Mamamia has responded to claims made by former podcast host Claire Murphy regarding the company's use of artificial intelligence and her departure. Murphy, who was made redundant from her role as host of "The Quicky" after seven years with the company, has launched a new theatre project titled "The Algorithm of Us." The play, co-written by Kersh Sivakumaran, Mamamia's former head of growth and audience acquisition who was also laid off, explores themes of AI-driven job losses and the outsourcing of human judgment in media.
Murphy alleged in a Substack essay and an Instagram video that Mamamia refused to sign a contract guaranteeing it would not use her voice's intellectual property to train AI models or create a synthetic version of her voice. She stated the company would not enter into such an agreement, citing uncertainty about the future, despite verbal assurances that her voice would not be used. Mamamia CEO Natalie Harvey stated that the company has a clear policy on AI and the protection of its creators' intellectual property.
"Mamamia is dedicated to the responsible and ethical use of AI," a company statement read. "Our commitment is to use technology transparently and as a tool for scale and efficiency without compromising our integrity and creativity. As part of this, we are committed to the integrity of journalism and the unique value of our creators. To that end, we do not use AI to impersonate or clone the unique writing style, tone or narrative voice of individual writers or podcast hosts. We also do not allow Mamamia's original content to be used to train external AI models."
Murphy, however, expressed skepticism about these assurances, stating her belief that her voice might eventually appear where it shouldn't and has asked supporters to notify her if they hear it.
"The Algorithm of Us" is set to be produced by a small theatre company run by Sivakumaran and will be performed at the Sydney Fringe Festival in September. While the play's title and the context of the creators' departures suggest a connection to Mamamia, it is unlikely the company's name will be mentioned directly due to copyright. The production is described as a thoughtful examination of the impact of AI on job displacement, particularly within the news industry, and what may be lost when human judgment is replaced by algorithms.
Despite the company's statement, the controversy has reignited discussions about how Mamamia handles its talent and the increasing concerns surrounding AI in creative industries. The potential for voice cloning and the use of AI to replicate creators' unique styles are significant issues for artists and hosts in the evolving media landscape. Mamamia's rare public response indicates the sensitivity surrounding these claims and the company's efforts to address public perception of its AI policies.