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08 July 2020
Duality — A New Approach to Reinforcement Learning
Reinforcement learning (RL) is an approach commonly used to train agents to make sequences of decisions that will be successful in complex environments, including for example, settings such as robotic navigation, where an agent controls the joint motors of a robot to seek a path to a target location, or game-playing, where the goal might be to solve a game level in minimal time. Many modern successful RL algorithms, such as Q-learning and actor-critic, propose to reduce the RL problem to a constraint-satisfaction problem, where a constraint exists for every possible “state” of the environment. For example, in vision-based robotic navigation, the “states” of the environment correspond to every possible camera input.
Despite how ubiquitous the constraint-satisfaction approach is in practice, this strategy is often difficult to reconcile with the complexity of real-world settings. In practical scenarios (like the robotic navigation example) the space of states is large, sometimes even uncountable, so how can one learn to satisfy the tremendous number of constraints associated with arbitrary input? Implementations of Q-learning and actor-critic often ignore these mathematical issues or obscure them through a series of rough approximations, which results in a stark divide between the practical implementations of these algorithms and their mathematical foundations.
In “Reinforcement Learning via Fenchel-Rockafellar Duality” we have developed a new approach to RL that enables algorithms that are both useful in practice and mathematically principled — that is to say, the proposed algorithms avoid the use of exceedingly rough approximations to translate their mathematical foundations to practical implementation. This approach is based on convex duality, which is a well-studied mathematical tool used to transform problems expressed in one form into equivalent problems in distinct forms that may be more computationally friendly. In our case, we develop specific ways to apply duality in RL to transform the traditional constraint-satisfaction mathematical form to an unconstrained, and thus more practical, mathematical problem.
A Duality-Based Solution
The duality-based approach begins by formulating the reinforcement learning problem as a mathematical objective along with a number of constraints, potentially infinite in number. Applying duality to this mathematical problem yields a different formulation of the same problem. Still, this dual formulation has the same format as the original problem — a single objective with a large number of constraints — although the specific objective and constraints are changed.
The next step is key to the duality-based solution. We augment the dual objective with a convex regularizer, a method often used in optimization as a way to smooth a problem and make it easier to solve. The choice of the regularizer is crucial to the final step, in which we apply duality once again to yield another formulation of an equivalent problem. In our case, we use the f-divergence regularizer, which results in a final formulation that is now unconstrained. Although there exist other choices of convex regularizers, regularization via the f-divergence is uniquely desirable for yielding an unconstrained problem that is especially amenable to optimization in practical and real-world settings which require off-policy or offline learning.
Notably in many cases, the applications of duality and regularization prescribed by the duality-based approach do not change the optimality of the original solution. In other words, although the form of the problem has changed, the solution has not. This way, the result obtained with the new formulation is the same result as for the original problem, albeit achieved in a much easier way.
Experimental Evaluation
As a test of our new approach, we implemented duality-based training on a navigational agent. The agent starts at one corner of a multi-room map and must navigate to the opposite corner. We compare our algorithm to an actor-critic approach. Although both of these algorithms are based on the same underlying mathematical problem, actor-critic uses a number of approximations due to the infeasibility of satisfying the large number of constraints. In contrast, our algorithm is more amenable to practical implementation as can be seen by comparing the performance of the two algorithms. In the figure below, we plot the average reward achieved by the learned agent against the number of iterations of training for each algorithm. The duality-based implementation achieves significantly higher reward compared to actor-critic.
In summary, we’ve shown that if one formulates the RL problem as a mathematical objective with constraints, then repeated applications of convex duality in conjunction with a cleverly chosen convex regularizer yield an equivalent problem without constraints. The resulting unconstrained problem is easy to implement in practice and applicable in a wide range of settings. We’ve already applied our general framework to agent behavior policy optimization as well as policy evaluation, and imitation learning. We’ve found that our algorithms are not only more mathematically principled than existing RL methods, but they also often yield better practical performance, showing the value of unifying mathematical principles with practical implementation.
Too little, too late: Facebook’s Oversight Board won’t launch until ‘late fall’
Facebook has announced that the limp “Oversight Board” intended to help make difficult content and policy decisions will not launch until “late fall,” which is to say, almost certainly after the election. You know, the election everyone is worried Facebook’s inability to police itself will serious affect.
On Twitter, the board explained that as much as it would like to “officially begin our task of providing independent oversight of Facebook’s content decisions,” it regrets that it will be unable to do so for some time. “Our focus is on building a strong institution that will deliver concrete results over the long term.”
That sounds well enough, but for many, the entire point of creating the oversight board — which has been in the offing since late 2018 — was to equip Facebook for the coming presidential election, which promises to be something of a hot one.
As my colleague Natasha Lomas described the board when it was officially announced:
The Oversight Board is intended to sit atop the daily grind of Facebook content moderation, which takes place behind closed doors and signed NDAs, where outsourced armies of contractors are paid to eyeball the running sewer of hate, abuse and violence so actual users don’t have to, as a more visible mechanism for resolving and thus (Facebook hopes) quelling speech-related disputes.
But as we soon found out, the board would have nothing to do with what many would call the most dangerous content on Facebook: fast-spreading misinformation. The board will for now primarily concern itself with disputed takedowns of content, not simply disputed content. On many matters its decisions will be merely advisory.
Facebook has taken a relatively laissez-faire attitude toward manipulated media, deliberate misinformation, misleading political ads and other troubling content, and executives, including Mark Zuckerberg, have regularly reinforced that attitude.
An attempt to hit the company in its wallet has proven unexpectedly successful, with many large companies pledging to at least temporarily remove advertising from Facebook to protest these policies. Coca-Cola, Ford, REI and even TechCrunch’s parent company Verizon have signed on to #StopHateforProfit. Facebook met with representatives of the effort today and the latter were, predictably, disappointed.
“Today we saw little and heard just about nothing,” said Anti-Defamation League’s CEO Jonathan Greenblatt. It seems that Facebook does not consider the present pecuniary punishment heavy enough to warrant a serious response.
The delay of the Oversight Board, even the defanged one being promised, is just one more straw on the camel’s back.
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The TourBox adds a touch of tactile control to your editing workflow in a portable package
Now is a great time to be dipping back into creative projects you’ve had on hold, including editing archives of photos you promised you’d get back to ‘later.’ There are a number of different gadgets designed to help make that process easier, but one of the more accessible is the TourBox, a $169 hardware controller that includes a number of different hardware buttons, dials and switches which can be customized via software to work with a variety of creative applications.
The basics
TourBox is a device that occupies roughly the desk space of an Apple Magic Trackpad, with a USB-C connection to plug into your computer. It’s equipped with a D-pad, two dials, a scroll wheel, and seven buttons. The TourBox software provides customizable controls for each of these, allowing you to assign keys to each.
Built-in profiles support popular photo editing applications including Photoshop, Lightroom and Capture One; video editing software like Final Cut Pro, Premiere and DaVinci Resolve; and drawing software including Clip Studio Paint. Each of the default configurations for these applications can also be customized depending on a user’s preferences and needs.
TourBox differs from other, more expensive devices in this category in a number of respects – it leans heavily on keyboard shortcuts, for instance, definitely simplifying software actions but not providing the same level of plug-in integration that competitors including the more premium Loupedeck+ and Loupedeck CT provide. Those are considerably more expensive, however, and what TourBox provides could suit the workflows of pros who are looking primarily to supplement, rather than replace their existing keyboard productivity workflows.
Design
The TourBox is compact, but feels sturdy. It’s heavier than I expected, which makes it more likely to stay put on the desk where you put it rather than shifting around during use. The exterior is a matte, rubberized plastic that has a nice aesthetic and a pleasant tactile feel, though it will pick up dust.
TourBox’s buttons and controls feature unique shapes and elements like raised spokes and ridges on the wheels to help you navigate the control surface entirely by feel. It produces a controller that looks very interesting because of its asymmetrical layout and exterior surface, but all of that actually makes it much easier to learn how to operate it entirely by feel after a little practice, which is key to long-term use in terms of actually ensuring the TourBox saves you time, by being something you can eventually basically commit to muscle memory.
While the design of the buttons and other controls makes a lot of sense, the actual feel of them isn’t all that great. There are some highlights, including clicky turning to help with fine-grained controls, but overall the buttons feel a bit mushy and generally don’t match up to the feel of the controls on other surfaces like the Loupedeck hardware mentioned above. Given the price difference, the lower-quality feel of the physical controls can be forgiven, and it doesn’t affect actual performance, but it’s something to keep in mind.
Performance
As with any new hardware controller, the TourBox takes some getting used to, and the software that the company provides, while it includes a basic tutorial, requires non-obvious user tweaks like manual switching of profiles to work with different applications. There’s a major 2.1 update in the works that will deliver auto-profile switching, among a number of other improvements.
Once you learn how to use the TourBox software and spend some time familiarizing yourself with the profiles for the applications you use, TourBox is indeed user-friendly, and can save you a lot of time and extra keystrokes on most common functions, including things like zooming and panning, adjusting brush size, undoing and redoing and much more.
As mentioned, the unique physical layout and button shapes appear initially odd, but ultimately mean that you can develop a very memorable workflow using the TourBox that becomes second nature. By default, some of the modifier key combinations that were shipped in the software profiles required a bit of unusual hand gymnastics for me, but all of these are customizable so it was easy to make changes that resulted in more ergonomically friendly usage.
Bottom line
While there are a growing number of options when it comes to hardware control surfaces to help you create an at-home editing suite, the TourBox at $169 is one of the most affordable out there. It’s also an extremely portable option, requiring just one cable, which you can easily pack in just about any bag.
More demanding and pro users would do well to look at Loupedeck’s offerings, and the Monogram Creative Console provides a lot more modular customizability for a system that can grow with your needs, but for on-the-road editing and for enthusiasts who are just looking for something to make their editing easier and faster but with minimal fuss, the TourBox is a solid option.
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The transformative role of art during the pandemic | Anne Pasternak
Museums are vessels of memory, knowledge, inspiration and dreams. Anne Pasternak, director of the Brooklyn Museum, makes the case for cultural institutions to take a leading role in supporting the world's recovery from COVID-19 -- and shows how, in times of turmoil and disruption, the arts help us come together, heal and rebuild a better society. (This virtual conversation, hosted by TED arts and design curator Chee Pearlman, was recorded June 17, 2020.)
https://ift.tt/2ZMrz4V
Click this link to view the TED Talk
Google launches the Open Usage Commons, a new organization for managing open-source trademarks
Google, in collaboration with a number of academic leaders and its consulting partner SADA Systems, today announced the launch of the Open Usage Commons, a new organization that aims to help open-source projects manage their trademarks.
To be fair, at first glance, open-source trademarks may not sound like it would be a major problem (or even a really interesting topic), but there’s more here than meets the eye. As Google’s director of open source Chris DiBona told me, trademarks have increasingly become an issue for open-source projects, not necessarily because there have been legal issues around them, but because commercial entities that want to use the logo or name of an open-source project on their websites, for example, don’t have the reassurance that they are free to use those trademarks.
“One of the things that’s been rearing its ugly head over the last couple years has been trademarks,” he told me. “There’s not a lot of trademarks in open-source software in general, but particularly at Google, and frankly the higher tier, the more popular open-source projects, you see them more and more over the last five years. If you look at open-source licensing, they don’t treat trademarks at all the way they do copyright and patents, even Apache, which is my favorite license, they basically say, nope, not touching it, not our problem, you go talk.”
Traditionally, open-source licenses didn’t cover trademarks because there simply weren’t a lot of trademarks in the ecosystem to worry about. One of the exceptions here was Linux, a trademark that is now managed by the Linux Mark Institute on behalf of Linus Torvalds.
With that, commercial companies aren’t sure how to handle this situation and developers also don’t know how to respond to these companies when they ask them questions about their trademarks.
“What we wanted to do is give guidance around how you can share trademarks in the same way that you would share patents and copyright in an open-source license […],” DiBona explained. “And the idea is to basically provide that guidance, you know, provide that trademarks file, if you will, that you include in your source code.”
Google itself is putting three of its own open-source trademarks into this new organization: the Angular web application framework for mobile, the Gerrit code review tool and the Istio service mesh. “All three of them are kind of perfect for this sort of experiment because they’re under active development at Google, they have a trademark associated with them, they have logos and, in some cases, a mascot.”
One of those mascots is Diffi, the Kung Fu Code Review Cuckoo, because, as DiBona noted, “we were trying to come up with literally the worst mascot we could possibly come up with.” It’s now up to the Open Usage Commons to manage that trademark.
DiBona also noted that all three projects have third parties shipping products based on these projects (think Gerrit as a service).
Another thing DiBona stressed is that this is an independent organization. Besides himself, Jen Phillips, a senior engineering manager for open source at Google is also on the board. But the team also brought in SADA’s CTO Miles Ward (who was previously at Google); Allison Randal, the architect of the Parrot virtual machine and member of the board of directors of the Perl Foundation and OpenStack Foundation, among others; Charles Isbel, the dean of the Georgia Institute of Technology College of Computing, and Cliff Lampe, a professor at the School of Information at the University of Michigan and a “rising star,” as DiBona pointed out.
“These are people who really have the best interests of computer science at heart, which is why we’re doing this,” DiBona noted. “Because the thing about open source — people talk about it all the time in the context of business and all the rest. The reason I got into it is because through open source we could work with other people in this sort of fertile middle space and sort of know what the deal was.”
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Tinder now testing video chat in select markets, including U.S.
Tinder announced this morning it will begin to test video chat in its mobile dating app with some members in select worldwide markets, including in the U.S. The feature, which allows Tinder matches to go on “virtual” dates when both opt in, will first be available to users in Virginia, Illinois, Georgia and Colorado in the U.S., as well as in Brazil, Australia, Spain, Italy, France, Vietnam, Indonesia, Korea, Taiwan, Thailand, Peru and Chile, also with some members.
Parent company Match had first promised it would introduce video chat in Tinder as part of its Q1 2020 earnings report and touted the feature as a way Tinder was evolving its business in the face of the coronavirus pandemic. The company had also then detailed the pandemic’s impact on its app, which had slowed Tinder user growth in the quarter as social distancing requirements and government lockdowns went into effect.
Tinder ended Q1 with 6 million subscribers, up from 5.9 million in December 2019 — meaning it only added 100,000 paid subscribers during the quarter. For comparison, in the year-ago quarter it added 384,000 paid users. Tinder’s average revenue per user (ARPU) also grew just 2%, mainly due to purchases of à la carte features, not subscriptions.
Tinder says it had tested video at various times before the COVID-19 outbreak, but said it never saw significant adoption. The pandemic has changed things, however. Today, Tinder allows users to search for matches worldwide through its Passport feature, making its dating app more of a social network. Meanwhile, Tinder users who do want to date now feel almost forced to use video for their early interactions instead of going on briefer “getting to know you” coffee or drink dates, as before.
Without a video option in the app, these users often turned to third-party apps like Snapchat or other video chat apps for these early connections. Meanwhile, daters who prioritized a video option may have even made the switch to rival Bumble, which has offered video for a year. Facebook also recently said it would add video for its Facebook Dating users, as a result of the coronavirus pandemic, forcing Tinder’s hand.
The new feature itself is simple to use. Once two people have matched and are chatting in the app, they can indicate they’re ready to move to a video session by tapping the new video icon. The clever part is that the feature itself isn’t enabled until both matches opt in. The company notes that Tinder users won’t be informed if a match toggles on the video chat feature. The idea is to wait until the discussion comes up naturally, as it often does in a text-based chat.
When both users have toggled on video chat, they have to agree to ground rules before the chat begins. Tinder says calls should remain “PG,” with no nudity or sexual content. The chats are also supposed to stay “clean,” meaning no harassment, hate speech, violence or other illegal activities. Users also agree calls will need to be age-appropriate, meaning without minors involved.
The feature, which Tinder calls “Face to Face,” is enabled on a match-by-match basis, not universally for all matches.
How exactly Tinder plans to properly moderate what appears to be a fantastic new solicitation platform remains less clear. In addition, Tinder’s move to embrace video means it could be putting sex offenders in front of the camera. As an investigative report last year from ProPublica found, most of the Match-owned dating apps, including Tinder, were not screening for sexual predators.
For now, Tinder says users are asked to review the call when it wraps.
In a pop-up, users who finish a video call will be asked whether they would go Face to Face again. Here, they’ll also have the option to report the user, if needed. These sorts of retroactive rating systems don’t do much for anyone who feels unsafe in the moment, of course, and it’s not clear to what extent Tinder will step in to police calls in progress.
Asked for specifics, Tinder declined to share. (In an earlier report, Tinder CEO Elie Seidman suggested Tinder would use machine learning models to monitor chats.)
Also unclear is to what extent Tinder would step into to stop what may otherwise be consensual sexual activity, including of the paid variety.
Tinder doesn’t seem worried about these off-brand use cases for video chat, however. It says it recently surveyed around 5,000 members in the U.S. and around half of them have already had video dates with a match off its platform over the past month, indicating a willingness to try video for online dating. In addition, 40% of Gen Z members said they wanted to keep using video as an initial step before agreeing to meet in real life, even when places like restaurants and bars were re-opened.
“Connecting face-to-face is more important than ever, and our video chat feature represents a new way for people to get to know one another in-app no matter their physical distance,” said Rory Kozoll, head of Trust and Safety Products at Tinder, in a statement about the launch. “Face to Face prioritizes control to help our members feel more comfortable taking this next step in chats if and when it feels right for them. We’ve built a solid foundation, and look forward to learning from this test over the coming weeks,” Kozoll added.
The feature is launching in testing only starting today, in select markets.
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Achieve More in Less Time, Learn How to Manipulate Time
How often do you crawl into bed at the end of the day wishing you had been able to get more done, and achieve more? Does it constantly feel like there just aren’t enough hours in a day to complete all your tasks? Are you always in a race against the clock to get things […]
The post Achieve More in Less Time, Learn How to Manipulate Time appeared first on ALL TECH BUZZ.
5 Best E-Readers to Buy – According to Tech Experts
There has never been a better time to buy an e-reader. The paperback alternative has come a long way since Amazon’s first Kindle hit the market in 2007. Today’s e-readers are more compact, efficient, and affordable than before. Storage capacities have also increased, as well as screen legibility and fingerprint resistance. Some are even waterproof. […]
The post 5 Best E-Readers to Buy – According to Tech Experts appeared first on ALL TECH BUZZ.
Tinder now testing video chat in select markets, including U.S.
Tinder announced this morning it will begin to test video chat in its mobile dating app with some members in select worldwide markets, including in the U.S. The feature, which allows Tinder matches to go on “virtual” dates when both opt in, will first be available to users in Virginia, Illinois, Georgia and Colorado in the U.S., as well as in Brazil, Australia, Spain, Italy, France, Vietnam, Indonesia, Korea, Taiwan, Thailand, Peru and Chile, also with some members.
Parent company Match had first promised it would introduce video chat in Tinder as part of its Q1 2020 earnings report and touted the feature as a way Tinder was evolving its business in the face of the coronavirus pandemic. The company had also then detailed the pandemic’s impact on its app, which had slowed Tinder user growth in the quarter as social distancing requirements and government lockdowns went into effect.
Tinder ended Q1 with 6 million subscribers, up from 5.9 million in December 2019 — meaning it only added 100,000 paid subscribers during the quarter. For comparison, in the year-ago quarter it added 384,000 paid users. Tinder’s average revenue per user (ARPU) also grew just 2%, mainly due to purchases of à la carte features, not subscriptions.
Tinder says it had tested video at various times before the COVID-19 outbreak, but said it never saw significant adoption. The pandemic has changed things, however. Today, Tinder allows users to search for matches worldwide through its Passport feature, making its dating app more of a social network. Meanwhile, Tinder users who do want to date now feel almost forced to use video for their early interactions instead of going on briefer “getting to know you” coffee or drink dates, as before.
Without a video option in the app, these users often turned to third-party apps like Snapchat or other video chat apps for these early connections. Meanwhile, daters who prioritized a video option may have even made the switch to rival Bumble, which has offered video for a year. Facebook also recently said it would add video for its Facebook Dating users, as a result of the coronavirus pandemic, forcing Tinder’s hand.
The new feature itself is simple to use. Once two people have matched and are chatting in the app, they can indicate they’re ready to move to a video session by tapping the new video icon. The clever part is that the feature itself isn’t enabled until both matches opt in. The company notes that Tinder users won’t be informed if a match toggles on the video chat feature. The idea is to wait until the discussion comes up naturally, as it often does in a text-based chat.
When both users have toggled on video chat, they have to agree to ground rules before the chat begins. Tinder says calls should remain “PG,” with no nudity or sexual content. The chats are also supposed to stay “clean,” meaning no harassment, hate speech, violence or other illegal activities. Users also agree calls will need to be age-appropriate, meaning without minors involved.
The feature, which Tinder calls “Face to Face,” is enabled on a match-by-match basis, not universally for all matches.
How exactly Tinder plans to properly moderate what appears to be a fantastic new solicitation platform remains less clear. In addition, Tinder’s move to embrace video means it could be putting sex offenders in front of the camera. As an investigative report last year from ProPublica found, most of the Match-owned dating apps, including Tinder, were not screening for sexual predators.
For now, Tinder says users are asked to review the call when it wraps.
In a pop-up, users who finish a video call will be asked whether they would go Face to Face again. Here, they’ll also have the option to report the user, if needed. These sorts of retroactive rating systems don’t do much for anyone who feels unsafe in the moment, of course, and it’s not clear to what extent Tinder will step in to police calls in progress.
Asked for specifics, Tinder declined to share. (In an earlier report, Tinder CEO Elie Seidman suggested Tinder would use machine learning models to monitor chats.)
Also unclear is to what extent Tinder would step into to stop what may otherwise be consensual sexual activity, including of the paid variety.
Tinder doesn’t seem worried about these off-brand use cases for video chat, however. It says it recently surveyed around 5,000 members in the U.S. and around half of them have already had video dates with a match off its platform over the past month, indicating a willingness to try video for online dating. In addition, 40% of Gen Z members said they wanted to keep using video as an initial step before agreeing to meet in real life, even when places like restaurants and bars were re-opened.
“Connecting face-to-face is more important than ever, and our video chat feature represents a new way for people to get to know one another in-app no matter their physical distance,” said Rory Kozoll, head of Trust and Safety Products at Tinder, in a statement about the launch. “Face to Face prioritizes control to help our members feel more comfortable taking this next step in chats if and when it feels right for them. We’ve built a solid foundation, and look forward to learning from this test over the coming weeks,” Kozoll added.
The feature is launching in testing only starting today, in select markets.
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Facebook expands Instagram Reels to India
As scores of startups look to cash in on the content void that ban on TikTok and other Chinese apps has created in India, a big challenger is ready to try its own hand.
Instagram said on Wednesday it is rolling out Reels — a feature that allows users to create short-form videos (up to 15 seconds long) set to music or other audio — to a “broad” user base in India.
Video is already a popular way how many Indians engage on Instagram. “Videos make up over a third of all posts in India,” said Ajit Mohan, the head of Facebook India, in a call with reporters Wednesday. And in general, about 45% of all videos posted on Instagram are of 15 seconds or shorted, said Vishal Shah, VP of Product at Facebook.
So a broad test of Reels, which is also currently being tested in Brazil, France, and Germany, in India was only natural, he said, dismissing the characterization that the new feature’s ability had anything to do with a recent New Delhi order.
India banned 59 apps and services developed by Chinese firms citing privacy and security concerns last week. Among the apps that have been blocked in the country includes TikTok, ByteDance’s app that has offered a similar functionality as Reels for years.
TikTok identified India as its biggest market outside of China. Late last year, TikTok said it had amassed over 200 million users in the country, and the firm was looking to expand that figure to at least 300 million this year.
In the event of TikTok’s absence, a number of startups including Twitter-backed Sharechat, Chingari, and Mitro have ramped up their efforts and have claimed to court tens of millions of users. Sharechat said it had doubled its daily active users in a matter of days to more than 25 million.
Gaana, a music streaming service owned by Indian conglomerate Times Internet, rolled out HotShots to showcase user generated videos. Gaana had more than 150 million monthly active users as of earlier this year.
But Instagram, which has already attracted tens of thousands of influencers in India, is perhaps best positioned to take on TikTok in the world’s second largest internet market. Instagram had about 165 million monthly active users last month, up from 110 million in June last year, according to mobile insights firm App Annie, data of which an industry executive shared with TechCrunch. Mohan declined to comment on Instagram’s user base in India.
Mohan said he is hopeful that Instagram Reels would enable several content creators in India to gain followers globally. The platform has already courted several popular names including Ammy Virk, Gippy Grewal, Komal Pandey, Jahnavi Dasetty aka Mahathalli, Indrani Biswas aka Wondermunna, Radhika Bangia, RJ Abhinav and Ankush Bhaguna.
Reels videos will appear on Instagram’s Explore tab, enabling users to reach a broader audience than their own following base.
In recent years, platforms such as TikTok, YouTube, and Instagram have attracted more than a million content creators, several of whom have made it their livelihood. Just as equally impressive is who these creators are: Beauticians, dieticians, high school students from small towns in India, elderly who speak languages that very few people understand.
People who have been massively underrepresented in mainstream Bollywood movies and speeches of politicians have found a platform and gained a following that challenged the mainstream media’s reach. Many of these creators were making thousands of dollars through advertisers and deals with brands. Not everyone will, however, be able to find a replacement of TikTok.
Sajith Pai, Director at venture firm Blume, told TechCrunch that YouTube and Instagram would be able to court the top influencers from TikTok and other platforms. “But beyond a point, they won’t be bandying out much incentive to other creators.”
In the run up to the launch of Reels, Facebook has secured deals with several Indian music labels including Saregama in India. Also ahead of Reels’ availability in India, Facebook announced it was shutting down Lasso, its another attempt at taking on short-form videos.
More to follow…
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Blavity has a big opportunity with Black millennials, despite struggling to fit the VC formula
Black Lives Matter may be the largest movement in U.S. history, according to four different polls cited recently by the New York Times that suggest anywhere from 15 million to 26 million people in the U.S. have participated in demonstrations over the death of George Floyd and others since Floyd’s death in late May.
Blavity, a six-year-old, L.A.-based media company that’s focused on Black culture, could hardly be better positioned to help outraged Americans better understand what’s really been going on. Blavity founder Morgan DeBaun says the outfit receives at least a handful of videos each week that feature egregious acts against Black Americans, and the same has been true since DeBaun, working at the time at Intuit, founded the company in 2014 after unarmed, 18-year-old Michael Brown was gunned down by a police office in her native Missouri.
Blavity tells the stories that the mainstream media has largely been missing, but that’s only part of the story. The company has also become a go-to destination for a growing number of Black millennials interested in fresh takes on culture and politics; in Black Hollywood and travel (via two other properties it runs); and in its sizable networking events, one of which attracted 10,000 people last year.
Last week, we talked with DeBaun about Blavity — which has raised a comparatively conservative $11 million to date, including from GV, Comcast Ventures, and Plexo Capital — to learn more about how the company seizes this moment, and whether investors see the opportunity. Our chat has been edited for length and clarity (you can hear the full discussion here).
TC: You started Blavity in part to address a need you were feeling to connect with others after Michael Brown’s death. What were you reading at the time?
MD: The unfortunate answer is I wasn’t reading anything. I hadn’t really felt the need to stay connected to local or regional or Black issues until I moved out of my community and found myself wondering [from California], what is going on.
Historically in the Black community, we’ve had our own networks and platforms and brands: the African American newspapers in various cities, Essence, Jet, Ebony, and more recently, The Root. [But] a significant amount of media publications are still focused on entertainment and Hollywood and not necessarily on news. And so there was a huge gap of information that I felt wanting to understand.
This was before Twitter really became a source of information and truth for so many people, so there was a gap of information from what I saw happening on the ground in St. Louis and in text messages and as part of an email list with friends who were on the ground, and what I saw in the mainstream media. And to me, that was a huge miss, because we needed to be connected at that point more than ever so we could help impact change.
TC: There’s a lot of social injustice covered by Blavity. Two of the most popular stories on the site as we speak are about Sacramento police officer who placed a plastic bag on a 12-year-old’s head, and a cop who was arrested and charged after tasing a pregnant woman on her stomach. Are these stories central to making Blavity a resource to its readers?
MD: We tend to be a reflection of the pulse of the reality and the Black experience, and we do share stories and news that people might not find other places. I get the question more recently about: Does this time feel different? Are we covering different things? And unfortunately, the answer is that we’ve been covering these stories weekly since Michael Brown happened. It’s been a critical part of our publication and ethos to ensure that we’re sharing the stories of our community and bringing light to the injustices that are happening.
We also share joy and happiness and celebrations and moments of great accomplishments and local stories of heroes. But certainly right now, we’re making sure that we’re doing our diligence and covering the stories that are very important for this moment in time.
TC: You recently told Forbes that advertisers and marketers do not want to spend money next to Black death and violence. You have to cover these stories because it’s core to what you do, but it’s a double-edged sword for you, it sounds like.
MD: Blavity as an organization has five different brands. So we have a diversified revenue stream where we don’t just rely on display advertising against our news business, because if we did, we would wind up very much similar to what we’ve seen happen [to other struggling media companies]. There was a time when our Facebook page was even blocked because [stories] have gotten flagged as being too violent. And it’s like, well yeah, violence against Black bodies is real. It’s the truth; it’s real news.
So we do have this weird kind of balance that we strike in terms of really making sure that we’re telling the truth and that we are pushing back against our clients, our advertisers, and even Facebook to ensure that Blavity can continue to distribute content. But overall, the news business isn’t our highest revenue-generating business. It’s our conference business and our display ads business across all of our brands, some of which are lifestyle brands.
We also have an ad network that we don’t advertise publicly much, but essentially, we run ads and sales operations for other publishers of color who maybe don’t have the scale to necessarily have their own sales team and ad tech and engineers and things of that nature. We’re fighting for deals against a Vice or a Refinery 29 that also have ad networks, so we wanted to make sure that we could also win those deals and we needed that huge inventory and [that business has] allowed us the flexibility to reinvest [in the rest of the business].
TC: I understand that you’re also starting a paid-for membership-only professional network.
MD: We have an exciting announcement that’ll come out in a few weeks about a new platform that will specifically be a place for young Black professionals to come together to have discussions to learn; to get jobs, because that’s one of our core competencies through [our conference business]; but most importantly, to have discussions around the issues and topics that are trending and that matter. We already do daily conversations through Facebook Live and YouTube and Instagram Live. So we’re trying to build a place where we can have a more private space for those conversations that feels safe and also is a place where people can connect on a deeper level.
TC: Have you noticed a real change in Silicon Valley in the last month or so among investors? Are you seeing interest from firms that previously hadn’t reached out to you?
MD: There are a lot of VCs that perhaps are paying attention, but the bias is so deep that I don’t even think they know how to get out. It.
Have I seen more requests for conversations? Yes. Do I think that that’s going to result in more investments and wires and checks? No. I’m very skeptical of this kind of like performative ‘we care’ flag. The most important metric of success for VCs are returns on their investments. [Venture money] is not a donation; it’s not charity. [VCs look for companies that] meet the metrics of success. And my metrics may be different because I’ve been chronically underfunded despite how much we’ve done.
TC: Can you elaborate?
I think the argument that [later-stage] investors make is, ‘Well, there are just not that many Series A Series B companies to invest in. [But] there are enough companies to invest in, that have your revenue criteria and your goal criteria in terms of a potential exit, but that may not call themselves startups. They may look different. And so you need to do more work to go get them.
There are certainly a lot more people raising funds and having really success in terms of raising their first fund, or that are now on their second fund as a result of this [focus on diversity] and that’s very encouraging and that’s really going to help the seed- and early-stage founders.
I wish I was a founder right now who was raising a seed [round], because I could raise $10 million, there’s so much money going around.
TC: It’s incredible that you could be at a disadvantage because you’re now running a real business with multiple properties, particularly given the opportunity ahead. As you’ve mentioned in the past, there will be a majority minority population in this country in 10 years or so. Are you developing products for other communities, including the Afro-Latino community?
MD: We’ve thought a lot about the sub communities that have huge audiences, are growing quickly, but perhaps don’t have a space or a place to connect. And originally, one of our ideas was to build out our tech platform, then change the UI to accommodate all these [ideas] and become a true house with brands that serve people and communities on a niche level — so Gen Z, Black, LGBT, Afro Latina, for the many Caribbean folks who are in the U.S. and Nigerian Americans; there are so many sub communities within the diaspora.
What we realized is that the overhead and operations of doing that over and over would not be a good idea and that we should figure out how to a build the operations side instead. That’s why we invested in our own ad network, because we can say, ‘Hey, creator in Brooklyn who’s amazing, you have a million monthly unique visitors, which is better than half the publications out there. You don’t have ad sales team. Let’s partner with each other.’ That was the first solution.
The second is this social networking platform that we’ve built. Part of the frustration and tension I felt when I started the company was feeling like there was no one like me. I couldn’t find other Black women who wanted to build a huge company and change the world and do it through tech. There was no one walking around Mountain View who looked like that, and I didn’t know where to go. We want to solve that through technology and through a platform that makes it easy for people to find each other. Hopefully then, once people are more connected, they can build their own companies and come up with their own organizations.
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Amazon Prime Video Download Location In Windows 10
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Amazon recently released the official Prime Video app for Windows 10 and is now available via the Windows Store. In addition to browsing and watching videos on offer, Amazon Prime Video app offers subscribers an option to download videos for offline viewing. According to the app, an hour of good quality video takes about 0.5 […]
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