Microsoft is planning to let Xbox console owners try games before they download them later this year. The new Xbox dashboard feature will allow console players to stream games through Microsoft’s Xbox Cloud Gaming (xCloud) service instantly. It’s part of a push to integrate xCloud more into Xbox consoles and into the Xbox app on Windows PCs.
“Later this year, we’ll add cloud gaming directly to the Xbox app on PCs, and integrated into our console experience, to light up all kinds of scenarios, like ‘try before you download,’” says Kareem Choudhry, head of cloud gaming at Microsoft.
Microsoft isn’t detailing all of the ways that xCloud will appear on Xbox consoles, but trying games before you download them certainly opens up possibilities for Xbox owners who want to know what a game is like before buying it.
Either way, utilizing xCloud to let Xbox players quickly jump into games before they’re downloaded will be particularly useful on day one game launches. With games regularly exceeding 100GB, it often takes hours to download titles if you didn’t plan ahead and preload a game before its launch.
In a briefing with members of the press ahead of Microsoft’s Xbox E3 event on Sunday, the company’s head of Xbox, Phil Spencer, was keen to stress Microsoft’s commitment to Xbox Game Pass and cloud gaming.
“So right now we’re the only platform shipping games on console, PC, and cloud simultaneously,” says Spencer. “Others bring console games to PC years later, not only making people buy their hardware up front, but then charging them a second time to play on PC.”
Spencer is of course referring to Sony and its ongoing efforts to bring more PlayStation games to PC years after their launch. Microsoft obviously prefers its own approach to launching simultaneously across multiple platforms and being available on Xbox Game Pass on day one.
Speaking of Xbox Game Pass, Microsoft is also committing to some form of a timeline for exclusive first-party content for the service. “In terms of the overall lineup, we want to get to a point of releasing a new game every quarter … we know that a thriving entertainment service needs a consistent and exciting flow of new content,” explains Matt Booty, head of Xbox Game Studios. “So our portfolio will continue to grow as our service grows.”
Microsoft isn’t providing an update on its Xbox Game Pass subscription growth yet. The service jumped to 18 million subscribers earlier this year, after growing steadily throughout 2020. Today’s announcements are part of some broader Xbox and xCloud news, including server upgrades to xCloud and Microsoft’s plans for an Xbox TV app and streaming sticks.
Microsoft is working with TV manufacturers to make an Xbox app available on devices soon. The software giant is planning to bring its Xbox Game Pass service to TVs through its xCloud streaming technology, opening up more ways to get access to Xbox games. This will be available as both an app on TVs, and with Microsoft’s own dedicated streaming stick.
“We’re working with global TV manufacturers to embed the Game Pass experience directly into internet-connected TVs so all you’ll need to play is a controller,” says Liz Hamren, head of gaming experiences and platforms at Microsoft.
Microsoft isn’t announcing exactly when this Xbox app will be available on TVs, nor which manufacturers will bundle it on their devices. Xbox chief Phil Spencer previously hinted at an Xbox app for TVs late last year, noting he expects to “see that in the next 12 months.”
Spencer also hinted at Microsoft’s own Xbox streaming stick last year, something Microsoft now says will appear soon. “We’re also developing standalone streaming devices that you can plug into a TV or monitor, so if you have a strong internet connection, you can stream your Xbox experience,” reveals Hamren.
Much like the TV app plans, Microsoft isn’t providing any details on release date or pricing for its own Xbox streaming devices. We don’t even know what they will look like. Microsoft revealed these details in a special press briefing ahead of its E3 event later this week. Microsoft will be focusing on games at its E3 showcase on Sunday June 13th, so it’s unlikely we’ll get any further details until the devices are ready to ship.
This Xbox Game Pass expansion to TVs is part of a broader effort by Microsoft to make its subscription service available beyond just phones and Xbox consoles. Microsoft is also announcing upgrades to its xCloud server blades today, and the ability to access and use xCloud on Xbox consoles later this year.
Apple has spent considerable time championing itself as a protector of user privacy. Its CEO Tim Cook has repeatedly stated that privacy is “a fundamental human right,” the company has based multiple ad campaigns around its privacy promises, and it’s had high profile battles with authorities to keep its users’ devices private and secure.
The pitch is simple: our products protect your privacy. But this promise has shifted very subtly in the wake of this week’s iCloud Plus announcement, which for the first time bundled new security protections into a paid subscription service. The pitch is still “our products keep you safe,” but now one of those “products” is a monthly subscription that doesn’t come with the device in your box — even if those devices are getting more built-in protections as well.
iCloud has always been one of Apple’s simplest services. You get 5GB of free storage to backup everything from images, to messages and app data, and you pay a monthly subscription if you want more (or just want to silence Apple’s ransom note when you inevitably run out of storage). Apple isn’t changing anything about the pricing or storage options as part of the shift to iCloud Plus. Prices will still range from $0.99 a month for 50GB of storage up to $9.99 for 2TB. But what is changing is the list of features you’re getting, which is expanding by three.
The first change sits more within iCloud’s traditional cloud storage remit, and is an expansion of Apple’s existing HomeKit Secure Video offering. iCloud Plus now lets you securely stream and record from an unlimited number of cameras, up from a previous maximum of five.
With the new Private Relay and Hide My Mail features, however, iCloud Plus is expanding its remit from a storage-based service into a storage and privacy service. The privacy-focused additions are minor in the grand scheme of the protections Apple offers across its ecosystem, and Apple isn’t using them as justification for increasing the cost of iCloud. But they nevertheless open the door to so-called “premium” privacy features becoming a part of Apple’s large and growing services empire.
The features appear as an admission from Apple about the limits of what privacy protections can do on-device. “What happens on your iPhone stays on your iPhone” was how the company put its promise in a 2019 ad, but when your iPhone needs to connect to the internet to browse the web, receive email, and generally earn the “i” in “iPhone,” inevitably some of its privacy rests on the infrastructure serving it.
The most interesting of these new features is Apple’s Private Relay, which aims to shield your web traffic from prying eyes in iOS 15 and macOS Monterey. It hides your data from both internet service providers as well as advertisers that might build a detailed profile on you based on your browsing history. While it sounds a bit like a VPN, Apple claims the Private Relay’s dual-hop design means even Apple itself doesn’t have a complete picture of your browsing data. Regular VPNs, meanwhile, require a level of trust that means you need to be careful about which VPN you use.
As Craig Federighi, Apple’s senior vice president of software engineering explains, VPNs can protect your data from outsiders, but they “involve putting a lot of trust in a single centralized entity: the VPN provider. And that’s a lot of responsibility for that intermediary, and involves the user making a really difficult trust decision about exposing all of that information to a single entity.”
“We wanted to take that completely out of the equation by having a dual-hop architecture,” Federighi told Fast Company.
Here’s how it works. When using Private Relay your internet traffic is being sent via two proxy servers on its way to its destination. First, your traffic gets encrypted before it leaves your device. Then, once it hits the initial, Apple-operated server, it gets assigned an anonymous IP that hides your specific location. Next up, the second server, which is controlled by a third-party, decrypts the web address and forwards the traffic to its destination.
Apple can’t see which website you’re requesting, only the IP address you’re requesting it from, and third-parties can’t see that IP address, only the website you’re requesting. (Apple says it also uses Oblivious DNS over HTTPS.) That’s different from most “double VPN” and “multi-hop” VPN services you can subscribe to today, where a provider may control both servers. You could perhaps combine a VPN and a proxy server to do something similar, though. Apple says Private Relay won’t impact performance, which can be a concern with these other services.
While Private Relay is theoretically more private than a regular VPN, Apple’s offering is also more limited. You can’t use it to trick websites into thinking you’re accessing them from a different location, so you’re not going to be able to use Private Relay to get around geographical limitations on content blocked by a government or a service like Netflix. And it only seems to cover web browsing data through Safari, not third-party browsers or native apps. In a WWDC developer session about the feature, Apple says that Private Relay will also include DNS queries and a “small subset of traffic from apps,” specifically insecure HTTP traffic. But there was no mention of other browsers, and Apple clarified to The Verge that it’s only handling app traffic when your app technically happens to be loading the web inside a browser window.
In addition to Private Relay, iCloud Plus also includes Hide my Email, a feature designed to protect the privacy of your email address. Instead of needing to use your real email address for every site that requests it (increasing the risk of an important part of your login credentials becoming public, not to mention getting inundated with spam), Hide My Email lets you generate and share unique random addresses which will then forward any messages they receive back to your true email address. It’s another privacy-focused feature that sits outside of iCloud’s traditional area of focus, and could be useful even if similar options have been available for years.
Gmail, for example, lets you use a simple “+” symbol to add random extra characters to your email address. Even Apple’s own “Sign In with Apple” service pulls a similar trick, handing out random email addresses to each service you use it with. But the advantage of Apple’s new service is that it gives you an easily-accessible shortcut to generate them right in its Mail app and Safari, putting the feature front and center in a way that seems likely to boost its mainstream appeal.
Apple might be charging for Private Relay and Hide My Email by bundling them into iCloud subscriptions, but these iCloud Plus additions are still dwarfed by the array of privacy protections already built into Apple’s hardware and software. There’s no sign that any of these existing privacy features will be locked behind a monthly subscription fee anytime soon. Indeed, the list of built-in protections Apple offers continues to grow.
This includes a new Mail Privacy Protection feature in the Mail app in iOS 15, which sends your emails through a relay service to confuse any tracking pixels that might be hiding in them (read more about tracking pixels here). There’s also a new App Privacy Report feature coming to iOS 15 that will show how often apps are accessing your location, camera, microphone, and other data.
But with iCloud Plus, Apple now offers two privacy protections that are distinct from those that are included for free with the purchase of a device, and the division between the two seems arbitrary to some extent. Apple justifies charging for features like Private Relay and Hide My Email because of the incremental costs of running those services, but Mail Privacy Protection also relies on a relay server, which presumably isn’t free to run.
Regardless of its rationale, choosing to charge for these services means that Apple has opened the door to premium privacy features becoming part of its increasingly important services business, beyond just its hardware business. Adherence to privacy was already part of the company’s attempt to lock you into its devices; now it could become part of the attempt to lock you into its services. All the while, those walls around Apple’s garden creep higher and higher.
iOS 4 originally appeared nearly 10 years ago as Apple’s first mobile operating system to drop the iPhone OS naming convention. An 18-year-old developer has now lovingly recreated iOS 4 as an iPhone app, and it’s a beautiful blast from the past. If you never got the chance to use iOS 4, or you’re a fan of the iPhone 3G, OldOS almost flawlessly pulls off the experience of using an iPhone from a decade ago.
OldOS is “designed to be as close to pixel-perfect as possible,” says Zane, the developer behind the app. It’s all built using Apple’s SwiftUI, so it includes buttery smooth animations and even the old iPhone home button that vibrates with haptic feedback to make it feel like a real button.
Apple’s built-in iOS 4 apps have also been recreated here, and it’s a real flashback to the skeuomorphic days of the iPhone whenever they launch. Photos lets you view your existing camera roll as you would have 10 years ago, while Notes transports you back to the yellow post-it notes of yesteryear.
Today is Launch Day
Introducing OldOS — iOS 4 beautifully rebuilt in SwiftUI.
* Designed to be as close to pixel-perfect as possible. * Fully functional, perhaps even usable as a second OS. * ️ Fully open source for all to learn, modify, and build on. pic.twitter.com/K0JOE2fEKM
— Zane (@zzanehip) June 9, 2021
The only apps that don’t work as you might expect are Messages and YouTube. Apple used to bundle YouTube directly into its operating system, and the developer behind OldOS says there are “still some major issues with YouTube” and Messages that they’re working to fix.
Everything else is mostly flawless. and you can even browse the web in the old UI of Safari. The App Store also list apps that will redirect you to the modern store to download and install. There are some things that simply don’t work, including folders and no jiggling to rearrange home screen apps.
We’ve seen this type of nostalgic app appear on the iPhone before. Rewound launched in the App Store back in December 2019, turning an iPhone into an iPod. Apple quickly pulled the app a few days later, citing store violations.
This latest OldOS app is available on Apple’s TestFlight service, which is typically used to distribute beta versions of apps. That means it probably won’t last long before Apple takes exception, so grab it while you can. Zane has also published the source code for the entire project on GitHub, so if you’re willing to compile it in Xcode then it will live forever.
Sony is now fully revealing its Airpeak S1 drone, which it teased at CES 2021 in January. The announcement contains a lot more detail on the drone’s capabilities, features, and reveals a $9,000 pricetag for the drone sans gimbal or camera, all of which cements the idea that this drone will be aimed squarely at the professional video market.
The Airpeak S1 is built to work with Sony’s mirrorless cameras, including the A7S Mark III, FX3, or even the 8K-capable Alpha 1. They’ll be attached to a special version of the Gremsy T3 gimbal that’s been designed specifically for the Airpeak and that you’ll have to buy separately. With a camera, the drone will have around 12 minutes of flight time (though it can achieve 22 minutes without any load). It’s also worth noting that the camera needs its own batteries — it isn’t being provided power by the drone.
Sony’s already released a preview of the types of shots you can pull off with the drone, which you can see below. You can also get a shot of the retracting landing gear in motion.
One of the drone’s biggest selling points is its stability and wind-resistance. According to Sony, it can stay stable in winds of up to 44.7 miles per hour (that’s 20m/s, double what DJI quotes for the Inspire 2), and it has five sets of stereo cameras that let the drone and an infrared rangefinder that should help the drone stop before it hits obstacles and stay steady even without satellite reception. Sony even enlisted JAXA, the Japanese space agency, to help it do some of the tests for the drone:
The Airpeak is also quick — it can do 0-50 (which is close to its top speed of 55.9 miles per hour) in 3.5 seconds. It is worth noting, though, that’s without any sort of attachments — Sony hasn’t said what kind of speed or acceleration can be achieved when the drone is flying a camera. That said, Sony showed me and other journalists a video of the drone doing figure-eights in the air, which it pulled off with impressive speed and agility.
For comparison, DJI’s Matrice 600 Pro, which costs around $7,000 without a gimbal or camera, has a top speed of 40 miles per hour and a quoted battery life of 32 minutes alone or 16 minutes with a 13-pound payload, using its stock batteries.
The Airpeak S1 can be operated with just the included controller, but Sony has an app called Airpeak Flight to help make things easier. The app is iOS/iPadOS-only for now, but it will allow for control of the camera and gimbal. The Airpeak can be operated by a single person, but also allows for dual-operator mode, where one person controls flight and the other controls the camera. Sony says the controller’s range is still being tested.
While you won’t get a camera or gimbal for the Airpeak S1’s $9,000 price, it does come with two pairs of propellers, the controller, two batteries, and a charger. Sony expects to ship it in the fall, and will be offering a service plan to cover damage that could occur from crashes.
In light of all the legislation and controversy around drones from China, Sony is making it clear that the Airpeak S1 is designed and made in Japan; it came up repeatedly in a press briefing and again in the press release.
Facebook is taking a novel approach to its first smartwatch, which the company hasn’t confirmed publicly but currently plans to debut next summer. The device will feature a display with two cameras that can be detached from the wrist for taking pictures and videos that can be shared across Facebook’s suite of apps, including Instagram, The Verge has learned.
A camera on the front of the watch display exists primarily for video calling, while a 1080p, auto-focus camera on the back can be used for capturing footage when detached from the stainless steel frame on the wrist. Facebook is tapping other companies to create accessories for attaching the camera hub to things like backpacks, according to two people familiar with the project, both of whom requested anonymity to speak without Facebook’s permission.
The idea is to encourage owners of the watch to use it in ways that smartphones are used now. It’s part of Facebook CEO Mark Zuckerberg’s plan to build more consumer devices that circumvent Apple and Google, the two dominant mobile phone platform creators that largely control Facebook’s ability to reach people.
The planned device is Facebook’s first stab at releasing hardware specifically for the wrist, opening up another area of competition with Apple at a time when the two tech giants are already at odds on other fronts. Apple has aggressively positioned itself as a protector of privacy by limiting the kinds of data that apps like Facebook can collect, while Facebook has for years been besieged by scandals regarding its handling of user data. That dynamic could create an uphill battle for Facebook to convince people to buy its forthcoming Apple Watch competitor, especially since it plans to also position the watch as a fitness device with a heart rate monitor.
Facebook is working with the top wireless carriers in the US to support LTE connectivity in the watch, meaning it won’t need to be paired with a phone to work, and sell it in their stores, the people familiar with the matter said. The watch will come in white, black, and gold, and Facebook hopes to initially sell volume in the low six figures. That’s a tiny sliver of the overall smartwatch market — Apple sold 34 million watches last year by comparison, according to Counterpoint Research.
In future versions of the watch, Facebook is planning for it to serve as a key input device for its planned augmented reality glasses, which Zuckerberg thinks will one day be as ubiquitous as mobile phones. The company plans to use technology it acquired from CTRL-labs, a startup that has demonstrated armbands capable of controlling a computer through wrist movements.
Facebook aims to release the first version of the watch in the summer of 2022 and is already working on second and third generations for subsequent years. Employees have recently discussed pricing the device at roughly $400, but the price point could change. While it’s unlikely, Facebook could also scrap the watch altogether, as the device has yet to enter mass production or even be given an official name.
Facebook’s track record for making hardware is spotty. Its 2013 phone with HTC was a spectacular flop, and it has yet to disclose sales for its Oculus VR headsets or Portal video chat device for the home. In recent interviews, executives have said that sales for the Oculus Quest 2 headset have surpassed all previous Oculus headsets combined.
Facebook’s interest in building a smartwatch dates back at least a few years. It looked at acquiring Fitbit in 2019 before Google bought the fitness wearable maker. Since then, the social network has spent roughly $1 billion to develop the first version of its watch and has hundreds of people working on the effort, according to one of the people with knowledge of the matter.
A Facebook spokesperson declined to comment for this story. The Information earlier reported that Facebook was building a smartwatch with health and messaging features, but details about its cameras and other specifics in this story are new.
Using a custom version of Google’s Android operating system, Facebook plans to lean on its suite of apps and external partnerships to create compelling experiences for the watch, which will include a companion app for phones. Even still, Facebook’s wrist wearable resonating with people is far from guaranteed. Smartwatches with cameras on them have so far failed to catch on, and Apple has cornered the high end of the market already.
Google has announced that it is rolling out the second beta for Android 12 to Pixel phones today. It adds a few more of the Android 12 features that were announced at Google I/O last month but weren’t included in the first beta. But it also has a couple of newer features, including a new way to manage your internet connection.
In Quick Settings, Android 12 now has a new button called “Internet” that replaces the old Wi-Fi button. Tap it and you’ll get a screen that will let you switch between Wi-Fi networks and also shows your current cellular connection (which you can also toggle).
Google says the idea is to help users “switch between their Internet providers and troubleshoot network connectivity issues more easily.” Google’s post asks readers to “Let us know what you think,” a sign that maybe this UX might not be a sure thing. Google often introduces and then backtracks on new user interface ideas during Android betas.
Android 12 is also picking up a “Clipboard read notification,” which will appear any time an app reads the current clipboard. It shows up when one app reads the clipboard from something you’ve copied in another app. In other words, it won’t annoyingly pop up if you copy and paste within the same app. Unlike other notifications, this one will apparently appear from the bottom of the screen. It’s similar to a feature that arrived first on the iPhone, as more people realized that apps were asking for clipboard content when they really shouldn’t be.
Those are the two new features, but there are a few more that Google announced but didn’t include in the first beta. The first is the Privacy Dashboard, which lets a user see how often apps request to use a phone’s microphone, camera, and location. Apple, by the way, just announced a similar dashboard for iOS 15 — though it includes a few more data points than Android’s.
Google is also turning on previously announced privacy features related to the microphone and camera. When either is on, an indicator will be displayed in the upper right of the status bar. Android 12 will also now have toggles in Quick Settings to turn those sensors off.
It’s a neat system. If you disable either the mic or the camera in quick settings, the next time an app tries to access one, the system will ask if you want to turn them back on. If you decline, then the app will think it has camera or mic access, but all it actually sees is darkness and all it hears is silence. It is, as I noted in my original Android 12 preview, a mood.
With this release, Google is keeping pace with its roadmap to release Android 12 this fall. Expect a couple more betas to land before the final release. This beta is available on Pixel phones now, and when the final update is released, it’ll hit Pixel phones first. When other phones will get updated remains an open — and vexing — question. Since this version of Android has the biggest redesign in years, don’t be surprised if other smartphone makers need a little more time to figure out how to apply their own styles to the new “Material You” design system.
After some major hiccups and a delay, Apple Podcasts says it’s launching in-app subscriptions next week. The global launch of subscriptions and channels, which are groups of shows, will happen on June 15th, the company said today in an email to podcasters, which The Verge has viewed.
Apple first debuted in-app subscriptions in April with a launch planned for May. It then emailed creators to tell them the feature launch would be pushed to June to “ensure we are delivering the best experience for creators and listeners,” likely because of issues the company introduced with a recent backend update. Through the feature, listeners can subscribe to certain shows or networks for early access and ad-free content, among other perks.
Beyond this rollout being delayed, podcasters have complained that Apple’s latest Podcasts update, made in preparation for the subscription offerings, completely bonked the system. Podnews wrote two weeks ago that multiple creators experienced a range of issues, including their episodes being delayed, their analytics breaking, and artwork going missing. Hopefully Apple will have all that sorted prior to this rollout.
Meanwhile, Spotify announced and launched its plan for subscription podcasts in the time since Apple debuted its product and delayed the release. Spotify’s solution doesn’t allow people to subscribe in-app, thereby allowing the creators and the company to skirt around Apple’s App Store fees. Instead, listeners have to navigate to an external Anchor webpage. Though that also puts a big hurdle between creators and potential subscribers.
Apple’s big idea is that putting a subscribe button in the podcast app could draw more premium listeners to various services, like Luminary and Wondery Plus. Those groups have had to get over the hurdle of making people subscribe in an app separate from their usual listening platform. Starting this month, we’ll finally see how powerful a subscribe button might be.
The Cooler Master MM720 is a unique gaming mouse that improves on its predecessor, the Spawn, with a case, sensor and cable that compete with other high-end mice.
For
+ Unique design with ring finger support
+ Pure PTFE feet
+ Very lightweight, flexible cord
Against
– Side buttons can be hard to reach
– Cable already suffers from light kinking
It took nearly a decade, but Cooler Master finally announced a followup to its Spawn gaming mouse at CES 2020. The vendor has followed up its cult classic with the Cooler Master MM720. Available for $40–$50 as of writing, the MM720 is ready for the new millennium with a honeycomb-style chassis, upgraded sensor and a cable with both pros and cons. Ultimately, it’s a winning package that not only competes favorably against modern rivals but also its predecessor, which some consider the best gaming mouse of yesteryear.
Cooler Master MM720 Specs
Sensor Model
PixArt PMW-3389
Sensitivity
Up to 16,000 CPI native or 32,000 via software
Polling Rates
125, 250, 500, or 1,000 Hz
Programmable Buttons
6
LED Zones and Colors
2x RGB
Cable
6 foot (1.8m) USB Type-A
Connectivity
USB Type-A
Measurements (LxWxH)
4.15 x 3.01 x 1.47 inches (105.42 x 76.5 x 37.4mm)
Weight (without cable)
1.72 ounces (49g)
Extra
Replacement PTFE feet
Design and Comfort
Modern gaming mice often seem like they were made from the same mold. That isn’t necessarily a bad thing because manufacturers have mostly settled on shapes that can appeal to a broad audience, and breaking that mold can result in a truly awful mouse. But that didn’t stop Cooler Master from eschewing the staid designs of modern mice in favor of the unique, seemingly hand-molded case that inspired the original Spawn gaming mouse.
The Cooler Master MM720 is short, wide and defined by its curves. It almost seems like the company handed someone a ball of Silly Putty, told them to pretend it was a mouse and then used the resulting shape as inspiration. There is nary a flat surface on the mouse; every point of contact has been contoured in some way to better accommodate the natural shape of most people’s hands. This looks weird, yes, but it feels great during use.
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But all of those things were true of the Spawn when it debuted a decade ago. The Cooler Master MM720 complements that ergonomic design with an ABS plastic honeycomb shell that weighs roughly half as much as its predecessor, a PixArt PMW-3389 optical sensor that’s been moved to a more sensible location under the mouse and a braided cable that should offer a better experience than the rubber cable Cooler Master had to use in the Spawn.
Cooler Master has also welcomed modern design trends with the MM720 in the form of two color options, white and black, with either a glossy or a matte finish. There’s a subdued Cooler Master logo on the palm rest that—along with the scroll wheel—provides the new mouse’s obligatory RGB lighting. And, of course, the honeycomb shell makes the MM720 look much different from the Spawn’s solid plastic construction.
The result is a mouse that is familiar in many ways, thanks to its similarity to mice like the similarly priced Cooler Master MM710 and Glorious Model D, yet still novel because of its shape. The Cooler Master MM720 measures 4.15 inches long, 3.01 inches wide and 1.5 inches tall and weighs 1.72 ounces. For comparison, the MM710 is 4.59 x 2.46 x 1.51 inches and about 1.87 ounces, and the Model D- is 4.72 x 2.40-2.64 x 1.30-1.57 inches and 2.4 ounces.
Unfortunately, the matte black option of the Cooler Master MM720 we tested is also a fingerprint magnet, which gives the already odd-looking mouse an even less appealing aesthetic. This problem might not be as noticeable on other versions of the mouse though, especially the white ones. And it’s merely a cosmetic issue. Cooler Master says the MM720’s case offers IP58 dust and water resistance, thanks to its special coating. The company also claims “you can dunk this bad boy in water to clean it off,” but I wasn’t brave enough to test that claim.
I also noticed some light kinking on the cable after just a little over a week of use. At this point it’s more of a visual distraction than anything else, but it does raise concerns about the cable’s long-term durability.
Gaming Performance
The Cooler Master MM720 is surprisingly comfortable to use for extended periods, and that’s mostly because it offers a place to rest your ring finger while you’re playing. Most gaming mice tend to ignore the existence of our ring fingers entirely—companies typically account for our thumbs, index fingers and middle fingers before calling it quits. But the Cooler Master MM720’s design accounts for one of those neglected appendages (sorry, pinky), and this seemingly inconsequential change makes a noticeable difference over the course of a long play session.
It’s also surprisingly easy to fling the Cooler Master MM720 around a mousepad. Many of the changes Cooler Master made to this mouse contribute to that ease of movement: the 100% pure PTFE feet are smoother than Rob Thomas, and the braided cable offers minimal drag, although it was still somewhat distracting coming off the wireless mice I’ve reviewed lately. I’m firmly in the wireless camp at this point, (see our Best Wireless Mouse page for recommendations), but if you insist on having a cable you could do worse than the Cooler Master MM720 when it comes to actual gameplay. Of course, your final views will depend on how founded or unfounded those concerns about durability prove to be.
The Cooler Master MM720’s light weight, smooth feet and braided cable are complemented by the PMW-3389 optical sensor, specced for up to 16,000 counts per inch (CPI) sensitivity, a max velocity of 400 inches per second (IPS) and max acceleration of 50g. Many other mice, including the excellent Razer Naga Pro, use the same sensor to great effect.
The sensor’s also in a sensible position on the MM720: smack-dab in the middle of the mouse, as opposed to the offset sensor found in the original Spawn. I didn’t have any trouble popping heads in Valorant with the Cooler Master MM720, and the PMW-3389’s reliability is a big contributor to that.
Another contributor: The LK optical micro switches used in the primary mouse buttons. They are certainly responsive, and I only found myself shouting “but I clicked!” because of network problems, not because of a missed input. Cooler Master markets the switches as offering “nearly instant actuation” and reducing debounce time to “practically zero.”
In fact, the only problems I had in-game with the Cooler Master MM720 involved the side buttons. They appear to be well-made, as I didn’t notice any pre or post-travel during everyday use, but their placement just doesn’t work for me. Practically every aspect of the mouse lends itself to a relaxed grip, so I want to rest my thumb in the dedicated groove along the side of the case, but the side buttons are located above that groove. This placement wouldn’t be a problem with my normal fingertip grip, but because of the Cooler Master MM720’s design, I would end up using something closer to a palm grip that forced me to stretch my thumb every time I wanted to press a side button. Cooler Master says the MM720 is fit for palm and claw grippers, but I can’t comfortably use a claw grip and take advantage of the ring finger rest, so it ended up being a matter of which trade-off I was most willing to live with.
Whether or not that’s a problem for you will depend on the grip you use, the size of your hand and how much importance you put on the side buttons. But it did seem a bit strange that this one aspect of the Cooler Master MM720’s design was at odds with the rest of the mouse. Maybe there’s a technical limitation preventing a lower placement for the side buttons or perhaps the grip I settled on wasn’t actually what Cooler Master had in mind. Hopefully others fare better in that regard.
Features and Software
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The Cooler Master MM720 is configured using the comically named Cooler Master MasterPlus+ software. The utility offers information about your system, like the temperature, usage percentage, and voltage of your CPU and GPU by default. You can also use it to manage your other Cooler Master hardware. It checks for any new firmware on first launch, offers to install it and then gets out of the way so you can configure the Cooler Master MM720 using its many distinct settings.
The six programmable buttons can all be configured under the appropriately titled Buttons page. Because of the software’s Mouse Combo feature, there are actually just five programmable buttons—the side buttons, right mouse button and the scroll wheel directional inputs—by default. That setting allows each of the mouse’s buttons to perform a secondary function when the scroll wheel button is held down. Luckily that setting, which is enabled by default, can be disabled right on this page.
The MasterPlus+ software offers a variety of actions. Each button can be disabled, set to behave like another mouse button, keyboard key, or DPI switch, used to control multimedia playback or tasked with executing a macro, switching between profiles or performing a Rapid Fire action that repeats a given input up to 99 times as quickly as possible. There’s also an option to disable the sensor, which could prove useful if you want to stop someone from clicking around your system or if you want to watch a video without the controls popping up because you happened to jostle your desk, and the DPI switch on the bottom of the mouse can be assigned any of these functions as well.
The Cooler Master MM720 also offers a surprising amount of control over its performance. The usual settings are all here: You can enable angle snapping, toggle lift-off distance, or set the polling rate to 125, 250, 500, or 1,000 Hz. There are also sensitivity controls between 200 and 32,000 CPI; just be warned that setting the CPI any higher than 16,000 uses software and also causes problems because of the PMW-3389’s limitations. And by “causing problems” I mean the cursor is nigh impossible to control, skips around the screen, and is essentially unusable. Cooler Master provides seven CPI stages for toggling with the CPI switch that all offer separate values for their horizontal and vertical sensitivity; although, the two are linked by default.
MasterPlus+ also offers sliders for angle tunability, button response time and the operating system’s settings for double-click speed and pointer sensitivity. But the premier feature is Surface Tuning, which is supposed to optimize the sensor for your particular mousepad. I didn’t notice any improvement, but I’m also used to adapting to a variety of sensors in numerous mice, so maybe someone who spends months on end with the same mouse and/or sensor would better appreciate the setting.
The software’s RGB settings are similar to those found in most other utilities. Cooler Master offers seven preset colors, as well as slots for seven custom colors that you can set by using a color wheel or providing RGB values and adjusting the brightness slider. There are four built-in effects—Static, Breathing, Color Cycle and Indicator—that mostly perform as expected. I say mostly because Indicator is a bit of an odd duck. It’s not clear what exactly it’s indicating, and it’s the only built-in effect that uses different colors for the two RGB zones—blue in the palm rest and pink under the scroll wheel— but those colors don’t appear to be customizable and they remain static even if I move the mouse or click around the app.
There’s also the option to create a custom lighting effect, but this seems to be limited to solid colors because the LED speed and LED direction settings are grayed out. Aside from using the Indicator setting, this appears to be the only way to set different colors for the two RGB zones, but the process isn’t particularly intuitive. You have to select a color and then, entirely without prompting, click on the zone you want to assign that color in the preview window.
Macros, meanwhile, are surprisingly limited. All you’re able to do is tell MasterPlus+ to start recording your keyboard or mouse inputs, tell it when to stop recording and then set the input delay for the individual actions you performed. The only other option is to run a macro once, have it loop for as long as the designated execution key is held down or have it loop until that key is pressed again. That isn’t to say the macros can’t prove useful, but they are more limited than they are in other utilities.
Finally, there are profiles. Cooler Master offers five by default, and they can each be reset, renamed, overridden by an imported profile, exported, or viewed as a .exe file in your file system. Otherwise, they simply store the settings managed by the other sections in the app to the mouse’s 512KB of onboard storage. You can change the mouse’s current profile without having to open (or download) the app again by using the profile switch button.
Bottom Line
I said in my review of the MSI Clutch GM41 Lightweight Wireless that it featured the “prototypical gaming mouse look.” Nobody could say that about the Cooler Master MM720. It’s a unique mouse that breaks the mold with purpose—providing a more comfortable gaming experience—instead of a misguided attempt to simply look different from the other mice on the market. Sure, the groundwork for this design was laid over a decade ago, but it’ll still be novel to most of its potential customers.
The Cooler Master MM720 is also a surprisingly good value, with a honeycomb shell, modern-day sensor, braided cable, large 100% pure PTFE feet and two RGB lighting zones, starting at $40 as of writing. Many companies would either charge more for mice with those components or choose different parts. The HK-Gaming Mira-M (currently $40), for example, relies on a PMW-3360 sensor and smaller feet.
The primary drawbacks to the Cooler Master MM720 are the placement of its side buttons and the questionable durability of its cable. But of far greater concern is the mouse’s shape and if it fits your style. I preferred palm gripping with the MM720, and people who’ve been waiting for a followup to the Spawn or a more ergonomic gaming mouse should be excited by the MM720. If you prefer an ambidextrous mouse or a claw grip, the Glorious Model D- and Mira-M may be better options.
There isn’t necessarily a clear winner between the Mira-M, Model D- and MM720, which all earned our Editor’s Choice Award. But that might actually be a good thing: Having options with quite different shapes but similar pricing, specs and performance is a sign that this ultralight segment is maturing. Now you can opt for the mouse that best suits your hand size, grip and play style.
For gamers seeking a unique, ergonomic-minded option, the Cooler Master MM720 is a solid product. Let’s just hope it doesn’t take Cooler Master another decade to release a followup, eh?
People with smartphones and wearable devices regularly show up to the doctor’s office with readouts from apps detailing everything from their heart rate to sleep patterns. Now, with the new iOS 15 update this fall, some iPhone users will be able to send data directly from their Health app to their doctors’ electronic medical records systems.
That type of integration could make it easier for patients to share information with their doctors, said Libo Wang, a cardiology fellow at the University of Utah School of Medicine who studies wearables. “The current workflow is mildly laborious, and requires the patient to email the pdf, and a clinician manually uploading that file to create a permanent record in the official electronic medical record,” he said in an email to The Verge.
Users could already pull in data from the other direction: since 2018, Apple has allowed people to add records from dozens of clinics and hospitals to their Health app.
The new integration will work with six electronic medical records companies in the United States. That includes Cerner, which controls around a quarter of the market, and five smaller groups. Apple says it could continue to add more. Doctors who use the records from those companies would be able to open any shared data within a patient’s health record. The dashboard opens as a web view directly inside the record; it doesn’t take providers to another outside app. The design is similar within the records for each of the six companies, Apple says.
The Health app data isn’t directly transferred into the electronic health record. Doctors can see a window with the data, but the information isn’t permanently added to the record. If an iPhone user decides to stop sharing their health data, none remains within the health record. The system is built using a framework called SMART on FHIR, an open interface for third-party applications that can work within electronic health records. Any group can create an app using the platform.
For physicians — and particularly cardiologists — direct access to iPhone data within health records could help them make more meaningful use of the information, Wang said. One 2020 study found that when physicians directly reviewed the strip generated by the Apple Watch that visually shows a user’s heart rate, they were able to flag more cases of abnormal heart rhythms than the Watch’s algorithm flagged. If the rhythm strips are shared directly to someone’s doctor, the doctor might be able to identify any concerning patterns.
The downside, though, is the potential for information overload, Wang said. More data isn’t necessarily better, particularly if doctors don’t trust its accuracy. While the data collected by wearables and smartphones may seem helpful to patients, it’s still not entirely clear if it actually helps people feel better or gives them better care, he said.
Cerner, one of the electronic health record companies participating in the initial rollout, was able to test the new Apple feature at its onsite clinic for employees. “Having secure ways to view and share this information in a clinical context has been helpful,” said Sam Lambson, vice president of interoperability at the company.
It’s more and more common for patients to bring health data from their personal devices to health visits, and Lambson said Cerner is focused on efforts to incorporate that into its systems even outside of the new Apple program. One advantage of the Apple system is that it’s easy for doctors to use, said Jessica Oveys, director of product management at Cerner.
“I think the key to it is certainly empowering and making the patient feel at the center and secure, and making it easy for them to share. But also, it’s really presenting the data in a way that’s actionable and relevant to the clinician,” she said.
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Late on Monday night, Apple flipped the switch on two new features for its Apple Music subscription service: immersive Dolby Atmos spatial audio and lossless-quality streaming. It feels like the company is really only excited about one of them, though, and it’s not the latter.
Eddy Cue is Apple’s senior vice president of services and the person who oversees Apple Music. He didn’t mince words when he told Billboard that the sudden proliferation of lossless audio isn’t going to significantly evolve or change how we listen to music. “There’s no question it’s not going to be lossless,” he said when asked about what technologies will bring about the “next-gen” of music streaming. Cue firmly stands on the side of the crowd that argues most people can’t hear any difference between CD-quality or hi-res tracks and the AAC or MP3 files that’ve been filling their ears for so long now. He did acknowledge that the higher-bit rate tracks might matter to music lovers with particularly sharp hearing or premium audio equipment, but he was also direct about how niche that group is.
“The reality of lossless is: if you take 100 people and you take a stereo song in lossless and you take a song that’s been in Apple Music that’s compressed, I don’t know if it’s 99 or 98 can’t tell the difference.” Cue revealed that he has regularly done blind tests with the Apple Music team, and they confirm how rare it is for anyone to be able to consistently recognize lossless audio. “You can tell somebody, ‘Oh, you’re listening to a lossless [song],’ and they tell you, ‘Oh, wow. That sounds incredible.’ They’re just saying it because you told them it’s lossless and it sounds like the right thing to say, but you just can’t tell.”
If you go by the message that Cue and Apple are pushing, the Dolby Atmos-powered spatial audio feature is where the true breakthrough is. “When I look at Dolby Atmos, I think it’s going to do for music what HD did for television,” Cue said in the Billboard interview. And then he really went in:
“I think this is going to take over everything. It’s the way I want to listen to music when I’m in my car. It’s going to be the way I listen to music immediately with my AirPods. It’s going to be the way I listen to music in my house. In a way, it won’t feel very good when I’m listening to something that’s not Dolby Atmos because it’s so good. It’s like when I’m watching HD, it’s hard to go back.”
“This requires somebody who’s a sound engineer, and the artist to sit back and listen, and really make the right calls and what the right things to do are,” Cue told Billboard about mixing for spatial audio. “It’s a process that takes time, but it’s worth it.”
Problem is, with much of the Dolby Atmos content on Apple Music I’ve sampled so far, it doesn’t seem like everyone is making those right calls. It’s a hit-or-miss game of exploration, and songs that truly showcase the immersive potential of Atmos are more often the exception than the rule. In many cases, spatial audio tracks have an artificial wideness to them, unfamiliar placement of vocals and instrumentation, and just sound… off. Distant? Too reverb-y? Pick your preferred interpretation. Yet, Apple is so confident in Apple Music’s spatial audio that essentially overnight it became the default for millions of customers listening with AirPods.
But let’s back up a bit.
What is spatial audio supposed to do for music?
In a word, it’s all about immersion. Here’s how Cue hyped it: “it makes you feel like you’re onstage, standing right next to the singer, it makes you feel like you might be to the left of the drummer, to the right of the guitarist.” On its website, Apple says “music created in Dolby Atmos is freed from channels, allowing artists to place individual sounds all around you.”
Whoa there. Like all of Apple’s senior executives, Eddy Cue knows how to pitch something. But if you slap on your AirPods and expect to feel like an invisible person standing in the middle of a recording session, you’ll probably be underwhelmed.
When it’s done well, spatial audio does indeed give music a unique feeling of breadth. And it’s in a different way than a high-end pair of headphones might bring the most out of a stereo track’s soundstage. In particular, vocals often have a very distinct placement in the mix and cut through better than on traditional stereo tracks. That’s the most consistent advantage I’ve noticed with spatial audio music. But because of the different mix, you’ll very likely also pick up on details or sounds that ordinarily don’t stand out in the regular version of a song. And on the best Atmos tracks, everything has a lot more room to breathe.
But when engineers don’t put much care into an Atmos mix, it really shows. Sometimes giving everything so much space can take the impact or crunch out of guitars. Or other aspects of a track fall flat. I’ve included just a few samples below where the spatial audio version of a song is an obvious downgrade from the original. But there are many, and when you hit a few in a row where the vocals sound weird or something’s amiss, it can detract from the listening experience.
How many songs are available in Dolby Atmos spatial audio?
Apple currently isn’t providing a hard number, and is instead only saying that “thousands” of tracks are available with spatial audio at launch, with many more on the way.
How do I know when I’m hearing spatial audio on Apple Music?
You’ll see either a Dolby Atmos or Dolby Audio logo appear on the Now Playing screen beneath the album artwork.
A few random, good examples of Apple Music spatial audio:
“Don’t Know Why” by Norah Jones— This is one where I nearly buy into Cue’s description. Close your eyes, and you could almost transport yourself to a small club where the spread of this mix feels like a live version of Jones’ career-making hit. Stereo doesn’t take you to the same place.
“Paparazzi” by Lady Gaga — With a very surround sound-esque mix (skip to the second verse at 1:23 for the best examples), this is a great example of an old pop hit with an excellent spatial audio treatment.
“Boom” by Tiësto and Sevenn — A fun, lively track that does give off a nice surround sound effect.
“Black Skinhead” by Kanye West — This one is another good example of the “beyond two-channel” openness that spatial audio can provide.
A whole lot of jazz and classical — If there are two genres that naturally lend themselves to spatial audio and Dolby Atmos, it’s jazz and classical. Orchestras can sound truly massive, and it’s a captivating way to listen to jazz ensembles where it’s easy to hear even the quietest notes.
Other examples where it just sounds wrong
“Buddy Holly” by Weezer — The guitars basically lose all life in this mix and vocals dominate the entire thing in a way that just sounds strange and bad. And yet this song is on Apple’s own playlist meant to showcase Atmos.
“Follow Your Arrow” by Kacey Musgraves— Apple mentioned Musgraves as an artist to check out with Atmos. And while her most recent album Golden Hour sounds… fine… her breakthrough Same Trailer Different Park is pretty rough in spatial audio format. “Follow Your Arrow” seems to lose most of its background vocals, and even the main guitar melody is way quieter here than in the regular mix. It almost comes off like a demo recording.
“What’s My Age Again?” by Blink 182 — This is another song that Apple seems to think makes spatial audio sound good, but I’d strongly argue it does the opposite. Mark Hoppus’ muffled vocals legitimately sound like they were recorded through a phone.
“Alex Chilton” by The Replacements — Is that enough cowbell for you during the chorus? It overpowers everything else and makes me feel like I’m in the old Christopher Walken SNL skit, only with a different band.
I’m curious to hear some of your examples that sound great, and others you’ve found that are a disappointment with Atmos.
Do I need AirPods or Beats headphones for Apple Music spatial audio?
No. Apple Music’s spatial audio works on:
All headphones and earbuds
The loudspeakers on supported iPhones, iPads, and Macs
Apple TV 4K
If you set Dolby Atmos to “always on” in settings for the Music app, you’ll see a pop-up advising that it probably won’t sound right on all speakers, but Apple Music will still play the spatial audio mix if that’s your preference. In fact, Apple clearly states that you can “listen on any headphones” to Apple Music’s spatial audio.
How do I turn off Apple Music spatial audio if I don’t like it?
iOS and iPadOS: Go to Settings > Music > Dolby Atmos (under “audio”), and there you can pick between automatic, always on, and off.
If you’d prefer to leave Atmos on by default but want to quickly switch to a regular stereo version of any song that’s playing, just pull down Control Center, press and hold on the volume slider, and toggle off spatial audio. Apple Music will switch over to stereo. If you turn spatial audio back on, you’ll return to the Atmos track.
macOS: In the Music app, open preferences and select the “playback” tab. Halfway down you’ll see an “audio quality” section and Atmos is in there. You get the same three automatic / always on / off choices as on Apple’s mobile devices.
Head tracking is coming to Apple Music spatial audio this fall
Apple Music’s spatial audio is currently much different than the spatial audio experience you get when watching movies and TV shows on an iPhone or iPad. For videos, Apple includes a head-tracking feature that adjusts the sound placement as you turn your head to keep it anchored to the source device. This trick is exclusive to the AirPods lineup, but it’s a very impressive effect.
Apple has said it plans to bring this sound-changes-as-you-turn-your-head feature to Apple Music in the fall — likely with iOS 15.
Is this just a gimmick?
That’s really the question that remains to be answered. But Apple isn’t alone in hyping multidimensional music (nor is it the first to do so). Amazon, Tidal, and others are also increasingly pushing the experience. I recently reviewed an extravagant Sony speaker that positions 360-degree audio as its main selling point.
Are people like Eddy Cue and Zane Lowe right in their insistence that spatial audio will revolutionize how we consume music in the same way that stereo did? Or is this a gimmick like 3D TVs that will fizzle out and be forgotten within a few years? If it’s going to be the former, it’ll take a lot of work and creativity from artists, producers, and mixers to make this format shine.
Because right now, for every Atmos spatial audio track that’s a standout on Apple Music, there are a dozen others that are quite meh — or worse than in stereo. We’re still in the early days, and now that Atmos is officially part of Apple Music, hopefully the consistency will improve. When you do find those mixes where they totally nail it, it’s something special.
Apple should make it easier to switch between Atmos and stereo
But in the meantime, and to avoid turning people off from Atmos when they land on a lackluster mix, Apple Music should make it easier to go back and forth between spatial audio and regular stereo tracks on a per-song basis. One solution could be displaying a choice when you tap on the Dolby icon, similar to the “go to artist / album” options that appear when tapping on an artist’s name.
In March 2020, two months after The New York Times exposed that Clearview AI had scraped billions of images from the internet to create a facial recognition database, Thomas Smith received a dossier encompassing most of his digital life.
Using the recently enacted California Consumer Privacy Act, Smith asked Clearview for what they had on him. The company sent him pictures that spanned moments throughout his adult life: a photo from when he got married and started a blog with his wife, another when he was profiled by his college’s alumni magazine, even a profile photo from a Python coding meetup he had attended a few years ago.
“That’s what really threw me: All the things that I had posted to Facebook and figured, ‘Nobody’s going to ever look for that,’ and here it is all laid out in a database,” Smith told The Verge.
Clearview’s massive surveillance apparatus claims to hold 3 billion photos, accessible to any law enforcement agency with a subscription, and it’s likely you or people you know have been scooped up in the company’s dragnet. It’s known to have scraped sites like Facebook, LinkedIn, YouTube, and Instagram, and is able to use profile names and associated images to build a trove of identified and scannable facial images.
Little is known about the accuracy of Clearview’s software, but it appears to be powered by a massive trove of scraped and identified images, drawn from social media profiles and other personal photos on the public internet. That scraping is only possible because social media platforms like Facebook have consolidated immense amounts of personal data on their platforms, and then largely ignored the risks of large-scale data analysis projects like Clearview. It took Facebook until 2018 and the Cambridge Analytica scandal to lock down developer tools that could be used to exploit its users’ data. Even after the extent of Clearview’s scraping came to light, Facebook and other tech platforms’ reactions came largely in the form of strongly worded letters asking Clearview to stop scraping their sites.
But with large platforms unable or unwilling to go further, the average person on the internet is left with a difficult choice. Any new pictures that feature you, whether a simple Instagram shot or a photo tagged on a friend’s Facebook page, are potentially grist for the mill of a globe-spanning facial recognition system. But for many people, hiding our faces from the internet doesn’t feel like an option. These platforms are too deeply embedded in public life, and our faces are too central to who we are. The challenge is finding a way to share photos without submitting to the broader scanning systems — and it’s a challenge with no clear answers.
In some ways, this problem is much older than Clearview AI. The internet was built to facilitate the posting of public information, and social media platforms entrenched this idea; Facebook recruited a billion users between 2009 and 2014, when posting publicly on the internet was its default setting. Others like YouTube, Twitter, and LinkedIn encourage public posting as a way for users to gain influence, contribute to global conversations, and find work.
Historically, one person’s contribution to this unfathomable amount of graduation pics, vacation group shots, and selfies would have meant safety in numbers. You might see a security camera in a convenience store, but it’s unlikely anyone is actually watching the footage. But this kind of thinking is what Clearview thrives on, as automated facial recognition can now pick through this digital glut on the scale of the entire public internet.
“Even when the world involved a lot of surveillance cameras, there wasn’t a great way to analyze the data,” said Catherine Crump, professor at UC Berkeley’s School of Law. “Facial recognition technology and analytics generally have been so revolutionary because they’ve put an end to privacy by obscurity, or it seems they may soon do that.”
This means that you can’t rely on blending in with the crowd. The only way to stop Clearview from gathering your data is by not allowing it on the public internet in the first place. Facebook makes certain information public, without the option to make it private, like your profile picture and cover photo. Private accounts on Instagram also cannot hide profile pictures. If you’re worried about information being scraped from your Facebook or Instagram account, these are the first images to change. LinkedIn, on the other hand, allows you to limit the visibility of your profile picture to only people you’ve connected with.
Outside of Clearview, facial recognition search engines like PimEyes have become popular tools accessible to anyone on the internet, and other enterprise facial recognition apps like FindFace work with oppressive governments across the world.
Another key component to ensuring the privacy of those around you is to make sure you’re not posting pictures of others without consent. Smith, who requested his data from Clearview, was surprised at how many others had been scooped up in the database by just appearing in photos with him, like his friends and his college adviser.
But since some images on the internet, like those on Facebook and Instagram, simply cannot be hidden, some AI researchers are exploring ways to “cloak” images to evade Clearview’s technology, as well as any other facial recognition technology trawling the open web.
In August 2020, a project called Fawkes released by the University of Chicago’s SAND Lab pitched itself as a potential antidote to Clearview’s pervasive scraping. The software works by subtly altering the parts of an image that facial recognition uses to discern one person from another, while trying to preserve how the image looks to humans. This exploit on an AI system is called an “adversarial attack.”
Fawkes highlights the difficulty of designing technology that tries to hide images or limit the accuracy of facial recognition. Clearview draws on hundreds of millions of identities, so while individual users might be able to get some benefit from using the Windows and Mac app developed by the Fawkes team, the database won’t meaningfully suffer from a few hundred thousand fewer profiles.
Ben Zhao, the University of Chicago professor who oversees the Fawkes project, says that Fawkes works only if people are diligent about cloaking all of their images. It’s a big ask, since users would have to juggle multiple versions of every photo they share.
On the other hand, a social media platform like Facebook could tackle the scale of Clearview by integrating a feature like Fawkes into its photo uploading process, though that would simply shift which company has access to your unadulterated images. Users would then have to trust Facebook to not use that access to now-proprietary data for their own ad targeting or other tracking.
Zhao and other privacy experts agree that adversarial tricks like Fawkes aren’t a silver bullet that will be used to defeat coordinated scraping campaigns, even those for facial recognition databases. Evading Clearview will take more than just one technical fix or privacy checkup nudge on Facebook. Instead, platforms will need to rethink how data is uploaded and maintained online, and which data can be publicly accessed at all. This would mean fewer public photos and fewer opportunities for Clearview to add new identities to its database.
Jennifer King, privacy and data policy fellow at Stanford’s Institute for Human-Centered Artificial Intelligence, says one approach is for data to be automatically deleted after a certain amount of time. Part of what makes services like Snapchat more private (when set up properly) than Facebook or Instagram is its dedication to short-lived media posted mainly to small, trusted groups of people.
Laws in some states and countries are also starting to catch up with privacy threats online. These laws circumvent platforms like Facebook and instead demand accountability from the companies actually scraping the data. The California Consumer Privacy Act allows residents to ask for a copy of the data that companies like Clearview have on them, and similar provisions exist in the European Union. Some laws mandate that the data must be deleted at the user’s request.
But King notes that just because the data is deleted once doesn’t mean the company can’t simply grab it again.
“It’s not a permanent opt-out,” she said. “I’m concerned that you execute that ‘delete my data’ request on May 31st, and on June 1st, they can go back to collecting your data.”
So if you’re going to lock down your online presence, make sure to change your privacy settings and remove as many images as possible before asking companies to delete your data.
But ultimately, to prevent bad actors like Clearview from obtaining data in the first place, users are at the mercy of social media platforms’ policies. After all, it’s the current state of privacy settings that has allowed a company like Clearview to exist at all.
“There’s a lot you can do to safeguard your data or claw it back, but ultimately, for there to be change here, it needs to happen collectively, through legislation, through litigation, and through people coming together and deciding what privacy should look like,” Smith said. “Even people coming together and saying to Facebook, ‘I need you to protect my data more.’”
Two-factor authentication is a good way to add an extra layer of security to online accounts. It requires the use of your smartphone, however, which is not only inconvenient, but can be a problem if your phone is lost or breached. Hardware security keys can offer an additional layer of security to password-protected online accounts and, in turn, your identity. They’re also not hard to install. Here’s how to set them up for your Google account, Facebook, and Twitter.
Security keys can connect to your system using USB-A, USB-C, Lightning, or NFC, and they’re small enough to be carried on a keychain (with the exception of Yubico’s 5C Nano key, which is so small that it’s safest when kept in your computer’s USB port). They use a variety of authentication standards: FIDO2, U2F, smart card, OTP, and OpenPGP 3.
When you insert a security key into your computer or connect one wirelessly, your browser issues a challenge to the key, which includes the domain name of the specific site you are trying to access. The key then cryptographically signs and allows the challenge, logging you in to the service.
Many sites support U2F security keys, including Twitter, Facebook, Google, Instagram, GitHub, Dropbox, Electronic Arts, Epic Games, Microsoft account services, Nintendo, Okta, and Reddit. The best thing to do is to check the website of your security key of choice and see which services are supported — for example, here’s a link to the apps supported by YubiKeys.
A setup process is necessary before you can use a security key. After that, securely accessing your online profile on a site is a simple matter of entering your password, inserting the key, and tapping the button.
Keep in mind that you can’t copy, migrate, or save security-key data between keys (even if the keys are the same model). That is by design, so keys can’t be easily duplicated and used elsewhere. If you lose your security key, you can use two-factor authentication on your cellphone or an authenticator app. Then, if you want to use a new key, you will have to go through the process of reauthorizing your accounts all over again.
Which security key should I use?
Several brand choices are available. Yubico, one of the developers of the FIDO U2F authentication standard, sells several different versions. Google sells its own U2F key, called the Titan, which comes in three versions: USB-C, USB-A / NFC, or Bluetooth / NFC / USB. Other U2F keys include Kensington’s USB-A fingerprint-supporting key, and the Thetis USB-A key.
For this how-to, we used the YubiKey 5C NFC security key, which fits into a USB-C port but also works with phones via NFC. The process is pretty similar for all hardware security keys, though.
Pairing a key with your Google account
In order to use a security key with your Google account (or any account), you need to have already set up two-factor authentication.
Log in to your Google account, and select your profile icon in the upper-right corner. Then choose “Manage your Google Account.”
In the left-hand menu, click on “Security.” Scroll down until you see “Signing in to Google.” Click on the “2-step Verification” link. At this point, you may need to sign in to your account again.
Scroll down until you see the “Add more second steps to verify it’s you” heading. Look for the “Security Key” option and click on “Add Security Key.”
A pop-up box will list your options, which include devices that have built-in security keys and the option to use an external security key. Select “USB or Bluetooth / External security key.”
You’ll see a box telling you to make sure the key is nearby but not plugged in. You’ll also see an option to use only the security key as part of Google’s Advanced Protection Program (which is for users with “high visibility and sensitive information”). Assuming you don’t fall into that category, click “Next.”
The next box lets you register your security key. Insert your key into your computer port. Press the button on the key, then click “Allow” once you see the Chrome pop-up asking to read the make and model of your key.
Give your key a name.
Now you’re set! You can come back to your Google account’s 2FA page to rename or remove your key.
Pairing a key with your Twitter account
Log in to your Twitter account and click on “More” in the left-hand column. Select “Settings and privacy” from the menu.
Under the “Settings” heading, select “Security and account access” > “Security” > “Two-factor authentication.”
You’ll see three choices: “Text message,” “Authentication app,” and “Security key.” Click on “Security key.” You’ll probably be asked for your password at this point.
Select “Start.”
Insert your security key into your computer’s port, then press the key’s button.
The window should refresh to say, “Security key found.” Type in a name for your key and click “Next.”
The window will now read “You’re all set.” It will also give you a single-use backup code to use if you don’t have access to any of your other log-in methods. Copy that code and put it somewhere safe.
If you’ve changed your mind and want to remove the security key, go back to the “Two-factor authentication” page and select “Manage security keys.”
Click on the name of the key, and then choose “Delete key.” You’ll need to enter your password and verify that you want to delete the key.
Pairing a key with your Facebook account
Log in to your Facebook account. Click on the triangle icon on the upper-right corner and select “Settings & Privacy” > “Settings.”
Now you’re at “General Account Settings.” Select the “Security and Login” link from the left sidebar.
Scroll down until you see the section labeled “Two-Factor Authentication.” Click “Edit” on the “Use two-factor authentication” option. You may be asked for your password.
If you don’t have 2FA set up, you’ll be given three choices: “Authentication App,” “Text Message (SMS),” and “Security Key.” It’s recommended that you use an authenticator app as your primary security, but if you prefer, you can just click on “Security Key.”
If you do have 2FA set up, then you’ll find the “Security Key” option under “Add a Backup Method.”
Either way, you’ll get a pop-up box; click on “Register Security Key.” You’ll be instructed to insert your security key and press its button.
And that’s it. If you don’t use 2FA, you’ll now be asked for the security key if you log in from an unrecognized device or browser. If you do, you can use your key if you don’t have access to your authentication app.
If you no longer want to use the key, go back to “Two-Factor Authentication,” find “Security Key” under “Your Security Method,” and click on “Manage my keys.”
Starting today, you might see some beautiful new animations posted to TikTok’s accounts. The company has partnered with six of its platform’s popular animators — several of whom were featured in The Verge last year — to make videos for a campaign against bullying. The videos were all written and created by the animators and are meant to offer their perspective on the pressures faced by creators on the platform, even ones who are blowing up.
The spots also highlight TikTok’s vibrant animation community. The platform has been a boon for animators, who have found that its short format makes it possible for them to create good and consistent output that stands apart from the pack and hooks viewers. One of the creators, King Science, has 11.6 million followers, putting him among the platform’s most followed users. The campaign also features AmyRightMeow, Recokh, Kelly Emmrich, Rosie.gif, and milkymichii.
TikTok views the campaign as one part of its strategy to combat harassment. While teams of moderators may be the first thing that comes to mind, TikTok says another flank is the tone and expectations the company sets for its community. The company wants to make sure that users know the rules, so that if your video gets taken down it’s “not the only time you’re thinking of what community guidelines are, so it’s not like you’re in the principal’s office,” Tara Wadhwa, director of policy for TikTok US, told The Verge.
The company has made a number of updates to its app over the past year to improve its anti-harassment measures. There’s now a pop-up that’ll warn users if it detects they’re posting a mean comment, and creators now have the ability to report and block users and delete comments in bulk.
Those measures aren’t necessarily going to protect every creator — the platform is filled with amorphous communities sharing vulnerable stories, and it can rocket someone to stardom overnight. “None of this is gonna be the silver bullet,” Wadhwa says. “It’s where do we want our community to go … and what are the range of strategies we can use to get there?”
Google is changing how its Android search engine choice screen works in Europe, following complaints from rivals about its pay-to-play model, the company has announced in a blog post. The selection screen appears for users when they first set up an Android device, and is designed to offer a choice of search engines after Google was hit by a record $5 billion antitrust fine in 2018. From September, the search giant is making it free for search engines to be included, and is increasing the number of services that’ll be shown on the selection screen.
Currently, the selection screen includes a choice of just four search providers. One is Google, and the other three are chosen through a sealed-bid auction process. Search providers each “state the price that they are willing to pay each time a user selects them from the choice screen” and Google then selects the three highest bidders over a minimum bid threshold, and displays them in a random order on the screen.
After the changes, which will apply to all devices sold in the European Economic Area and the UK, Google will display up to 12 providers on its search selection screen, and none will have to pay to be included. The first five will be the most popular search engines in a given country, as determined by the web analytics service StatCounter, displayed in a random order. Below these, Google will show up to seven more providers in a random order. If there are ever more than seven other providers to choose from, then Google says it’ll randomly display a selection of seven whenever the choice screen in shown.
Although providers won’t have to pay to be included, Google has detailed a number of eligibility requirements here. Providers must offer a “general search service,” which means results can’t be limited to a single topic, they need to offer a free app on Google Play, and they need to be correctly localized in a country to be visible on its selection screen.
Google is now doing what it should have done 3yr ago: a free search preference menu on Android in the EU: https://t.co/M9XmB1VuGr
However, it should be on all platforms (e.g., also desktop Chrome), accessible at all times (i.e., not just on factory reset), and in all countries. https://t.co/HcIrE8KJx3
— Gabriel Weinberg (@yegg) June 8, 2021
Responding to the news, DuckDuckGo CEO Gabriel Weinberg cautiously welcomed the changes, but criticized Google for not having made them three years ago. He said they should also apply to more devices and in all countries, and that the selection screen should not be limited to the first time a user sets up or factory resets an Android device. In its FAQ Google confirmed that users will only see the choice screen once per device, during setup. Last year, Weinberg criticized the auction process, and called it “fundamentally flawed.”
But in comments given to Bloomberg, EU officials welcomed the “positive” move that addressed complaints from rivals. “Users will have even more opportunities to choose an alternative,” the European Commission said.
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