Timnit Gebru

Timnit W. Gebru (Amharic and Tigrinya: ትምኒት ገብሩ; 1982/1983) is an Eritrean Ethiopian-born computer scientist who works in the fields of artificial intelligence (AI), algorithmic bias and data mining. She is a co-founder of Black in AI, an advocacy group that has pushed for more Black roles in AI development and research. She is the founder of the Distributed Artificial Intelligence Research Institute (DAIR). In December 2020, public controversy erupted over the circumstances surrounding Gebru's departure from Google, where she was technical co-lead of the Ethical Artificial Intelligence Team. Gebru had coauthored a paper on the risks of large language models (LLMs) acting as stochastic parrots, and submitted it for publication. According to Jeff Dean, head of Google AI, the paper was submitted without waiting for Google's internal review, which then asserted that it ignored too much relevant research. Google management requested that Gebru either withdraw the paper or remove the names of all the authors employed by Google. Gebru requested the identity and feedback of every reviewer, and stated that if Google refused, she would talk to her manager about "a last date". Google terminated her employment immediately, stating that they were accepting her resignation. Gebru maintained that she had not formally offered to resign, and only threatened to. Gebru has been widely recognized for her expertise in the ethics of artificial intelligence. She was named one of the World's 50 Greatest Leaders by Fortune and one of Nature's ten people who shaped science in 2021, and in 2022, one of Time's most influential people. == Early life and education == Gebru was raised in Addis Ababa, Ethiopia. Her father, an electrical engineer with a Doctor of Philosophy (PhD), died when she was five years old, and she was raised by her mother, an economist. Both her parents are from Eritrea. When Gebru was 15, during the Eritrean–Ethiopian War, she fled Ethiopia after some of her family were deported to Eritrea and compelled to fight in the war. She was initially denied a U.S. visa and briefly lived in Ireland, but she eventually received political asylum in the U.S., an experience she said was "miserable". Gebru settled in Somerville, Massachusetts to attend high school, where she says she immediately started to experience racial discrimination, with some teachers refusing to allow her to take certain Advanced Placement courses, despite being a high-achiever. After she completed high school, an encounter with the police set Gebru on a course toward a focus on ethics in technology. A friend of hers, a Black woman, was assaulted in a bar, and Gebru called the police to report it. She says that instead of filing the assault report, her friend was arrested and remanded to a cell. Gebru called it a pivotal moment and a "blatant example of systemic racism." In 2001, Gebru was accepted at Stanford University. There, she earned her Bachelor of Science and Master of Science degrees in electrical engineering and her PhD in computer vision in 2017. Gebru was advised during her PhD program by Fei-Fei Li. During the 2008 United States presidential election, Gebru canvassed in support of Barack Obama. Gebru presented her doctoral research at the 2017 LDV Capital Vision Summit competition, where computer vision scientists present their work to members of industry and venture capitalists. Gebru won the competition, starting a series of collaborations with other entrepreneurs and investors. Both during her PhD program in 2016 and in 2018, Gebru returned to Ethiopia with Jelani Nelson's programming campaign, AddisCoder. While working on her PhD, Gebru authored a paper that was never published about her concern over the future of AI. She wrote of the dangers of the lack of diversity in the field, centered on her experiences with the police and on a ProPublica investigation into predictive policing, which revealed a projection of human biases in machine learning. In the paper, she scathed the "boy's club culture", reflecting on her experiences at conference gatherings of drunken male attendees sexually harassing her, and criticized the hero worship of the field's celebrities. == Career == === 2004–2013: Software development at Apple === Gebru joined Apple as an intern while at Stanford, working in their hardware division making circuitry for audio components, and was offered a full-time position the following year. Of her work as an audio engineer, her manager told Wired she was "fearless", and well-liked by her colleagues. During her tenure at Apple, Gebru became more interested in building software, namely computer vision that could detect human figures. She went on to develop signal processing algorithms for the first iPad. At the time, she said she did not consider the potential use for surveillance, saying "I just found it technically interesting." Long after leaving the company, during the #AppleToo movement in the summer of 2021, which was led by Apple engineer Cher Scarlett, who consulted with Gebru, Gebru revealed she experienced "so many egregious things" and "always wondered how they manage[d] to get out of the spotlight." She said that accountability at Apple was long overdue, and warned they could not continue to fly under the radar for much longer. Gebru also criticized the way the media covers Apple and other tech giants, saying that the press helps shield such companies from public scrutiny. === 2013–2017: Research at Stanford and Microsoft === In 2013, Gebru joined Fei-Fei Li's lab at Stanford, where she combined deep learning with Google Street View to estimate the demographics of United States neighbourhoods, showing that socioeconomic attributes such as voting patterns, income, race, and education can be inferred from observations of cars. In 2015, Gebru attended the field's top conference, Neural Information Processing Systems (NIPS), in Montreal, Canada. Out of 3,700 attendees, she noted she was one of only a few Black researchers. When she attended again the following year, she kept a tally and noted that there were only five Black men and that she was the only Black woman out of 8,500 delegates. Together with her colleague Rediet Abebe, Gebru founded Black in AI, a community of Black researchers working in artificial intelligence that aims to increase the presence, visibility, and well-being of Black professionals and leaders within the field. In the summer of 2017, Gebru joined Microsoft as a postdoctoral researcher in the Fairness, Accountability, Transparency, and Ethics in AI (FATE) lab. In 2017, Gebru spoke at the Fairness and Transparency conference, where MIT Technology Review interviewed her about biases that exist in AI systems and how adding diversity in AI teams can fix that issue. In her interview with Jackie Snow, Snow asked Gebru, "How does the lack of diversity distort artificial intelligence and specifically computer vision?" and Gebru pointed out that there are biases that exist in the software developers. While at Microsoft, Gebru co-authored a research paper called Gender Shades, which became the namesake of a project of a broader Massachusetts Institute of Technology project led by co-author Joy Buolamwini. The pair investigated facial recognition software, finding that in one particular implementation Black women were 35% less likely to be recognized than White men. === 2018–2020: Artificial intelligence ethics at Google === Gebru joined Google in 2018, where she co-led a team on the ethics of artificial intelligence with Margaret Mitchell. She studied the implications of artificial intelligence, looking to improve the ability of technology to do social good. In 2019, Gebru and other artificial intelligence researchers "signed a letter calling on Amazon to stop selling its facial-recognition technology to law enforcement agencies because it is biased against women and people of color", citing a study that was conducted by MIT researchers showing that Amazon's facial recognition system had more trouble identifying darker-skinned females than any other technology company's facial recognition software. In a New York Times interview, Gebru has further expressed that she believes facial recognition is too dangerous to be used for law enforcement and security purposes at present. === Exit from Google === In 2020 Gebru and five co-authors wrote a paper titled "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜". The paper examined risks of very large language models, including their environmental footprint, financial costs, the inscrutability of large models, the potential for LLMs to display prejudice against certain groups, the inability of LLMs to understand the language they process, and the use of LLMs to spread disinformation. In December 2020, her employment with Google ended after Google management asked her to either withdraw the paper before publication, or remove the names of all the Google employees from

Invoicera

Invoicera is an online invoicing software. The software was created by a company with the same name that was founded in 2006, had 125 employees, and is based in India. It allows users to monitor, dispatch, and accept invoices in one web service. After signing up for the service, users are assigned a personal subdomain to set up their invoice configuration. It allows users to add clients' data to the service through uploading a Microsoft Excel file. Invoicera is compatible with businesses of varying sizes, including freelancers, small businesses, and large businesses. It is compatible with Basecamp, a project-management tool, so Invoicera can upload data from Basecamp. The software interfaces with more than 25 payment gateways. It supports subscriptions and repeated invoices and allows clients to schedule late fees when payments have not been made on time. Invoicera uses freemium model, letting users dispatch an unrestricted number of invoices to at most three customers. Chelsea Krause wrote in a 2019 review for Merchant Maverick, "Unfortunately, the software isn't as developed as it could be. Time tracking and reporting are limited and there are no live bank feeds — which is surprising for a company so focused on automation (especially since even many of the worst invoicing options out there still offer live bank feeds)." She further criticized Invoicera for having bad customer service and the software for not having recent changes. Brian Turner wrote in TechRadar that Invoicera had fewer templates compared to the other services he reviewed but "the ones offered are fully customizable". Rob Clymo wrote in TechRadar that "Invoicera lets you automate your invoicing and billing needs without too much in the way of hassle" and that although it "isn't a complete accounts solution ... it's a powerful supplement".

Digital edition

A digital edition is an online magazine or online newspaper delivered in electronic form which is formatted identically to the print version. Digital editions are often called digital facsimiles to underline the likeness to the print version. Digital editions have the benefit of reduced cost to the publisher and reader by avoiding the time and the expense to print and deliver paper edition. This format is considered more environmentally friendly due to the reduction of paper and energy use. These editions also often feature interactive elements such as hyperlinks both within the publication itself and to other internet resources, search option and bookmarking, and can also incorporate multimedia such as video or animation to enhance articles themselves or for advertisement purposes. Some delivery methods also include animation and sound effects that replicate turning of the page to further enhance the experience of their print counterparts. Magazine publishers have traditionally relied on two revenue sources: selling ads and selling magazines. Additionally some publishers are using other electronic publication methods such as RSS to reach out to readers and inform them when new digital editions are available. Current technologies are generally either reader-based, requiring a download of an application and subsequent download of each edition, or browser-based, often using Macromedia Flash, requiring no application download (such as Adobe Acrobat). Some application-based readers allow users to access editions while not connected to internet. Dedicated hardware such as the Amazon Kindle and the iPad is also available for reading digital editions of select books, popular national magazines such as Time, The Atlantic, and Forbes and popular national newspapers such as the New York Times, Wall Street Journal, and Washington Post. Archives of print newspapers, in some cases dating hundreds of years back, are being digitized and made available online. Google is indexing existing digital archives produced by the newspapers themselves or by third parties. Newspaper and magazine archival began with microform film formats solving the problem of efficiently storing and preserving. This format, however, lacked accessibility. Many libraries, especially state libraries in the United States are archiving their collections digitally and converting existing microfilm to digital format. The Library of Congress provides project planning assistance and the National Endowment for the Humanities procures funding through grants from its National Digital Newspaper Program. Digital magazines, ezines, e-editions and emags are sometimes referred to as digital editions, however some of these formats are published only in digital format unlike digital editions which replicate a printed edition as well. == Digital magazines == Digital-replica magazines number in thousands—consumer and business publications, house magazines for associations, institutions and corporations – and conversion from print to digital was still increasing as of 2009. A 2008 report funded by digital-replica technology providers and auditing agencies counted 1,786 digital-replica editions having more than 7 million circulation among business-to-business publications, of which 230 editions were audited The same report counted 1,470 digital-replica editions of consumer magazines having 5.5 million digital circulation, of which 240 editions were audited. These authors estimated that by year end of 2009 there would be 8,000 digital magazines, having a combined distribution of more than 30 million people. Surveys have shown that, while not all subscribers prefer a digital edition, some do because of the environmental benefit and also because digital magazines are searchable and may easily be passed along or linked to. One such survey funded by a digital publisher reported on inputs from more than 30,000 subscribers to business, consumer and other digital magazines. == Digital magazine business models == === Reduced printing and distribution costs === The publishers' choice to save by moving some or all subscribers from print to digital is widely accepted. Oracle magazine, which has 176,000 of its 516,000 subscribers receiving digital according to its June 2009 BPA circulation statement, is said to be the most widely circulated digital edition of a business-to-business publication. Publishers who do this need to choose whether to make some issues all-digital, move some subscribers to digital edition, add some digital-only subscribers, or send all subscribers the digital edition. === Paid subscription revenue === In 2009, a major consumer magazine, PC Magazine, went all-digital, charging an annual subscription fee for its digital-replica edition. Many consumer magazines and newspapers are already available in eReader formats that are sold through booksellers. === Sponsorship and advertising revenue === Digital editions often carry special "front cover" advertising, or advertising on the email message alerting the subscriber of the digital edition. Publishers also produce special digital-only inserts and rich-media ads or advertorials. === Designed-for-digital issues === Another approach is to fully replace printed issues with digital ones, or to use digital editions for extra issues that would otherwise have to be printed.

Enterprise bookmarking

Enterprise bookmarking is a method for Web 2.0 users to tag, organize, store, and search bookmarks of both web pages on the Internet and data resources stored in a distributed database or fileserver. This is done collectively and collaboratively in a process by which users add tag (metadata) and knowledge tags. In early versions of the software, these tags are applied as non-hierarchical keywords, or terms assigned by a user to a web page, and are collected in tag clouds. Examples of this software are Connectbeam and Dogear. New versions of the software such as Jumper 2.0 and Knowledge Plaza expand tag metadata in the form of knowledge tags that provide additional information about the data and are applied to structured and semi-structured data and are collected in tag profiles. == History == Enterprise bookmarking is derived from Social bookmarking that got its modern start with the launch of the website del.icio.us in 2003. The first major announcement of an enterprise bookmarking platform was the IBM Dogear project, developed in Summer 2006. Version 1.0 of the Dogear software was announced at Lotusphere 2007, and shipped later that year on June 27 as part of IBM Lotus Connections. The second significant commercial release was Cogenz in September 2007. Since these early releases, Enterprise bookmarking platforms have diverged considerably. The most significant new release was the Jumper 2.0 platform, with expanded and customizable knowledge tagging fields. == Differences == === Versus social bookmarking === In a social bookmarking system, individuals create personal collections of bookmarks and share their bookmarks with others. These centrally stored collections of Internet resources can be accessed by other users to find useful resources. Often these lists are publicly accessible, so that other people with similar interests can view the links by category or by the tags themselves. Most social bookmarking sites allow users to search for bookmarks which are associated with given "tags", and rank the resources by the number of users which have bookmarked them. Enterprise bookmarking is a method of tagging and linking any information using an expanded set of tags to capture knowledge about data. It collects and indexes these tags in a web-infrastructure knowledge base server residing behind the firewall. Users can share knowledge tags with specified people or groups, shared only inside specific networks, typically within an organization. Enterprise bookmarking is a knowledge management discipline that embraces Enterprise 2.0 methodologies to capture specific knowledge and information that organizations consider proprietary and are not shared on the public Internet. === Tag management === Enterprise bookmarking tools also differ from social bookmarking tools in the way that they often face an existing taxonomy. Some of these tools have evolved to provide Tag management which is the combination of uphill abilities (e.g. faceted classification, predefined tags, etc.) and downhill gardening abilities (e.g. tag renaming, moving, merging) to better manage the bottom-up folksonomy generated from user tagging.

Digital studio

A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing

Continuous Exposure Management

Continuous Exposure Management (CEM) is a cybersecurity approach that provides continuous, real-time monitoring, assessment, and prioritization of an organization’s security vulnerabilities and exposures. CEM focuses on identifying and mitigating risks by analyzing attack paths and providing recommendations, ensuring organizations maintain a resilient cybersecurity posture. == Overview == CEM platforms enable organizations to detect and remediate cybersecurity exposures, such as vulnerabilities, misconfigurations and weak credentials, across their entire ecosystem, including on-premises, cloud environments, and hybrid infrastructures. By simulating potential attack scenarios and mapping attack paths, these platforms help organizations understand how exposures could be exploited and which ones pose the greatest risk to critical assets. The XM Cyber Continuous Exposure Management platform, for example, integrates automated attack path mapping and contextual risk analysis, allowing security teams to prioritize remediation efforts effectively. In 2023, the platform uncovered over 40 million exposures affecting 11.5 million critical business entities. As cyber threats evolve, CEM platforms are becoming indispensable for modern enterprises. According to Gartner, organizations implementing continuous exposure management are three times less likely to experience a breach by 2026. In addition to risk mapping and simulation, some CEM approaches incorporate automated security validation to verify the exploitability of identified vulnerabilities. Platforms such as Pentera utilize automated security testing to emulate real-world adversary behavior across the network, identifying how security gaps could be leveraged to gain access to critical assets. This process aims to move beyond theoretical risk assessments by providing empirical evidence of exposure, allowing security teams to focus remediation efforts on validated attack vectors. By integrating this validation phase into the broader exposure management lifecycle, organizations can refine their prioritization strategies based on the actual effectiveness of their existing security controls and the proven reachability of their most sensitive data. == Key features == CEM platforms are designed to address the dynamic nature of cybersecurity risks through the following features: Attack Path Simulation: Continuously maps attack paths to critical assets, highlighting exploitable exposures and chokepoints. Risk Prioritization: Focuses on exposures with the highest impact on critical assets, ensuring efficient allocation of resources. Remediation Guidance: Provides clear, actionable recommendations to resolve exposures and strengthen defenses. Integration with Existing Tools: Seamlessly works with Security Information and Event Management (SIEM), ticketing, and Security Orchestration, Automation, and Response (SOAR) systems. Real-time Monitoring: Offers continuous visibility into exposures, ensuring that new ones are quickly identified and addressed.

Invoicera

Digital edition

Enterprise bookmarking

Digital studio

Continuous Exposure Management

Digital studio

Related Articles