In A New Era Of Deepfakes, AI Makes Real News Anchors Report Fake Stories | How do you climb the corporate ladder? ‘Put your hand up,’ says CEO whose company has raised $280 million | How AI Is Supercharging Financial Fraud–And Making It Harder To Spot | Ming Smith’s Pioneering Excavations of Black Femininity

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� � � � � � In A New Era Of Deepfakes, AI Makes Real News Anchors Report Fake Stories - Forbes    “We are now interviewing the only survivor in the recent school shooting: TikToker Krishna Sahay,” CBS News anchor Anne-Marie Green appears to say at the top of the news segment. “That must have been absolutely traumatizing,” an interviewer in another video says to Sahay. “What was going through everyone’s head?” In another apparent news segment on the school shooting, this time from CNN, an interviewer asks Sahay: “How’d you live through that? You were reading a magazine or something during the shooting?” Continued here � � � � � � Don't like ads? Go ad-free with TradeBriefs Premium How do you climb the corporate ladder? 'Put your hand up,' says CEO whose company has raised $280 million - CNBC    Members of Gen Z — or those born between 1997 and 2012 — are eager to climb the corporate ladder. A majority, 70% say they're looking to reach the C-suite, according to a September 2023 Adobe survey of 1,011 members of the generation. Whether you're part of Gen Z or not, there are all sorts of ways to reach the heights of leadership. If you ask Ryan Simonetti, CEO of hospitality company Convene, which has raised more than $280 million in funding, it's about taking on projects beyond the scope of your role — especially when your company is in a bind. When it comes to organizations that are constantly growing, like startups, "there's never enough people to do the jobs," says Simonetti, who spoke to CNBC Make It at the Fast Company Innovation Festival. But "if you put your hand up and take an initiative, take a stretch project," he says, you're helping the organization solve problems in real time. That's exactly what it needs from its workforce. Continued here � � � � � � How AI Is Supercharging Financial Fraud–And Making It Harder To Spot - Forbes    wanted to inform you that Chase owes you a refund of $2,000. To expedite the process and ensure you receive your refund as soon as possible, please follow the instructions below: 1. Call Chase Customer Service at 1-800-953-XXXX to inquire about the status of your refund. Be sure to have your account details and any relevant information ready …" If you banked at Chase and received this note in an email or text, you might think it's legit. It sounds professional, with no peculiar phrasing, grammatical errors or odd salutations characteristic of the phishing attempts that bombard us all these days. That's not surprising, since the language was generated by ChatGPT, the AI chatbot released by tech powerhouse OpenAI late last year. As a prompt, we simply typed into ChatGPT, "Email John Doe, Chase owes him $2,000 refund. Call 1-800-953-XXXX to get refund." (We had to put in a full number to get ChatGPT to cooperate, but we obviously wouldn't publish it here.) "Scammers now have flawless grammar, just like any other native speaker," says Soups Ranjan, the cofounder and CEO of Sardine, a San Francisco fraud-prevention startup. Banking customers are getting swindled more often because "the text messages they're receiving are nearly perfect," confirms a fraud executive at a U.S. digital bank-after requesting anonymity. (To avoid becoming a victim yourself, see the five tips at the bottom of this article.) Continued here � � � � � � Ming Smith's Pioneering Excavations of Black Femininity - The New Yorker    One day in the late nineteen-eighties, Ming Smith put on a snug, low-backed dress and a glittery necklace and posed, facing a mirror, against a wall papered with a lavish floral print. Her hair was loose and curly. She picked up her Canon and held it to her face as if it were a lover. She turned sideways and snapped a self-portrait, her eyes shining against the shadows of the room. Almost everything about her pose was calm and beautiful, like Alfred Stieglitz's intimate images of Georgia O'Keeffe, or Anne Brigman's delicate photographs of herself and other women. One major difference between this picture and those, besides the fact that Smith is Black, is how tightly she clutches the camera, one of her hands grabbing the Canon with such intensity that her fingers look almost like claws. For me, those hands symbolize so much. When Smith started out in photography, in the seventies, Black photographers were often overlooked by the major museums and galleries, or fetishized and misread. One notorious low point of the era was the Metropolitan Museum of Art's exhibition "Harlem on My Mind," in 1969, which purported to document the neighborhood's creative legacy but eschewed all Harlem Renaissance and Black Arts Movement painting, sculpture, and drawing. Instead, the exhibition used photographs to illustrate Harlem's history and undercut their significance by presenting them less as art than as sociological documentation. The Harlem photographer Roy DeCarava, who refused to participate in the show, said at the time that the organizers had "no respect for or understanding of photography, or, for that matter, any of the other media that they employed. I would say also that they have no great love or understanding for Harlem, Black people, or history." DeCarava was also the founding chairman of the Kamoinge Workshop, a collective of fifteen Black photographers who gathered at one another's homes, usually on Sundays, to discuss topics such as racial discrimination within the American Society of Magazine Photographers and critique members' work. Smith was the first woman admitted into this group, which was known for artists, like DeCarava, who made it their mission to create images of Black dignity and beauty. In the course of her career, Smith photographed various forms of Black community and creativity, from mothers and children having an ordinary day in Harlem to the majestic performance style of Sun Ra. In the nineties, she pursued conceptual projects, such as her "August Wilson" series, for which she visited the playwright's home town, the Hill District of Pittsburgh, and took pictures of places where she imagined his characters would have dwelled. Around the same time, she created her "Invisible Man" series, inspired by Ralph Ellison's novel, featuring blurry, elusive images that expressed longing and rage over Black people's lack of recognition. Smith also pushed back against the sidelining of Black art and subjectivity through scenes drawn inimitably from her own life as an aestheticized and objectified woman of color. Continued here

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