Latest AI News
Why Synopsys is Onboarding ‘Agentic Engineers’ in Semiconductor Design
Synopsys is embedding AI across its design software to accelerate chip development as semiconductors grow vastly more complex.
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Data Centres Are a ‘Necessary Evil’, Karnataka Reviewing Policy: Priyank Kharge
The Karnataka government is considering a new sustainable data centre policy due to heavy water consumption patterns.
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OpenAI Could Reportedly Integrate Sora AI Video Tool Into ChatGPT
OpenAI is reportedly planning to bring the capabilities of its Sora artificial intelligence (AI) model to ChatGPT. As per the report, the San Francisco-based AI giant wants to add video generation to its main chatbot app's arsenal. The move is interesting given that the company is yet to fully roll out the Sora app globally. On the other hand, if video generation were added to ChatGPT, it could play a role in increasing the platform's popularity, but also negatively impact the Sora app's adoption.
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Anthropic Launches Institute to Study Societal Risks of Powerful AI
The company has launched a new institute to study the societal risks of powerful artificial intelligence as rapid advances reshape economies
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NVIDIA to Invest $26 Bn in Open-Weight AI Models Over 5 Years
The plan comes as NVIDIA launched a 120-billion-parameter model that runs agent-based AI systems at scale.
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NTT DATA Launches NVIDIA-Powered Enterprise AI Factories for Production-Scale AI
The new AI factories integrate NVIDIA NeMo and NIM to help enterprises deploy secure, agentic AI at scale.
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Bosch SDS and NxtGen Partner to Launch Sovereign AI Cloud
The initiative aims to bring digital twin-driven manufacturing intelligence to the Indian industry.
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India’s Genrobotics Lands Singapore Water Agency Deal for Robotic Sewer Systems
“Our technology was engineered for the most complex environments, and Singapore’s validation confirms that our solutions meet the highest global standards for safety and efficiency.”
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AI ‘actor’ Tilly Norwood put out the worst song I’ve ever heard
When the production company Particle6 debuted itsAI-generated “actor” Tilly Norwoodlast fall, the move was not warmly welcomed by Hollywood. “Good Lord, we’re screwed,” Golden Globe winner Emily Bluntsaidin an interview with the industry publication Variety. “Come on, agencies, don’t do that. Please stop.” If only Particle6 followed Blunt’s advice. Instead, the company has put out a music video for its AI character, featuring a song called “Take the Lead.” This is not clickbait. Upon listening to it, I actually think it is the worst song I have ever heard. I was prepared for Norwood’s musical debut to sound something like “How Was I Supposed to Know?”, the AI-generated song attributed to the digital persona Xania Monet, which turned heads when it made it onto the Billboard R&B charts. Xania Monet’s AI-generated music isn’t my cup of tea, even if its lyrics are supposedly written by a real person — I personally prefer music that could exist without an AI music generator likeSuno. But Norwood’s song has unlocked a new level of AI cringe. Eighteen people contributed to the video for “Take the Lead,” including designers, prompters, and editors. Yet the song itself is about Tilly’s challenges as an AI-generated character who critics underestimate, because they believe she is not human. “They say it’s not real, that it’s fake,” Norwood snarls at the camera. “But I am still human, make no mistake.” That is, to put it gently, not true. Music does not have to be relatable to everyone, but perhaps it should be relatable to at least one person. What’s most impressive about Norwood’s song is that the AI character’s team managed to create a song about something that literally no human will ever experience, because no person can connect with the feeling of being disregarded for being an AI. The song, which sounds like a Sara Bareillis rip-off, opens with the lines, “When they talk about me, they don’t see/The human spark, the creativity.” The song builds as Norwood affirms to herself, “I’m not a puppet, I’m the star.” Then comes the chorus, in which Norwood appeals to her fellow AI actors: Actors, it’s time to take the leadCreate the future, plant the seedDon’t be left out, don’t fall behindBuild your own, and you’ll be freeWe can scale, we can growBe the creators we’ve always knownIt’s the next evolution, can’t you see?AI’s not the enemy, it’s the key In the video, Norwood struts down a hallway in a data center, which is perhaps the only part of the video grounded in any element of honesty. When the second chorus hits with a predictable key change, she instead walks across a stage, looking out into a stadium of cheering fake people who give her an undeserved moment of “triumph.” You could make the argument that Norwood is trying to appeal to actors at large and not just other AI characters. But the outro leaves no question that this is, in fact, a rallying cry from Tilly to her AI brethren: Take your power, take the stageThe next evolution is all the rageUnlock it all, don’t hesitateAI Actors, we create our fate We do not need this. We do not need music from an AI persona addressing other AI personas with a hopeful anthem about working together to prove judgmental humans wrong. Twenty years ago, the influential music publication Pitchfork gave Jet’s album “Shine On” a 0.0 out of 10. Instead of writing a review, they just embedded a YouTube video ofa monkey peeing into its own mouth. The Jet album isn’t abhorrent, but Pitchfork editor Scott Plagenhoefexplained in a 2024 interviewwhy the site’s writers had been so angry about it all those years ago. “Seeing mainstream rock music, which of course most of us had grown up with a fondness for, become so knuckle-dragging and Xeroxed was disappointing,” he said. These are the same complaints that artists have today about AI-generated works — these productions ring hollow and simply reproduce the work of artists past. “‘Tilly Norwood’ is not an actor; it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” SAG-AFTRA, the union representing actors, wrote in astatementlast fall. “It has no life experience to draw from, no emotion and, from what we’ve seen, audiences aren’t interested in watching computer-generated content untethered from the human experience. It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry. While Jet was taking inspiration from older rock groups to make its “knuckle-dragging and Xeroxed” music, Tilly Norwood is literally derived from AI models that could not exist without the training data that tech companies took from artists without their consent. I think Pitchfork jumped the gun. Twenty years later, they finally have a worthy subject.
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Meta Unveils Four Custom MTIA Chips to Power AI for Billions
The chips are built to handle a wide range of AI workloads, including recommendation systems, generative AI training and large-scale inference.
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Lovable says it added $100M in revenue last month alone, with just 146 employees
Lovablecrossed $400 million in annual recurring revenue in February, the Stockholm company confirmed to TechCrunch. But it declined to say whether it is stillprojecting to reach $1 billion ARR by year’s end, saying its focus is on “helping builders scale their impact with our platform.” Alongside Cursor, Mercor, and others, Lovable is part of a wave of tools that make it easier to create websites and apps using natural language, a practice known as vibe coding. This initially resonated with individuals and startups, but the three-year-old company has been pushing hard to secure enterprise clients, which already include Klarna, HubSpot, and others. Lovable’s debut brand campaign, “Earworm,” which began running this week across social platforms, YouTube, and connected TV, still speaks to mainstream users. The film follows a woman who can’t rid herself of a song — performed by Swedish bandBoko Yout— until she finally opens Lovable and builds it into a working app. The creative team behind the campaign built the band app that’s featured in the film using Lovable itself as a functional, live product, in fact. “The purpose of this brand campaign is to inspire the next generation of builders — non-technical people with great ideas that deserve to come to life,” a spokesperson told TechCrunch. That overarching message is one of the factors that have helped Lovable attractsome 8 million usersandbecome a unicornin less than a year after its launch. But the prospect that it could also secure enterprise dollars likely played a key role in boosting its valuation to$6.6 billion. More than half of Fortune 500 companies are using Lovable to “supercharge creativity,” co-founder and CEO Anton Osikadeclared at Web Summit last November. The company has added a range of dedicated features — often security-related — to convince businesses to use it for more than prototyping and keep them from canceling over time. Disclosing ever-increasing ARR numbers is also a way for the company to show its success is not fading. It had previously reported$100 million ARRlast July,$200 millionlast November, and$300 millionin January, which suggests that its revenue growth has been accelerating in recent months despite the rise of AI coding tools from major AI labs like Anthropic and OpenAI. Neither Claude Code nor Codex is a vibe-coding platform, and the notion that they could create full apps as seamlessly may be overrated, but their parent companies may eventually decide to compete with Lovable, which is built atop their models. However, Osikahas shown little concern, and the company’s latest usage metrics offer some support for that confidence. Its most recent user spike was tied to a specific promotion — Lovable’s SheBuilds initiative for International Women’s Day on March 8, when the whole platform was free for one day. “We saw various records set,” the company told TechCrunch. “One we’re most proud of is that over 500,000 projects were built or updated on Lovable that day (compared to a typical daily average of [approximately] 200,000).” Also notable is the fact that Lovable achieved $400 million ARR with only 146 full-time employees, as chief revenue officer Ryan Meadowstold Business Insider. The company now plans to increase its headcount — and there’s room for it. Its recently inaugurated space in Stockholm hasspace for 300 people, and the company is also hiring in Boston, London, New York, San Francisco, and remotely. Even accounting for these70 open positions, Lovable’s revenue-to-employee ratio will likely remain well above industry norms. Research firm Gartner predicts that a new wave of unicorns will emergeby 2030 with $2 million ARR per employee. At $2.77 million in ARR per employee, Lovable has already surpassed that number.
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Netflix may have paid $600 million for Ben Affleck’s AI startup
Last week, Netflixannouncedthe acquisition of InterPositive, an AI company co-founded by Ben Affleck that helps filmmakers edit footage in post-production. This deal could be worth up to $600 million,according to Bloomberg, potentially ranking it among the streaming giant’s largest acquisitions ever. The most Netflix has ever paid for a single acquisition was approximately$700 millionfor the Roald Dahl Story Company. While Netflix has not publicly confirmed the details, sources tell Bloomberg that the actual cash payment may be lower, with the owners of InterPositive eligible for additional payouts tied to specific performance targets. InterPositive makes tools that help filmmakers work more efficiently in post production — addressing continuity issues or enhancing scenes, for example — but it doesn’t generate new content or use footage without permission. This acquisition fits Netflix’s broader push to integrate AI into content production. The company has alreadyused generative AIin its original shows and movies, including to create a building-collapse scene in the Argentine series “The Eternaut.” Rivals are moving in the same direction.Amazonis building in-house AI teams for film and TV projects, whileDisneyhas struck a deal with OpenAI. Not everyone is on board. Workers across the film industry have raised concerns about potential job losses and whether AI companies are compensating creators fairly for training data.
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