Specializing in Computer Repair, Networking, Internet Solutions, Web Designing, Hybrid App Designing and Windows Operating systems.
Profile of Armslist, the “Craigslist of guns” that offers nearly every kind of gun imaginable and where all transactions are done peer to peer — Inside Armslist, the online ‘gun show that never ends’ — Thomas Caldwell was a veteran in his 60s with a soft physique, oval glasses …
TomTom says it has reached a deal with Huawei “some time ago” for the use of its maps, traffic information, and navigation software in Huawei phones — AMSTERDAM (Reuters) - Dutch navigation and digital mapping company TomTom on Friday said it has closed a deal …
Containous, which says it has built a “multicloud networking platform” for containerized applications and microservices, raises $10M Series A — Cloud-native networking company Containous SAS today bagged $10 million in new funding. The Series A round was led by Balderton Capital …
North of Silicon Valley, protected by the Point Reyes National Seashore, is the only operational ship-to-shore maritime radio station. Bearing the call sign KPH, the Point Reyes Station is the last of its kind.
KPH is divided between two physical stations: one, knows as the voice, is responsible for transmitting; the other half of the station, known as the ears, was where human operators listened for incoming messages. The voice is located 11 miles north of Point Reyes in the small town of Bolinas, Calif., and the ears reside within the Point Reyes National Seashore boundary nestled in pastures full of cattle and backdropped by the Pacific Ocean.
Stations like this once riddled the California coastline as part of a radio communication network. The operators who ran them were charged with watching over the Pacific Ocean airways, relaying messages to the sailors at sea.
“These guys and women were the best there were, and they had to be,” says Richard Dillman, chief operator at the Maritime Radio Historical Society. “On the ships, you could get away with anything. You could send slow, you could send fast, you could send like you were drunk, you could send like you are beating two spoons together. At the shore side, you had to be able to say, ‘fine, I got it, you can send fast, no problem. Send slow, I’llwait. Send like you are drunk, I can understand you.’ Because every word is revenue for the company because you were charging by the word.”
Dillman, who was never an employee of KPH, but rather a self-described “groupee and radio-obsessed person,” says the operators had to adapt to anything. “They were the best there were. They are our heroes and heroines.”
But once satellite communication became cheaper than paying radio operators, telegraphy became obsolete, and the network of radio stations became all but lost, as they were abandoned, sold and scavenged for parts.
Marin County Congressman Clem Miller saved KPH from this fate by writing and introducing the bill for the establishment of Point Reyes National Seashore. The bill preserved the land from development after operations ended.
The communications industry in the U.S. has seen several waves of disruption. The first significant innovation was sending a message by transmitting electrical signals over a wire.
In 1843, Samuel Morse, the father of Morse code, received funding from Congress to set up and test his new communication wire from Washington, D.C., to Baltimore. Upon completion, he sent the first official telegraph saying, “What hath God wrought.” What it wrought was money.
Morse received enough funding to string wire across an unsettled American landscape. From 1843 to 1900, wired telegraphy reigned until a new technology disrupted the communication monopoly of Western Union.
On June 2, 1896, Guglielmo Marconi patented a system of wireless telegraphy that would utilize radio waves to transmit Morse’s dits and dahs, making wired communication seem infrastructure-heavy. Plus, wireless telegraphy made maritime and transcontinental communication a lot more simple.
For almost 100 years, Morse code was used to communicate with ships at sea. By 1999 the industry had switched over to the cheaper and more efficient satellite communication systems.
The Point Reyes KPH station ended operations on June 30, 1997. The last day of U.S. commercial use of Morse code was July 12, 1999. The final message sent was the same as Morse’s first: “What hath God wrought.”
“It’s just beeps in the air,” says Dillman. “That is all Morse code is. And yet it was so impactful and emotional to these people,” he says about the operators and sailors he was with during the last day of Morse. “Because here they are seeing their career, their way of life, their skills disappearing. This was the end of the line. It used to be that you could take your license and telegraph key and move onto the next station, get a job, no problem. This was the end.”
After the last day of Morse in 1999, two years after KPH shut down, Richard and a few other radiomen drove up to the shuttered KPH station to assess how harsh the elements had been in the two years since it closed.
“Here it was, our life’s work, just handed to us,” Dillman says. “Because here are the ears, in Point Reyes, still living. The voice in Bolinas — dark and cold, but existing. So all we had to do was convince the park service that [restoring the station] was worth doing, and we were the guys to do it. And we are still amazed that they bought our story, and we have not turned back.”
Dillman and the rest of the radio squirrels that hang around KPH can be found every Sunday and more than welcome visitors.
This week, LaunchDarkly announced that it has raised another $54 million. Led by Bessemer Venture Partners and backed by the company’s existing investors, it brings the company’s total funding up to $130 million.
For the unfamiliar, LaunchDarkly builds a platform that allows companies to easily roll out new features to only certain customers, providing a dashboard for things like “canary launches” (pushing new stuff to a small group of users to make sure nothing breaks) or launching a feature only in select countries or territories. By productizing an increasingly popular development concept (“feature flagging”) and making it easier to toggle new stuff across different platforms and languages, the company is quickly finding customers in companies that would rather not spend time rolling their own solutions.
I spoke with CEO and co-founder Edith Harbaugh, who filled me in on where the idea for LaunchDarkly came from, how their product is being embraced by product managers and marketing teams and the company’s plans to expand with offices around the world. Here’s our chat, edited lightly for brevity and clarity.
In films, TV shows and books — and even in video games where characters are designed to respond to user behavior — we don’t perceive characters as beings with whom we can establish two-way relationships. But that’s poised to change, at least in some use cases.
Interactive characters — fictional, virtual personas capable of personalized interactions — are defining new territory in entertainment. In my guide to the concept of “virtual beings,” I outlined two categories of these characters:
In a series of three interviews, I’m exploring the startup opportunities in both of these spaces in greater depth. First, Michael Dempsey, a partner at VC firm Compound who has blogged extensively about digital characters, avatars and animation, offers his perspective as an investor hunting for startup opportunities within these spaces.
A look at Clearview AI, a facial recognition app claiming it scraped 3B+ images from sites like Facebook, YouTube, and that 600+ law enforcement agencies use it — A little-known start-up helps law enforcement match photos of unknown people to their online images — and “might lead to a dystopian future or something,” a backer says.
Microsoft has confirmed a security flaw affecting Internet Explorer is currently being used by hackers, but that it has no immediate plans to fix.
In a late-evening tweet, US-CERT, the division of Homeland Security tasked with reporting on major security flaws, tweeted a link to a security advisory detailing the bug, describing it as “being exploited in the wild.”
Microsoft said all supported versions of Windows are affected by the flaw, including Windows 7, which after this week no longer receives security updates.
The vulnerability was found in how Internet Explorer handles memory. An attacker could use the flaw to remotely run malicious code on an affected computer, such as tricking a user into opening a malicious website from a search query or a link sent by email.
It’s believed to be a similar vulnerability as one disclosed by Mozilla, the maker of the Firefox browser, earlier this week. Both Microsoft and Mozilla credited Qihoo 360, a China-based security research team, with finding flaws under active attack. Earlier in the week, Qihoo 360 reportedly deleted a tweet referencing a similar flaw in Internet Explorer.
Neither Qihoo, Microsoft, nor Mozilla said how attackers were exploiting the bug, who the attackers were, or who was being targeted. The U.S. government’s cybersecurity advisory unit also issued a warning about current exploitation.
Microsoft told TechCrunch that it was was “aware of limited targeted attacks” and was “working on a fix,” but that it was unlikely to release a patch until its next round of monthly security fixes — scheduled for February 11.
Microsoft assigned the bug with a common vulnerability identifier, CVE-2020-0674, but specific details of the bug have yet to be released.
When reached, a Microsoft spokesperson did not comment.
At most, 7 million of Instagram’s 1 billion-plus users have downloaded its standalone IGTV app in the 18 months since launch. And now, Instagram’s main app is removing the annoying orange IGTV button from its home page in what feels like an admission of lackluster results. For reference, TikTok received 1.15 billion downloads in the same period since IGTV launched in June 2018. In just the US, TikTok received 80.5 million downloads compared to IGTV’s 1.1 million since then, according to research commissioned by TechCrunch from Sensor Tower.
To be fair, TikTok has spent huge sums on install ads. But while long-form mobile video might gain steam as the years progress, Instagram hasn’t seemed to crack the code yet.
“As we’ve continued to work on making it easier for people to create and discover IGTV content, we’ve learned that most people are finding IGTV content through previews in Feed, the IGTV channel in Explore, creators’ profiles and the standalone app. Very few are clicking into the IGTV icon in the top right corner of the home screen in the Instagram app” a Facebook company spokesperson tells TechCrunch. “We always aim to keep Instagram as simple as possible, so we’re removing this icon based on these learnings and feedback from our community.”
Instagram users don’t need the separate IGTV app to watch longer videos, as the IGTV experience is embedded in the main app and can be accessed via in-feed teasers, a tab of the Explore page, promo stickers in Stories, and profile tabs. Still, the fact that it wasn’t an appealing enough destination to warrant a home page button shows IGTV hasn’t become a staple like past Instagram launches including video, Stories, augmented reality filters, or Close Friends.
One thing still missing is an open way for Instagram creators to earn money directly from their IGTV videos. Users can’t get an ad revenue share like with YouTube or Facebook Watch. They also can’t receive tips or sell exclusive content subscriptions like on Facebook, Twitch, or Patreon.
The only financial support Facebook and Instagram have offered IGTV creators is reimbursement for production costs for a few celebrities. Those contracts also require creators to avoid making content related to politics, social issues, or elections, according to Bloomberg‘s Lucas Shaw and Sarah Frier.
“In the last few years we’ve offset small production costs for video creators on our platforms and have put certain guidelines in place,” a Facebook spokesperson told Bloomberg. “We believe there’s a fundamental difference between allowing political and issue-based content on our platform and funding it ourselves.” That seems somewhat hypocritical given Facebook CEO Mark Zuckerberg’s criticism of Chinese app TikTok over censorship of political content.
Now users need to tap the IGTV tab inside Instagram Explore to view long-form videoAnother thing absent from IGTV? Large view counts. The first 20 IGTV videos I saw today in its Popular feed all had fewer than 200,000 views. BabyAriel, a creator with nearly 10 million Instagram followers that the company touted as a top IGTV creator has only post 20 of the longer videos to date with only one receiving over 500,000 views.
When the lack of monetization is combined with less than stellar view counts compared to YouTube and TikTok, it’s understandable why some creators might be hesistant to dedicate time to IGTV. Without their content keeping the feature reliably interesting, it’s no surprise users aren’t voluntarily diving in from the home page.
In another sign that Instagram is folding IGTV deeper into its app rather than providing it more breathing room of its own, and that it’s eager for more content, you can now opt to post IGTV videos right from the main Instagram feed post video uploader. AdWeek Social Pro reported this new “long video” upload option yesterday. A Facebook company spokesperson tells me “We want to keep our video upload process as simple as possible” and that “Our goal is to create a central place for video uploads”.
IGTV launched with a zealotish devotion to long-form vertical video despite the fact that little high quality content of this nature was being produced. Landscape orientation is helpful for longer clips that often require establishing shots and fitting multiple people on screen, while vertical was better for quick selfie monologues.
Yet Instagram co-founder Kevin Systrom described IGTV to me in August 2018, declaring that “What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else.”
Now it doesn’t exist on Instagram at all since May 2019 when IGTV retreated from its orthodoxy and began allowing landscape content. I’d recommended it do that from the beginning, or at least offer a cropping tool for helping users turn their landscape videos into coherent vertical ones, but nothing’s been launched there either.
If Instagram still cares about IGTV, it needs to attract more must-see videos by helping creators get paid for their art. Or it needs to pour investment into buying high quality programming like Snapchat Discover’s Shows. If Instagram doesn’t care, it should divert development resources to it’s TikTok clone Reels that actually looks very well made and has a shot at stealing market share in the remixable social entertainment space.
For a company that’s won by betting big and moving fast, IGTV feels half-baked and sluggish. That might have been alright when Snapchat was shrinking and TikTok was still Musically, but Instagram is heading into an era of much stiffer competition. Quibi and more want to consume multi-minute spans of video viewing on mobile, and the space could grow as adults familiarize with the format. But offering the platform isn’t enough for Instagram. It needs to actively assist creators with finding what content works, and how to earn sustainable wages marking it.
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 to keep up with the latest news from the world of apps, delivered on a weekly basis.
This week, we dig into App Annie’s new “State of Mobile 2019” report and other app trends. We’re also seeing big gains for TikTok in 2019 and Disney+ in Q4. Both Apple and Google announced acquisitions this week that have implications for the mobile industry, as well.
