Author: folgado

The IEEE has showcased one of the coolest research projects I’ve seen this month: virtual smells. By stimulating your olfactory nerve with a system that looks like one of those old-fashioned kids electronics kits, they’ve been able to simulate smells.

The project is pretty gross. To simulate a smell, the researchers are sticking leads far up into the nose and connecting them directly to the nerves. Senior research fellow at the Imagineering Institute in Malaysia, Kasun Karunanayaka, wanted to create a “multisensory Internet” with his Ph.D. student, Adrian Cheok. Cheok is Internet famous for sending electronic hugs to chickens and creating the first digital kisses.

The researchers brought in dozens of subjects and stuck long tubes up their noses in an effort to stimulate the olfactory bulb. By changing the intensity and frequency of the signals, they got some interesting results.

The subjects most often perceived odors they described as fragrant or chemical. Some people also reported smells that they described as fruity, sweet, toasted minty, or woody.

The biggest question, however, is whether he can find a way to produce these ghostly aromas without sticking a tube up people’s noses. The experiments were very uncomfortable for most of the volunteers, Karunanayaka admits: “A lot of people wanted to participate, but after one trial they left, because they couldn’t bear it.”

While I doubt we’ll all be wearing smell-o-vision tubes up our noses any time soon, this idea is fascinating. It could, for example, help people with paralyzed senses smell again, a proposition that definitely doesn’t stink.

Source: Tech Crunch

The hype around quantum computing is real. But to fully realize the promise of quantum computing, it’ll still take a few years of research and scientific breakthroughs. And indeed, it still remains to be seen if quantum computers will ever live up to the hype. Today, though, we got mathematical proof that there are really calculations that quantum computers will definitely be able to perform faster than any classical computer.

What we have today are quantum computers with a very limited number of qubits and short coherence time. Those limitations put a damper on the amount of computation you can perform on those machines, but they still allow for some practical work. Unsurprisingly, researchers are very interested in seeing what they can do with the current set of available machines. Because they have such short coherence time before the system becomes chaotic and useless for any computations, you can only perform a relatively small number of operations on them. In quantum computing speak, that’s “depth,” and today’s systems are considered shallow.

Science today published a paper (“Quantum advantage with shallow circuits”) by Sergey Bravyi of IBM Research, David Gosset of the University of Waterloo’s Institute for Quantum Computing and Robert König of the Institute for Advanced Study and Zentrum Mathematik, Technische Universität München. In this paper, the researchers prove that a quantum computer with a fixed circuit depth is able to outperform a classical computer that’s tackling the same problem because the classical computer will require the circuit depth to grow larger, while it can stay constant for the quantum computer.

There is very little that’s intuitive about quantum computing, of course, but it’s worth remembering that quantum computers are very different from classical computers.

“Quantum circuits are not just basically the same but different from classical circuits,” IBM Q Ecosystem and Strategy VP Bub Sutor told me. Classic circuits, […]they are bits, they are zeros and ones, and there’s binary logic, ANDs, ORs, NOTs and things like. The very, very basic gate sets, the types of operations you can do in quantum are different. When these qubit are actually operating, with this notion of superposition you have much, much more to operate elbow room, not just two bits. You actually have a tremendous amount of more room here.” And it’s that additional room you get, because qubits can encode any number and not just zeros and ones, that allows them to be more powerful than a classical computer in solving the specific kind of problem that the researchers tackled.

The question the researchers here asked was if constant-depth quantum circuits can solve a computational problem that constant-depth classical circuits cannot? The problem they decided to look at is a variation on the well-known Bernstein-Vazirani problem (well-known among quantum computing wonks, that is). You don’t need to jump into the details here, but the researchers show that even a shallow quantum computer can easily outperform a classical computer in solving this problem.

“We tried to understand what kinds of things we can do with a shallow quantum circuit and looked for an appropriate model for a type of computation that can be done on a near-term quantum device,” Bravyi told me. “What our result says is that there are certain computational problems for which you can solve on a quantum computer with a constant depth. So as you increase the number of input bits, the depth of the quantum algorithm that solves the problem remains constant.” A constant depth classical computer can not solve this problem, though.

Sutor was very quick to note that we shouldn’t over-hype the current state of quantum computing or this result, though. “We try to be extremely cautious and honest in terms of saying ‘this is what quantum computers can do today’ versus what classical computers will do,” he told me. “And we do this for a very specific reason in that that this is something that will play out over the next three to five years and decades — probably decades.” But what this result shows is that it’s worth exploring quantum algorithms.

As Sutor noted, “there is still this core question, which is, ‘why are you bothering?’” Today’s result should put that question to rest, but Sutor still stressed that he tries to stay grounded and never says quantum computing “will” do something until it does. “There’s a strategy through this, but there’s going to be little left turns and right turns along the way.”

Source: Tech Crunch

It’s been four months since Facebook launched IGTV, with the goal of creating a destination for longer-form Instagram videos. Is it shaping up to be a high-profile flop, or could this be the company’s next multi-billion dollar business?

IGTV, which features videos up to 60 minutes versus Instagram’s normal 60-second limit, hasn’t made much of a splash yet. Since there are no ads yet, it hasn’t made a dollar either. But, it offers Facebook the opportunity to dominate a new category of premium video, and to develop a subscription business that better aligns with high-quality content.

Facebook worked with numerous media brands and celebrities to shoot high-quality, vertical videos for IGTV’s launch on June 20, as both a dedicated app and a section within the main Instagram app. But IGTV has been quiet since. I’ve heard repeatedly in conversations with media executives that almost no one is creating content specifically for IGTV and that the audience on IGTV remains small relative to the distribution of videos on Snapchat or Facebook. Most videos on it are repurposed from a brand’s or influencer’s Snapchat account (at best) or YouTube channel (more common). Digiday heard the same feedback.

Facebook’s goal should be to make IGTV a major property in its own right, distinct from the Instagram feed. To do that, the company should follow the concept embodied in the “IGTV” name and re-envision what television shows native to the format of an Instagram user would look like.

Its team should leverage the playbook of top TV streaming services like Netflix and Hulu in developing original series with top talent in Hollywood to anchor their own subscription service, but do in it a new format of shows produced specifically for the vertically-oriented, distraction-filled screen of a smartphone.

Mobile video is going premium

Of the 6+ hours per day that Americans spend on digital media, the majority on that is now on their phone (most of it on social and entertainment activities) and video viewing has grown with it. In addition to the decline in linear television viewing and rise of  “over-the-top” streaming services like Netflix and Hulu, we’ve seen the creation of a whole new category of video: mobile native video.

Starting at its most basic iteration with everyday users’ recordings for Snapchat Stories, Instagram Stories, and YouTube vlogs, mobile video is a very different viewing environment with a lot more competition for attention. Mobile video is watched as people are going about their day. They might commit a few minutes at a time, but not hour-long blocks, and there are distracting text messages and push notifications overlaid on the screen as they watch.

When I spoke recently with Jesús Chavez, CEO of the mobile-focused production company Vertical Networks in Los Angeles, he emphasized that successful episodic videos on mobile aren’t just normal TV clips with changes to the “packaging” (cropped for vertical, thumbnails selected to get clicks, etc.). The way episodes are written and shot has to be completely different to succeed. Chavez put it in terms of the higher “density” of mobile-native videos: packing more activity into a short time window, with faster dialogue, fewer setup shots, split screens, and other tactics.

With the growing amount of time people spend watching videos on their social apps each day—and the flood of subpar videos chasing view counts—it makes sense that they would desire a premium content option. We have seen this scenario before as ad-dependent radio gave rise to subscription satellite radio like SiriusXM and ad-dependent network TV gave rise to pay-TV channels like HBO. What that looks like in this context is a trusted service with the same high bar for riveting storytelling of popular films and TV series—and often featuring famous talent from those—but native to the vertical, smartphone environment.

If IGTV pursues this path, it would compete most directly with Quibi, the new venture that Jeffrey Katzenberg and Meg Whitman are raising $2 billion to launch (and was temporarily called NewTV until their announcement at Vanity Fair’s New Establishment Summit last Wednesday). They are developing a big library of exclusive shows by iconic directors like Guillermo del Toro and Jason Blum crafted specifically for smartphones through their upcoming subscription-based app.

Quibi’s funding is coming from the world’s largest studios (Disney, Fox, Sony, Lionsgate, MGM, NBCU, Viacom, Alibaba, etc.) whose executives see substantial enough opportunity in such a platform—which they could then produce content for—to write nine-figure checks.

TechCrunch’s Josh Constine argued last year Snapchat should go in a similar “HBO of mobile” direction as well, albeit ad-supported rather than a subscription model. The company indeed seems to be stepping further in this direction with last week’s announcement of Snapchat Originals, although it has announced and then canceled original content plans before.

Facebook is the best positioned to win

Facebook is the best positioned to seize this opportunity, and IGTV is the vehicle for doing so. Without even considering integrations with the Facebook, Messenger, or WhatsApp apps, Facebook is starting with a base of over 1 billion monthly active users on Instagram alone. That’s an enormous audience to expose these original shows to, and an audience who don’t need to create or sign into a separate account to explore what’s playing on IGTV. Broader distribution is also a selling point for creative talent: they want their shows to be seen by large audiences.

The user data that makes Facebook rivaled only by Google in targeted advertising would give IGTV’s recommendation algorithms a distinct advantage in pushing users to the IGTV shows most relevant to their interests and most popular among their friends.

The social nature of Instagram is an advantage in driving awareness and engagement around IGTV shows: Instagram users could see when someone they follow watches or “likes” a show (pending their privacy settings). An obvious feature would be to allow users to discuss or review a show by sharing it to their main Instagram feed with a comment; their followers would see a clip or trailer then be able to click-through to the full show in IGTV with one tap.

Developing and acquiring a library of must-see, high-quality original productions is massively capital intensive—just ask Netflix about the $13 billion it’s spending this year. Targeting premium quality mobile video will be no different. That’s why Katzenberg and Whitman are raising a $2 billion war chest for Quibi and budgeting production costs of $100,000-150,000 per minute on par with top TV shows. Facebook has $42 billion in cash and equivalents on its balance sheet. It can easily outspend Quibi and Snap in financing and marketing original shows by a mix of newcomers and Hollywood icons.

Snap can’t afford (financially) to compete head-on and doesn’t have the same scale of distribution. It is at 188 million daily active users and no longer growing rapidly (up 8% over the last year but DAUs actually shrunk by 3 million last quarter). Snapchat is also a much more private interface: it doesn’t enable users to see each others’ activity like Facebook, Instagram, LinkedIn, YouTube, Spotify, and others do to encourage content discovery. Snap is more likely to create a hub for ad-supported mobile-first shows for teens and early-twentysomethings rather than rival Quibi or IGTV in creating a more broadly popular Netflix or Hulu of mobile-native shows.

It’s time to go freemium

Investing substantial capital upfront is especially necessary for a company launching a subscription tier: consumers must see enough compelling content behind the paywall from the start, and enough new content regularly added, to find an ongoing subscription worthwhile.

There is currently no monetization of IGTV. It is sitting in experimentation mode as Facebook watches how people use it. If any company can drive enough ad revenue solely from short commercials to still profit on high-cost, high-quality episodic shows on mobile, it’s Facebook. But a freemium subscription model makes more sense for IGTV. From a financial standpoint, building IGTV into its own profitable P&L while making substantial content investments likely demands more revenue than ads alone will generate.

Of equal importance is incentive alignment. Subscriptions are defined by “time well spent” rather time spent and clicks made: quality over quantity. This is the environment in which premium content of other formats has thrived too; SiriusXM as the breakout on radio, HBO on linear TV, Netflix in OTT originals. The type of content IGTV will incentivize, and the creative talent they’ll attract, will be much higher quality when the incentives are to create must-see shows that drive new subscribers than when the incentives are to create videos that optimize for views.

The optimization for views (to drive ad revenue) have been the model that media companies creating content for Facebook have operated on for the last decade. The toxicity of this has been a top news story over the last year with Facebook acknowledging many of the issues with clickbait and sensationalism and vowing changes.

Over the years, Facebook has dragged media companies up and down with changes to its newsfeed algorithm that forced them to make dramatic changes to their content strategies (often with layoffs and restructuring). It has burned bridges with media companies in the process; especially after last January, how to reduce dependence on Facebook platforms has become a common discussion point among digital content executives. If Facebook wants to get top producers, directors, and production companies investing their time and resources in developing a new format of high-quality video series for IGTV, it needs an incentives-aligned business model they can trust to stay consistent.

Imagine a free, ad-supported tier for videos by influencers and media partners (plus select “IGTV Originals”) to draw in Instagram users, then a $3-8/month subscription tier for access to all IGTV Originals and an ad-free viewing experience. (By comparison, Quibi plans to charge a $5/month subscription with ads with the option of $8/month for its ad-free tier.)

Looking at the growth of Netflix in traditional TV streaming, a subscription-based business should be a welcome addition to Facebook’s portfolio of leading content-sharing platforms. This wouldn’t be its first expansion beyond ad revenue: the newest major division of Facebook, Oculus, generates revenue from hardware sales and a 30% cut of the revenue to VR apps in the Oculus app store (similar to Apple’s cut of iOS app revenue). Facebook is also testing a dating app which—based on the freemium business model Tinder, Bumble, Hinge, and other leading dating apps have proven to work—would be natural to add a subscription tier to.

Facebook is facing more public scrutiny (and government regulation) on data privacy and its ad targeting than ever before. Incorporating subscriptions and transaction fees as revenue streams benefits the company financially, creates a healthier alignment of incentives with users, and eases the public criticism of how Facebook is using people’s data. Facebook is already testing subscriptions to Facebook Groups and has even explored offering a subscription alternative to advertising across its core social platforms. It is quite unlikely to do the latter, but developing revenue streams beyond ads is clearly something the company’s leadership is contemplating.

The path forward

IGTV needs to make product changes if it heads in this direction. Right now videos can’t link together to form a series (i.e. one show with multiple episodes) and discoverability is very weak. Beyond seeing recent videos by those you follow, videos that are trending, and a selection of recommendations, you can only search for channels to follow (based on name). There’s no way to search for specific videos or shows, no way to browse channels or videos by topic, and no way to see what people you follow are watching.

It would be a missed opportunity not to vie for this. The upside is enormous—owning the Netflix of a new content category—while the downside is fairly minimal for a company with such a large balance sheet.

Source: Tech Crunch