Muzzey had hoped that the advancement of technology might make the process easier over time, that tools like ContentID could streamline things for artists. But he says it hasn’t. “I’ve had to come to terms with the fact that this isn’t a blip: this is the new normal, and it’s getting worse, not better,” he says. “Part of that problem is that people like me don’t realize their stuff is out there or think I’m not famous, so how can it be possible, not realizing that if you have a Soundcloud page, your music has been ripped, put into torrents, probably in a TV show in China somewhere, and that’s just how that world works. You don’t realize it until it’s revealed to you layer by layer.”

YouTube doesn’t give an exact recipe for virality. But in the race to one billion hours, a formula emerged: Outrage equals attention.

A 2015 clip about vaccination from iHealthTube.com, a “natural health” YouTube channel, is one of the videos that now sports a small gray box.

When Wojcicki took over, in 2014, YouTube was a third of the way to the goal, she recalled in investor John Doerr’s 2018 book Measure What Matters.“They thought it would break the internet! But it seemed to me that such a clear and measurable objective would energize people, and I cheered them on,” Wojcicki told Doerr. “The billion hours of daily watch time gave our tech people a North Star.” By October, 2016, YouTube hit its goal.

The conundrum isn’t just that videos questioning the moon landing or the efficacy of vaccines are on YouTube. The massive “library,” generated by users with little editorial oversight, is bound to have untrue nonsense. Instead, YouTube’s problem is that it allows the nonsense to flourish. And, in some cases, through its powerful artificial intelligence system, it even provides the fuel that lets it spread.#lazy-img-336042387:before{padding-top:66.68334167083543%;}

I think a lot of educational Youtube channels aren't that great in actually teaching you anything. What they are great at is sparking the interest and planting the seed for your own work. At least my experience is that actually doing things is how I learn them. Youtube can be a great springboard for that.

Internet balkanization: why are we raising borders online?

YouTube Video Builder: İşletmeler İçin Hızlı, Kolay ve Ücretsiz Video Oluşturma Aracı Google gibi büyük şirketlerin koronavirüs salgını devam ederken değişen dijital ortama uyum sağlamaları ve yeni yollar oluşturmaları için işletmelere sağladığı imkanlar devam ediyor. İşletmelerin hızlı ve sorunsuz bir şekilde video oluşturmalarını sağlayan Youtube Video Builder beta sürümüyle artık daha çok işletme için kullanılabilir durumda.

Başarılı Bir Tanıtım Videosunun 5 Özelliği Video reklamların kullanımı, satın almayı %97 ve reklam-marka ilişkisini %139 artırıyor. Daha az teknik terimler kullanarak hazırlayacağınız tanıtım videolarıyla, kitlenizin sizi hatırlamasını ve sattığınız ürünü satın almasını sağlayabilirsiniz. Kimi hedefliyor olursanız olun, başarılı tanıtım videolarının paylaştığı 5 evrensel özellik vardır. Bu blog yazımızda, bu özelliklerin her birini daha ayrıntılı olarak inceledik.

See how easy it is to import your footage, create a sequence, add a title, adjust audio levels, and export video in Premiere Pro.

If other third-party tools guarantee not to use cookies, perhaps by providing specific configuration options, they too can be considered to be exempt from prior blocking. This is the case namely with YouTube, which provides a specific feature to prevent the user from being tracked through cookies.

So if they choose to play the video, do they get some other prompt to accept cookies from YouTube BEFORE the video will play?

Privacy-Enhanced Mode

YouTube will not collect and store info on the users, that are visiting your site, on its server unless they view the video

YouTube’s privacy-enhanced mode basically means they do not store visitor’s information if you have a YouTube video on your website, unless they actually click on the video to view it.

One of the key critiques of the study is that the researchers didn’t log in. That is to say that they could not experience the full impact of the algorithm as it impacts their findings.

BFS looks at each adjacent node and doesn't consider the children of those adjacent nodes. DFS looks at each adjacent node, and looks at all the children of the current adjacent nodes. It again, looks at the children of the next adjacent node (adjacent to the children of the prevoius)

Open ListenOnRepeat.

Right-click the video area, or long-press if you're using a touch screen. Select Loop from the menu.

“On the ground in Syria,” he continued, “Assad is doing everything he can to make sure the physical evidence [of potential human-rights violations] is destroyed, and the digital evidence, too. The combination of all this—the filters, the machine-learning algorithms, and new laws—will make it harder for us to document what’s happening in closed societies.” That, he fears, is what dictators want.

Google and Facebook break out the numbers in their quarterly transparency reports. YouTube pulled 33 million videos off its network in 2018—roughly 90,000 a day. Of the videos removed after automated systems flagged them, 73 percent were removed so fast that no community members ever saw them. Meanwhile, Facebook removed 15 million pieces of content it deemed “terrorist propaganda” from October 2017 to September 2018. In the third quarter of 2018, machines performed 99.5 percent of Facebook’s “terrorist content” takedowns. Just 0.5 percent of the purged material was reported by users first.Those statistics are deeply troubling to open-source investigators, who complain that the machine-learning tools are black boxes.

“We were collecting, archiving, and geolocating evidence, doing all sorts of verification for the case,” Khatib recalled. “Then one day we noticed that all the videos that we had been going through, all of a sudden, all of them were gone.”It wasn’t a sophisticated hack attack by pro-Assad forces that wiped out their work. It was the ruthlessly efficient work of machine-learning algorithms deployed by social networks, particularly YouTube and Facebook.

In other words, when YouTube fine-tunes its algorithms, is it trying to end compulsive viewing, or is it merely trying to make people compulsively watch nicer things?

Algorithms will privilege some forms of ‘knowing’ over others, and the person writing that algorithm is going to get to decide what it means to know… not precisely, like in the former example, but through their values. If they value knowledge that is popular, then knowledge slowly drifts towards knowledge that is popular.

At the same time, a large share of YouTube users say the site is important for helping them figure out how to do things they haven’t done before. Fully 87% of users say the site is important for this reason, with 51% saying it is very important. And the ability to learn how to do new things is important to users from a wide range of age groups. Roughly half (53%) of users ages 18 to 29 say the site is very important to them for this reason, and that view is shared by 41% of users ages 65 and older. In some cases, users’ responses to these questions show substantial variation based on how frequently they visit the site. Most notably, people who use the site regularly place an especially high level of importance on YouTube for learning about world events. Some 32% of users who visit the site several times a day – and 19% of those who visit once a day – say it is very important for helping them understand things that are happening in the world. That compares with 10% of users who visit less often.

Densityin undirectednetworks

Tudo começou como um site de namoro há 13 anos. O que hoje conhecemos como o YouTube surgiu como um espaço para homens e mulheres compartilharem vídeos contando quem eram e o que buscavam no amor. Seus criadores, Steve Chen, Chad Hurley e Jawed Karim, registraram o nome do portal no Dia de São Valentim, o dia dos namorados em diversos países do mundo, em 2005. Em 23 de abril daquele ano, Karim publicou o primeiro vídeo do YouTube, intitulado "Eu no zoológico", um clipe de meros 18 segundos que não era nada romântico. "Bem, estamos aqui, em frente aos elefantes. O legal desses caras é que eles têm trombas muito, muito, muito grandes. Isso é legal. E é basicamente o que tenho a dizer." Não levou muito tempo para que os rapazes vissem que sua ideia havia sido um fracasso. Mas nem tudo estava perdido. Eles se deram conta que tinham em mãos uma plataforma valiosa em uma época em que publicar vídeos caseiros na internet começava a decolar. Nesse momento, o trio resolveu acabar com o lado romântico do negócio e aceitar qualquer tipo de vídeo no portal, explicou Chen há alguns anos em uma conferência no Texas. E isso se provou um grande acerto. Um ano depois, em outubro de 2006, os três fecharam o negócio de suas vidas ao vender o site para o Google por US$ 1,65 bilhão (à época, o equivalente a R$ 3,55 bilhões). Hoje, o YouTube tem mais de 1 bilhão de usuários em 88 países e 76 idiomas, segundo o Google. A chegada ao Vale do Silício Os três cofundadores do YouTube não têm origens em comum, mas seus caminhos se cruzaram ao sair da universidade. Chen nasceu em 1978 em Taiwan. Quando era adolescente, se mudou com a família para os Estados Unidos, onde se formou na Universidade de Illinois. Karim também é imigrante. Nasceu em 1979 na então Alemanha Oriental e chegou com a família aos Estados Unidos no início da década de 1990, onde estudou na mesma universidade de Chen. Hurley nasceu no Estado da Pensilvânia em 1977 e estudou na Universidade de Indiana. O trio se conheceu em 1999 em seu primeiro dia como funcionários do site de pagamentos PayPal no Vale do Silício, na Califórnia. Como engenheiros, Chen ajudou a desenvolver o serviço, enquanto Karim trabalhou no seu sistema antifraudes. Hurley, formado em Belas Artes, colaborou com o desenho da interface de uso do portal. Em 2005, eles criaram a primeira versão do YouTube. Novos negócios Os três continuaram como executivos do YouTube após a venda, mas, com o passar dos anos, saíram da empresa para empreender novamente. Chen e Hurley se uniram em 2011 para fundar a AVOS Systems, uma empresa que ajuda a desenvolver aplicativos para celulares e serviços online. Também se envolveram novamente no mercado de vídeos com dois programas, o Mixbit, que facilita a edição de clipes, e o Wanpai, para compartilhar vídeos curtos. Também estiveram à frente, entre 2011 e 2014, da plataforma Delicious, um dos serviços pioneiros para salvar e gerenciar links, mas que já não existe mais. Chen ainda faz parte da Google Ventures, um braço da Alphabet, a matriz do Google, dedicada a investimentos em novos negócios. Ele já atuou como consultor para diversas companhias, segundo a Bloomberg. Hurley também integrou a Google Ventures, mas deixou a companhia. Atualmente, segue na AVOS como diretor-executivo. Seus negócios se expandiram para a área de esportes, e ele se tornou membro da diretoria da equipe de basquete Golden State Warriors e um dos donos do time de futebol Los Angeles FC. O discreto Jawed Karim Apesar de ser o primeiro rosto que apareceu no YouTube, Karim mantém um perfil bem mais discreto em seus negócios, sem muitas aparições públicas. Depois de participar do conselho do YouTube, ele criou em 2008 sua própria empresa, a Youniversity Ventures, para ajudar universitários a tirar suas ideias de negócios do papel. Atualmente, é conselheiro da TokBox, empresa dona da plataforma de vídeos e mensagens OpenTok. Também é sócio do fundo Sequoia Capital, que teve entre seus clientes o próprio YouTube em 2005 e que já investiu em empresas como Google, Apple, Yahoo!, LinkedIn, Cisco, Airbnb e Atari.

Videos can be mirrored directly from YouTube

A majority of Americans use Facebook and YouTube, but young adults are especially heavy users of Snapchat and Instagram

HarvardX Biomedical Data Science Open Online Training

UploadingaVideofromYouTube

"You shall not download any Content unless you see a “download” or similar link displayed by YouTube on the Service for that Content.You shall not copy, reproduce, make available online or electronically transmit, publish, adapt, distribute, transmit, broadcast, display, sell, license, or otherwise exploit any Content for any other purposes without the prior written consent of YouTube or the respective licensors of the Content. YouTube and its licensors reserve all rights not expressly granted in and to the Service and the Content."

The content included YouTube videos of American white nationalists, a hate preacher banned in the UK and a controversial Islamist preacher.

Comme toute marque, enfin, les youtubeurs sont tendus entre répétition et innovation : si la première est nécessaire, pour être identifiée sous une catégorie (« humour », « cuisine », « beauté », « jeux vidéo », etc.), elle peut conduire à la lassitude et trahir un manque de créativité.

Elles sont notamment tributaires des conditions d’utilisation de YouTube et de leurs fluctuations. En 2013, la plateforme durcit sa politique juridique : un extrait d’une œuvre (une musique de film, un jeu) intégrée à une vidéo peut faire l’objet d’un retrait par ses ayants droit. Les revenus publicitaires des youtubeurs sont également affectés : ils sont redistribués aux ayants droit éventuels. Comment, dans ces conditions, peuvent vivre des chaînes dédiées au commentaire de jeux vidéo ? Les éditeurs se sont cependant montrés « cléments », conscients de la publicité, du ciblage et de l’éditorialisation gratuite dont ils bénéficiaient.

Cette initiative met implicitement le doigt sur le fonctionnement de YouTube[+] NoteCette partie s’appuie sur un article universitaire : Agnès GAYRAUD et Guillaume HEUGUET, « De l’industrie musicale à la rhétorique du "service". YouTube, une description critique », Communication & Langages, 184, 2015, p. 101-119. [6] : présenté comme un « service », qui se contenterait de donner un espace d’expression aux internautes, le site est en fait un rejeton des industries culturelles et du capitalisme néolibéral. A priori, YouTube neutralise pourtant toute critique idéologique. Il « a quelque chose d’un dispositif utopique d’accès partagé à la culture »[+] NoteAgnès GAYRAUD et Guillaume HEUGUET, op. cit. p. 102 [7] : l’utilisateur, devenu roi, a le pouvoir de consommer, de commenter, de partager des productions audiovisuelles en apparence diversifiées et personnalisées ; rien ne lui serait imposé. Mieux : le rapport entre les industries et le consommateur semble inversé : c’est maintenant lui qui détiendrait le pouvoir. Pour bénéficier de cette « personnalisation », il doit cependant sacrifier un peu de ses données personnelles : la gratuité tant vantée par les industries dites « 2.0 »[+] NoteSur cette épithète, voir Franck RÉBILLARD, « Du Web 2.0 au Web2 : fortunes et infortunes des discours d'accompagnement des réseaux socionumériques », Hermès, 59, 2011, p. 25-31. [8] n’est que partielle. En s’appuyant sur ses routines de navigation, de consultation, YouTube oriente bien plus qu’il ne propose : c’est toujours sur le mode répétitif que se fait la consommation.

But fandom without limits makes Team Internet vulnerable.

This kind of dynamic -- between a digital influencer and a fan -- has become commonplace in the “Team Internet” community. Over the last few years, dozens have come forward to share stories of creators who have had inappropriate relationships with those who see them as bona fide celebrities.