snapchat-officially-launches-in-app-tiktok-competitor-called-spotlight

Snapchat officially launches in-app TikTok competitor called Spotlight

Snap is finally ready to compete with TikTok and will pay creators to post on the platform. The company is officially announcing a new section of Snapchat today called Spotlight that’ll surface vertical video content from users that’s more meme-like and jokey instead of the day-in-the-life content Snap previously encouraged. Imagine, basically, TikTok but in Snapchat.

To entice people to post snaps regularly, the company says it’ll divvy up $1 million between the most popular creators on the app per day through the end of 2020. This means if someone has a particularly viral video, they might earn a large chunk of the $1 million pot. It doesn’t matter whether that person has a massive number of subscribers; the amount people receive is primarily based on unique views compared to other snaps that day. Users can continue to earn from their video if it’s popular for multiple days at a time.

Spotlight, which will have its own dedicated tab in the app, is launching in 11 countries, including the US, UK, France, Germany, and Australia. The videos you’ll see in the section can be up to 60 seconds long and, as of right now, cannot be watermarked. That means people can’t just download their (or others’) viral TikToks and upload them to Snapchat. Once you tap into Spotlight, you’ll see snaps programmed to what Snapchat’s algorithm thinks you might enjoy. It bases this decision mostly on what you’ve viewed in the past and how long you’ve watched. Anyone can submit a snap, they’ll just have to tap “Spotlight” when posting to ensure it populates the section.

Although the format will be familiar to anyone who’s ever watched TikTok, Snap says it’s made specific decisions based on its user base. For one, Spotlight snaps won’t feature a public comments section, and profiles themselves are private by default, so Snapchatters can keep their accounts locked down while still posting content.

The Spotlight section has been hinted at for months, given that Snapchat announced music in snaps back in August. The app lacked a feed for these snaps up until now, however. The company already allows users to submit their snaps as part of a location that anyone can drop into and watch to get a feel of what’s happening in a given place at any moment. They appear in Snap Map. But unlike that feature, which is more documentary in nature, Spotlight is specifically designed for viral video formats.

With Spotlight, Snap is clearly acknowledging the success of TikTok’s short-form viral videos, similar to Instagram’s admission with its launch of Reels in August. In Instagram’s case, however, it plainly allows people to bring their TikTok content over to the platform. Snap is instead trying to encourage people to use its own creation tools and prevent monetization fraud by keeping people in its app. Stories used to be the format everyone wanted to copy, thanks to its success on Snapchat. Now, it’s the TikTok video.

what-twitter-fleets-signals-about-the-future-of-the-company

What Twitter Fleets signals about the future of the company

I.

In March 2017, I drove down to the Instagram offices in Menlo Park to meet with founder Kevin Systrom. The subject of the meeting had not been disclosed to me in advance, and when we sat down in a conference room, Systrom had a surprise for me: his team had cloned Snapchat’s popular stories feature and planned to more or less import the design wholesale into Instagram.

It was a brazen move, particularly by the standards of American business, but it was undeniably effective: Instagram usage surged dramatically, and Snapchat plateaued. Soon stories started popping up everywhere: Tinder, Google Photos, LinkedIn, and Medium, to name a few. (A recurring joke holds that Excel will someday add stories; at this point, I wouldn’t bet against it.)

One place stories never showed up was an app where their inclusion felt obvious, at least to me: Twitter. CEO Jack Dorsey first envisioned the service as a way to share status messages, like the ones once found on AOL Instant Messenger, and statuses were the original ephemeral stories. Then in March, ephemeral tweets finally appeared on Twitter. The company called them Fleets, and after testing the feature in Brazil and India, it rolled them out globally yesterday.

Here’s Kurt Wagner in Bloomberg:

Company executives said research has shown that many users are too intimidated to post or engage with others on the service, which has led to an effort to find new ways to spark interaction.

“Tweeting, retweeting, engaging in conversation can honestly be incredibly terrifying,” said Nikkia Reveillac, Twitter’s head of research. “We do not know how others will react to us, we do not know if anyone will reply, and we do not know if anybody will even care.”

This is a version of what Systrom told me when introducing Instagram Stories. The central Instagram feed had become a place where users expected to find only the most highly polished, manicured photos of a person’s life; stories offered them a lower-pressure way to post. Fleets are designed to work the same way, and I suspect they will.

Twitter enters the ephemeral posting game with some real advantages on its side. One, the format is familiar — if you’ve posted an Instagram story, you already know how to post a fleet. Two, the real-time nature of Twitter lends itself to documenting photos and videos in the moment — something fleets excel at. (Twitter never really cracked photo or video sharing; I suspect Fleets will help it make inroads there.)

And three, tweets have always been best thought of as a mostly ephemeral format anyway. The old joke about Twitter is that it was where you would go to discuss what you had for breakfast. Now fleets are here, and there’s never been a better place to post your bowl of Cheerios.

Of course, Twitter has some disadvantages to contend with, too. The reason the format is familiar is because it’s already everywhere; fleets have a lot of competition, and many of those competitors already have rich and compelling feature sets. (Compared to what you can do with video on Instagram, TikTok, or Snapchat, fleets are barely at the starting line.) Secondly, Twitter’s historically glacial pace of iteration means it could take Fleets a long time to catch up — and competitors will be inventing new creative tools all the while.

And third, it’s worth asking whether Twitter could have gotten a lot of the benefits of a story-like feature simply by giving users the option to make tweets ephemeral. Fleets look like a smart, if belated, way to fight the last war. Wasn’t the real leapfrog move here to take the Twitter graph and build the first “story-first” social app?

II.

One of the things Fleets copied from Instagram is the idea of one-tap story reactions: a heart, a fire emoji, a crying emoji, and so on. It’s interesting to think about this move in the context of Twitter’s long-stated desire to spur more “healthy conversations” on the platform.

That initiative, which dates back more than two years now, is a broad and somewhat amorphous effort to solve Twitter’s longstanding issues with harassment and abuse on the platform. One way you can do that is by structuring conversations at the product level — and encouraging users to reply to one another with heart and other sympathetic emoji can be an effective way of doing so.

Stories can also promote healthier conversations by making replies private. Much abuse goes down in the DMs, true, but there can be less incentive to harass someone if your reply is not visible right underneath the original post, racking up likes and retweets as more people see it.

Another way to structure conversations is to set boundaries around who can participate. That’s why I was struck by how Twitter is approaching the rollout of Clubhouse-style new audio chat rooms inside the app, called “Spaces,” which are due to begin testing later this year. The company is basically hand-picking the users it will allow to participate as it tests audio chat. Here’s Nick Statt at The Verge:

The company plans to start testing the feature this year, but notably, Twitter will be giving first access to some of the people who are most affected by abuse and harassment on the platform: women and people from marginalized backgrounds, the company says.

In one of these conversation spaces, you’ll be able to see who is a part of the room and who is talking at any given time. The person who makes the space will have moderation controls and can determine who can actually participate, too. Twitter says it will experiment with how these spaces are discovered on the platform, including ways to invite participants via direct messages or right from a public tweet.

Clubhouse has struggled with moderation issues since it launched earlier this year. Twitter’s move to start with women and other underrepresented users represents an intriguing effort to learn from Clubhouse’s mistake. And at least before it opens the floodgates to all users, that seems like a way to bring more good conversation onto the platform.

During a call with reporters yesterday, I asked Kayvon Beykpour, Twitter’s head of product, what he saw in audio. Notably, he led with its ability to generate empathy in conversations. Here’s what he told me:

“Our mechanics incentivize very short-form, high-brevity conversation, which is amazing and powerful and has led to all the impact that Twitter has had in the world. But it’s a very specific type of discourse, right? It’s very difficult to have long, deep, thoughtful conversations.

Audio is interesting for us because the format lends itself to a different kind of behavior. When you can hear someone’s voice, you can empathize with them in a way that is just more difficult to do when a you’re in an asynchronous environment. … We think audio is powerful, because that empathy is is real and raw in a way that you can’t achieve over text in the same way.”

Often when we are talking about how to build better social platforms, we discuss them in terms of what or who they should ban. What I like about Twitter’s moves this week is that they show another way platforms can move forward: by designing spaces for conversation with intention, announcing those intentions at launch, and then encouraging us all to hold them accountable to it as they go. The success of fleets or audio spaces is far from guaranteed. But in some important ways, they strike me as a true step forward.

This column was co-published with Platformer, a daily newsletter about Big Tech and democracy.

soundcloud-rolls-out-verified-badges-to-top-artists

SoundCloud rolls out verified badges to top artists

SoundCloud is trying to make sure people can tell who’s an authentic artist by rolling out verified badges, the company announced today.

Badges will be given to top artists on the platform, but there’s a list of criteria that has to be met in order to get one. Artists must be “a well-known and/or highly searched-for artist, collective, DJ, label, curator or podcaster,” according to a blog post announcing the news. They must also have a unique profile, no misleading information, and each account must have a bio, profile photo, and one track uploaded. Current artists who have received the verification badge include Billie Eilish, Wiz Khalifa, and Trippie Redd.

Prior to SoundCloud rolling out the verified badge, the site had Pro star badges. They were part of SoundCloud’s subscription plan that costs $12 a month and can help boost artist profiles. The issue is that people assumed the orange Pro star badge was being used for verification when it wasn’t supposed to. Those badges were created to let people know that artists were “taking their craft to the next level.” People who are a part of SoundCloud’s Pro program can apply for verification review.

SoundCloud is the latest company to follow in the footsteps of platforms that rely on user-generated content and attract big-name talents; Instagram, TikTok, Twitter, and YouTube also use verification systems. To apply for a verification review on SoundCloud, people can log in to their account settings and click on “Request verification.” The process can take up to 30 days for SoundCloud’s team to review.

tiktok-now-lets-parents-make-their-teens’-accounts-more-private

TikTok now lets parents make their teens’ accounts more private

TikTok is expanding its parental control feature today to give parents more options over what their teen can see and how private their account is.

Most of the updates are around privacy. Parents will now be able to restrict who can comment on their teen’s videos, who can view their account, and who can see what videos they’ve liked. That allows parents to limit an account so that only their child’s friends can see what they’ve been up to. TikTok already offers the ability for parents to turn off or limit direct messages, too.

There are also some new content restrictions. Parents will now be able to stop their teenager from searching for videos, users, hashtags, or sounds, which could make it harder for them to find certain content on the app. TikTok also already offers both a “restricted mode” that’s supposed to hide age-inappropriate videos and a screen time tool that sets time limits on browsing the app.

The options are all part of TikTok’s Family Pairing feature. The tool lets parents connect to their kid’s account and then set limits on it. The big catch to all of this is that kids will have to go along with it: TikTok makes it so that a teen can disable the feature at any time, although parents will get notified when that happens.

Still, it’s an increasingly robust set of tools for parents who may be worried about what can happen on such a huge app. It’s also a sign that TikTok is taking children’s safety more seriously than its predecessor, Musical.ly, which failed to properly handle data and get parental consent for users under the age of 13, according to the Federal Trade Commission. TikTok paid $5.7 million to settle the allegations.

Will there be small smartphones again?

How many people really want a small smartphone? If you sort small phones in the Pricewatch from 2020 – maximum 15 x6,6cm for example – then you will only find two models: the iPhone SE 2020 and iPhone 12 mini, not coincidentally from the same manufacturer: Apple.

In the category of slightly larger phones, there is plenty of choice with, for example, the Google Pixel 4a and Samsung Galaxy S 20, but those phones are a lot bigger. A new phenomenon is not: phones have been getting bigger for years and Sony’s Compact series of small smartphones started way back in 2013.

With the arrival of the iPhone 12 mini, the question arises whether this step by Apple will find. In short: will we now see more smartphones with a really small housing?

Figures An average phone has become increasingly larger in recent years. This is evident from figures in our Pricewatch. If we look at the size of the average telephone, then every year a little bit is added, especially in length.

In figures you can also see this: the average goes from 14, 5x7cm in 2014 to 16 x7.5cm now. But what is striking: phones in 2014 weren’t really small either. For example, the iPhone 12 mini is 13, 1×6.4cm, a lot smaller than the 14, 5x7cm of the Moto G 2nd Gen which was average in 2014.

This shows a clear trend: phones are getting a lot longer and a little bit wider. That corresponds to screen proportions: where phones in 2014 to 2016 almost all have a 16: 9 screen, it now fluctuates between 19: 9 and 21: 9. This has resulted in screens appearing much larger – diagonals of 6.5 “are now quite normal – while screens are mainly longer.

The width has increased a bit, but even wider phones hold less hold tight and don’t fit so well in trouser pockets, which are some of the reasons why phones have gotten longer.

An iPhone 12 mini can be called small with 13, 1×6, 4cm The same goes for Sony’s Compact phones from a few years ago, the latest of which is the XZ2 Compact from 13, 5×6.5cm. As telephones are now longer, we have taken 14 x6,6cm as the limit for a small phone.

If you fill in that and look at how many phone models comply with it, then that will indeed become less and less. In 2014 these were 30 percent of all models, now less than 1 percent. Except d e iPhone 12 mini only satisfies the iPhone SE 2020 to that format

But maybe that is unfair and so we have used another calculation method. How many phones have appeared with no more than three-quarters of the surface – length times width – of an average phone of that year?

The percentages are lower, but the picture is the same: many phones have around the same area. Obviously, there is arguing about where you should set the boundary of ‘small’, but the picture is that the number of small telephones in absolute and relative terms has fallen to almost zero in recent years.

The why Would you buy a phone with a single camera, without 5G and with a battery life of half a day? If you think this does not sound like an attractive offer, you will immediately see why hardly anyone has a small phone in their range anymore.

Because the number of components that manufacturers want to put into phones is serious grown. Multiple cameras, some with large sensors, a high capacity battery and the antennas to receive 2G, 3G, 4G, 5G, wifi, bluetooth, NFC and GPS all take up space.

Sony – the great example in the Android field that compact phones are possible – looked for the thickness with its Compact series. The XZ2 Compact from 2018 is therefore relatively small, but with 12, 1mm very thick; the average at the time was around 8.5mm. This allowed a 2870 mAh battery in it.

The battery capacity is also where iPhones sacrifice. The iPhone SE 2020 has a 1821 mAh battery, the iPhone 12 mini does it with a 2227 mAh battery and that’s about half the that of an average smartphone today. The housing thereof is 7.4 mm or thin again.

The fact that Apple can get away with that is partly due to the economy of iOS: Apple’s phones squeeze a relatively long battery life from their small batteries. . The iPhone SE scores about average on our battery tests, maybe slightly below.

That is also what top people of Xiaomi subsidiary brand Redmi have said. Smaller phones are possible, but then you lose battery life, Wang Cheng Tomas said on Weibo this summer. Other manufacturers don’t let on the record know anything, but the portfolio speaks volumes: Samsung has stopped smaller models such as the A3 phones and the S 10 e did not get a successor either. Xiaomi also did not give smaller models a successor and Sony stopped its Compact phones. Google is the only one to make the opposite step this year: the Pixel 4 XL didn’t get a successor, and the Pixel 4a and 5 are among the smallest phones released this year.

These are all technical reasons , but there are other considerations as well. The use of telephones is increasingly about video on, for example, TikTok, YouTube or Netflix. So many people want a bigger screen for that reason. A smaller screen is more suitable for users who mainly use phones as a means of communication, for example WhatsApp and e-mail.

Figures on this are difficult to find, but when it comes to smartphones with small screens you can do conclude the following: if they had been a big and resounding success, we would have seen more small telephones by now. Manufacturers such as Samsung and Sony would never stop with small phones if there was sufficient demand.

Outside the mainstream, some niche phones with a small housing have appeared. Among these are, for example, last year’s Palm Phone, although it only worked as a secondary telephone with the American provider Verizon Wireless. Another initiative is the Unihertz Jelly 2 from earlier this year, a 3 “screen phone that was available to order through Kickstarter. The campaign has been successful, so he’s coming to backers next month There are 5323, which sounds like a lot until you consider that more than a billion smartphones are sold annually.

Finally The release of the iPhone 12 mini will be followed with great interest in all boardrooms of smartphone makers. How do users respond? What is the battery life? Do people think this size is fine or is it too small? It is like a large-scale user test for the smartphone market.

If the iPhone 12 mini flies out of the stores and produces satisfied users, then it is obvious that there will also be Android models with smaller cases – if only to try and get a piece of the pie Each phone is a compromise but which compromises are the most acceptable? Could the battery be smaller? Can a camera be removed? Can there be a function? How fat can we make him?

Those are all questions that could arise. But with the disappearance of the XL versions of the Google Pixel phones and the appearance of the iPhone 12 mini in any case it is clear that the compact phone is not completely gone yet. The market segment still exists, but the question is whether it will grow in the coming period or whether it will remain small.

as-disney-plus-turns-one,-the-house-of-mouse’s-earnings-reiterate-how-crucial-streaming-is

As Disney Plus turns one, the House of Mouse’s earnings reiterate how crucial streaming is

Disney is still facing unprecedented challenges in a number of its biggest divisions, including theme parks, but its fourth quarter earnings report highlights an area that hasn’t stopped growing: streaming.

On the whole, Disney’s Q4 revenue was better than expected, earning $14.7 billion as opposed to the $14.2 billion expected. A big chunk of that came from Disney’s streaming division, which continues to grow, now boasting just over 120 million subscribers across all its services worldwide. The return of sports also helped generate advertising revenue in its media networks division. It was the parks, experiences, and consumer products division, however, that continued to flail, dropping 61 percent year over year. With Disney’s final movies moved off the calendar year for 2020, there’s not much revenue coming in from Studios, either. Overall revenue was down 23 percent year over year.

In the last several weeks, Disney announced a major reorganization meant to prioritize streaming; shifted its next big Pixar release, Soul, to a Disney Plus-exclusive title; and is preparing for a major streaming-focused investor day on December 10th that will include more information about the launch of Disney’s new international streaming service, Star. Disney is publicly prioritizing its direct-to-consumer division under CEO Bob Chapek, and major shareholders like Dan Loeb are publicly asking Disney to go in even more on streaming. As Guggenheim analyst Michael Morris wrote in a note, Disney is making “streaming its primary mechanism for monetization.”

Today also just happens to be the anniversary of Disney Plus.

It’s easy for Disney to celebrate its position in the direct-to-consumer marketplace. Disney Plus has seen unprecedented growth, skyrocketing from 10 million subscribers within its first 24 hours to more than 73.7 million now. It’s outpaced nearly all of its competitors, save Netflix and Amazon Prime Video — the latter of which has the advantage of being tied to Amazon’s retail division.

Disney Plus’ first year was an incredible success. The company’s streaming bundle has also driven growth across its other platforms, with Hulu’s subscribers increasing to 36.6 million and ESPN Plus up to 10.3 million. Streaming isn’t a sprint, though; it’s a marathon. The bigger question is how does Disney keep this momentum going? How does it stop people from canceling their subscriptions and giving their attention to other competitors like Netflix and HBO Max or free video platforms like TikTok and YouTube? Right now, the number of people canceling their Disney Plus subscriptions is just below the industry average, according to data from Antenna Analytics, but Disney has to find ways to ensure its growth continues.

Two of Disney’s biggest issues are delivering a more consistent output of shows and movies and offering a much more diverse content lineup. The first is easier to fix. Production on series and films designated for Disney Plus has resumed. Other highly anticipated series like WandaVision will help kick off the New Year, giving people currently opening Disney Plus for The Mandalorian a reason to stick around. And Disney is spending time figuring out exactly how to keep Disney Plus feeling fresh. That may include asking studio heads to reallocate a film or show meant for theatrical release or network TV to Disney Plus as an exclusive.

The more challenging hurdle Disney has to face is figuring out how to find subscribers in audiences who aren’t interested in Star Wars or Marvel. Disney Plus’ biggest spike in subscribers didn’t come from The Mandalorian or Mulan — it came from Hamilton.

Data from Antenna Analytics looking at movies and TV shows that drove sign ups on Disney Plus.
Image: Antenna

Chapek told Disney employees in an all-hands at the time that Hamilton’s audience was important because it represented a group of subscribers who were different from the company’s usual customers. Disney needs to find more Hamilton moments to keep non-Disney fans subscribing, and having a substantial library offering of things that will interest them — not just Disney classics — that will keep them there after they’ve finished watching a movie or TV show.

Several of Disney’s departments have a long road ahead of them. Disneyland is unlikely to open anytime soon, and more parks around the world may face shutdowns (like in Paris) as cases rise. Disney’s Studios business is reliant on movie theatres returning to some semblance of normalcy, which is, in turn, reliant on people feeling comfortable in a movie theater again. That might not happen until after a vaccine is out. While Disney’s Media Networks division is seeing some return in advertisement, people are still cutting their cable packages. It’s a trend that won’t slow down.

Much of Disney’s future is uncertain — streaming is the one thing that’s not.

pubg-mobile-plans-to-re-launch-in-india-with-new-game-and-$100-million-investment

PUBG Mobile plans to re-launch in India with new game and $100 million investment

The PUBG Corporation says it plans to launch a new PUBG Mobile game in India, after being banned in the country in September due to the mobile app’s links to China’s Tencent. At the time of its ban, the game was India’s top downloaded title, with some 50 million users.

The South Korean developer said it would create a new Indian subsidiary to oversee the title, and that the game would “maximize data security and cater to local preferences.” The company also pledged to invest $100 million in the Indian “gaming, esports, entertainment, and IT industries,” though it offered no date for when the game might actually launch.

The news, reported by TechCrunch, NDTV, and others, is significant for India’s digital ecosystem, suggesting a possible way back for apps and game banned from the country due to security concerns. Along with PUBG Mobile, which was developed by Chinese tech giant Tencent, India also banned TikTok, WeChat, and other Chinese apps. The government cited complaints it received about such apps “stealing and surreptitiously transmitting users’ data in an unauthorized manner to servers which have locations outside India.”

By cutting ties with Tencent and localizing development and data storage for PUBG Mobile, the PUBG Corporation might be able to mollify India’s digital regulators. It would be a significant boost for the corporation’s revenues, given that PUBG Mobile was India’s top grossing game in the country around the time of its ban. Earlier this month, it was announced that PUBG Mobile would be hosted on Microsoft’s Azure cloud.

The PUBG Corporation did note, though, that the re-launched game would have certain elements “customized for Indian gamers.” These include characters starting fully clothed, green liquid replacing blood, and framing the game as taking place in a “virtual simulation training ground,” not real life. There will also be limits on how long players can use the game “to promote healthy gameplay habits for younger players,” said the company. Video game analyst Daniel Ahmad noted on Twitter that these were all changes made in the Chinese version of the game developed by Tencent.

The ironic aspect is that India banned the game for its affiliation with Tencent / China

Yet this custom ver. of the game is clearly the China version from Tencent

Green blood? Virtual training ground? Limits on playtime?

Yep, that’s the China versionhttps://t.co/uilGlbZQI5

— Daniel Ahmad (@ZhugeEX) November 12, 2020

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How Bunny the dog is pushing scientists’ buttons

Bunny the dog lounges with her buttons.
Image: Alexis Devine

TikTok’s most famous talking dog has inspired some serious research

Like many devoted dog owners, Alexis Devine spends hours every day sitting in her living room talking to her dog, Bunny. The peculiar thing is that Bunny “talks” back. Scroll through Devine’s TikTok page and you’ll see a stream of videos that follow the same general pattern. Bunny stands next to a collection of buttons on the floor, raises a paw, and presses down. The prerecorded buttons sound off in the order she presses them: “More, Scritches, Now.”

People are fascinated by Bunny and her ability to “talk.” She has 5 million followers on TikTok, and the likes on each video are in the hundreds of thousands. There are parody videos on TikTok and existential jokes on Twitter about Bunny’s sentience. Devine has been enjoying the parodies. “Most of the memes are really funny, I got a good laugh out of them,” she says.

Along with Bunny’s demands for scritches, Devine, an artist and self-identified nonexpert in dog science, fields hundreds of questions from humans every day. One question persists among fans and skeptics alike: is this dog really “talking”? Inspired by Bunny’s videos, researchers at the Comparative Cognition Lab at UC San Diego are trying to find out. They haven’t gotten anywhere close to an answer yet, but they’re gathering a lot of data along the way.

Bunny’s journey started when Devine saw videos from Christina Hunger, a speech-language pathologist who has been teaching her dog Stella to use a board full of buttons with words prerecorded on them. The board is an augmentative and alternative communication (AAC) device — an umbrella term for tools from boards with symbols on them to speech-generating devices — which is typically used by nonverbal people to communicate without speech. Inspired by Hunger, Devine diligently trained Bunny from puppyhood and started setting up her own system one button at a time. Bunny is now 15 months old, and her system has expanded into a mat with over 70 buttons.

After Devine’s videos started picking up traction in early spring, Federico Rossano, director of the Comparative Cognition Lab at UC San Diego, started discussing them with people in his department. They began planning a project to study Bunny and other dogs like her who are learning to use the buttons. They hope to determine scientifically whether non-humans can really use something like language to communicate. There are now over 700 participants, including dogs, cats, and even horses, and Rossano says the growing number is almost certainly due to Bunny’s popularity drawing people in.

Each participant receives instructions on how to set up their buttons, starting with words like “outside” and “play.” Cameras are constantly pointed at their personalized boards, and that footage is sent to the lab where researchers comb through and code what they see. “We want to make sure we’re not just getting cherry-picked clips,” says Rossano.

Rossano and his colleagues plan to use the footage to understand different aspects of animal cognition and communication — not just whether they can communicate using something like language, but also how that communication might work. One of the first things they’re looking at is how quickly the animals are learning to use the buttons. That means basic data collection, like figuring out the speed at which a dog learns to associate a button that says “outside” with going outside. Rossano’s hope is that with a large pool of diverse participants, they may be able to start drawing connections between factors like breed or age with learning speed.

They’re also looking at how much the animals seem to be exhibiting properties that are generally claimed to be uniquely human, like temporal and spatial displacement, or the ability to make observations and form narratives. When Bunny asks “Where, Dad” does that mean she has a sense of spatial displacement, where she is aware of “Dad” and acknowledging that he is not present in the room with her? When another dog presses “Water, Outside,” is that an observation about the rain, or is it a request?

One of the most interesting recent introductions to Bunny’s board, at the prompting of researchers, has been words that are related to concepts of time, including “morning,” “evening,” “yesterday,” and “tomorrow.” There’s not much known about how dogs might conceptualize time. Lisa Gunter, a research fellow at Arizona State University who has worked with dogs with separation anxiety, thinks dogs likely have a concept of duration, “but who’s to say how they would describe it.”

The next step, anticipated for winter 2021, is to send researchers to the animals’ homes to conduct more controlled experiments. Will the dogs be able to produce the same seemingly remarkable behaviors with outside researchers that they regularly display for their owners? These experiments will be critical in drawing any conclusions about exactly how much they understand.

When Bunny presses “Settle, Sound, Ouch,” she might be using a novel string of known words to tell someone to quiet down, or she might be pressing a random series of buttons while confirmation bias on our part does the rest of the work. Even Devine says that she thinks Bunny’s “speech” is primarily operant conditioning, where Bunny has made an association between pressing a button and something happening. A true understanding of language goes beyond simple associations, and involves pulling unique combinations of words together into narratives.

Bunny and her cohort are part of a long legacy of the search for human-like communication and cognition in animals. There are famous non-human primate examples like Kanzi, the bonobo who has memorized hundreds of symbols on a special keyboard. There are also dogs like Chaser, who could remember the names of over 1,000 objects. The researchers at UC San Diego are less interested in how many symbols or words Bunny can memorize, and more in how her vocabulary might lend to meaningful communication with humans.

One of the most infamous cases of animal-human communication is that of Clever Hans, the 20th century horse who could apparently provide answers to simple math questions by tapping his hoof. Upon further investigation, it turned out Hans wasn’t doing any arithmetic but was instead reading subtle cues from whoever was questioning him to know when to stop tapping.

Researchers are wary of falling into the trap of the Clever Hans effect. Rossano says the videos of Bunny are interesting, “but we need to be very careful about what we think is going on. There’s a lot of risk about making bold claims.” He wants to gather as much data as possible, and until experiments determine how much humans influence their companions’ actions, he won’t be drawing any hard conclusions about Bunny’s capacity for language.

Even if it turns out Bunny’s button-pressing isn’t exactly robust communication, Rossano thinks the research is on the right track in comparison to past experiments, where animals were taken out of their natural habitats. “Dogs are enculturated naturally, they live with humans,” Rossano says. This connection makes them particularly handy subjects in research, especially when it’s being conducted in their own homes.

Thanks to our shared history that reaches back thousands of years, dogs already have a significant understanding of human communication and expression. “That’s what makes them really different than doing primate research or doing any sort of research where the animals aren’t intimately involved with us,” says Gunter. “The amount of time the dogs have to just watch us and learn, I think it can’t be understated.”

Because dogs are learning from us all the time, and they have their own established ways of communicating, Gunter worries that excitement over projects like this might detract from the relationships we already have with dogs. “I don’t want it to take away from all the fantastic ways that we share our lives with dogs, and how they talk to us all the time about what they want and how they’re feeling.”

But Rossano thinks dogs’ built-in communication — nonverbal vocalizations, gestures, sniffs — is not exactly easy to learn for most humans, with the exception of experienced trainers. He wants to see if dogs will be able to learn and combine words in order to better communicate their wants and needs, with less guesswork on the side of their humans.

how long til bunny the dog becomes self aware and develops anxiety

— funky little lesbian (@jedwardofficial) October 31, 2020

Bunny (the dog from TikTok that uses a soundboard to speak) is smarter than me and I don’t trust her

— Gabe Itch (@ineedahitta) October 29, 2020

Gunter thinks people’s outsized reactions to Bunny videos may be a reflection of our nervousness when it comes to fully providing for our companions’ needs. A dog with the potential to communicate with us in a new way could push us to accept that animals “have their own thoughts, wants, needs, desires,” she says. “I think that likely means that we’re gonna come up short sometimes.”

“And even if people have an existential crisis about it,” Gunter says, “maybe that just means we look at the world from their perspective a little bit more.”

Devine considers Bunny’s perspective often, while also maintaining a healthy skepticism about Bunny’s level of understanding. “I don’t think she understands it in the way we understand it at all really,” she says. But she still finds the process engaging for both of them, saying it’s brought them closer. Bunny uses her buttons all day long, but if she ever becomes disinterested in the buttons, Devine says, “then that’s it, it’s fine. It’s all about our relationship.”

turkey-imposes-fines-on-facebook,-twitter-and-co.

Turkey imposes fines on Facebook, Twitter and Co.

After the entry into force of a new law for stricter regulation of social media in Turkey, measures have been initiated against providers such as Facebook, Instagram, Twitter, Periscope, YouTube and TikTok, according to official information. A fine of 10 million Turkish lira (about one million euros) was imposed on the platforms, said the deputy minister for transport and infrastructure, Ömer Fatih Sayan, on Twitter on Wednesday With. The reason for the punishment is that no local representatives for Turkey have been appointed within the given period. The providers could not initially be reached for confirmation.

The Turkish parliament passed a law in July that makes social media more strictly controlled . Providers with more than a million Turkish users per day must open branches in Turkey with a Turkish citizen as their representative. Representation by a legal person is also possible. If no representative is registered, penalties are imposed. In addition to the imposition of fines, pages can be rendered virtually unusable. The law also obliges platforms to respond to requests to delete or block certain content within 48 hours.

Turkish media are for the most part under direct or indirect control of the government, and control over content on the Internet has been strengthened again and again. Ankara regularly takes action against users for content on the Internet that is critical of the government.

(axk)

spotify-will-let-artists-give-their-songs-a-boost-—-and-get-paid-less-in-exchange

Spotify will let artists give their songs a boost — and get paid less in exchange

Spotify’s going to test letting artists and labels influence more of what its algorithm promotes. The company announced today a new test for all artists and labels on the platform where they can decide to promote any music that’s important to them. So, for example, if Fleetwood Mac wanted to promote “Dreams” after it went viral on TikTok, they could decide to do so, and Spotify’s algorithm would consider that request when building a radio session or when a listener enters autoplay. Of course, this could apply to any song, including tracks that might be new or that artists want to put extra promotional push behind.

“We want to be able to provide tools that help our artists leverage those moments, so they can be more in control of their success on Spotify and more in charge of their careers,” says Charleton Lamb, product marketing lead at Spotify.

In return for this extra promotional boost, Spotify says it’ll be paying artists a lower “promotional recording royalty rate” whenever songs are played during those autoplay or radio sessions. A spokesperson wouldn’t say how much that rate is because the feature is in testing, but they added that “the idea is for artist teams to be able to earn a positive ROI by using the tool,” and that the company would “calibrate to make sure that the widest group of artists and labels can find success.”

Presumably, this means artists would hope that by promoting the song and taking a loss on those plays, they would make up the revenue if the song catches on and people start directly trying to play it on their own. Although Lamb cited “Dreams” as an example, a potentially better use case is likely a song that artists or labels think will catch on before it already does — for instance, if the label sees viral potential in a song and wants to prime listeners to hear it. At the same time, though, Fleetwood Mac and other viral song stars could promote tracks that have already taken off in the hopes of converting a TikTok listener to a full-fledged Spotify listener and potential fan.

it’s-halloween,-so-here-are-some-mischievous-skeletons

It’s Halloween, so here are some mischievous skeletons

Everyone focuses on what’s blowing up on TikTok, but here’s something that’s been getting a bit of attention over on Byte: some playful little skeletons.

Over the past month, designer Andre Zimmermann has been posting short looping clips of meddlesome skeletons getting into low-stakes hijinks, like running off with food from a table or knocking a plant off a ledge. “They sort of became these jerks,” Zimmermann said. “Like a cat.”

They’re the furthest thing from spooky, but their mischievous antics feel a bit more comforting during what’s already a high-stress Halloween.

My favorite of Zimmermann’s not-quite-spooky animations shows a humanoid collection of skulls dancing to a looping disco track. To make it, Zimmermann said he imported a motion-capture file of someone dancing, then set the skulls to follow their movements. “It’s just a man basically with skulls stuck to him,” Zimmermann said.

Zimmermann has only been working with 3D art for three years. He started making icons and customizations for Android home screens, then moved on to illustrations and animations. His projects all come together in his free time after work and take a day or two each.

The quick turnarounds are intentional, Zimmermann said, because it’s too easy for any given post to go unnoticed on social platforms. “Putting a lot of time into these long hard complex works doesn’t really pay off,” he said. He’d like to build up an audience — recently, he had some success on Instagram, where one of his skeleton posts got 1.6 million views. On Byte, the view count is far lower, but the animations have been surfacing as part of the app’s “Spooky Season” section.

One element of Zimmermann’s animations that really pulls them together is the music. That selection actually comes last in the process, he said. Once the video is exported, he looks around to see what fits and what will loop properly, since he wants the clips to seem endless.

“The length has to fit,” he said. “And getting that right away is not really something you can plan.”

pubg-mobile-officially-pulls-out-of-india

PUBG Mobile officially pulls out of India

The Ministry of Electronics & IT in India banned 118 mobile apps back in September, and the list included the popular game PUBG Mobile. After multiple attempts to get back on track and to bring the battle royale title to its fans, PUBG Corporation has finally given up and announced it is terminating all service and access to users.

Starting today, October 30, PUBG Mobile Nordic Map: Livik and PUBG Mobile Lite will stop working. The rights of the PUBG Mobile brand will be returned to the owners of the intellectual property and Tencent Games will no longer have rights to the franchise in India.

However, PUBG Corporation did not say anything about the player data – will it be deleted or it will be preserved (and in what manner).

Here’s the full statement:

Dear Fans,

To comply with the interim order of the Ministry of Electronics and Information Technology dated September 2, 2020, Tencent Games will terminate all service and access for users in India to PUBG MOBILE Nordic Map: Livik and PUBG MOBILE Lite (together, “PUBG Mobile”) on October 30, 2020. The rights to publish PUBG MOBILE in India will be returned to the owner of the PUBG intellectual property.

Protecting user data has always been a top priority and we have always complied with applicable data protection laws and regulations in India. All users’ gameplay information is processed in a transparent manner as disclosed in our privacy policy.

We deeply regret this outcome, and sincerely thank you for your support and love for PUBG MOBILE in India.

The PUBG Mobile’s termination is part of the second wave of bans by the Indian government. The first one back in June included popular platforms like TikTok, WeChat and even some apps related to Xiaomi like Mi Community and Mi Video Call.

Source

netflix-is-increasing-its-most-popular-plan-to-$14-today,-premium-tier-increasing-to-$18

Netflix is increasing its most popular plan to $14 today, premium tier increasing to $18

Netflix is introducing price hikes for its US subscribers today, increasing its standard plan to $14 a month and its premium tier to $18 a month.

The new pricing for the standard plan is a $1 price increase (from $13 a month), while the new premium tier cost is a $2 increase (from $16 a month). New subscribers will have to pay the updated monthly fees, while current subscribers will see the new prices over the next few weeks as they roll out with customer’s billing cycles.

Industry insiders have long anticipated another round of price hikes at Netflix, which last increased subscription fees in the United States in January 2019. Recently, Netflix increased the cost of some plans in Canada. Netflix rolls out price changes on a country-by-country basis and the change “in the US does not influence or indicate a global price change,” a Netflix spokesperson told The Verge.

The price hikes also arrive at a time when people have more options for entertainment than ever before — especially in the United States. A few years ago, Netflix’s biggest competition in the streaming space was Hulu, and the company vied for people’s attention being split playing video games, watching YouTube, and sleeping. Now, the US alone has HBO Max, Disney Plus, Peacock, TikTok, YouTube, Twitch, and Fortnite. Oh, and sleep is still a factor. Netflix is aware of this. Prices are being updated “so that we can continue to offer more variety of TV shows and films,” a spokesperson told The Verge.

“As always we offer a range of plans so that people can pick a price that works best for their budget,” the spokesperson added.

The price hikes also come as Netflix is looking to invest more heavily into its content slate and product features. Netflix has increased its annual content budget every single year over the last seven years, spending an estimated $18.5 billion in 2020 alone. Increased competition means Netflix needs to continuously step up its game to ensure it has both quality content and plenty of it, while also working to better the actual platform. That costs money, and price hikes come as a result.

Questions about price hikes came up during Netflix’s most recent earnings call this month. Greg Peters, Netflix’s chief operating officer and chief product officer, said that as the company invests more into both content and tech developments, they’ll “occasionally go back and ask [customers] to pay a little bit more to keep that virtuous cycle of investment and value creation going.” Although Netflix is not influenced by competitor pricing, according to a person familiar with the matter, its new standard price is just $1 less than HBO Max’s $15 a month charge — a fee that many analysts claimed was too high for consumers.

At the time, analyst Ross Benes, who covers Netflix for eMarketer, told The Verge that Netflix is still underpriced. He added that people get “a lot of value for not a whole lot of money.” It’s because of all these different factors, and with Netflix becoming an even more central streaming service in people’s lives during the pandemic, that Netflix could ask for an extra dollar a month and people would pay.

“Some people might cancel, but I bet it would pay off for them,” Benes added.

Netflix executives like co-CEO Reed Hastings have also made peace with losing some customers — something the industry refers to as churn. Hastings told analysts during the company’s second quarter earnings call in July that people might leave Netflix from time to time to subscribe to other streamers. The goal, however, was to “have so many hits that you know when you come to Netflix you can just go from hit to hit to hit and never have to think about any of those other services.” Creating that constant series of hits that convinces people to sign up and stay gets expensive — fast — and that’s in part where price hikes come in.

big-techs-are-asking-europe-for-greater-guarantees-for-the-moderation-of-hate-speech-and-illegal-content

Big techs are asking Europe for greater guarantees for the moderation of hate speech and illegal content

One a large group of “big techs” – including Twitter, Apple, Amazon, Microsoft, Facebook and Google – have hoped that the Union Europea has a framework of greater protection , towards them, to support them in the fight against the dissemination of illegal content and hate speech.

According to the regulations currently in force in Europe these companies enjoy protection from liability provided who have no “actual knowledge” of the presence of illegal or hate speech content on their platforms. In other words: companies cannot be held responsible until the presence of this content is directly reported to them. When this happens, they have an obligation to quickly remove that content.

A framework of greater guarantees for content moderation: the big techs ask for it

Big techs are starting to consider the concern that when their systems detect harmful or illegal content, it could fall into the “actual knowledge” case, thus restoring their liability to that content.

There has been much talk of a ‘Good Samaritan’ principle in the #DigitalServicesAct, however, we are calling for the introduction of a new legal safeguard based on European law and European values. ?? pic.twitter.com/JT7SdsPJq2

— EDiMA (@EDiMA_EU) October 26, 2020

Edima, an association representing these companies, argues that a regulatory framework that grants them greater guarantees would allow them to have better quality moderation. “We want users to have a meaningful way to get an explanation as to why their content was removed and to be able to easily appeal the content removal,” says Edima, who also represents Spotify, TikTok, eBay, Mozilla, Snap, Yelp and Verizon Media .

“The European Union approach to freedom of expression is different from the US approach , therefore our approach to content moderation must also be different. Our proposal is based on European values ​​and laws and sets clear limits to the legal safeguard for service providers in order to protect freedom of expression and prevent a reaction oversized by service providers “ stated Siada El Ramly, Edima’s general manager.

In short, the thesis of Edima, and obviously of the companies it represents, is that in Europe the current regulatory framework leaves them no choice but to act quickly and without going too far, when in in many cases a more cautious approach and more interlocution with the authors of the moderated contents would be desirable .

“What we propose is something new and a testament to the commitment of Edima members to do more to tackle illegal content online and to act constructively. We all