Prof. Adam Berinsky speaks with Washington Post reporter Shira Ovide about American’s relationship with AI and social media. “Berinsky said the unfavorable opinions about AI aren’t that bad compared with Americans’ low confidence in many institutions, including big business, Congress and newspapers,” writes Ovide.
Prof. John Horton speaks with CNN reporter Harmeet Kaur about the use of the world “agentic” in describing AI. “My sense is that it’s a word that’s useful to describe software that acts a bit more like a person does,” says Horton.
Writing for Forbes, Senior Lecturer Guadalupe Hayes-Mota 08, SM '16, MBA '16 explores how businesses can best prepare for the rapid advancements underway in the field of neurotechnology. “I believe that one of the most important steps companies can take regarding this emerging technology is to act now, without waiting for regulatory clarity first,” writes Hayes-Mota. “Treat neural data as categorically sensitive from day one—not because you are forced to, but because you understand that operating this close to the human mind demands a higher threshold of trust than almost any technology before it.”
Writing for the Financial Times, Prof. Danielle Li examines the risks for highly skilled workers whose expertise is used as training data for AI systems. “As workers, people should think about how to use AI to expand their skills: whether by building complementary capabilities or by finding ways to scale their expertise through AI systems,” Li writes. “As citizens, they should press for policies that give workers clearer rights over the data generated by their work and compensation for it.”
Visiting Senior Lecturer Paul McDonagh-Smith speaks with Newsweek reporter Adam Mills about how AI implementation across organizations can have impacts on business oversight and governance. “The organizations I’ve seen moving fastest have built governance systems early enough that they become a permission structure, rather than a constraint,” says McDonagh-Smith.
A new essay by Profs. Daron Acemoglu, David Autor and Simon Johnson, has offered “a more hopeful vision for the future of human work,” in a world infused with AI, reports Greg Rosalsky for NPR’s Planet Money. The authors “spend much of the essay providing a thought-provoking analysis of how new technologies can affect human jobs in general,” writes Rosalsky. “In short, it's complicated. Yes, often they do kill jobs. Other times they can make jobs less lucrative by, for example, making those jobs easier to do — or ‘de-skilling’ them — which means the supply of workers who can do these jobs goes up and wages for the occupation can go down.”
Prof. Sara Beery speaks with Smithsonian Magazine reporter Mike Bock about the benefits of AI use in ecological research. “There’s an increasing need to build strong machine learning skills directly in the ecological community,” says Beery. “These students don’t need to be AI researchers. But they do need access to the skills to apply these techniques to their research problems.”
Vogue editor Lisa Wong Macabasco spotlights “Lighten Up! On Biology and Time,” a new exhibit at the MIT Museum that “traces the rhythms of life itself: circadian patterns, light’s command over the body, and the delicate architecture of alertness and rest.” The exhibit features “18 works that blend science and art, from immersive soundscapes to visualizations of circadian patterns and reflective spaces where you observe your own heartbeat and alertness in new ways,” explains Macabasco.
Prof. Sherry Turkle speaks with Fortune reporter Jacqueline Munis about the risks of using generative AI to address human emotions, such as grief.
Prof. Daron Acemoglu speaks with WBUR Here & Now host Scott Tong about the impact of AI on the white-collar job market and the economy. “The advances in AI models have been pretty impressive,” says Acemoglu. “But right now, much of this is still in the lab, so to speak, meaning it has not spread to the productive sector of the economy. We are not seeing massive job losses…but of course we should be planning for how these models will be used and what their impact should be.”
Boston Globe reporter Annie Sarlin spotlights the MIT Museum’s digital collection “dedicated to the life and work of Harold ‘Doc’ Edgerton.” The collection is available for viewing online and “includes digitized copies of his notebooks, historical photographs, and informational text and videos about his industry-shaping role in the evolution of high-speed, flash photography,” explains Sarlin.
Prof. Daron Acemoglu speaks with Fortune reporter Jake Angelo about his work studying the “origins of economic and political decay,” and the need for the U.S. to crack down “on economic inequality and tempering with job destruction.” “If we go down this path of destroying jobs [and] creating more inequality, U.S. democracy is not going to survive,” says Acemoglu.
“In Event of Moon Disaster,” a short deepfake film on display at the MIT Museum’s “AI: Mind the Gap” exhibit depicts an alternate reality where the Apollo 11 mission ended in disaster, reports Mark Feeney for The Boston Globe. The “unnervingly realistic deepfake” depicts President Richard Nixon addressing the nation regarding the failed mission. The film “manages to be both frightening, in showing how convincing deepfakes can be, and, however paradoxically, inspiring,” writes Feeney.
Prof. Pat Pataranutaporn speaks with The Guardian reporter Andrew Gregory about the lack of safety warnings and disclaimers in AI overviews, specifically in AI-generated health materials. “The absence of disclaimers when users are initially served medical information creates several critical dangers,” says Pataranutaporn. “Disclaimers serve as a crucial intervention point. They disrupt this automatic trust and prompt users to engage more critically with the information they receive.”
Aesthetica Magazine reporter Eleanor Sutherland spotlights “Freezing Time,” a new exhibit at the MIT Museum featuring the work of Harold “Doc” Edgerton, a “pioneer of high-speed imaging who made it possible to see what the human eye cannot.” This is “the first exhibition to really interrogate Edgerton’s experimental journey in developing his innovative image-making processes,” says Michael John Gorman, director of the MIT Museum.