Richie provides a complete embedded lending infrastructure for b2b saas platforms to offer discounted financing products to merchants

Richie AI

The Journey Of The CTO (Podcast Transcript)

Not so long ago my life was an exercise in excel spreadsheets, over-scheduled phone calls, and constant emails. I was working in a high-pressure venture capital job, and putting myself in a state of mental fragmentation. I was also medicating for ADHD, which seemed to worsen during this period.  Something had to change. I wondered: "What would my life be like without all of the chaos and distractions?" To find out, I left my job and traveled to Bali, Indonesia to meditate for 300 hours in a month with yogis and monks. No phone, Internet, or even books during this time - a complete information fast. In essence, I traded 70 hours a week in the cubicle for 70 hours of meditation in silence to see what effects this would have on my mind. What I found was a rush of profound focus, vitality, and joy. As I lessened the high-dopamine, low-value inputs, my mental output increased dramatically; this was the happiest I had ever felt. I was also astounded to find that I no longer needed medication for my ADHD, as the symptoms disappeared entirely. Based on my subsequent research in the fields of neuroscience and psychology ( : ), I'd like to suggest five antidotes to today's distraction crisis that use modern technology and don't require moving to Bali and living like a monk. Disclaimer I run a mental health tech company, FitMind.co , and am completing a Master of Science in Applied Neuroscience Here's the list up front, and then we'll dive into each one individually. Biofeedback Devices Sensory Deprivation Tanks Mobile Apps Lucid Dreaming Tech Screenomics & Mental Dieting 1. Biofeedback Devices Meditation biofeedback is useful insofar as it actually helps you train your mind. I've found two technologies to be most effective in this area. The first is called , a wearable electroencephalograph (EEG) that costs $150-250. The Muse headband provides real-time feedback on your levels of concentration during meditation. Using large swaths of data on expert meditators, they determined the brainwave patterns correlated with focused attention (primarily alpha waves). Muse The founder, Ariel Garten and talked about the studies being done on monks in the Himalayas using Muse. Although the device seems to be scientifically valid, Garten openly admitted that it is only currently useful in attentional types of meditation (one meditation category, of many) and so cannot provide feedback on open monitoring (e.g. Vipassana), constructive (e.g. Metta) or deconstructive (e.g. Self-Inquiry) styles. [Please excuse the jargon if you're not an avid meditator.] came on my podcast a few months ago Second, is the , which provides biofeedback based on heart rate variability (HRV). I have spoken to their Chief Scientist and , who have a lot of research to share from decades of studies into the relationship between one's nervous system and certain mental states. HeartMath emWave2 their CEO They claim that mental states and emotions are meaningfully captured in HRV patterns. At the very least, it's a good indicator of general parasympathetic, rest-and-digest activation. In other words, the HeartMath device can at the very least tell you how relaxed you get while meditating. In the age of the "quantified self," it's nice to make something as potentially intangible as meditation actually measurable, even if those measurements are still rudimentary. 2. Sensory Deprivation Tanks It seems every biohacker out there is using these devices, including professional athletes and Navy SEALs. A sensory deprivation tank, or "float tank," as they're often called, consists of a large bathtub-like chamber without light, sound, or sensation. The water is set to body temperature with enough salt to make you float effortlessly. Basically, all senses are gone and you become just a brain in a jar without external mental inputs. While in this environment, your brain enters a theta wave state, just like deep meditation, and the “rest-and-digest” parasympathetic nervous system gets activated. Physician and neuroscientist John Lilly invented the first float tank in 1954 to study the origins of consciousness. He believed that depriving a human of sensory data would reveal what the mind was like in its primordial state. Lilly also thought he could talk to dolphins using his flotation tank, which inspired the movie Altered States. Regardless of Lilly’s quirks, his invention does likely provide therapeutic value. Although more research is needed, sensory deprivation sessions also show promise for reducing stress, improving recovery time, enhancing sleep, and potentially mitigating mental disorders. 3. Mobile Apps There are two obvious companies that come to mind when people think of mobile meditation apps, Headspace and Calm. But while these companies have raised a lot of money (Calm has raised $88m and is valued at $1B unicorn status), they are also trying to be "meditation for the masses," and so I think the quality has suffered. Matthew McConaughey reading you a sleep story and Lebron James giving a pep talk are cool and all, but it's a stretch to call this meditation. I'd like to suggest two other guided mobile apps that you might find useful. One is an app by neuroscientist and philosopher Sam Harris, called . Pros: good instruction and top meditation teachers interviewed on the app. Cons: a bit repetitive once you've done the initial training course. Waking Up Another is called , made by two of the leading neuroscience researchers of meditation, Richie Davidson and Cortland Dahl at University of Wisconsin-Madison's Center Healthy Minds. Pros: expert instruction and scientific explanations. Cons: long surveys that you have to fill out to track your progress. Healthy Minds Please beware of the "brain training" apps that make some big claims. For example, Lumosity recently paid $2 million to settle an FTC deceptive advertising charge. There are also some interesting hypnotherapy apps on the market, which I admittedly have not tried yet. Finally, I'd be remiss not to put in a personal plug here. When I first started meditating I wasn't happy with the often shallow "McMindfulness" approach of apps out there. Either they just taught a single technique or they were dumbed-down relaxation apps. So my team created an in-depth meditation app, called , with 25+ beginner to advanced techniques, explanations of the neuroscience, and a quantified progress tracker (see image below) that charts your mental fitness over time. FitMind 4. Lucid Dreaming Tech I'm excited about lucid dreaming technology, which seems on the cusp of finally delivering its promise. By using EEG technology to determine when you're in the rapid eye movement (REM) sleep stage in which you dream, these devices shine lights on your eyelids to trigger lucidity, whereby you can awaken in your dream while remaining asleep. [For more on the topic: .] Why We Dream The majority of the scientific community didn’t think that lucid dreaming was possible until Stanford neuroscientist Dr. Stephen LaBerge in 1981. proved it in the Stanford Sleep Lab There are many parallels between lucid dreaming (a.k.a. conscious dreaming), perhaps one of the most under-utilized psychological tools. For example, being mindful vs. mindless is directly analogous to conscious dreaming vs. unconscious dreaming. In waking life, you come out of your stories and virtual simulations by remembering to be mindful in the present moment. Similarly, when you become lucid in a dream you come out of your stories using that same metacognitive mechanism. Two devices, which may or may not deliver and received large backing on crowdfunding campaigns, are and . The most scientifically validated device according to in "Frontiers in Neuroscience" is called which is primarily available for research. However, I emailed the team and they said their device is $1000 and will be in stock for consumer purchase in the next month "hopefully," so feel free to reach out on their website if you're into this stuff. iBand Neuroon this study ZMax 5. Screenomics & Mental Dieting Although a lot of people are starting to pay attention to how much time they spend in front of a screen (which has been ), less are concerned with the way in which they interact with those screens. But research suggests that it's not only but also that shapes your brain. causally linked to depression what you pay attention to how you pay attention Screenomics is the study of how people view and interact with screens over time. There's some cool . Apparently, people are switching content on their screens every 20 seconds. This wires a short attention span primed for instant gratification. research going on at Stanford In this case, I'm not talking about using specifical technological tools, but rather paying attention to the way in which you use technology. If meditation is self-directed neuroplasticity, shaping the brain by directing your attention in a certain way, then our use of technology can broadly be thought of as experience-dependent neuroplasticity. A "mental diet" involves cutting out high-dopamine, low-value inputs that wire our brains for instant gratification, such as clickbait, gossipy news, and social media. It really does matter what we feed our minds, just the same as our bodies, and yet often we opt for mental junk food. You are shaping your brain in each moment depending on what is entering your field of awareness and also the quality of attention that you hold. So keeping the Twitter scrolling and tab-switching to a minimum can build more focus and tranquility. Thankfully, we don't need to meditate for 10 hours per day in the mountains with monks to achieve optimal mental states. With the right tools and habits, anyone can enjoy a vigorous mind while enjoying everyday western life. If we start to view attention as a valuable and limited resource, and if we are deliberate about how and where we direct our attention, the world can be a much happier and more productive place. We might summarize this last point by saying: use technology deliberately, don't let technology use you. As Dr. Yuval Harari puts it in : 21 Lessons for the 21st Century "Technology isn’t bad. If you know what you want in life, technology can help you get it. But if you don’t know what you want in life, it will be all too easy for technology to shape your aims for you and take control of your life. Especially as technology gets better at understanding humans, you might increasingly find yourself serving it, instead of it serving you." It's an exciting time to be alive for those interesting in the intersection of technology and the mind. That's because western psychology, neuroscience, and technology are now complementing Eastern techniques for enhancing the mind. But while science will continue to give us great tools, it's also most important how we apply them, and when it comes to training the mind there are few shortcuts. Any other tools or technologies you'd add to this list? or in the comments. Let me know on Twitter And if you'd like to receive science-based tips for optimizing your mind twice per month, . All quality content, no spam :) please sign up for my newsletter

Mind Hacking: Using Technology to Rewire Your Brain Like a Monk

I’ve had the pleasure of talking to Matvei Lisitsa, a promising concept artist and talented graphic designer, with hands-on experience in the film industry, creative agencies and entrepreneurship. Through our engaging conversation, Matvei unveiled his unique journey to becoming a concept artist and shared his perspectives on creativity, the wellsprings of his inspiration, and how modern technologies like artificial intelligence are shaping—and sometimes shaking—the realms of art and design. Matvei, share with us your path towards embarking on a career as a concept artist. Starting from early childhood, I have been keen on drawing and painting and have shown certain artistic abilities. Later on, I graduated from a prestigious college majoring in design. However, due to initially engaging in business with my brother and later developing my own retail business, I didn’t work in any specialized design fields for a long time. Still, attending to the design needs in the projects I was involved with allowed me to significantly hone my design skills. A few years ago I joined a large creative design agency and created storyboards for advertisements, various visuals, billboards, interfaces for promotional websites, icons, and did a lot of routine work. Although being a designer in a creative agency has never been my dream, I accepted the offer as they reached out to me via LinkedIn, and that was an intriguing new experience. Then, my story with concept art began to unfold. A friend of mine went to study in Florida and met a guy who was studying film directing there and was engaged in a film project. Their team was looking for a concept artist at the time, and so my friend recommended me. They reached out, saying they needed someone to draw a location and characters for an upcoming movie, provided a formal description and script, and I took on the task. I drew the concepts, and everyone liked it. At that moment, it felt like a new aspect of myself had been unlocked, as dreams of venturing into filmmaking had always been harbored since childhood. Somehow, the realm of concept art had passed me by, and when I discovered it, it was a bit upsetting that it took me so long to get there. And so, a voracious search for information began. When a field is entirely new, you can either learn it from scratch by yourself or go to a professional to learn. As a concept artist, you need to know a lot about films, different camera angles, frame composition, types of camera lenses, color, and light. Basically, all the film-related stuff, in addition to artistic skills, because you have to draw or create 3D models. In my case, it seemed more appropriate to turn to a professional, as it's an extremely vast topic. I enrolled in courses by Jama Jurabaev, who had collaborated with Disney, Lucasfilm, Steven Spielberg, and Guy Ritchie. Essentially, all the necessary fundamentals were covered in these courses and I also completed my first pilot project there. Later on, I was offered a job as a concept artist at the Hemlock project by DNA Studio, a mystical thriller in a Japanese setting. Meanwhile, I began creating some designs for my portfolio. For instance, there was this concept art contest called Mission to Minerva. Although my works didn’t win, they made it to the final featuring the best artworks chosen from nearly 32,000 participants from 174 countries (my works are shown starting from 1:49). showreel For another contest, I developed concept art called Swan Lake. When I was 14-15 years old, my mom and I went to a theater to see the ballet Swan Lake, and somehow imagined how cool it would be to make a movie to this music. Now, this thought found its embodiment in the concept art, for which I received a special mention from the jury. The American project I'm currently involved in thanks to my friend's recommendation, “Rain and Max Saga” by Synergetic Media Development, is in the pre-production stage and, if things go well, is meant to be a franchise. I've already done quite a lot for this project, regardless of its future fate: created full-fledged concepts of key locations, character sketches, and some simple stylistic concepts, as the idea is to have a “90s-like” style. Actually, it all started as a collaboration with Stan Lee in his later years. When they told me this, I couldn’t believe it at first. But quick googling has shown that this was true. It's very inspiring! Why did you choose concept art as your main direction? Well, because it's a blend of a creative approach and the cinematic, entertaining aspect. As a concept artist, I need to be an independent unit artistically, and a well-versed individual. If you bluntly recreate things already done in other projects, it might be received oddly. To avoid crafting clichéd narratives, you need broad exposure, extending beyond just movies. Even in many films, you'll find numerous references to classical paintings embedded in frame compositions, or outright reproductions of famous paintings, albeit in different attire or locations. Fashion, in terms of key photoshoots for magazines, along with celebrities and mass media, closely interlinks with painting, fashion, and movies since music videos often take cues from cinematography. So, you need to understand all these facets. All these elements inspire me, hence I probably chose this direction, intertwining various art forms. Whereas before I'd watch a movie and merely feel inspired, now I watch and notice—this technique, that camera angle, this special effect, that lighting. This adds an extra advantage, as you're not merely procrastinating while watching a movie, but extracting something useful for your work. In addition to your creative pursuits, you also ventured into entrepreneurship. Can you share a couple of insights you gained from this experience? The company I founded with my brother is called StickArt. We specialize in creating custom interactive portraits. The process goes like this: a client contacts us, sends a photo they want to be turned into a portrait, and our artists redesign it into an interactive format. Once approved, the portrait goes into production. What the client receives is not a finished portrait, but a canvas with a sketch, which they can then paint themselves using the set of paint included. When all this began, I was still in college, around 18 years old. My brother was exploring business ideas at the time and proposed this venture. I was responsible for the creative aspect of the project; for instance, I devised how we would draw the sketches, what tools to use, and how to technically implement all of it. My brother handled general management and marketing. Our business picked up fairly quickly, and I was deeply involved for about two to three years. Once the processes were streamlined, my involvement lessened. From a business standpoint, we were quite successful. People really enjoyed this format, and we had a good number of clients. The portraits were popular as gifts for weddings, birthdays, and so forth. However, to be honest, I didn't perceive it as a creative endeavor. It was more of a mass product. So, after a few years, I started to feel bogged down in routine, lacking a sense of tangible fulfillment, and began seeking something new. That’s when I realized the importance of avoiding a stagnant state. Whenever you feel you’ve outgrown something or it no longer brings you joy, it’s crucial not to fear letting go and seeking what intrigues you, where you can continue to grow. In my case, it took quite a bit of time. I started developing my own business, unrelated to creative work, and acquired many new skills—negotiating with clients, suppliers, marketing, and so on. This helped me grow both personally and professionally. I concluded that it’s beneficial to try new things, even if they seem daunting, as that’s how you can accelerate your development. You begin to realize that everything that seemed unattainable is actually achievable and realizable. What are your primary sources of inspiration? Many things inspire me, but ever since childhood, I've had a fondness for movies and music, along with drawing. Among these, cinematography has been the most inspiring as it transports me to a different world. Movies can spark visual ideas or concepts within me. For instance, I was very taken with Damien Chazelle's La La Land. It's essentially a classic musical adapted to modern realities, with a message to ponder. I love the visuals in this movie. I've been fascinated by Los Angeles since childhood, and in La La Land, it's depicted precisely as I feel it myself. This resonated with me, and I have good memories of watching it at a premiere in New York. Early contemporary art like Impressionism or Pop Art, especially Andy Warhol's works, also inspire me. Sometimes, I appreciate what our contemporaries create, but selectively. Unlike earlier times when Pop Art or Malevich's Black Square captured attention and gained value due to their unique approach, nowadays, there's so much created that it's hard to surprise anyone. I also draw inspiration from the fashion industry and mass media stories. I like keeping up with celebrities, though I do it less now due to time constraints. Previously, I keenly followed music videos, the ideas therein, and contemporary agendas. Because what's showcased in videos and movies often results from focus group analyses determining current trends. By following this, you stay in the loop. In one of your interviews, you mentioned, "A designer is not someone who creates beautiful visuals, but rather, someone who solves a client's business task." How do you strike a balance between commercial interests and self-realization? I believe the most useful skill every designer and commercial artist should master is switching off their ego. Creative individuals often wish to infuse their own vision into their work. It happens quite often that a person receives a task, conceives something unique, falls in love with the idea, but at the moment you present it to the client, they might not share your enthusiasm. Even if you are guided by your knowledge of good design principles, it doesn't always resonate—clients often have their own vision. Or, if we talk about design agencies, it’s common for creative director to fall in love with their own ideas and, consequently, they might not appreciate yours. Initially, this caused me a lot of emotional turmoil—I mean, when I created and proposed something, and it wasn’t appreciated. But with experience, I've come to a point where I strive to do well, pay close attention to the client's request, and just add my touch. However, if the client expresses disapproval, I react calmly because if it's a commercial task, I set aside my ego. I understand that I'm not the creator of this product, nor will I live with it; I merely strive to do my part well. And if there are any criticisms, I don’t take them personally, but understand it as a work-related expense. Certainly, there are designers and artists who are highly recognized, and clients may approach them saying, "We need your vision." But that’s more the exception. Every creative individual, while working on commercial projects, invariably faces these constraints. A good example is the animated film Spider-Man: Across the Spider-Verse. When the project was still in pre-production, concept artist Alberto Mielgo was invited as the art director and given quite a lot of freedom. He came up with his own stylistic approach, somewhat dark, to make it a more mature story. However, as I understood, Sony's producers weren’t thrilled with this concept since they wanted a balance of this explosive new style while targeting a teenage audience. In the end, they didn’t agree, and Mielgo left the project. He about this on his Instagram. wrote This is to say, designers of any status encounter this issue. Therefore, it seems to me it's essential to realize the nature of the project you are working on. Because if you are creating something for yourself or your portfolio, you have the freedom to do as you wish, and the only person to reprimand you is yourself. But when working for a client, it’s better to set aside your ego at the moment and think about the opportunity to create something cool. Yes, it won’t be a hundred percent your creation, as most of the time it’s a collaborative effort, and you are just part of the team. Perhaps, that’s where the balance lies. What do you think about current trends in art and design, such as the active adoption of AI? Regarding artificial intelligence, there's a utopian and a dystopian way to view it. Given how people often have a knack for messing things up, I'm not entirely sold on the positive aspects of AI. This notion has been around for a while. We've had bots and various software integrations for a long time; it's just become a hot topic recently. AI has indeed rocked the creative industry, sparking debates and discussions among artists and designers. Of course, there are certain fears. I try not to succumb to these fears. However, it's not the potential job loss due to AI that scares me most since humans generally adapt to changes quite well. For instance, there was a time when everything was drawn by hand, then photography and videography came along. Now, most things have transitioned to digital, yet there's still a demand for many artists, and technology hasn't fully replaced humans in the industry. With AI, honestly, I fear that the artist's job could become very mundane and uninteresting. The essence of being an artist lies in the creative process itself. Yes, the final result is pleasing to the eye, but usually, that joy is fleeting. When it comes to artificial intelligence, the scary part is that it might rob people of this process. You write a prompt, hit a button, and it gives you the final result. It's cool, but you didn't do it; you didn’t go through the process, and didn't experience the joy of creating. Life is not just about the final result; it's about the process. On the positive side, I'd be happy to use AI if everyone used it as an additional source of inspiration. It's foolish to argue that every artist gets inspired either by other artists or external materials. When they get an idea, the first thing they do is gather references. You go to Pinterest or Google and see what's out there on the topic. If artificial intelligence were perceived as a reference generator for a given topic, that would be a good use. For example, you ask it to show versions of future cities. It generates images, you add them to a folder, and you take something from there for inspiration. I think it would be better not to rush with the active implementation of AI, or at least, I'd like the charms of the creative process to remain with humans. In the creative sphere, it's precisely what gives people the stimulus to work and somehow express themselves. Hence, I'm more skeptical than positive about AI for now.

Exploring Creativity, Entrepreneurship, and AI Debates with a Concept Artist

Loss of Amazon Rainforest Resilience: Author Contributions

A Roadmap for User Empowerment in the Dark Pattern Landscape

This paper is available on arxiv under CC 4.0 license. . Authors: Gemini Team, Google Table of Links Abstract and Introduction Model Architecture Training Infrastructure Training Dataset Evaluation Responsible Deployment Discussion and Conclusion, References Contributions and Acknowledgments Appendix 8. Contributions and Acknowledgments Leads Rohan Anil, Co-Lead, Text Sebastian Borgeaud, Co-Lead, Text Yonghui Wu, Co-Lead, Text Jean-Baptiste Alayrac, Co-Lead, MM Vision Jiahui Yu, Co-Lead, MM Vision Radu Soricut*, Co-Lead, MM Vision* Johan Schalkwyk, Lead, MM Audio Andrew M. Dai, Co-Lead, Data Anja Hauth*, Co-Lead, Data* Katie Millican, Co-Lead, Data David Silver, Co-Lead, Fine-Tuning Slav Petrov, Co-Lead, Fine-Tuning Melvin Johnson, Lead, Instruction Tuning Ioannis Antonoglou*, Co-Lead, RL Techniques* Julian Schrittwieser, Co-Lead, RL Techniques Amelia Glaese, Lead, Human Data Jilin Chen, Lead, Safety Emily Pitler, Co-Lead, Tool Use Timothy Lillicrap, Co-Lead, Tool Use Angeliki Lazaridou, Co-Lead, Eval Orhan Firat, Co-Lead, Eval James Molloy, Co-Lead, Infra Michael Isard, Co-Lead, Infra Paul R. Barham, Co-Lead, Infra Tom Hennigan, Co-Lead, Infra Benjamin Lee, Co-Lead, Codebase & Parallelism Fabio Viola, Co-Lead, Codebase & Parallelism Malcolm Reynolds, Co-Lead, Codebase & Parallelism Yuanzhong Xu, Co-Lead, Codebase & Parallelism Ryan Doherty, Lead, Ecosystem Eli Collins, Lead, Product Clemens Meyer, Co-Lead, Operations Eliza Rutherford, Co-Lead, Operations Erica Moreira, Co-Lead, Operations Kareem Ayoub, Co-Lead, Operations Megha Goel, Co-Lead, Operations Core Contributors George Tucker Enrique Piqueras Maxim Krikun Iain Barr Nikolay Savinov Ivo Danihelka Becca Roelofs Core Contributors Anaïs White Anders Andreassen Tamara von Glehn Lakshman Yagati Mehran Kazemi Lucas Gonzalez Misha Khalman Jakub Sygnowski Alexandre Frechette Charlotte Smith Laura Culp Lev Proleev Yi Luan Xi Chen James Lottes Nathan Schucher Federico Lebron Alban Rrustemi Natalie Clay Phil Crone Tomas Kocisky Jeffrey Zhao Bartek Perz Dian Yu Heidi Howard Adam Bloniarz Jack W. Rae Han Lu Laurent Sifre Marcello Maggioni Fred Alcober Dan Garrette Megan Barnes Shantanu Thakoor Jacob Austin Gabriel Barth-Maron William Wong Rishabh Joshi Rahma Chaabouni Deeni Fatiha Arun Ahuja Ruibo Liu Yunxuan Li Sarah Cogan Jeremy Chen Core Contributors Chao Jia Chenjie Gu Qiao Zhang Jordan Grimstad Ale Jakse Hartman Martin Chadwick Gaurav Singh Tomar Xavier Garcia Evan Senter Emanuel Taropa Thanumalayan Sankaranarayana Pillai Jacob Devlin Michael Laskin Diego de Las Casas Dasha Valter Connie Tao Lorenzo Blanco Adrià Puigdomènech Badia David Reitter Mianna Chen Jenny Brennan Clara Rivera Sergey Brin Shariq Iqbal Gabriela Surita Jane Labanowski Abhi Rao Stephanie Winkler Emilio Parisotto Yiming Gu Kate Olszewska Yujing Zhang Ravi Addanki Antoine Miech Annie Louis Laurent El Shafey Denis Teplyashin Geoff Brown Elliot Catt Nithya Attaluri Jan Balaguer Jackie Xiang Pidong Wang Zoe Ashwood Anton Briukhov Albert Webson Sanjay Ganapathy Smit Sanghavi Core Contributors Ajay Kannan Ming-Wei Chang Axel Stjerngren Josip Djolonga Yuting Sun Ankur Bapna Matthew Aitchison Pedram Pejman Henryk Michalewski Tianhe Yu Cindy Wang Juliette Love Junwhan Ahn Dawn Bloxwich Kehang Han Peter Humphreys Thibault Sellam James Bradbury Varun Godbole Sina Samangooei Bogdan Damoc Alex Kaskasoli Sébastien M. R. Arnold Vijay Vasudevan Shubham Agrawal Jason Riesa Dmitry Lepikhin Richard Tanburn Srivatsan Srinivasan Hyeontaek Lim Sarah Hodkinson Pranav Shyam Johan Ferret Steven Hand Ankush Garg Tom Le Paine Jian Li Yujia Li Minh Giang Alexander Neitz Zaheer Abbas Sarah York Machel Reid Elizabeth Cole Aakanksha Chowdhery Dipanjan Das Dominika Rogozińska Vitaly Nikolaev Core Contributors Pablo Sprechmann Zachary Nado Lukas Zilka Flavien Prost Luheng He Marianne Monteiro Gaurav Mishra Chris Welty Josh Newlan Dawei Jia Miltiadis Allamanis Clara Huiyi Hu Raoul de Liedekerke Justin Gilmer Carl Saroufim Shruti Rijhwani Shaobo Hou Disha Shrivastava Anirudh Baddepudi Alex Goldin Adnan Ozturel Albin Cassirer Yunhan Xu Daniel Sohn Devendra Sachan Reinald Kim Amplayo Craig Swanson Dessie Petrova Shashi Narayan Arthur Guez Siddhartha Brahma Jessica Landon Miteyan Patel Ruizhe Zhao Kevin Villela Luyu Wang Wenhao Jia Matthew Rahtz Mai Giménez Legg Yeung Hanzhao Lin James Keeling Petko Georgiev Diana Mincu Boxi Wu Salem Haykal Rachel Saputro Kiran Vodrahalli Core Contributors James Qin Zeynep Cankara Abhanshu Sharma Nick Fernando Will Hawkins Behnam Neyshabur Solomon Kim Adrian Hutter Priyanka Agrawal Alex Castro-Ros George van den Driessche Tao Wang Fan Yang Shuo-yiin Chang Paul Komarek Ross McIlroy Mario Lučić Guodong Zhang Wael Farhan Michael Sharman Paul Natsev Paul Michel Yong Cheng Yamini Bansal Siyuan Qiao Kris Cao Siamak Shakeri Christina Butterfield Justin Chung Paul Kishan Rubenstein Shivani Agrawal Arthur Mensch Kedar Soparkar Karel Lenc Timothy Chung Aedan Pope Loren Maggiore Jackie Kay Priya Jhakra Shibo Wang Joshua Maynez Mary Phuong Taylor Tobin Andrea Tacchetti Maja Trebacz Kevin Robinson Yash Katariya Sebastian Riedel Core Contributors Paige Bailey Kefan Xiao Nimesh Ghelani Lora Aroyo Ambrose Slone Neil Houlsby Xuehan Xiong Zhen Yang Elena Gribovskaya Jonas Adler Mateo Wirth Lisa Lee Music Li Thais Kagohara Jay Pavagadhi Sophie Bridgers Anna Bortsova Sanjay Ghemawat Zafarali Ahmed Tianqi Liu Richard Powell Vijay Bolina Mariko Iinuma Polina Zablotskaia James Besley Da-Woon Chung Timothy Dozat Ramona Comanescu Xiance Si Jeremy Greer Guolong Su Martin Polacek Raphaël Lopez Kaufman Simon Tokumine Hexiang Hu Elena Buchatskaya Yingjie Miao Mohamed Elhawaty Aditya Siddhant Nenad Tomasev Jinwei Xing Christina Greer Helen Miller Shereen Ashraf Aurko Roy Zizhao Zhang Ada Ma Angelos Filos Core Contributors Milos Besta Rory Blevins Ted Klimenko Chih-Kuan Yeh Soravit Changpinyo Jiaqi Mu Oscar Chang Mantas Pajarskas Carrie Muir Vered Cohen Charline Le Lan Krishna Haridasan Amit Marathe Steven Hansen Sholto Douglas Rajkumar Samuel Mingqiu Wang Sophia Austin Chang Lan Jiepu Jiang Justin Chiu Jaime Alonso Lorenzo Lars Lowe Sjösund Sébastien Cevey Zach Gleicher Thi Avrahami Anudhyan Boral Hansa Srinivasan Vittorio Selo Rhys May Konstantinos Aisopos Léonard Hussenot Livio Baldini Soares Kate Baumli Michael B. Chang Adrià Recasens Ben Caine Alexander Pritzel Filip Pavetic Fabio Pardo Anita Gergely Justin Frye Vinay Ramasesh Dan Horgan Kartikeya Badola Nora Kassner Subhrajit Roy Ethan Dyer Core Contributors Víctor Campos Alex Tomala Yunhao Tang Dalia El Badawy Elspeth White Basil Mustafa Oran Lang Abhishek Jindal Sharad Vikram Zhitao Gong Sergi Caelles Ross Hemsley Gregory Thornton Fangxiaoyu Feng Wojciech Stokowiec Ce Zheng Phoebe Thacker Çağlar Ünlü Zhishuai Zhang Mohammad Saleh James Svensson Max Bileschi Piyush Patil Ankesh Anand Roman Ring Katerina Tsihlas Arpi Vezer Marco Selvi Toby Shevlane Mikel Rodriguez Tom Kwiatkowski Samira Daruki Keran Rong Allan Dafoe Nicholas FitzGerald Keren Gu-Lemberg Mina Khan Lisa Anne Hendricks Marie Pellat Vladimir Feinberg James Cobon-Kerr Tara Sainath Maribeth Rauh Sayed Hadi Hashemi Richard Ives Yana Hasson YaGuang Li Eric Noland Core Contributors Yuan Cao Nathan Byrd Le Hou Qingze Wang Thibault Sottiaux Michela Paganini Jean-Baptiste Lespiau Alexandre Moufarek Samer Hassan Kaushik Shivakumar Joost van Amersfoort Amol Mandhane Pratik Joshi Anirudh Goyal Matthew Tung Andrew Brock Hannah Sheahan Vedant Misra Cheng Li Nemanja Rakićević Mostafa Dehghani Fangyu Liu Sid Mittal Junhyuk Oh Seb Noury Eren Sezener Fantine Huot Matthew Lamm Nicola De Cao Charlie Chen Contributors Gamaleldin Elsayed Ed Chi Mahdis Mahdieh Ian Tenney Nan Hua Ivan Petrychenko Patrick Kane Dylan Scandinaro Rishub Jain Jonathan Uesato Romina Datta Adam Sadovsky Oskar Bunyan Dominik Rabiej Shimu Wu John Zhang Contributors Gautam Vasudevan Edouard Leurent Mahmoud Alnahlawi Ionut Georgescu Nan Wei Ivy Zheng Betty Chan Pam G Rabinovitch Piotr Stanczyk Ye Zhang David Steiner Subhajit Naskar Michael Azzam Matthew Johnson Adam Paszke Chung-Cheng Chiu Jaume Sanchez Elias Afroz Mohiuddin Faizan Muhammad Jin Miao Andrew Lee Nino Vieillard Sahitya Potluri Jane Park Elnaz Davoodi Jiageng Zhang Jeff Stanway Drew Garmon Abhijit Karmarkar Zhe Dong Jong Lee Aviral Kumar Luowei Zhou Jonathan Evens William Isaac Zhe Chen Johnson Jia Anselm Levskaya Zhenkai Zhu Chris Gorgolewski Peter Grabowski Yu Mao Alberto Magni Kaisheng Yao Javier Snaider Norman Casagrande Paul Suganthan Evan Palmer Contributors Geoffrey Irving Edward Loper Manaal Faruqui Isha Arkatkar Nanxin Chen Izhak Shafran Michael Fink Alfonso Castaño Irene Giannoumis Wooyeol Kim Mikołaj Rybiński Ashwin Sreevatsa Jennifer Prendki David Soergel Adrian Goedeckemeyer Willi Gierke Mohsen Jafari Meenu Gaba Jeremy Wiesner Diana Gage Wright Yawen Wei Harsha Vashisht Yana Kulizhskaya Jay Hoover Maigo Le Lu Li Chimezie Iwuanyanwu Lu Liu Kevin Ramirez Andrey Khorlin Albert Cui Tian LIN Marin Georgiev Marcus Wu Ricardo Aguilar Keith Pallo Abhishek Chakladar Alena Repina Xihui Wu Tom van der Weide Priya Ponnapalli Caroline Kaplan Jiri Simsa Shuangfeng Li Olivier Dousse Fan Yang Jeff Piper Nathan Ie Contributors Minnie Lui Rama Pasumarthi Nathan Lintz Anitha Vijayakumar Lam Nguyen Thiet Daniel Andor Pedro Valenzuela Cosmin Paduraru Daiyi Peng Katherine Lee Shuyuan Zhang Somer Greene Duc Dung Nguyen Paula Kurylowicz Sarmishta Velury Sebastian Krause Cassidy Hardin Lucas Dixon Lili Janzer Kiam Choo Ziqiang Feng Biao Zhang Achintya Singhal Tejasi Latkar Mingyang Zhang Quoc Le Elena Allica Abellan Dayou Du Dan McKinnon Natasha Antropova Tolga Bolukbasi Orgad Keller David Reid Daniel Finchelstein Maria Abi Raad Remi Crocker Peter Hawkins Robert Dadashi Colin Gaffney Sid Lall Ken Franko Egor Filonov Anna Bulanova Rémi Leblond Vikas Yadav Shirley Chung Harry Askham Luis C. Cobo Contributors Kelvin Xu Felix Fischer Jun Xu Christina Sorokin Chris Alberti Chu-Cheng Lin Colin Evans Hao Zhou Alek Dimitriev Hannah Forbes Dylan Banarse Zora Tung Jeremiah Liu Mark Omernick Colton Bishop Chintu Kumar Rachel Sterneck Ryan Foley Rohan Jain Swaroop Mishra Jiawei Xia Taylor Bos Geoffrey Cideron Ehsan Amid Francesco Piccinno Xingyu Wang Praseem Banzal Petru Gurita Hila Noga Premal Shah Daniel J. Mankowitz Alex Polozov Nate Kushman Victoria Krakovna Sasha Brown MohammadHossein Bateni Dennis Duan Vlad Firoiu Meghana Thotakuri Tom Natan Anhad Mohananey Matthieu Geist Sidharth Mudgal Sertan Girgin Hui Li Jiayu Ye Ofir Roval Reiko Tojo Contributors Michael Kwong James Lee-Thorp Christopher Yew Quan Yuan Sumit Bagri Danila Sinopalnikov Sabela Ramos John Mellor Abhishek Sharma Aliaksei Severyn Jonathan Lai Kathy Wu Heng-Tze Cheng David Miller Nicolas Sonnerat Denis Vnukov Rory Greig Jennifer Beattie Emily Caveness Libin Bai Julian Eisenschlos Alex Korchemniy Tomy Tsai Mimi Jasarevic Weize Kong Phuong Dao Zeyu Zheng Frederick Liu Fan Yang Rui Zhu Mark Geller Tian Huey Teh Jason Sanmiya Evgeny Gladchenko Nejc Trdin Andrei Sozanschi Daniel Toyama Evan Rosen Sasan Tavakkol Linting Xue Chen Elkind Oliver Woodman John Carpenter George Papamakarios Rupert Kemp Sushant Kafle Tanya Grunina Rishika Sinha Contributors Alice Talbert Abhimanyu Goyal Diane Wu Denese Owusu-Afriyie Cosmo Du Chloe Thornton Jordi Pont-Tuset Pradyumna Narayana Jing Li Saaber Fatehi John Wieting Omar Ajmeri Benigno Uria Tao Zhu Yeongil Ko Laura Knight Amélie Héliou Ning Niu Shane Gu Chenxi Pang Dustin Tran Yeqing Li Nir Levine Ariel Stolovich Norbert Kalb Rebeca Santamaria-Fernandez Sonam Goenka Wenny Yustalim Robin Strudel Ali Elqursh Balaji Lakshminarayanan Charlie Deck Shyam Upadhyay Hyo Lee Mike Dusenberry Zonglin Li Xuezhi Wang Kyle Levin Raphael Hoffmann Dan Holtmann-Rice Olivier Bachem Summer Yue Sho Arora Eric Malmi Daniil Mirylenka Qijun Tan Christy Koh Soheil Hassas Yeganeh Contributors Siim Põder Steven Zheng Francesco Pongetti Mukarram Tariq Yanhua Sun Lucian Ionita Mojtaba Seyedhosseini Pouya Tafti Ragha Kotikalapudi Zhiyu Liu Anmol Gulati Jasmine Liu Xinyu Ye Bart Chrzaszcz Lily Wang Nikhil Sethi Tianrun Li Ben Brown Shreya Singh Wei Fan Aaron Parisi Joe Stanton Chenkai Kuang Vinod Koverkathu Christopher A. Choquette-Choo Yunjie Li TJ Lu Abe Ittycheriah Prakash Shroff Pei Sun Mani Varadarajan Sanaz Bahargam Rob Willoughby David Gaddy Ishita Dasgupta Guillaume Desjardins Marco Cornero Brona Robenek Bhavishya Mittal Ben Albrecht Ashish Shenoy Fedor Moiseev Henrik Jacobsson Alireza Ghaffarkhah Morgane Rivière Alanna Walton Clément Crepy Alicia Parrish Contributors Yuan Liu Zongwei Zhou Clement Farabet Carey Radebaugh Praveen Srinivasan Claudia van der Salm Andreas Fidjeland Salvatore Scellato Eri Latorre-Chimoto Hanna Klimczak-Plucińska David Bridson Dario de Cesare Tom Hudson Piermaria Mendolicchio Lexi Walker Alex Morris Ivo Penchev Matthew Mauger Alexey Guseynov Alison Reid Seth Odoom Lucia Loher Victor Cotruta Madhavi Yenugula Dominik Grewe Anastasia Petrushkina Tom Duerig Antonio Sanchez Steve Yadlowsky Amy Shen Amir Globerson Adam Kurzrok Lynette Webb Sahil Dua Dong Li Preethi Lahoti Surya Bhupatiraju Dan Hurt Haroon Qureshi Ananth Agarwal Tomer Shani Matan Eyal Anuj Khare Shreyas Rammohan Belle Lei Wang Chetan Tekur Mihir Sanjay Kale Jinliang Wei Contributors Ruoxin Sang Brennan Saeta Tyler Liechty Yi Sun Yao Zhao Stephan Lee Pandu Nayak Doug Fritz Manish Reddy Vuyyuru John Aslanides Nidhi Vyas Martin Wicke Xiao Ma Taylan Bilal Evgenii Eltyshev Daniel Balle Nina Martin Hardie Cate James Manyika Keyvan Amiri Yelin Kim Xi Xiong Kai Kang Florian Luisier Nilesh Tripuraneni David Madras Mandy Guo Austin Waters Oliver Wang Joshua Ainslie Jason Baldridge Han Zhang Garima Pruthi Jakob Bauer Feng Yang Riham Mansour Jason Gelman Yang Xu George Polovets Ji Liu Honglong Cai Warren Chen XiangHai Sheng Emily Xue Sherjil Ozair Adams Yu Christof Angermueller Contributors Xiaowei Li Weiren Wang Julia Wiesinger Emmanouil Koukoumidis Yuan Tian Anand Iyer Madhu Gurumurthy Mark Goldenson Parashar Shah MK Blake Hongkun Yu Anthony Urbanowicz Jennimaria Palomaki Chrisantha Fernando Kevin Brooks Ken Durden Harsh Mehta Nikola Momchev Elahe Rahimtoroghi Maria Georgaki Amit Raul Sebastian Ruder Morgan Redshaw Jinhyuk Lee Komal Jalan Dinghua Li Ginger Perng Blake Hechtman Parker Schuh Milad Nasr Mia Chen Kieran Milan Vladimir Mikulik Trevor Strohman Juliana Franco Tim Green Program Leads Demis Hassabis Koray Kavukcuoglu Overall Technical Leads (equal contribution) Jeffrey Dean Oriol Vinyals The roles are defined as below: • : Individual(s) responsible for the sub-team throughout the project. Lead Individual that had significant impact throughout the project. • Core Contributor: : Individual that had contributions to the project and was partially involved with the effort. • Contributor Responsible for the organizational aspects of the Gemini effort • Program Lead: Responsible for the technical direction of the overall Gemini effort • Overall Technical Lead: Within each role, contributions are equal, and are listed in a randomized order. Ordering within each role does not indicate ordering of the contributions. Gemini is a cross-Google effort, with members from Google DeepMind (GDM), Google Research (GR), Knowledge and Information (K&I), Core ML, Cloud, Labs, and more. We thank our reviewers and colleagues for their valuable discussions and feedback on the report— Alexandra Belias, Arielle Bier, Eleanor Tomlinson, Emily Hossellman, Gaby Pearl, Helen King, Hollie Dobson, Jaclyn Konzelmann, Jennifer Beroshi, Joel Moss, Jon Small, Jonathan Fildes, Oli Gaymond, Rebecca Bland, Reena Jana, and Tom Lue. Our work is made possible by the dedication and efforts of numerous teams at Google. We would like to acknowledge the support from Abhi Mohan, Adekunle Bello, Aishwarya Nagarajan, Alaa Saade, Alejandro Lince, Alexander Chen, Alexander Kolbasov, Alexander Schiffhauer, Amar Subramanya, Ameya Shringi, Amin Vahdat, Anda Rabatić, Anthonie Gross, Antoine Yang, Anthony Green, Anton Ruddock, Art Khurshudov, Artemis Chen, Arthur Argenson, Avinatan Hassidim, Beiye Liu, Benjamin Schroeder, Bin Ni, Brett Daw, Bryan Chiang, Burak Gokturk, Carl Crous, Carrie Grimes Bostock, Charbel Kaed, Charlotte Banks, Che Diaz, Chris Larkin, Christy Lian, Claire Cui, Clare Bycroft, Corentin Tallec, Daniel Herndon, Dave Burke, David Battle, David Engel, Dipannita Shaw, Donghyun Koo, Doug Ritchie, Dragos Stefanescu, Elissa Wolf, Emre Sargin, Eran Ofek, Eric Herren, Estella King, Fatema Alkhanaizi, Felix Gimeno, Fernando Pereira, Florent Altché, Gabriel Carvajal, Gaurav Gandhi, George Powell, Goran Pavičić, Harry Richardson, Hassan Wassel, Hongji Li, Idan Szpektor, Igor Ivanisevic, Ivan Jambrešić, Ivan Jurin, Jade Fowler, James Assiene, Jay Yagnik, Jeanbastien Grill, Jeff Seibert, Jenna LaPlante, Jessica Austin, Jianxing Lu, Jim O’Keeffe, Jin Huang, Joe Heyward, Johannes Welbl, John Jumper, Jonathan Caton, Josh Woodward, Joshua Foster, Kathryn Tunyasuvunakool, Katrina Wong, Kavya Kopparapu, Kelvin Nguyen, Kira Yin, Konstantin Sharlaimov, Kun Li, Lee Hong, Lilly Taylor, Longfei Shen, Luc Mercier, Maciej Mikuła, Mania Abdi, Manuel Sanchez, Maria Ines Aranguren, Mario Carlos Cortes III, Matthew Tait, Matthias Lochbrunner, Mehdi Ghissassi, Micah Mosley, Michael Bendersky, Michael Figurnov, Michael Harris, Michael Mathieu, Michael O’Neill, Michael Vorburger, Mihir Paradkar, Nandita Dukkipati, Nathan Carter, Nathan Watson, Neil Rabinowitz, Nikhil Dandekar, Nishant Ranka, Obaid Sarvana, Olcan Sercinoglu, Olivier Lacombe, Ottavia Bertolli, Paul Caron, Pranesh Srinivasan, Praveen Kumar, Rahul Sukthankar, Raia Hadsell, Rajagopal Ananthanarayanan, Roberto Lupi, Rosie Zou, Sachin Menezes, Sadegh Jazayeri, Sam Cheung, Sameer Bidichandani, Sania Alex, Sanjiv Kumar, Sara Wiltberger, Sarah Fitzgerald, Saz Basu, Sebastian Nowozin, Shannon Hepburn, Shayne Cardwell, Sissie Hsiao, Srinivasan Venkatachary, Sugato Basu, Sundar Pichai, Sundeep Tirumalareddy, Susannah Young, Swetha Vijayaraghavan, Tania Bedrax-Weiss, Taylor Applebaum, Teiva Harsanyi, Terry Chen, Tim Blyth, Ting Liu, Tom Cobley, Tomas Izo, Trystan Upstill, Varun Singhai, Vedrana Klarić Trupčević, Victor Cai, Vladimir Pudovkin, Vu Dang, Wenbo Zhao, Wesley Crow, Wesley Szeng, Xiaodan Song, Yazhou Zu, Ye Tian, Yicong Wang, Yixing Wang, Yossi Matias, Yunlong Jiao, Zachary Jessup, Zhenchuan Pang, Žiga Avsec, Zimeng Yang, and Zoubin Ghahramani. We’d also like to recognize the AlphaCode team, the Borg Scheduling team, the Facilities team, the Gemini Demo Team, the Global Server Ops (GSO) team, the JAX team, the the Legal team, ML SRE team, the ML Supercomputer (MLSC) team, the PartIR team, the Platforms Infrastructure Engineering (PIE) team, and the XLA Compiler team. We thank everyone at Google not explicitly mentioned above, who have shared excitement, given feedback on early Gemini models or created interesting demo uses of Gemini, and worked with or supported the core Gemini team on many aspects of this project.

RICHIE AI

richie.ai

-- employees

Since n.d.

COMPANY RANKING

RICHIE AI

EVERGREEN INDEX #8397

Representing this company? Click here to claim and customize this page!

Richie AI WIKI

Apply to get your Tech Company News Page live on HackerNoon.com today!

RICHIE AI

richie.ai

-- employees

Since n.d.

COMPANY RANKING

RICHIE AI

EVERGREEN INDEX #8397

RELATED COMPANIESRANK

STORIES ABOUT RICHIE AI

Representing this company? Click here to claim and customize this page!

Richie AI WIKI

Apply to get your Tech Company News Page live on HackerNoon.com today!