Pandora’s new Apple Watch app lets you leave your iPhone behind

Support for standalone streaming has come to Pandora’s Apple Watch app. The company today announced the official launch of its new standalone app for Apple Watch that lets you listen to music and podcasts on the go, even without your iPhone. The launch makes Pandora the first major third-party — meaning, first besides Apple Music — to offer a standalone app for Apple Watch.

To be clear, Pandora is not the first non-Apple music service to offer an Apple Watch app. Spotify notably debuted its own Watch app in 2018. Others, including SoundCloud, Napster, Deezer and more, also have Apple Watch experiences.

However, Spotify’s app still needs to be tethered to the iPhone in order to work. This has been a sore subject with a core group of Spotify’s customers — particularly those who want to enjoy music on their Apple Watch while exercising, for example, when carrying around an iPhone is more cumbersome. In some cases, these users have even defected to Apple Music, calling Spotify’s watch app a mere “remote control,” as it still hasn’t even implemented offline support. 

Pandora’s new app, on the other hand, lets users leave their phone behind as it supports both streaming and offline downloads.

The app notably takes advantage of the new streaming APIs Apple introduced last year at its annual developer conference. With watchOS 6, app developers can now create independent audio consumption experiences that no longer need to lean on the iPhone.

For Pandora, this change means users can go directly to the App Store on the Apple Watch to download the watch app to log in and start streaming. Even without an iPhone, users can play, pause and skip songs; pick up where they left off on podcasts; thumbs-up their favorite music; adjust the volume; and more.

Pandora Premium subscribers also can search and play specific songs, artists and albums on-demand, right from their wrist.

Meanwhile, offline listening is available to Pandora Plus or Premium paying subscribers, which lets you save tracks for offline play. This is helpful if you’re in an area where you have a poor connection or none at all, like on an airplane or underground train, for instance.

The new Pandora Apple Watch app will roll out to all users who already had the older version installed, as well as to those who updated to the latest version of Pandora’s iPhone app.

Because the app relies on Apple’s new streaming APIs to offer standalone streaming, it requires watchOS 6 to work. This version of Apple Watch software is available to Apple Watch Series 1 and higher users, but only those on Apple Watch Series 3 and higher will have access to standalone streaming, per Apple’s requirements. In addition, both streaming music and downloading require an internet connection, either Wi-Fi or cellular.

News of Pandora’s updated Watch app actually broke last week. But after a number of news reports announced its arrival, the company clarified it was only then rolled out to a small group (1%) of users at that time. Earlier this year, Pandora also rolled out a redesign of its Watch app that included offline playback.

As of today, the updated Apple Watch app should be available to all in the U.S.


Source: Tech Crunch

How TikTok decides who to make famous

Part 2: The TikTok System

Read part one of this post, “Leveraging TikTok for growth,” on TechCrunch.

So what do we mean when we say “then, the post is reviewed by an AI?” TikTok is the most extensive content moderation system that has ever existed.

The 411 on content moderation

To make that claim, we need to understand the status quo in moderation today. Content moderation was one of the first product problems of user-generated content that computer-vision scientists were tasked with solving (ie. filtering out porn). With very little content moderation on one end of the spectrum (like 4chan) and heavy moderation on the other end (like TikTok), “what’s the right balance?” is a complex product question that touches all the major platforms today — especially when you as a consumer might not even be aware that it’s being filtered out because of the “content bubbles” we live in.

From a product perspective, designing for content usually only involves three variations on a theme:

  1. Search: goal-oriented, I know what I’m looking for (Google)
  2. Browse: aimless, not sure what I want, anything good? (Netflix)
  3. Contextual: finding something else along the way (Wikipedia)

These systems are present in some form or another in almost every piece of software we use. When browse-based systems are the priority in a product: algorithmic feeds or “discover” screens (like the FYP), the possibility of users living in a content bubble at scale is inherent in the design. We know that if platforms can influence your consumption of content if it’s viable and profitable to them… then, of course, they can influence public opinions.

Due to these content bubbles (like the FYP) In the last few years, the word “algorithm” has worked its way into the vernacular of non-nerds talking about their Facebook feeds, why their Insta post isn’t doing well or what Netflix and Spotify are serving them up to enjoy.

Censorship in Entertainment


Source: Tech Crunch

Leveraging TikTok for growth

Once you have a product, distributing it becomes the next challenge for any entrepreneur. At TRASH (one-tap video editing), we looked to TikTok as a potential marketing channel. As early learnings started to roll in, we decided to share what’s going on inside this exploding and mysterious beast.

Part 1: Leveraging TikTok for growth

The advantage of having a deep tech company that uses AI to help speed the process of editing video is that we can do it for “free.” This is pretty cool when you consider that editing a semi-pro video will run you a minimum of $1,500 and six hours in post-production. When we started working on distribution and how to hack our CAC (customer acquisition costs), TikTok was first.

When posting to TikTok, there are three key areas to pay attention to:

• What contributes to your authority score
• The review process and making it to the For You Page
• Making better content (and what you might be doing wrong)

The most critical part of posting to TikTok is your authority ranking, which is: “how much of an influencer are you?” Your authority ranking is directly tied to your verticals (the styles you’re making videos in).

What contributes to your authority ranking

  1. New accounts. Like your Uber five-star passenger rating, every post you make contributes to your score.
  2. Multiple accounts. TikTok allows for multiple accounts, but pro tip: multiple accounts from one phone will flag you as a business account and like many platforms, they’ll de-prioritize you unless you’re a paying advertiser. If you’re giving some of these things a try, limit your account login to one device.
  3. The first five videos you post. TikTok wants you to create types of videos that stay in the same vertical. So if you are making meme videos in your first five, TikTok will basically say, “this is a meme account.” So, the first five are critical: you need to have a plan and focus.
  4. Verticality. TikTok doesn’t want you being experimental. Pick a content vertical and stay with it. Content that varies or doesn’t have a specific theme won’t weigh well. If you start to make videos that fall into a different category, it’s like starting over because you don’t have authority on that vertical yet.
  5. Views. If your videos get 100 or fewer views, you’re going to have a zombie account, so delete and start again. Videos that get between 1000–3000 views mean you have a mid-tier account. Videos that get 10,000+ views mean you have a “head” account.
  6. Viewing completion. This is one of the most important factors. Your video needs to be viewed from start to finish to count for this metric. The key things that help with this are:
  • Short videos. Videos can be up to 60 seconds long, but TikTok recommends to their advertisers that they be 9–15 seconds (the internet thinks the average length of a TikTok is 30 seconds).
  • Looping videos. If the video is watched repeatedly, then its Completion Ratio will be over 100% and will increase the overall performance rating of the video. A common practice is to create seamless loops in the video so that viewers are tricked into watching it multiple times.
  • Format. Often there will be a challenge format with a punchline at the end. People understand this format so they’ll stick around to see the punchline.
  • Matching action to music. Always more satisfying to watch.

The review process and making it to FYP

So, now that you know all the ways you can eff up your authority score, have a plan for the type of account you want to create and created five killer videos, you’re ready to start posting. Here’s what happens next, including how to get coveted FYP (For You Page).

  1. Authority-based automatic distribution. Based on your score, your video goes out to a geo-local network of about 300–500 viewers. At this point, there are no real checks on your content.
  2. Integrity-based AI review and data collection. Shortly after this initial fan-out to a few hundred people, it’s being checked frame-by-frame by an AI for inappropriate content, copyright issues, etc. It’s then given a new weighting (integrity rating) and is either de-listed or distributed again.
  3. Delayed explosion. This is one of the biggest differences between TikTok and other platforms and where you have a second chance of getting onto your FYP. Delayed explosion is why you should carefully consider deleting old content, regardless of how well or poorly it did before. Periodically (it’s unclear what timescale this happens on, it could be weeks or months), TikTok hides the publish date of content on the FYP. TikTok will test your older content and restart a cycle that looks something like: a small batch of content for about two hours; then a medium batch where the AI is looking at the key metrics that feed into your authority rating; finally a large batch that includes your integrity rating (no “bad” content or content they consider “bad”). At this point, it shows something like, “hey, we’re a top 5% video.”
  4. Human review. A human reviewer will see the video with these scores and decide if it has the potential to be a super-viral video. They’ll also double-check for copyright and “bad” content that may have slipped past the AI in step two. To be promoted to the FYP, the content must fit TikTok’s (and as a Beijing-based company, inevitably China’s) idea of what is nice and popular in the geo-local region. Common things that have been noticed are people who represent conventional beauty standards (though this may also be algorithmic bias trained on human bias), no strong political opinions (unless they’re joking or meme-y in nature in certain countries only… though probably not Winnie The Pooh) and no violations of the most reactive local social norms. There’s definitely a degree of… homogeneity going on here. This might offer some insight into why TikTok wants you to create content that’s based on copying? It makes it easier to review and stick to the format of not just what “works” (ie. is going viral) but what aligns with their opinions of what is okay.

This vid says it all.

@dupreedotexeLet me know if this is on your fyp #differentbreed #BestThingSince #fyp #foryou♬ original sound – r_tista7

Making better content (and what you might be doing wrong!)

Pick a format. Because verticalization is key to your authority score, you need to pick a format and work within it. If you want to have different personalities, use different accounts. This will boost your authority score as well as help with gaining followers because their expectations will be set for the type of content you make. Examples of vertices that do well are comedy, memes, dance, vlogs, creation/DIY and hacks.

Copy the format. TikTok encourages many forms of co-creation such as reactions, collaboration/remix and mimicking. This has created formats, trends and memes throughout the platform. Rather than seen as ripping off other creators, audiences enjoy trends and become inspired to create their own version. TikTokers like Charli D’amelio create unofficial choreography for pop songs and just copying those dance moves can send a song to the top of the charts. The next iconic dances like “Thriller,” “Single Ladies” or “Gangam Style” will be created by someone who may have no real connection or ownership to the original song.

In general, Gen Z is known for being less “solo” in their pursuits than Millennials. We think this collaborative approach to creation is a sign of the times not just for social entertainment, but the next wave of creation tools and platforms. Know your music: songs are one of the best ways to get people to understand your meme content. A lot of viewers will already know what your content is going to be about just based on the song, so picking the right song for the format you want to copy is key — this can’t be an afterthought and might be a place you’re going wrong!

Get ready to sell. If Instagram is QVC for Millennials, TikTok is the line outside the Supreme store for Gen Z. Instead of glossy, in-your-face advertisements for fitness and beauty, the shopping is going to be more “authentic” and narrative. Shoppable video is already a major thing in Asia and it’s reportedly being tested on TikTok to come to the rest of the world soon.

We suspect Gen Z will simply treat Amazon like the Google Search of Stuff & Things and the new social platforms become the virtual mall. We also suspect TikTok will weigh shoppable content more highly in the FYP algo because money.

What’s it going to look like? We don’t know, but maybe something like this:

Mockup of what we might be in for (this is not real!)


Read the conclusion to this post, “How TikTok decides who to make famous,” on Extra Crunch.


Source: Tech Crunch

Max Q: Spacex gets ready for first human flight

Max Q is a new weekly newsletter all about space. Sign up here to receive it weekly on Sundays in your inbox.

This week turned out to be a surprisingly busy one in space news – kicked off by the Trump administration’s FY 2021 budget proposal, which was generous to U.S. space efforts both in science and in defense.

Meanwhile, we saw significant progress in SpaceX’s commercial crew program, and plenty of activity among startups big and small.

SpaceX’s Crew Dragon arrives in Florida

The spacecraft that SpaceX will use to fly astronauts for the first time is now in Florida, at its launch site for final preparations before it takes off. Currently, this Crew Dragon mission is set to take place sometime in early May, and though that may still shift, it’s looking more and more likely it’ll happen within the next few months.

NASA taps Rocket Lab for Moon satellite launch

Rocket Lab will play a key role in NASA’s Artemis program, which aims to get humans back to the surface of the Moon by 2024. NASA contracted Rocket Lab to launch its CAPSTONE CubeSat to a lunar orbit in 2021, using Rocket Lab’s new Proton combined satellite and long-distance transportation stage.

Astronomers continue to sound the alarm about constellations

Starlink satellites streak through a telescope’s observations.

Astronomers and scientists that rely on observing the stars from Earth are continuing to warn about the impact on stellar observation from constellations that are increasingly dotting the night sky.

Meanwhile, SpaceX just launched another 60 satellites for its Starlink constellation, bringing the total on orbit to 300. SpaceX founder Elon Musk says that the ‘albedo’ or reflectivity of satellites will drop “significantly” going forward, however.

Blue Origin is opening its new rocket factory

Blue Origin is opening its new rocket engine production facility in Huntsville, Alabama on Monday. The new site will be responsible for high-volume production of the Blue Origin BE-4 rocket engine, which will be used on both the company’s own New Glenn orbital rocket, as well as the ULA’s forthcoming Vulcan heavy-lift launch vehicle.

Virgin Galactic’s first commercial spacecraft moves to its spaceport

Virgin Galactic is getting closer to actually flying its first paying space tourists – it just moved its SpaceShipTwo ‘VSS Unity’ vehicle from its Mojave manufacturing site to its spaceport in New Mexico, which is where tourists will board for their short trips to the edge of outer space.

Astranis raises $90 million

Satellite internet startup Astranis has raised a $90 million Series B funding round, which includes a mix of equity ($40 million) and debt facility ($50 million). The company will use the money to get its first commercial satellites on orbit as it aims to build a next-generation geostationary internet satellite business.

Astroscale will work on JAXA on an orbital debris-killing system


Orbital debris is increasingly a topic of discussion at events and across the industry, and Japanese startup Astroscale is one of the first companies dedicated to solving the problem. The startup has been tapped by JAXA for a mission that will seek to de-orbit a spent rocket upper stage, marking one of the first efforts to remove a larger piece of orbital debris.

Register for TC Sessions: Space 2020

Our very own dedicated space event is coming up on June 25 in Los Angeles, and you can get your tickets now. It’s sure to be a packed day of quality programming from the companies mentioned above and more, so go ahead and sign up while Early Bird pricing applies.

Plus, if you have a space startup of your own, you can apply now to participate in our pre-event pitch-off, happening June 24.


Source: Tech Crunch

Beijing Auto Show postponed due to coronavirus

China’s annual auto show in Beijing has been postponed because of novel coronavirus, as the number of cases of people infected surpass 71,000.

The Beijing International Automotive Exhibition, which was scheduled to begin April 21, is the latest high-profile event that has been either cancelled or postponed over concerns of coronavirus. A new date will be announced in the future, organizers said on the official event website.

Earlier this month, MWC canceled its event in Barcelona, which was supposed to take place from February 24 to February 27. Most of the postponed events are in China, where the virus originated and where the vast majority of infections (more than 70,000 to date) have occurred. Coronavirus has also disrupted the automotive industry in China and abroad as many global manufacturers rely on the country’s supply chain for parts.

The Chinese government might delay the annual session of its Communist Party-dominated legislature, The New York Times reported Monday. Other postponed events include Credit Suisse Group AG’s Asia investment conference and the Chinese Grand Prix, a Formula 1 race scheduled for April 19 in Shanghai. Juss Sports Group, the promoter of the Chinese Grand Prix, requested the postponement after ongoing discussions with the Federation of Automobile and Motorcycle Sports of People’s Republic of China (CAMF) and Shanghai Administration of Sports.

Formula E, the all-electric motorsports event, has also postponed a race set for Sanya on March 21.


Source: Tech Crunch

Daily Crunch: HQ Trivia is dead

The Daily Crunch is TechCrunch’s roundup of our biggest and most important stories. If you’d like to get this delivered to your inbox every day at around 9am Pacific, you can subscribe here.

1. HQ Trivia shuts down after acquisition falls through

HQ Trivia is dead. On Valentine’s Day, the company laid off its full team of 25. The company had a deal in the works to be acquired, but the buyer pulled out and the investors aren’t willing to fund it any longer, according to a statement from CEO and co-founder Rus Yusupov.

At least the game went out with a bonkers finale, where the hosts cursed, sprayed champagne, threatened to defecate on the homes of trolls in the chat window and begged for new jobs.

2. Living with the Samsung Galaxy Z Flip

Brian Heater says he enjoyed his (admittedly brief) time with the Galaxy Z Flip. In fact, in many ways, it’s exactly the device that Samsung’s original foldable should have been.

3. Google ends its free Wi-Fi program Station

Google is winding down Google Station, a program where it worked with partners to bring free Wi-Fi to more than 400 railway stations in India and “thousands” of other public places in several additional pockets of the world.

4. Facebook pushes EU for dilute and fuzzy internet content rules

“I do think that there should be regulation on harmful content,” said CEO Mark Zuckerberg during a Q&A session at the Munich Security Conference. He then suggested that Facebook should fall “somewhere in between” media and telco regulation.

5. Is tech socialism really on the rise?

In the second part of our interview with writer/ethicist Ben Tarnoff, he goes in-depth on the relationship between socialism and technology. (Extra Crunch membership required.)

6. Oyo’s revenue surged in FY19, but loss widened, too

Budget-lodging startup Oyo on Monday reported a loss of $335 million on $951 million revenue globally for the financial year ending March 31, 2019, and pledged to cut down on its spending as the India-headquartered firm grows cautious about its aggressive expansion. (Yes, it seems a bit late to be talking about earnings from 2018-19, but that’s how Indian finance law works.)

7. This week’s TechCrunch podcasts

The latest full episode of Equity discusses a big funding round for meditation app Headspace, while its Monday news roundup looks at global growth concerns due to coronavirus. And over at Original Content, we’ve got a review of “Mythic Quest,” the video game-focused comedy on Apple TV+.


Source: Tech Crunch

With the development of generalized AI, what’s the meaning of a person?

For the next installment of the informal TechCrunch book club, we are reading the fourth story in Ted Chiang’s Exhalation. The goal of this book club is to expand our minds to new worlds, ideas, and vistas, and The Lifecycle of Software Objects doesn’t disappoint. Centered in a future world where virtual worlds and generalized AI have become commonplace, it’s a fantastic example of speculative fiction that forces us to confront all kinds of fundamental questions.

If you’ve missed the earlier parts in this book club series, be sure to check out:

Some questions for the fifth story in the collection, Dacey’s Patent Automatic Nanny, are included below.

And as always, some more notes:

  • Want to join the conversation? Feel free to email me your thoughts at danny+bookclub@techcrunch.com or join some of the discussions on Reddit or Twitter.
  • Follow these informal book club articles here: https://techcrunch.com/book-review/. That page also has a built-in RSS feed for posts exclusively in the Book Review category, which is very low volume.
  • Feel free to add your comments in our TechCrunch comments section below this post.

Thinking about The Lifecycle of Software Objects

This is a much more sprawling story than the earlier short stories in Exhalation, with much more of a linear plot than the fractal koans we experienced before. That wider canvas offers us an enormous buffet of topics to discuss, from empathy, the meaning of humanity, and the values we vouch for to artificial entities, the economics of the digital future, and onwards to the futures of romance, sex, children, and death. I have pages of notes from this story, but we can’t cover it all, so I want to zoom in on just two threads that I found particularly deep and rewarding.

One core objective of this story is to really interrogate the meaning of a “person.” Chiang sets up our main character Ana as a mother of a digital entity (a “digient”) who was a zookeeper in a past life. That career history gives us a nice framing: it allows us via Ana to compare humans to animals, and therefore to contextualize the personhood debate around the digients throughout the story.

On one hand, humans uniquely value themselves as a species, and even the most dedicated digient owner eventually moves on. As one particularly illuminating passage discusses when a digient’s owner announces that his wife is pregnant:

“Obviously you’re going to have your hands full,” says Ana, “but what do you think about adopting Lolly?” It would be fascinating to see Lolly’s reaction to a pregnancy.

“No,” says Robyn, shaking her head. “I’m past digients now.”

“You’re past them?”

“I’m ready for the real thing, you know what I mean?”

Carefully, Ana says, “I’m not sure that I do.”

“…Cats, dogs, digients, they’re all just substitutes for what we’re supposed to be caring for.”

This owner has made a clear distinction: there is only one form of entity worth caring for, only one thing that a human can consider a person, and that is another human.

Indeed, throughout this short story, Chiang constantly notes how the tastes, values, norms, rules, and laws of human society are designed almost exclusively with humans in mind. Yet, the story never takes a definitive stance, and even Ana is not at all convinced of any one point of view, even right up to the end of the story. However, the narrative does offer us one model to think through that I thought was valuable, and that’s around experience.

What separates humans from other animals is that we base decisions on our own prior experiences. We collect these experiences, and use them to guide our actions and drive us toward the right outcomes that we — also from experience — desire. We might want to make money (because experience tells us that money is good), and so we decide to go to college to get the right kind of learning in order to compete effectively in the job market. Essential to that whole decision is lived experience.

Chiang makes a very clear point here when it comes to a company called Exponential, which is interested in finding “superhuman AI” that comes without the work that Ana and the other owners of digients have put in to raise their entities. Ana eventually realizes that they can never find what they are looking for:

They want something that responds like a person, but isn’t owed the same obligations as a person, and that’s something that she can’t give them.

No one can give it to them, because it’s an impossibility. The years she spent raising Jax didn’t just make him fun to talk to, didn’t just provide him with hobbies and a sense of humor. They were what gave him all the attributes Exponential is looking for: fluency at navigating the real world, creativity at solving new problems, judgment you could entrust with an important decision. Every quality that made a person more valuable than a database was a product of experience.

She wants to tell them that Blue Gamma was more right than it knew: experience isn’t merely the best teacher; it’s the only teacher … experience is algorithmically incompressible.

Indeed, as the owners start to think about when they might offer their digients independence to make their own decisions, experience becomes the key watchword. Their ability to make their own decisions in the context of past experiences is what defines their personhood.

And so when we think about generalized artificial intelligence and the hope of creating a sentient artificial life, I think this litmus test starts to get at the real challenge what this technology can even be. Can we train an AI purely through algorithms, or will we have to guide these AIs with their open but empty minds every step of the way? Chiang discusses this a bit earlier in the story:

They’re blind to a simple truth: complex minds can’t develop on their own. If they could, feral children would be like any others. And minds don’t grow the way weeds do, flourishing under indifferent attention; otherwise all children in orphanages would thrive. For a mind to even approach its full potential, it needs cultivation by other minds.

Indeed, Ana and the other main character Derek are forced to keep pushing their digients along, assigning them homework and guiding them to new activities to continue propelling them to get the kind of experience they need to succeed in the world. Why should we assume a generalized AI wouldn’t be any less lazy than a child today? Why would we expect that it can teach itself when humans can’t teach themselves?

Speaking about children, I want to head over to the other thread in this story I found particularly trenchant. Clearly, there is a whole parallel to real-life human childrearing that is sort of intrinsic to the whole story. I think that’s obvious, and while interesting, a lot of the conclusions and meanings from that concept are obvious.

What’s more interesting is what affection and bonding signifies in a world where entities don’t have to be “real.” Ana is a zookeeper who had deep affection for the animals under her care (“Her eyes still tear up when she thinks about the last time she saw her apes, wishing that she could explain to them why they wouldn’t see her again, hoping that they could adapt to their new homes.”) She vigorously defends her relationship with those animals, as she does with the digients throughout the story.

But why are some entities loved more than others if they are all just code running in the cloud? The main digients featured in the book were literally designed to be attractive to humans. As Blue Gamma scans through the thousands of algorithmically-generated digients, it carefully selects the ones that will attract owners. “It’s partly been a search for intelligence, but just as much it’s been a search for temperament, the personality that won’t frustrate customers.”

The reason of course is obvious: these creatures need attention to thrive, but they won’t get it if they are not adorable and desirable. Derek spends his time animating the avatars of the digients to make them more attractive, generating spontaneous and serendipitous facial expressions to create a bond between their human owners and them.

Yet, the story pushes so much harder on this theme in layers that connect with each other. Derek is attracted to Ana throughout the story, even as Ana stays focused on developing her own digient and keeping her relationship with her boyfriend Kyle going. Derek eventually realizes that his own obsession with Ana has become untenable, which is a subtle parallel to Ana’s own obsession with her digients:

He no longer has a wife who might complain about this, and Ana’s boyfriend, Kyle, doesn’t seem to mind, so he can call her up without recrimination. It’s a painful sort of pleasure to spend this much time with her; it might be healthier for him if they interacted less, but he doesn’t want to stop.

Indeed, the book’s strongest thesis may be that this sort of love just isn’t reproducible. Ana wants to join a company called Polytope in order to raise funding to port her digient to a new digital platform. As part of the employer agreement, she is expected to wear a “smart transdermal” called InstantRapport that uses chemical alterations in the brain to rewire a human’s reward centers to love a specific individual automatically. Ana’s love for her digient pushes her to consider rewiring her own brain to get the resources she needs.

And yet, the digients eventually develop similar thought processes. Marco and Polo, two digients owned by Derek, eventually agree to be copied as sex toys, in order to provide funding for the port. Their clones will have their “reward maps” rewired to make them love the customer that purchases them.

The story gives us a haunting reminder that we are ultimately a bunch of neurons that respond to stimuli. Some of that stimuli is under control, but much of it is not, instead programmed by our experiences without our conscious intervention. And there we see how these two threads come entwined together — it is only through experience that we can create affection, and it is precisely affection and therefore experience that creates a person in the first place.

Some questions for Dacey’s Patent Automatic Nanny

  • Can machines play a meaningful role in childrearing?
  • Did the scientific method work in this instance?
  • Connecting this story to the Lifecycle of Software Objects, what is Chiang trying to say about childrearing? Are there similarities or differences between these two stories’ conceptions of children and parents?
  • Should we be concerned if a child only wants to talk to a machine? Do we care what entities a human feels comfortable socializing with?


Source: Tech Crunch

Is tech socialism really on the rise?

In Part 1 of my conversation with Ben Tarnoff, co-founder of leading tech ethics publication Logic, we covered the history and philosophy of 19th century Luddites and how that relates to what he described in his column for The Guardian as today’s over-computerized world.

I’ve casually called myself a Luddite when expressing general frustration with social media or internet culture, but as it turns out, you can’t intelligently discuss what most people think of as an anti-technology movement without understanding the role of technology in capitalism, and vice versa.

At the end of Part 1, I was badgering Tarnoff to speculate on which technologies ought to be preserved even in a Luddite world, and which ones ought to go the way of the mills the original Luddites destroyed. Arguing for a more nuanced approach to the topic, Tarnoff offered the disability rights movement as an example of the approach he hopes will be taken by an emerging class of tech socialists.

TechCrunch: The Americans with Disability Act has been a very powerful body of legislation that has basically forced us to use our technological might to create physical infrastructure, including elevators, buses, vans, the day-to-day machinery of our lives that allow people who otherwise wouldn’t be able to go places, do things, see things, experience things, to do so. And you’re saying one of the things that we could look at is more technology for that sort of thing, right?

Because I think a lot about how in this society, every single one of us walks around with the insecurity that, “there but for the grace of my health go I.” At any moment I could be injured, I could get sick, I could acquire a disability that’s going to limit my participation in society.

Ben Tarnoff: One of the phrases of the disability rights movement is, “nothing about us without us,” which perfectly encapsulates a more democratic approach to technology. What they’re saying is that if you’re an architect, if you’re an urban planner, if you’re a shopkeeper, whatever it is, you’re making design decisions that have the potential to seriously negatively impact a substantial portion of the population. In substantial ways [you could] restrict their democratic rights. Their access to space.


Source: Tech Crunch

Can we debate free will versus destiny in four pages?

The informal TechCrunch book club (which is now a whole week off schedule thanks to the news cycle — let’s see if we can catch up here shortly!) is now venturing into the very, very short story What’s Expected of Us, the third piece in Ted Chiang’s Exhalation collection. If you’re one of those people that fall behind in book clubs, don’t fret: you’ve had two weeks to read four pages. You can probably read the short story before finishing this post.

If you haven’t already, be sure to check out the previous editions of this book club which explores the first two (larger) short stories in the collection, The Merchant and the Alchemist’s Gate, a beautiful story exploring predestination and fate, and Exhalation, a vital yet subtle story about climate change, the connections between people and society, and so, so much more.

Next, we will read the lengthier story The Lifecycle of Software Objects — some reading questions are posted at the bottom of this article.

Some further quick notes:

  • Want to join the conversation? Feel free to email me your thoughts at danny+bookclub@techcrunch.com or join some of the discussions on Reddit or Twitter.
  • Follow these informal book club articles here: https://techcrunch.com/book-review/. That page also has a built-in RSS feed for posts exclusively in the Book Review category, which is very low volume.
  • Feel free to add your comments in our TechCrunch comments section below this post.

What’s Expected of Us

We are only three stories into Exhalation, but already there are threads that are starting to connect these disparate stories, none more important than the meaning of fate in lives increasingly filled with technological determinism.

Chiang loves to presuppose these novel technologies that prove that our fates are fixed. In The Merchant and the Alchemist’s Gate, he imagines these teleporting gates that allows users to move forward and backwards in time, while in this story, it is the Predictor that sends a light signal back in time by one second after the button is clicked, forcing the device’s user to confront the fact that the future is already predetermined when the light burns bright.

While these two stories have certain symmetries, what’s interesting to me is how different their conclusions are from each other. In The Merchant and the Alchemist’s Gate, Chiang notes that while our destinies may be fixed, and even if we had a time machine, we couldn’t change the past to affect our futures, he essentially argues that the journey itself is often its own reward. The past may indeed be immutable, but our understanding of the past is in fact quite malleable, and learning the context of our previous actions and those of others is in many ways the whole point of existence.

In What’s Expected of Us though, the Predictor creates a dystopic world where lethargy among people runs supreme. Here’s a simple device that transmits a basic signal across a short period of time, but provides overwhelming evidence that free will is essentially a myth. For many, that’s enough for at least some people to become catatonic and just stop eating entirely.

Our occasional fiction review contributor on Extra Crunch Eliot Peper wrote in with his favorite passage and a thought, which gets at one of Chiang’s solutions:

“Pretend that you have free will. It’s essential that you behave as if your decisions matter, even though you know they don’t. The reality isn’t important; what’s important is your belief, and believing the lie is the only way to avoid a waking coma. Civilization now depends on self-deception. Perhaps it always has.”

As science reveals a clockwork determinism behind reality’s veil, it becomes ever more important for us to believe the opposite in order to build a better future. A belief in free will is enfranchising. It is the spark of hope that inspires us to push back against the invisible systems that shape our lives — creating a chance for change.

Peper gets at the core message of this story, but frankly, self-deception isn’t easy (as any less-than-perfectly-confident startup founder who has attempted to persuade investors about their product can tell you). It’s one thing to say “pretend it all doesn’t matter,” but of course it does matter, and you intrinsically acknowledge and comprehend the deception. It’s like that self-help dreck about setting artificial deadlines to get stuff done — yet their very artificiality is precisely why they are ineffective. As Chiang writes about the Predictor, “The person may appear to lose interest in it, but no one can forget what it means; over the following weeks, the implications of an immutable future sink in.” Fate locks into our very souls.

Chiang notes though that people respond differently to this realization. Some become catatonic, but it is implied in the story that others find a different path. Of course, those paths are all laid out before the Predictor even arrived — no one can choose their destiny, even about how they will confront the knowledge of fate and destiny itself.

Yet, even without that choice, we must move on. Structurally, the story (similar again to The Merchant and the Alchemist’s Gate) is told retrospectively, with a future agent sending a note back in time warning about the consequences of the Predictor. Rhetorically asking whether anything would change by this note, the future agent says no, but then says that “Why did I do it? Because I had no choice.”

In other words, maybe everything is indeed predetermined. Maybe everything in our lives can’t be changed. And yet, we are still going to move forward in time, and we are still going to take the actions we are predetermined to make. Maybe that requires self-deception to muddle through it. Or maybe, we just need to vigorously commit to the actions in front of us — regardless of whether we had the ability to choose them in the first place.

The Lifecycle of Software Objects

The next short story in the collection is a bit more sprawling, touching on a huge numbers of topics around virtual worlds, the entities we raise in them, and what that means for us as humans. Here are some questions to think about as you read the story:

  • What’s it mean to love something? We understand love in the context of (human) children, but can you love an AI? Can you love an inanimate object like a statue? Is there a line when our ability to love stops?
  • What makes an entity sentient? Does it take experience delivered from others, or can sentience be constructed out of thin air?
  • Chiang sometimes fast-forwards time in a variety of different circumstances: hothouses to accelerate AI learning, and for the human characters themselves in the plot. What is the meaning of time in the context of the story? How do the concepts of time and experience interact?
  • The author touches on but doesn’t deeply explore the legal questions around “human rights” in the context of sentient AI beings. How should we think about what rights these entities have? Which characters’ views best represented your own?
  • How can we define concepts like consciousness, sentience, and independence? What elements of the story seem to indicate where Chiang defines the boundaries between those definitions?
  • One of the central under-tones of the plot is the challenge of money and the profitability of AI. Should AI be judged in terms of the utility it provides humans, or the ability of AI to create their own worlds and cultures? How do we think about “success” (very broadly conceived) in the context of what these computer programs can do?
  • How will human empathy change in the coming years as we surpass the uncanny valley and more and more technologies connect with our emotional heartstrings? Is this ultimately an evolution for humanity or just another challenge to overcome in the years ahead?


Source: Tech Crunch

This Week in Apps: YouTube TV cancels Apple’s rev share, more bad news for mobile voting, WhatsApp hits 2B users

Welcome back to This Week in Apps, the Extra Crunch series that recaps the latest OS news, the applications they support and the money that flows through it all.

The app industry is as hot as ever, with a record 204 billion downloads in 2019 and $120 billion in consumer spending in 2019, according to App Annie’s recently released “State of Mobile” annual report. People are now spending 3 hours and 40 minutes per day using apps, rivaling TV. Apps aren’t just a way to pass idle hours — they’re a big business. In 2019, mobile-first companies had a combined $544 billion valuation, 6.5x higher than those without a mobile focus.

In this Extra Crunch series, we help you keep up with the latest news from the world of apps, delivered on a weekly basis.

This week, we look at YouTube TV’s decision to stop revenue-sharing with Apple, another mobile voting app with serious flaws, new Apple launches in coding and AR, Microsoft’s game-streaming service Project xCloud arrival on iOS and other notable app news and trends, including WhatsApp’s big 2 billion user milestone, and more.

Headlines

YouTube TV fights back against Apple’s cut of in-app subscription revenue

This week, YouTube emailed customers subscribed to its YouTube TV service by way of Apple’s in-app purchases to let them know that this subscription offering will be discontinued starting on March 13, 2020. Current subscribers will have their subscription canceled automatically on their billing date after March 13, the letter said.

This is a pretty severe way for Google to end its subscription revenue-sharing with Apple, however. Most companies that decide to shut off in-app subscriptions still continue to honor those from existing subscribers — they just stop selling to new customers. In YouTube TV’s case, it’s actually ending its relationship with all its customers on Apple devices with the hope they’ll return and resubscribe. That’s quite a risk, given that YouTube TV is not the only streaming TV service out there, and customers getting their subscription canceled may take this opportunity to shop around. The timing is also poorly thought-out, given that YouTube TV just picked up new subs following Sony’s PlayStation Vue shutdown — and now it’s kicking them out.

The move makes Google the latest company to rebel against Apple’s 30% cut of all in-app payments (which drops to 15% in year two). A growing number of app publishers are refusing to share a cut of their revenue with Apple — even saying that Apple’s decision to charge this fee is anti-competitive. For example, Spotify believes Apple’s fee makes it more difficult to compete with Apple’s built-in music service, and has raised the issue repeatedly to regulators. Netflix also stopped paying the “Apple tax” over a year ago.

Mobile voting app Voatz, used by several states, was filled with security flaws

Above: Voatz, via The NYT

Last week, we looked at how a smartphone app meant to tabulate votes from the caucuses really screwed things up in Iowa. This week, MIT researchers took a look at mobile voting app Voatz, which has been used to tally votes for federal elections in parts of West Virginia, Oregon, Utah and Washington as part of various mobile voting pilot programs. The researchers found the app was riddled with security flaws that would let attackers monitor votes or even change ballots or block them without users’ knowledge. Attackers could also create a tainted paper trail, making a reliable audit impossible — despite Voatz’s promise of using blockchain technology to increase security. One security expert, speaking to VICE, called the app “sloppy” and filled with “elementary” mistakes.

Coming on the heels of the Iowa caucus mobile voting disaster, this latest news delivers another huge blow to the promise of mobile voting in the U.S.


Source: Tech Crunch