Every job could be replaced by AI in 30 years, says industry expert

Every job could be replaced by AI in 30 years, says industry expert
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Updated 10 September 2024
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Every job could be replaced by AI in 30 years, says industry expert

Every job could be replaced by AI in 30 years, says industry expert
  • While experts agree on AI's transformative potential, opinions differ on how deeply it will reshape the workplace

RIYADH: Every job could be replaced by artificial intelligence within the next 30 years or will at least be affected by it, according to an industry expert.

But Reza Zadeh, a Stanford professor and CEO of Matroid, a company which uses AI visual systems for quality control in manufacturing, says the outlook is positive.

“Every single human profession in some timeline, say in the next 30 years, will be somewhat changed by AI, may be completely replaced, and that’s fine. It’s completely wonderful,” he said during a panel discussion at the Global AI Summit in Riyadh on Tuesday.

Humanity will benefit from adopting AI, Zadeh told Arab News: “It will be immensely helpful to every single person, just like writing is, and the thing that makes it less scary and really useful to everyone is if you learn to harness it.”

He believes AI is an essential tool that should and will be used in all walks of life. An unapologetic optimist, he acknowledges however that the technology could also increase inequality.

“The reason you’re seeing me harp on this message (of learn to code) so much is so that people don’t get left behind,” he said.

Those who embraced the advice would become more effective, he said, but some would ignore it and be unable to keep up with the pace of innovation. In his view, AI is a tool as fundamental as writing and is already used in most industries in some way: “If you define AI as computers, name a profession that you don’t use a computer for. That includes your phone, your phone is a computer. It’s quite hard to find a profession where a phone isn’t used.”

In Zadeh’s view, the way AI will inevitably transform workplaces is no reason to halt the progress of technology.

One area in which AI is making significant inroads in Saudi Arabia is healthcare.

During the summit, Riyadh’s King Faisal Specialist Hospital and Research Centre announced a new generative AI system that will be used to analyze clinical data from patient charts and streamline the way that medical staff make evidence-based decisions.

It is also developing a system which tracks how patients are moved through the hospital’s units, allowing management to identify bottlenecks and improve efficiency.

Dr Ahmad Abusalah, AI officer and manager of the Center of Healthcare Intelligence at KFSHRC, spoke to Arab News about the implications of the new system.

“It’s going to make people’s jobs easier. But there are concerns, and we must really address these,” he said.

One such worry was privacy, as the AI would inevitably deal with sensitive patient data. Another was the human bias that could affect the implementation of AI systems.

“If you’re going to use applications for clinical decisions, you better test them and validate them very well,” he said.

“It’s not just a matter of ‘this works elsewhere in the world and it is going to work here.’ We must test it and validate it and be sure that actually, it does generate the right information for the doctor.”

Abusalah also said healthcare professionals needed to learn to use emerging technologies in the right way. To that end, KFSHRC has created AI certification programs to train staff internally.

Despite the development of AI healthcare systems, Abusalah does not see a time where they could put jobs at risk.

“The human factor is still there,” he said. “It’s healthcare, it will be always there.”

However, others in the field are less hopeful.

Kevin Rad, chief digital officer of Swiss software company OPUSm AG, described a scenario in which the computing power of AI could replace human intelligence.

“We delegate thinking more and more, and the AI takes the lead in digital form. It’s happening today — you ask a question of your kid, they put it in ChatGPT,” he said.

“The digital generation has little patience to explore. In history, we said ‘I think, therefore I am.’ Now, if we delegate thinking, then who am I? Who are you? Hello, AI; bye, humans.”


Egyptian TV presenter apologizes after claiming international artworks as her own

Egyptian TV presenter apologizes after claiming international artworks as her own
Updated 08 July 2025
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Egyptian TV presenter apologizes after claiming international artworks as her own

Egyptian TV presenter apologizes after claiming international artworks as her own
  • The backlash also prompted TV host El-Shazly to apologize for the incident

DUBAI: Egyptian TV presenter and designer Maha Al-Sagheer has issued an apology after falsely claiming ownership of artworks by four European artists during a recent talk show appearance, sparking backlash from the original painters and social media users.

Al-Sagheer appeared last month as a guest on a talk show on ON channel with prominent TV host Mona El-Shazly where she spoke of her passion for fine arts and showcased several paintings on a large screen, claiming they were her own.

However, Danish artist Lisa Lach-Nielsen took to Instagram on Sunday to accuse the TV presenter of stealing her artwork, titled “Made Myself Some Wings,” which she created in 2019, along with pieces by three other artists.

“Copying other people’s work is one thing, but taking a photo of the actual painting, that someone else made, and taking public ownership of it … that’s new to me,” said Lach-Nielsen wrote in the post, where she also tagged two other artists whose works she identified.

She noted that the act is “not only a violation of the law but also the person who put their soul and time into the work.

 

 

“Living as an artist is not always easy, and we need the internet to show our work … no one should take advantage of that,” said Lach-Nielsen.

In response to the online criticism sparked by Lach-Nielsen’s post, Al-Sagheer posted an apology on her Facebook account on Monday, admitting her “big mistake towards the danish artist Lisa, towards artists and more important towards myself.

“I have been passing through hardship during this period of my life. It has been a very tough time. However, it doesn’t give me the right to do what I have done. I’m deeply sorry and very upset due to what I have done.”

Earlier in the day, Finnish artist Caroline Wendelin also spoke out online, raising concerns over the unauthorized use of her painting “Becoming the Garden.”

Wendelin said: “I’m not rich. I’m not famous. I work until I’m exhausted, all while raising 3 small children and pouring my whole heart into my art. Hoping that one day it might give us a chance to buy our first home.

“So imagine what it feels like to see a wealthy influencer steal my art, claim it as her own, and present it on national TV as if it came from her hands.”

She added that her painting “symbolises how with time and patience, we become what we nurture. Seeing someone erase that meaning is deeply painful.”

 

 

On the same day, Dubai-based French artist Seaty took to Instagram to identify three of his artworks titled “Dwarka”, “Kigali” and “Bushido,” which he created in 2017, among the pieces displayed on the show.

“Worse still, in the broadcast segment, my former studio is clearly visible, along with the canvases bearing my signature, and even the original photo available on my Instagram page.”

He added: “After all these years of effort, failure, research, and creative energy … to have my art stolen like this, in broad daylight, so shamelessly and without remorse it’s simply unacceptable. Especially in 2025, in an age when everything can be verified in a matter of clicks.”

 

 

The backlash also prompted TV host El-Shazly to apologize for the incident, sharing an image of the Danish artist Lach-Nielsen’s painting and acknowledging that it is her work.

“We respect true artists and value their original creations in all fields.”


Music trade bodies concerned about BBC’s changes to airing live performances

Music trade bodies concerned about BBC’s changes to airing live performances
Updated 08 July 2025
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Music trade bodies concerned about BBC’s changes to airing live performances

Music trade bodies concerned about BBC’s changes to airing live performances
  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says
  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says

DUBAI: Music trade bodies have accused the BBC of making “arbitrary and disproportionate” changes to its broadcasting and streaming of live music events following the controversy around Bob Vylan’s Glastonbury performance.

During the punk rap duo’s set at the festival on June 28, they led the crowd in pro-Palestinian and anti-Israeli military chants like “free, free Palestine” and “death, death to the IDF.”

The BBC livestreamed the performance in full leading to a backlash from the government.

BBC Director-General Tim Davie ordered the content to not be featured in any other coverage. However, due to a technical issue the stream was available on the BBC iPlayer for about five hours.

Davie and BBC chair Samir Shah have both apologized. The BBC said in a statement: “Warnings appeared on the stream on two occasions and the editorial team took the decision not to cut the feed. This was an error.”

Music industry trade bodies and experts now say the BBC is overreacting.

“The BBC is absolutely fundamental to the continued success of British music and particularly vital to supporting our new and emerging artists’ development,” said David Martin, head of the Featured Artists Coalition, a UK trade body that supports music artists.

The FAC supported the network’s public service broadcasting remit, which understandably came with responsibilities and standards, he said.

“If those standards have been breached, then there should be appropriate guidelines to follow. But the idea of preemptively grading artists according to their risk factor feels arbitrary and disproportionate and a dangerous step toward censorship.”

Such an approach could “curtail artistic freedom” and “inadvertently punish those who are simply expressing their views,” he said.

Naomi Pohl, general secretary of The Musicians’ Union, stressed the importance of the BBC and its role in the music industry.

“It’s such a shame there has been this shadow cast over this year’s Glastonbury coverage, because it has had fantastic viewing figures. It’s been all over iPlayer and people have been tuning in live,” she said.

“We need to talk to the BBC about it directly. But I don’t want to see any broadcasters now broadcasting fewer live events because they don’t want to take the risk. The whole of the music industry will be feeling that, because it’s so crucial to us to have the BBC.”

A BBC spokesperson said the broadcaster stood by its decision to make changes to livestreaming music performances.

“We will continue to bring audiences a range of music performances, both live and on-demand and we respect artists’ freedom of expression,” the person said.

“However, Bob Vylan’s offensive and deplorable behavior on one of our Glastonbury livestreams was completely unacceptable and we are sorry it appeared on the BBC.

“This is why we have made immediate changes to livestreaming music events and these, alongside our editorial guidelines, will shape our plans going forward.”


The Destination: Saudi reforms through the lens of a documentary

New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
Updated 08 July 2025
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The Destination: Saudi reforms through the lens of a documentary

New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
  • Arabic film produced by Konoz, an initiative by the kingdom’s media ministry

RIYADH: Saudi Arabia’s transformation toward its Vision 2030 goals has been documented in a new film by the Ministry of Media.

Launched by the ministry’s Konoz initiative, “The Destination” highlights the progress made in the political, economic, medical, sporting, cultural, media and artistic fields.

Mirroring the film's title, Saudi Arabia has become a global destination for investment, tourism, and much more. (Supplied)

Its title reflects the Kingdom’s path toward becoming a global destination for tourism and investment.

Konoz CEO Abdullah Al-Ahmari credited megaprojects and upcoming events such as the AFC Asian Cup 2027, Expo Riyadh 2030 and FIFA World Cup 2034.

HIGHLIGHT

‘The Destination’ includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

“The Konoz initiative aims to document the Kingdom’s achievements through creative productions,” he said, describing the country as a “model admired by the world.”

The film reflected the progress being made on the ground and highlighted the initiative’s focus on Saudi talent in shaping the Kingdom’s future, he said.

“The Destination” includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

The Konoz initiative is part of the Human Capacity Development Program under Vision 2030. Its goal is to promote Saudi Arabian culture around the world by highlighting the contributions and success stories of its citizens.

 


‘Bay of Bengal live’: Bangladeshi fishermen go viral showing life at sea

In this photo shared by Shahid Sardar on July 7, 2025, his colleague holds up a catch aboard a fishing vessel in Bay of Bengal
In this photo shared by Shahid Sardar on July 7, 2025, his colleague holds up a catch aboard a fishing vessel in Bay of Bengal
Updated 07 July 2025
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‘Bay of Bengal live’: Bangladeshi fishermen go viral showing life at sea

In this photo shared by Shahid Sardar on July 7, 2025, his colleague holds up a catch aboard a fishing vessel in Bay of Bengal
  • Fishermen-turned-influencers have hundreds of thousands of followers on social media
  • Content focuses on fishing techniques, daily life on the boats, and marine life

DHAKA: When Shahid Sardar started his Facebook page four years ago, he wanted to share his experience aboard a fishing boat. He did not expect the millions of views he would soon attract as he tapped into a content niche that is rapidly gaining popularity among Bangladeshis: life at sea.

Sardar, 35, lives with his wife and son in the coastal Chittagong district in south-eastern Bangladesh. He started to work as a fisherman in 2013, after leaving a job at a hospital canteen in the capital, Dhaka.

As the chief cook on a vessel with a 50-member crew, Sardar sails across the Bay of Bengal on month-long voyages in search of fish. When his videos documenting deep-sea fishing methods and daily life on the boat began gaining traction, he expanded his content to show various marine species found in Bangladeshi waters — many of which are not widely known.

“I think people generally enjoy fish, especially the kinds caught at sea, which are not usually found in local markets,” Sardar told Arab News.

“The beauty of the deep sea also draws people to my videos. For most viewers, these sights are rare and unfamiliar. They don’t have this experience themselves.”

Posting as BD Fisherman on Facebook, he has more than 360,000 followers. His other account, Fisherman Shahid, has another 240,000.

When two of his videos went viral in December 2023, Facebook approved monetization for his page.

“My first video that went viral showed a bulk of yellowfin tuna and some shrimp. The fish were just dropped on the deck ... it was the rainy season. People liked that video a lot. Within 24 hours, it got 3 million views,” he said.

“As I started receiving some money from the videos, I became more motivated to keep uploading and people started liking my videos more and more.”

He now earns an average of about $500 a month from his two pages. That is in addition to his salary of $120 per voyage, plus bonuses based on the catch — about 60 cents per tonne of fish sold in the market.

“In my locality, everyone knows me as Fisherman Shahid. Wherever I go, people come to me just to know how they can earn through making videos and posting them on social media platforms,” Sardar said. “Recently, the friends of my 7th-grader son also visited my home to learn about my video making.”

While for fellow fishers, Sardar’s content has been an inspiration to start their own pages, for some other followers, like Zaved Ahmed, a Bangladeshi migrant worker in Saudi Arabia, watching his videos is a reminder of his own roots.

“I was born in Cox’s Bazar, a coastal area of Bangladesh, and fishing was our family’s profession. Since 2023, I have been living in Jeddah, which is on the coast of the Red Sea. It seems that sea life is something in my blood. That’s why I love watching Sardar’s videos,” he said.

“Whenever I watch his videos, my mind travels to the sea with the fishing boat, as if I were experiencing it with my own eyes.”

But most of those who follow Sardar and other fishermen-influencers have never experienced life at sea.

Watching it on their mobile or laptop screens helps them connect with the sector that each year contributes about 3.5 percent to Bangladesh’s GDP and is the main source of animal protein in the Bangladeshi diet.

“I think most people generally love the sea, but they don’t have the opportunity to witness the mysteries of the deep sea,” said Karimul Maola, a follower of Sardar from Chittagong.

“Through Sardar’s videos, I’ve learned about many seafish that were previously unknown to me. Also, his videos have given me some idea about how a fishing vessel normally operates — something most people don’t know about.”

There is a similar sentiment among the followers of other Bangladeshi fishermen who have shot to social media fame.

On the page of Ehsanul Haque Shaon, a fisherman who has 172,000 followers on Facebook, one follower says watching his video was “like the Bay of Bengal live in front of my eyes!” while another says in amazement that watching the content made them realize that “life is very interesting.”

“How we survive on a boat in the Bay of Bengal,” a video on Fishiib, a YouTube channel focusing on showing the life of fishermen in the Bay of Bengal, has received more than 10 million views in six months.

“I am truly amazed by how these fishermen adapt to life at sea. They face constant challenges like harsh weather and limited resources, yet they find ways to survive and thrive,” one viewer said.

“Their resilience and ability to work together as a community is truly inspiring. It’s a glimpse into a way of life that most of us can only imagine.”


Condé Nast expands Middle East footprint with full acquisition of WIRED ME

Condé Nast expands Middle East footprint with full acquisition of WIRED ME
Updated 07 July 2025
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Condé Nast expands Middle East footprint with full acquisition of WIRED ME

Condé Nast expands Middle East footprint with full acquisition of WIRED ME
  • Transition marks the magazine’s move from a licensing agreement with Dubai-based publisher Nervora to direct ownership by Condé Nast

LONDON: Condé Nast has acquired full ownership of WIRED Middle East, strengthening its presence in the region and bringing the tech, science, and culture magazine into its portfolio of wholly owned titles in Dubai, Arab News has learned.

The transition, announced on Monday, marks the magazine’s move from a licensing agreement with Dubai-based publisher Nervora to direct ownership by Condé Nast.

“Bringing WIRED Middle East into the Condé Nast Middle East portfolio reflects both the region’s rapid evolution and our commitment to spotlighting the ideas and breakthroughs shaping its future,” said Thomas Khoury, Managing Director, Condé Nast Middle East.

“With its authority across technology, science, business and culture, WIRED is uniquely positioned to lead these conversations in the region.

Launched in 2019, WIRED ME has covered regional trends, breakthroughs, and major events such as Expo 2020 Dubai.

Condé Nast said the acquisition marks the next step in the brand’s growth as it looks to expand alongside the region’s fast-developing tech sector.

While the company suggested it will remain commitment to the print edition - currently published quarterly and claiming a readership of over 100,000, according to Advert On Click - it said WIRED Middle East would now serve as its flagship digital-first platform for tech, science, and culture in the region.

Katie Drummond, WIRED’s Global Editorial Director, said the brand is eager to expand its editorial coverage of the Middle East, growing hand-in-hand with the region.

“This is a region driving some of the most dynamic and consequential stories in science, technology, business, and culture,” she said. “We’re excited to build a team dedicated to telling those stories with the ambition and world-class journalism that defines WIRED.” 

The move follows a similar shift earlier this year, when Condé Nast took direct control of Vogue Arabia and GQ Middle East, also previously operated under license by Nervora.

The reshuffle has been widely viewed as a strategic realignment of the Arab fashion and media landscape.

With the addition of WIRED ME, Condé Nast’s full Middle East portfolio now includes Vogue Arabia, GQ Middle East, Architectural Digest Middle East, and Condé Nast Traveller Middle East.