur, who is the President & COO of Times Network. He leads the tech business portfolio and AI transformation of Times Group covering verticals like media tech, OTT, fintech, health tech, edu tech, ecommerce, gaming and sports. Previously, CEO of the digital business at Essel Group (Zee Entertainment, Zee Media and DNA), he was the co-founder of online food ordering platform Foodpanda. He is also the founder of omni-channel digital payments platform PayLo. He has been attributed for the turnaround of Zee Digital driving 4x growth in 2 years and bringing Zee's digital business to the second position on ComScore from ninth position making Zee the second largest digital media group in India. He has been featured among Top Tech CEOs of the decade (2010–2020) in India and was featured among Fortune 40 under 40 in 2015. == Education and early career == Chadda graduated from Delhi Technological University (formerly Delhi College of Engineering) with a degree in computer engineering and worked as a software engineer for Computer Sciences Corporation. In 2007 he joined Indian Institute of Management Calcutta to do his MBA after which he worked at Merrill Lynch as an investment banker in United Kingdom. He took an internal transfer to India in 2011. == Career == === Foodpanda === Chadda began his career in 2012 when he co-founded foodpanda. foodpanda expanded to around 40 countries before being bought by Delivery Hero. Before foodpanda got popular, he joked that he delivered pizza for a living. foodpanda had raised a total investment of over US$300 million till 2015. Chadda in the middle of 2015 stepped down from day-to-day responsibilities at Foodpanda to launch his digital payments startup. Foodpanda was acquired by its global competitor Delivery Hero in 2016. === Paylo === In 2015, he launched an omni-channel digital payments platform PayLo which acquired the in-restaurant payments app Ruplee in March 2016 for an undisclosed sum. PayLo was successful in the wake of demonetisation in India and expanded pan-India before being acquired by Immortal Technologies. Chadda believes that execution is more important than the idea to make a startup successful and the key challenge for experienced professionals to work in a startup environment is to unlearn what they have previously learned. PayLo acquired Ruplee before being itself acquired by Immortal Technologies. === Zee Group === Chadda took over as CEO of digital publishing of Zee Group in May 2019. Since 2017, he had led global product and strategy for Zee Group launching ZEE5, the flagship OTT of Zee Entertainment, across 170+ countries. Since June 2019, Zee Digital, the online arm of the Zee group, has registered the highest growth year-on-year among the top media publishers in India. Times Internet Limited, Network 18 Group, and India Today Group have grown by 45%, 21%, and 22% respectively from June 2020 over June 2019 while Zee Digital witnessed a growth of 123% over the same period. Zee Digital achieved its first milestone in September 2019 by crossing 100 million unique monthly visitors and was ranked 6th in the news and information category on ComScore India rankings at the time. Later in the month of March 2020 it crossed 150 million unique monthly visitors mark moving to 4th position. Further in May 2020 Zee Digital moved to 3rd position by crossing 185 million unique monthly visitors mark before finally ranking 2nd position in June 2020 in the ComScore rankings among all digital media groups in India. Chadda has led the transformation of the business of Zee Digital by scaling it to over 200 million users from 60 million users making it the second-largest digital media group in India. He attributes the growth from rank 9 to rank 2 in one year to the data and technology driven approach to content and the focus on vernacular languages. During his tenure, Zee Digital launched 8 new brand websites and 3 new languages to expand the product portfolio to 20 brands and 12 languages. During the US elections in November 2020, Zee Digital launched the English global news channel WION through a digital first approach across Asia Pacific, Middle East, UK and North America. Chadda launched Zee's UGC short video platform HiPi in the midst of the TikTok ban in India. Hipi was first launched within ZEE5 app ecosystem to capitalise on the reach of the OTT platform. After the success of the POC, he launched a standalone app for HiPi. HiPi is a short video platform that provides a complete video creation ecosystem along with news avenues of monetisation to content creators. He plans to use Zee's network reach of 600 million broadcast viewers and 300 million digital users to get creators on HiPi. HiPi launched India's first digital star hunt to allow users to audition for ZEE5 original shows through the short video platform. === Times Group === Chadda took over as President & COO of Times Network in September 2022. Leading the digital transformation of the group Chadda launched 11 new products in 18 months expanding the group's presence to various verticals in the tech business like fintech, health tech, edu tech, auto tech, OTT, ecommerce and gaming while extending the news vertical into business news, tech news and various vernacular languages. Within 4 months of his stint, in January 2023 he launched the digital platform for ET Now, targeting Gen Z, early jobbers and first time investors and laying the foundation for the fintech expansion for the brand. Since then, the product has expended to Hindi language targeting the larger Indian audience through the launch of ET Now Swadesh and further expanding to fintech business by launching ET Now Advisor, a distribution business focussing to upselling of cards, loans etc. to consumers by educating them and enabling them to make the right choices. ET Now reached 10 million users within the first 20 days of launch and became the No.1 business news channel on YouTube with 200 million views in April and May 2024. Expanding to health-tech, he launched AI powered daily health companion Health & Me in the presence of actor & fitness enthusiast Milind Soman. Chadda unveiled the auto-tech platform for Times Drive together with Union Minister of Road Transport and Highways, Nitin Gadkari showcasing the AI assisted platform that helps consumers make the right decisions when it comes to their automotive needs. In order to expand the group's presence into tech and gaming, Chadda acquired India's largest and most popular tech magazine Digit along with their digital platforms Digit.in and Skoar.gg in June 2024. Within a year, he was able to turnaround Digit's business with Digit.in becoming the No.1 Tech news platform in India in April 2025. Times Network launched college discovery platform unilist.in to enable students and parents search for the right course and institute for their higher education needs. With a focus on sports and gaming, Chadda launched India's first Inter-college esports championship under the brand of SKOAR College Gaming Championship. Times Network launched its OTT app Times Play under his leadership. The platform expanded its presence in the US through a partnership with Sling TV. He launched Pickleball Now which is the World's first TV channel focussed on the sport of Pickleball covering tournaments and leagues across the World. The channel has presence on TV and digital platforms and is being distributed to global markets through partnerships with BOTIM, Distro TV, Yupp TV and Rumble. In India, the channel is available on Jio TV, Jio TV+, Airtel Xtream Play, OTT Play, Dailyhunt. Times Group has launched India's Official Pickleball League affiliated with Indian Pickleball Association and Global Pickelball Federation which shall also be streamed live on Pickleball Now from 1st to 7th Dec 2025. === Investing and speaking === Chadda is a mentor at Esselerator, a Startup accelerator by Subhash Chandra Foundation. Esselerator is an initiative by Subhash Chandra, a billionaire Media baron, to promote and support tech entrepreneurs in domains like Media, Fintech and Education. Its powered by TiE Mumbai. Chadda is an angel investor in multiple technology startups like online school aggregator platform SchoolForSure.com. In 2019, he spoke at DPS to students on starting a business. At the time he remained CEO of Zee group's digital business division. == Philanthropy == Chadda organised a £1 mliion charity bike ride in aid of the British Asian Trust which saw participation by the Prince of Wales. Chadda presented the Prince of Wales with a cycling vest, which was said to be for his grandchildren. Chadda supports a non-profit organisation Mukkamaar founded by Bollywood actress Ishita Sharma that works towards fighting crime against women by teaching free self defence to young girls. He is helping the organisation launch their digital program through a WhatsApp-based chatbot. == A
Vilém Flusser
Vilém Flusser (May 12, 1920 – November 27, 1991) was a Czech-born Brazilian philosopher, writer and journalist, best known for his contributions to media studies, communication theory, and the philosophy of language. He lived for a long period in São Paulo (where he became a Brazilian citizen) and later in France, and his works are written in many different languages. His early work was marked by discussion of the thought of Martin Heidegger, and by the influence of existentialism and phenomenology. Phenomenology would play a major role in the transition to the later phase of his work, in which he turned his attention to the philosophy of communication and of artistic production. He contributed to the dichotomy logic theory through history: the period of image worship, and period of text worship, with deviations consequently into idolatry and "textolatry". == Life == Flusser was born in 1920 in Prague, Czechoslovakia into a family of Jewish intellectuals. His father, Gustav Flusser, studied mathematics and physics (under Albert Einstein among others). Vilém attended German and Czech primary schools and later a German grammar school. In 1938, Flusser started to study philosophy at the Juridical Faculty of the Charles University in Prague. In 1939, shortly after the Nazi occupation, Flusser emigrated to London (with Edith Barth, his later wife, and her parents) to continue his studies for one term at the London School of Economics and Political Science. Vilém Flusser lost all of his family in the German concentration camps: his father died in Buchenwald in 1940; his grandparents, his mother and his sister were brought to Theresienstadt and later to Auschwitz where they were killed. The next year, he emigrated to Brazil, living both in São Paulo and Rio de Janeiro. He started working at a Czech import/export company and then at Stabivolt, a manufacturer of radios and transistors. In 1960 he started to collaborate with the Brazilian Institute of Philosophy (IBF) in São Paulo and published in the Revista Brasileira de Filosofia; by these means he seriously approached the Brazilian intellectual community. Flusser had as his friend and closest interlocutor the Brazilian philosopher Vicente Ferreira da Silva. Flusser and Vicente Ferreira da Silva met in São Paulo in the 1960s and began a close intellectual dialogue that continued until Ferreira da Silva's death in 1963. Flusser wrote several essays on Ferreira da Silva's work and that Ferreira da Silva's concept of "Fundamental ontology” had a significant impact on Flusser's understanding of the nature of reality. During the 60s Flusser published and taught at several schools in São Paulo, being Lecturer for Philosophy of Science at the Escola Politécnica of the University of São Paulo and Professor of Philosophy of Communication at the Escola Dramática and the Escola Superior de Cinema in São Paulo. He also participated actively in the arts, collaborating with the Bienal de São Paulo, among other cultural events. Beginning in the 1950s he taught philosophy and worked as a journalist, before publishing his first book Língua e realidade (Language and Reality) in 1963. In 1972 he decided to leave Brazil. Some say it was because it was becoming difficult to publish because of the military regime. Others dispute this reason, since his work on communication and language did not threaten the military. In 1970, when a reform took place at the University of São Paulo by the Brazilian military government, all Lecturers of Philosophy (members of the Department of Philosophy) were dismissed. Flusser, who taught at the Engineering School (Escola Politécnica), had to leave the university as well. In 1972 he and his wife Edith settled temporarily in Merano (Tyrol). Further short stays in various European countries followed until they moved to Robion in southern France in 1981, where they remained until Flusser's death in 1991. To the end of his life, he was quite active writing and giving lectures around media theory and working with new topics (Philosophy of Photography, Technical Images, etc.). He died in 1991 in a car accident near the Czech–German border, while trying to visit his native city, Prague, to give a lecture. Vilém Flusser is the cousin of David Flusser. == Philosophy == Flusser's essays are short, provocative and lucid, with a resemblance to the style of journalistic articles. Critics have noted he is less a 'systematic' thinker than a 'dialogic' one, purposefully eclectic and provocative (Cubitt 2004). However, his early books, written in the 1960s, primarily in Portuguese, and published in Brazil, have a slightly different style. Flusser's writings relate to each other, however, which means that he intensively works over certain topics and dissects them into a number of brief essays. His main topics of interest were: epistemology, ethics, aesthetics, ontology, language philosophy, semiotics, philosophy of science, the history of Western culture, the philosophy of religion, the history of symbolic language, technology, writing, the technical image, photography, migration, media and literature, and, especially in his later years, the philosophy of communication and of artistic production. His writings reflect his wandering life: although the majority of his work was written in German and Portuguese, he also wrote in English and French, with scarce translation to other languages. Because Flusser's writings in different languages are dispersed in the form of books, articles or sections of books, his work as a media philosopher and cultural theorist is only now becoming more widely known. The first book by Flusser to be published in English was Towards a Philosophy of Photography in 1984 by the then new journal European Photography, which was his own translation of the work. The Shape of Things, was published in London in 1999 and was followed by a new translation of Towards a Philosophy of Photography. Flusser's archives have been held by the Academy of Media Arts in Cologne and are currently housed at the Berlin University of the Arts. === Philosophy of photography === Writing about photography in the 1970s and 80s, in the face of the early worldwide impact of computer technologies, Flusser argued that the photograph was the first in a number of technical image forms to have fundamentally changed the way in which the world is seen. Historically, the importance of photography had been that it introduced nothing less than a new epoch: 'The invention of photography constitutes a break in history that can only be understood in comparison to that other historical break constituted by the invention of linear writing.' Whereas ideas might previously have been interpreted in terms of their written form, photography heralded new forms of perceptual experience and knowledge. As Flusser Archive Supervisor Claudia Becker describes, "For Flusser, photography is not only a reproductive imaging technology, it is a dominant cultural technique through which reality is constituted and understood". In this context, Flusser argued that photographs have to be understood in strict separation from 'pre-technical image forms'. For example, he contrasted them to paintings which he described as images that can be sensibly 'decoded', because the viewer is able to interpret what he or she sees as more or less direct signs of what the painter intended. By contrast, even though photography produces images that seem to be 'faithful reproductions' of objects and events they cannot be so directly 'decoded'. The crux of this difference stems, for Flusser, from the fact that photographs are produced through the operations of an apparatus. And the photographic apparatus operates in ways that are not immediately known or shaped by its operator. For example, he described the act of photographing as follows: The photographer's gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm's-eye views, frontal- and side-views, short or long exposures, etc. The Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. He must 'decide' within them: he must press the trigger. Roughly put, the person using a camera might think that they are operating its controls to produce a picture that shows the world the way they want it to be seen, but it is the pre-programmed character of the camera that sets the parameters of this act and it is the apparatus that shapes the meaning of the resulting image. Given the central role of photography to almost all aspects of contemporary life, the programmed character of the photographic apparatus shapes the experience of looking at and interpreting photographs as well as most of the cultural contexts in which we do so. Flusse
COTSBot
COTSBot is a small autonomous underwater vehicle (AUV) 4.5 feet (1.4 m) long, which is designed by Queensland University of Technology (QUT) to kill the very destructive crown-of-thorns starfish (Acanthaster planci) in the Great Barrier Reef off the north-east coast of Australia. It identifies its target using an image-analyzing neural net to analyze what an onboard camera sees, and then lethally injects the starfish with a bile salt solution using a needle on the end of a long underslung foldable arm. COTSBot uses GPS to navigate. The first version was created in the early 2000s with an accuracy rate of about 65%. After training COTSBot with machine learning, its accuracy rate rose to 99% by 2019. COTSBot is capable of killing 200 crown-of-thorns starfish with its two liters capacity of poison. COTSBot is capable of performing about 20 runs per day, but multiple COTSBots will be necessary to significantly impact the crown of thorns starfish populations. A smaller version of COTSBot called "RangerBot" is also being developed by QUT.
Key–value database
A key-value database, or key-value store, is a data storage paradigm designed for storing, retrieving, and managing associative arrays, a data structure more commonly known today as a dictionary. Dictionaries contain a collection of objects, or records, which in turn have many different fields within them. These records are stored and retrieved using a key that uniquely identifies the record, and is used to find the data within the database. Key-value databases differ from the better known relational databases (RDB). RDBs pre-define the data structure in the database as a series of tables containing fields with well-defined data types. Exposing the data types to the database program allows it to apply various optimizations. In contrast, key-value systems treat the value as opaque to the database itself, and typically support only simple operations such as storing, retrieving, updating, and deleting a value by its key. This offers considerable flexibility and makes such systems well suited to low-latency, high-throughput workloads dominated by direct key lookups, but less suitable for applications that require complex queries or explicit relationships among records. A lack of standardization, limited transaction support, and relatively simple query interfaces long restricted many key-value systems to specialized uses, but the rapid move to cloud computing after 2010 helped drive renewed interest in them as part of the broader NoSQL movement. Some graph databases, such as ArangoDB, are also key–value databases internally, adding the concept of relationships (pointers) between records as a first-class data type. == Types and examples == Key–value systems span a wide consistency spectrum, from eventually consistent designs to strongly consistent or serializable ones, and some allow the consistency level to be configured as part of the trade-off against latency and availability. Renewed interest in key–value and other NoSQL systems was driven in part by the demands of big data, distributed, and cloud applications. Their scalability and availability made them attractive for cloud data management, although limited transaction support, low-level query interfaces, and the lack of standardization remained obstacles to wider adoption. Some maintain data in memory (RAM), while others employ solid-state drives or rotating disks. Some key–value systems add additional structure to their keys. For example, Oracle NoSQL Database organizes records using composite keys with "major" and "minor" components, an arrangement that Oracle compares to a directory-path structure in a file system. More generally, however, key–value stores are defined by their use of unique keys associated with opaque values and by their emphasis on simple key-based operations. Unix included dbm (database manager), a minimal database library written by Ken Thompson for managing associative arrays with a single key and hash-based access. Later implementations and related libraries included sdbm, GNU dbm (gdbm), and Berkeley DB. A more recent example is RocksDB, a persistent key–value storage engine developed at Facebook and designed for large-scale applications. Other examples include in-memory systems such as Memcached and Redis, and persistent systems such as Berkeley DB, Riak, and Voldemort.
Noam Shazeer
Noam Shazeer (born 1975 or 1976) is an American computer scientist and entrepreneur known for his contributions to the field of artificial intelligence and deep learning, particularly in the development of transformer models and natural language processing. He lives in Palo Alto, California. == Career == Noam Shazeer joined Google in 2000. One of his first major achievements was improving the spelling corrector of Google's search engine. In 2017, Shazeer was one of the lead authors of the seminal paper "Attention Is All You Need", which introduced the transformer architecture. At Google, Shazeer and his colleague Daniel de Freitas built a chatbot named Meena. Following the refusal of Google to release the chatbot to the public, Shazeer and Freitas left the company in 2021 to found Character.AI. In September 2023, Time Magazine chose Shazeer as one of the 100 most influential people in the AI world. In August 2024, it was reported that Shazeer would be returning to Google to co-lead the Gemini AI project. Shazeer was appointed as technical lead on Gemini, along with Jeff Dean and Oriol Vinyals. It was part of a $2.7 billion deal for Google to license Character's technology. Since he owns 30-40% of the company, it is estimated he netted $750 million-$1 billion. In 2026, he was elected a member of the National Academy of Engineering. == Views == Shazeer said about artificial general intelligence that he doesn't "particularly care about AGI in the sense of wanting something that can do absolutely everything a person can do”. When asked in 2023 if he is afraid that AGI will destroy the world, he said: "No. Not yet. [...] We’re going to work on it as the technology improves". When asked why do large language models work he answered: "My best guess is divine benevolence [...] Nobody really understands what’s going on. This is a very experimental science [...] It’s more like alchemy or whatever chemistry was in the Middle Ages.” Shazeer has stated, "I do not believe that humans have an attribute called gender... I do not believe that G-d puts people in the wrong bodies. I do not believe that it is okay to sterilize children." == Personal life == Shazeer is an orthodox Jew. His grandparents escaped the Holocaust into the Soviet Union and later lived some time in Israel before emigrating to the USA. His father, Dov Shazeer, was a math teacher who became an engineer and his mother was a homemaker. His sister was ordained as a rabbi by Hebrew College. Shazeer was born in Philadelphia, attended grade school at Cohen Hillel Academy in Marblehead, Massachusetts, and attended Swampscott High School in Swampscott, Massachusetts. He won a gold medal with perfect score at International Mathematical Olympiad 1994 as a member of the USA team. He went on to study math and computer science at Duke University in Durham, North Carolina from 1994 to 1998. At Duke he was a recipient of the Angier B. Duke Memorial Scholarship, and, as part of the Duke math team, won prizes in several math tournaments. He started studying in a graduate program in Berkeley but did not finish it. He is a father of three and is married to Yael Shacham Shazeer