Data Intimacy and Machine Learning

Total Page：16

File Type：pdf, Size：1020Kb

Data Intimacy and Machine Learning Michael Kearns University of Pennsylvania [email protected] AT&T Forum for Technology, Entertainment, and Policy Washington D.C. September 26, 2017 Accompanying whitepaper in prepara1on Data Volume and Diversity Utility Entertainment/Social Media Operation Cardboard Chrome Google Google Daydream AdMob AdSense Android Allo Chromecast View Google+ Phones Google Google Google Google Google Play Google Play Android Android Android Express Calendar Camera Play Games Movies & TV Auto Pay Wear Google Calico DoubleClick Google Google Fit Google Play Tango YouTube Analytics Maps Flights Music LinkNYC Project Project Fi Google Google Gmail YouTube YouTube TV Baseline Nest Trips Gaming Senosis Tilt Brush Waze Waymo Health Facebook Oculus VR Octazen Facebook Facebook Facebook Instagram Free Basics Facebook Check-In Events Groups Social Solutions Pixel Network DeepFace Facebook Facebook WhatsApp Marketplace Messanger Private Data vs. Intimate Data • Private: social security number, credit cards/history, medical records, etc. • Emphasis on objec;ve “facts” and data, and keeping them locked down • In;mate: opinions, atudes, beliefs, moods, mental state, lifestyle, etc. • May not be “wriEen down” anywhere • In;mate data is more valuable and ac;onable than private data Data Intimacy: “As If Unobserved” [Stevens-Davidowitz] Data Intimacy: “As If Unobserved” [Stevens-Davidowitz] Data Intimacy: Drawing Inferences [Kosinski, S;llwell, Graepel] Data Intimacy: Drawing Inferences [Backstrom, Kleinberg] The Machine Learning Pipeline raw data feature engineering/extrac;on feedback/supervision The Machine Learning Pipeline Never Enough: Long Tails Never Enough: Correlations Implications • Generic data: e.g. raw network traﬃc, packets; has no “meaning” • Private data: sensi;ve and personal, but s;ll “on the surface” • In;mate data: not even explicit or tangible, requires inferences • In;mate data is the most valuable, and cannot be measured in bits .

Copy Link

Recommended publications

Deepfakes and Cheap Fakes
DEEPFAKES AND CHEAP FAKES THE MANIPULATION OF AUDIO AND VISUAL EVIDENCE Britt Paris Joan Donovan DEEPFAKES AND CHEAP FAKES - 1 - CONTENTS 02 Executive Summary 05 Introduction 10 Cheap Fakes/Deepfakes: A Spectrum 17 The Politics of Evidence 23 Cheap Fakes on Social Media 25 Photoshopping 27 Lookalikes 28 Recontextualizing 30 Speeding and Slowing 33 Deepfakes Present and Future 35 Virtual Performances 35 Face Swapping 38 Lip-synching and Voice Synthesis 40 Conclusion 47 Acknowledgments Author: Britt Paris, assistant professor of Library and Information Science, Rutgers University; PhD, 2018,Information Studies, University of California, Los Angeles. Author: Joan Donovan, director of the Technology and Social Change Research Project, Harvard Kennedy School; PhD, 2015, Sociology and Science Studies, University of California San Diego. This report is published under Data & Society’s Media Manipulation research initiative; for more information on the initiative, including focus areas, researchers, and funders, please visit https://datasociety.net/research/ media-manipulation DATA & SOCIETY - 2 - EXECUTIVE SUMMARY Do deepfakes signal an information apocalypse? Are they the end of evidence as we know it? The answers to these questions require us to understand what is truly new about contemporary AV manipulation and what is simply an old struggle for power in a new guise. The ﬁrst widely-known examples of amateur, AI-manipulated, face swap videos appeared in November 2017. Since then, the news media, and therefore the general public, have begun to use the term “deepfakes” to refer to this larger genre of videos—videos that use some form of deep or machine learning to hybridize or generate human bodies and faces.
[Show full text]
Digital Platform As a Double-Edged Sword: How to Interpret Cultural Flows in the Platform Era
International Journal of Communication 11(2017), 3880–3898 1932–8036/20170005 Digital Platform as a Double-Edged Sword: How to Interpret Cultural Flows in the Platform Era DAL YONG JIN Simon Fraser University, Canada This article critically examines the main characteristics of cultural flows in the era of digital platforms. By focusing on the increasing role of digital platforms during the Korean Wave (referring to the rapid growth of local popular culture and its global penetration starting in the late 1990s), it first analyzes whether digital platforms as new outlets for popular culture have changed traditional notions of cultural flows—the forms of the export and import of popular culture mainly from Western countries to non-Western countries. Second, it maps out whether platform-driven cultural flows have resolved existing global imbalances in cultural flows. Third, it analyzes whether digital platforms themselves have intensified disparities between Western and non- Western countries. In other words, it interprets whether digital platforms have deepened asymmetrical power relations between a few Western countries (in particular, the United States) and non-Western countries. Keywords: digital platforms, cultural flows, globalization, social media, asymmetrical power relations Cultural flows have been some of the most significant issues in globalization and media studies since the early 20th century. From television programs to films, and from popular music to video games, cultural flows as a form of the export and import of cultural materials have been increasing. Global fans of popular culture used to enjoy films, television programs, and music by either purchasing DVDs and CDs or watching them on traditional media, including television and on the big screen.
[Show full text]
Google Ad Tech
Yaletap University Thurman Arnold Project Digital Platform Theories of Harm Paper Series: 4 Report on Google’s Conduct in Advertising Technology May 2020 Lissa Kryska Patrick Monaghan I. Introduction Traditional advertisements appear in newspapers and magazines, on television and the radio, and on daily commutes through highway billboards and public transportation signage. Digital ads, while similar, are powerful because they are tailored to suit individual interests and go with us everywhere: the bookshelf you thought about buying two days ago can follow you through your favorite newspaper, social media feed, and your cousin’s recipe blog. Digital ads also display in internet search results, email inboxes, and video content, making them truly ubiquitous. Just as with a full-page magazine ad, publishers rely on the revenues generated by selling this ad space, and the advertiser relies on a portion of prospective customers clicking through to finally buy that bookshelf. Like any market, digital advertising requires the matching of buyers (advertisers) and sellers (publishers), and the intermediaries facilitating such matches have more to gain every year: A PwC report estimated that revenues for internet advertising totaled $57.9 billion for 2019 Q1 and Q2, up 17% over the same half-year period in 2018.1 Google is the dominant player among these intermediaries, estimated to have netted 73% of US search ad spending2 and 37% of total US digital ad spending3 in 2019. Such market concentration prompts reasonable questions about whether customers are losing out on some combination of price, quality, and innovation. This report will review the significant 1 PricewaterhouseCoopers for IAB (October 2019), Internet Advertising Revenue Report: 2019 First Six Months Results, p.2.
[Show full text]
Google-Doubleclick Acquisition Background Information September 2007
Google-DoubleClick Acquisition Background Information September 2007 On April 13, 2007, Google announced an agreement to acquire DoubleClick, a digital marketing technology and services company. DoubleClick offers online ad serving and management technology to advertisers, web publishers, and ad agencies. It helps companies place their graphical and video ads on Web sites in a highly efficient manner, allowing advertisers to target ads and improve the productivity and results of their online advertising campaigns. • Competition: Google and DoubleClick are not competitors. Google generates most of its revenue from selling space to place text ads on its own website and on small portions of partners' websites. DoubleClick does not sell ad space. Its core products offer support technology for storing, serving, and tracking display ads. In addition, the broader advertising market is highly competitive and dynamic, and thousands of companies compete in selling ad space online. • Privacy: Google has a history of being an advocate for user privacy. Our goal is to improve privacy protection and data security for all Internet users. Users will continue to benefit from our commitment to protecting user privacy following this acquisition. • What People Are Saying: Academics, analysts, legal experts, competitors, advertisers, and newspapers are saying that the acquisition should be approved, noting that Google and DoubleClick are in complementary but not identical markets; Google has a strong track record on privacy; government should allow the free market to work; and that there is minimal legal precedent for rejecting an acquisition of this kind. Benefits of Acquisition Google's goal is to make advertising on the Internet work better: better for users with less intrusive ads, better for advertisers with greater accountability and effectiveness, and better for online publishers with improved monetization and cleaner site integration.
[Show full text]
Incorporating Authentic Video Into Language-Learning Mobile Applications
Incorporating Authentic Video into Language-learning Mobile Applications Andrew Watabe A project submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts J. Paul Warnick, Chair Rob Alan Martinsen Rob Reynolds Center for Language Studies Brigham Young University Copyright © 2021 Andrew Watabe All Rights Reserved ABSTRACT Incorporating Authentic Video into Language-learning Mobile Applications Andrew Watabe Center for Language Studies, BYU Master of Arts Authentic content in language materials can provide learners with meaningful contexts that enhance language learning (Shrum & Glisan, 2016). This project seeks to create a Japanese- learning iOS app that teaches language directly from authentic Japanese YouTube videos. The app provides a video library where users can find videos on a variety of topics such as food, music, beauty, and games. Each video features video captions, vocabulary exercises, and grammar drills based on the language used in the video. Students enrolled in Japanese classes at Brigham Young University were asked to test out the app and provide feedback on their experience. The participants enjoyed the authentic content and found the written transcripts of the videos to be helpful to their learning. They also requested additional content and features to improve the app. Based on the participants’ comments, we created a plan of action including future updates for the app. Keywords: CALL, authentic texts, Japanese, scaffolding, mobile apps, YouTube
[Show full text]
Reddit Download Tilt Brush Torrent Reddit Download Tilt Brush Torrent
reddit download tilt brush torrent Reddit download tilt brush torrent. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67ad4a488c0684c8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. the Crack games. Tilt Brush Crack Full PC Game CODEX Torrent Free Download 2021. Tilt Brush Crack Full PC Game CODEX Torrent Free Download 2021. Tilt Brush Crack stars, lights, and even fire will help you unleash your inner artist. Your room serves as a blank canvas for you to paint on. Your imagination is your palette. The options are limitless. To some, it may appear that the tilt brush has come to an end. Patrick Hackett, co-creator of Tilt Brush, said of his decision, “It’s immortality to me.” Hackett resigned from the firm earlier this month. Encourage them to move on with the project in a way that is convenient for them. The app will remain available in all stores Tilt Brush IGG-Game, where it is currently available for download.
[Show full text]
Digital Advertising Standards and Creative Specifications Last Revised: May 26, 2021
Bell Media - Digital Advertising Standards and Creative Specifications Last revised: May 26, 2021 Digital Advertising Standards and Creative Specifications (Last revised: May 26, 2021) To learn more about Bell Media Digital visit: http://www.bellmedia.ca/digital/ Contact [email protected] for any questions Bell Media sites are IAB Canada compliant. All Bell Media ads are served through Google’s DoubleClick for Publishers Premium ad server. Bell Media reserves the right to refuse any advertising/advertisers, make exceptions to this policy on a case-by-case basis, as well as, to make changes and add to this policy at any time. If you have any questions regarding creative submissions, please contact your Bell Media Account Representative. PLEASE NOTE: ANY ELEMENT NOT MEETING SPEC WILL BE RETURNED FOR REVISION, WHICH MAY DELAY THE EXPECTED LAUNCH DATE AND RESULT IN LOST IMPRESSIONS Page 1 of 27 Bell Media - Digital Advertising Standards and Creative Specifications Last revised: May 26, 2021 Contents Available Web Ad Placements ......................................................................................................................... 4 . ESPN Ad Sizes ................................................................................................................................................. 5 Apple News .............................................................................................................................................................. 5 SLA Creative Deadlines .....................................................................................................................................
[Show full text]
PROGRAMS for LIBRARIES Alastore.Ala.Org
32 VIRTUAL, AUGMENTED, & MIXED REALITY PROGRAMS FOR LIBRARIES edited by ELLYSSA KROSKI CHICAGO | 2021 alastore.ala.org ELLYSSA KROSKI is the director of Information Technology and Marketing at the New York Law Institute as well as an award-winning editor and author of sixty books including Law Librarianship in the Age of AI for which she won AALL’s 2020 Joseph L. Andrews Legal Literature Award. She is a librarian, an adjunct faculty member at Drexel University and San Jose State University, and an international conference speaker. She received the 2017 Library Hi Tech Award from the ALA/LITA for her long-term contributions in the area of Library and Information Science technology and its application. She can be found at www.amazon.com/author/ellyssa. © 2021 by the American Library Association Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the material contained herein. ISBNs 978-0-8389-4948-1 (paper) Library of Congress Cataloging-in-Publication Data Names: Kroski, Ellyssa, editor. Title: 32 virtual, augmented, and mixed reality programs for libraries / edited by Ellyssa Kroski. Other titles: Thirty-two virtual, augmented, and mixed reality programs for libraries Description: Chicago : ALA Editions, 2021. | Includes bibliographical references and index. | Summary: “Ranging from gaming activities utilizing VR headsets to augmented reality tours, exhibits, immersive experiences, and STEM educational programs, the program ideas in this guide include events for every size and type of academic, public, and school library” —Provided by publisher. Identifiers: LCCN 2021004662 | ISBN 9780838949481 (paperback) Subjects: LCSH: Virtual reality—Library applications—United States.
[Show full text]
This Vuze Camera Project Is Taken from Peter Simcoe's Forthcoming
This Vuze camera project is taken from Peter Simcoe’s forthcoming 360 Video Handbook, available early 2018. To keep up to date with the progress and release of this book, see simcoe.co.uk/book or register your interest by emailing him at [email protected]. “The 360 Video Handbook is really a milestone for me, not only as a 360 video producer, but also as a graphic designer, traditional video producer, photographer and even musician. The experiments with Vuze camera and other 360 cameras over the last 2 years, combined with 23 years experience of creating traditional video, photography and design, led me to believe I have something to contribute to the 360 community. This book contains my own personal wish-list of project examples, frequently asked questions and technical knowledge I would have wanted to know when I began my 360 video journey and as a result is a document containing the experience, advice and inspiration I have to offer. It is also the coffee table book I always wanted to write – something easily accessible in different ways, from quick inspirational photo galleries through to detailed discussion and case studies. I aimed to create a visually stimulating book with intrinsic design value combined with solid technical considerations. I hope people enjoy reading it.” - Peter Simcoe www.simcoe.co.uk www.twitter.com/simcoemedia www.youtube.com/simcoemedia Note: The images in this document demonstrate the inclusion of the background created with Google Tilt Brush and Google Blocks. Full details of this are included in the 360 Video Handbook In Detail: 3D 360 Music Video I recently completed project involving the use of a Vuze camera, Oculus Rift, Google Tilt Brush and Google Blocks.
[Show full text]
GOOGLE ADVERTISING TOOLS (FORMERLY DOUBLECLICK) OVERVIEW Last Updated October 1, 2019
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
[Show full text]
Using Augmented and Virtual Reality in the Early Childhood Curriculum
Using Augmented and Virtual Reality in the Early Childhood Curriculum Augmented Reality (AR) and Virtual Reality (VR) technologies have much to offer the early childhood classroom. AR apps enable virtual objects and artefacts to be layered over the physical environment, whilst VR fully immerses the user in a virtual world. In this document, we explore some of the research undertaken by researchers in the DigiLitEY Cost Action, and examine the ways in which AR and VR might be used in early years classrooms. Marsh and Yamada-Rice (in press), drawing on their studies of children’s use of AR and VR apps (Marsh et al., 2015; Yamada-Rice et al., 2017), outlined five key principles which should underpin the use of AR and VR in the classroom. These are discussed throughout this document. Principle 1: The use of AR and VR needs to lead to learning experiences that are rich,meaningful and build on the affordances of the technology. Whilst AR and VR can create ‘Wow!’ moments, their use should be designed to develop learning in meaningful ways. This is best done if the activities are embedded in classroom projects. For example, in the MakEY project, which involves DigiLitEY researchers from several countries, VR was one element in a rich and varied set of activities based on the Moomins, characters developed by a Finnish author, Tove Jansson. The children watched a professional puppet show based on the Moomin stories and then created their own illuminated shoebox puppet theatres, writing playscripts to be used with these. The children also created their own clay models of the characters.
[Show full text]
Deepfakes and Cheap Fakes
DEEPFAKES AND CHEAP FAKES THE MANIPULATION OF AUDIO AND VISUAL EVIDENCE Britt Paris Joan Donovan DEEPFAKES AND CHEAP FAKES - 1 - CONTENTS 02 Executive Summary 05 Introduction 10 Cheap Fakes/Deepfakes: A Spectrum 17 The Politics of Evidence 23 Cheap Fakes on Social Media 25 Photoshopping 27 Lookalikes 28 Recontextualizing 30 Speeding and Slowing 33 Deepfakes Present and Future 35 Virtual Performances 35 Face Swapping 38 Lip-synching and Voice Synthesis 40 Conclusion 47 Acknowledgments Author: Britt Paris, assistant professor of Library and Information Science, Rutgers University; PhD, 2018,Information Studies, University of California, Los Angeles. Author: Joan Donovan, director of the Technology and Social Change Research Project, Harvard Kennedy School; PhD, 2015, Sociology and Science Studies, University of California San Diego. This report is published under Data & Society’s Media Manipulation research initiative; for more information on the initiative, including focus areas, researchers, and funders, please visit https://datasociety.net/research/ media-manipulation DATA & SOCIETY - 2 - EXECUTIVE SUMMARY Do deepfakes signal an information apocalypse? Are they the end of evidence as we know it? The answers to these questions require us to understand what is truly new about contemporary AV manipulation and what is simply an old struggle for power in a new guise. The ﬁrst widely-known examples of amateur, AI-manipulated, face swap videos appeared in November 2017. Since then, the news media, and therefore the general public, have begun to use the term “deepfakes” to refer to this larger genre of videos—videos that use some form of deep or machine learning to hybridize or generate human bodies and faces.
[Show full text]