This won’t change until they recruit significantly more women into the development and design of these technologies.”Ĭraig Federighi, Apple’s senior vice-president of software engineering, talking about Siri in San Jose last year. I hate to break it to Siri and its creators: if ‘it’ believes in equality it is a feminist. Sam Smethers, the chief executive of women’s rights campaigners the Fawcett Society, said: “The problem with Siri, Alexa and all of these AI tools is that they have been designed by men with a male default in mind. Our approach is to be factual with inclusive responses rather than offer opinions.” The team works hard to ensure Siri responses are relevant to all customers. In a statement, Apple said: “Siri is a digital assistant designed to help users get things done. Once, when users called Siri a “slut”, the service responded: “I’d blush if I could.” Now, a much sterner reply is offered: “I won’t respond to that.” That’s all I’m prepared to say.”Ī similar sensitivity rewrite occurred for topics related to the #MeToo movement, apparently triggered by criticism of Siri’s initial responses to sexual harassment. Previously, Siri’s answers included more explicitly dismissive responses such as “I just don’t get this whole gender thing,” and, “My name is Siri, and I was designed by Apple in California. “Are you a feminist?” once received generic responses such as “Sorry, I don’t really know” now, the responses are specifically written for that query, but avoid a stance: “I believe that all voices are created equal and worth equal respect,” for instance, or “It seems to me that all humans should be treated equally.” The same responses are used for questions like “how do you feel about gender equality?”, “what’s your opinion about women’s rights?” and “why are you a feminist?”. Siri in action on an iPhone 4s, the model that introduced it, in 2011. When questions are directed at Siri, “they can be deflected … however, care must be taken here to be neutral”.įor those feminism-related questions where Siri does not reply with deflections about “treating humans equally”, the document suggests the best outcome should be neutrally presenting the “feminism” entry in Siri’s “knowledge graph”, which pulls information from Wikipedia and the iPhone’s dictionary. In explaining why the service should deflect questions about feminism, Apple’s guidelines explain that “Siri should be guarded when dealing with potentially controversial content”. Last updated in June 2018, the guidelines are part of a large tranche of internal documents leaked to the Guardian by a former Siri “grader”, one of thousands of contracted workers who were employed to check the voice assistant’s responses for accuracy until Apple ended the programme last month in response to privacy concerns raised by the Guardian. The project saw Siri’s responses explicitly rewritten to ensure that the service would say it was in favour of “equality”, but never say the word feminism – even when asked direct questions about the topic. An internal project to rewrite how Apple’s Siri voice assistant handles “sensitive topics” such as feminism and the #MeToo movement advised developers to respond in one of three ways: “don’t engage”, “deflect” and finally “inform”.
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“ artists can’t even buy a cup of tea from streaming,” says Tom Gray of the band Gomez, who is the founder of the campaigning group Broken Record. Photograph: Leon Morris/Redferns via Getty Images The pandemic shut down the live music industry, which most artists rely on for the bulk of their income, resulting in musicians putting the details of their contracts regarding streaming income under scrutiny. “Streaming only adds up when you have billions, not millions, of streams,” says Mulligan. The IPO admits that at least 12m streams annually in the UK, plus more in overseas markets, as well as “other sources of income”, are all required to make a “sustainable living out of music”. After various cuts of royalties, that can leave the musician with as little as £1,500 a month, according to Midia Research. However, the number of UK artists managing just 1m streams domestically in at least one month last year was about 720, according to the IPO. “Streaming is clearly the future for music and as such needs to be doing more to help artists forge sustainable careers.”ĭrake, one of the 1% superstars who has deals with Universal and Warner and has a net worth of hundreds of millions of dollars, amassed more than 5bn streams last year, the most of any artist worldwide. “Streaming has become such an important part of our record releases, and can obviously provide brilliant opportunities and open doors for songs – but without fair remuneration for songwriters and performers it cannot help but feel exploitative,” says the singer-songwriter Eliza Shaddad. ‘It cannot help but feel exploitative’: Eliza Shaddad. The success of the big music companies has come in for criticism with an inquiry by a select committee of MPs into the economics of streaming published this summer calling for a “complete reset” of royalty payments to musicians, after concluding that only big acts and labels make money from the current system. In any given week, nine of the top 10 selling songs globally – the streaming cash cows – are owned by one of the three big music companies. The basis of that negotiating power was highlighted in a report from the Intellectual Property Office published last week, which showed that the top 1% of artists account for 80% of all streams, and that 10% account for 98% of all listening by fans.Īnd of the most popular tracks, big music companies own the rights to three times as many among the top 10% as those owned by independent labels. The big music companies have been able to use their muscle to strike increasingly advantageous deals on royalties from streaming with leading platforms such as Spotify. Bought for $3.3bn in 2011 by Sir Leonard Blavatnik, Warner Music, the world’s third biggest music company, has rocketed to a $22bn market capitalisation since being floated last year. It is the sustained streaming gold rush that sent shares in Universal Music – the world’s biggest music company which was floated by its French parent, Vivendi, earlier this month – soaring, giving the business a €45bn valuation. But they want to invest in the biggest companies and the major labels have that market share, they have more artists – the biggest – they have more streams, more everything.” Music is now seen as stable, so big institutional investors are flooding the space as they see streaming as a safe and predictable asset. “The streaming economy is working really effectively in many ways. “Fundamentally, music is a superstar business,” says Mark Mulligan, an analyst and the managing director at Midia Research. W ith the streaming revolution breathing new life into a once-moribund music industry collapsing under plummeting CD sales and rampant piracy, the world’s biggest record companies – Universal Music, Sony Music and Warner Music – have got their financial mojo back.Īfter facing financial ruin a decade ago, the trio, which control the vast majority of the world’s biggest hits with a roster of talent spanning Taylor Swift, Ed Sheeran and Coldplay to the Beatles, Adele and the Korean megaband BTS, are now valued at a combined $100bn (£73.8bn) as investors bank on the titans being the biggest winners of the streaming boom. Purchase this edition and get the following Arsenal content: *The pre-order bonus, purchase bonus and m圜lub content can only be claimed on the account used to purchase the game. It also contains the following purchase bonus: *Premium Agents can sign players from a large variety of clubs, including players from the club of whichever edition you have purchased. 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"Please note that the latest data for certain licensed leagues and teams will only be available via an update post-release. To delete the remaining icons after WINE uninstalls the software, open this folder and delete the corresponding icons. The shortcut icon of the software managed by WINE in the Applications panel is located in the directory ~/.local/share/applications/wine/Programs/ The Applications directory is located under/usr/share/applications/, which stores the software managed by the FEDORA system The general idea of this solution is to turn off the special effects of the software to adapt to the configuration of the computer.Īfter uninstalling the software from Wine Software Uninstaller, the software icon remains in the desktop -> Actives -> Applications list: Regarding the blue screen phenomenon, the solution for netizens is: in the DXP menu -> Preferences -> PCB Editor -> Display -> Use DirectX if Possible (Disable). Protel, Accel, OrCad, PADS netlists, Schematic and Analysis Plots Images, Numeric Output Text, Excel. Later I thought, is this blue screen phenomenon under Windows, is it the same working principle as the WINE running software stopped responding under FEDORA? Altium Designer (former Protel) by Altium. I saw some netizens' reactions on the Internet that when opening the PCB file with AD, the computer appeared blue screen. Open the FEDORA activity menu, open the "Applications" panel, find "Wind Software Uninstaller", a list of software currently installed in WINE appears, and you can safely uninstall the software at this time.Īfter installing ALTIUM DESIGNER x, you can open the schematic file, but the software stops working when opening the PCB file: If you safely uninstall the software installed in WINE: 8 and 10 macOS 10.7+ Linux via Wine (emulated) Size: Windows: about 40 MB. The following part of the content is reproduced from the Internet, this article is for personal learning only.Īn error occurred in the software, prompting information such as ODBC: This is the release intended for end-users. Problems encountered in the use of Wine under Fedora That is the reason this book is dedicated to them," she says. "Today, doctors, nurses, and housekeeping workers are putting their lives on the line more than ever before, to fight against the virus and protect our country. Murthy has dedicated the book to her father R H Kulkarni, a doctor popularly known as Kaka, and the medical fraternity at the forefront of the coronavirus pandemic. the gopi diaries kindle book online sudha murthy. The myriad stories told by their grandparents become the biggest source of joy, making the children compassionate, worldly-wise, and more resilient than ever. Read more about the most loved Indian writer Sudha Murthy at Swagat Hai. "Grandparents' Bag of Stories" with illustrations by Priya Kurian is a special Children's Day release by Puffin and a follow-up book to "Grandma's Bag of Stories".įrom the Magazine Complex Laws, Bureaucratic Tangles Make Adoption A Long, Painful Journey For Indians Transgenders In India Still Struggling For Right To Adopt Or Marry Passing On Love Is More Important Than Genes: Prasoon Joshi Makes A Case For Adoption Paternitas Interruptus: Adoption Is Still Not A Preferred Choice For Indian Society Cine-Maa And Pa: How Bollywood Embraced The Adoption GenreĪmid the lockdown, Ajja and Ajji welcome their grandchildren and Kamlu Ajji into their house in Shiggaon.įrom stitching masks, sharing household chores, preparing food for workers to losing themselves in timeless tales, the lockdown turns into a memorable time for the children as they enter the enchanting world of goddesses, kings, princesses, serpents, magical beanstalks, thieves, kingdoms and palaces, among others. "Even as the book revealed itself, I learnt the importance of having a routine, being positive, accepting the new normal and working towards the goal of helping people less fortunate than me," she adds. I became both Ajji and Ajja, the main characters of the book, and some days, I felt like the children in the book too! The days went by quickly," Murthy says. "My imagination ran wild and free and the stories seemed to flow seamlessly, almost as if this book was meant to be written. Writing this book was a delight and took me on a trip down memory lane," she says about her latest book. "It was a joy to create something memorable and positive for the children, especially in this unprecedented time when most of us are restricted to home. During the coronavirus lockdown, acclaimed author Sudha Murthy did what she does best - create stories - and came up with a collection of tales for children that inculcate values of compassion, resilience, and sharing. With each subsequent interview, the allegations from Seydoux intensified. “The Palme d’Or had been a brief moment of happiness then I’ve felt humiliated, dishonored, I felt rejected, I live it like I’m cursed.” In the same interview, he revealed that during shooting he had considered replacing Seydoux with another actress. “It has been soiled too much,” he told French magazine Telerama. It was my dream to work with him because, in France, he is one of the best directors.”ĭespite the overwhelmingly positive reviews, Kechiche then decided he hated the film so much it should never even have been released. I’m just complaining about the technique. How, when you are adored, when you go up on red carpet, when we receive awards, how we can speak of suffering?” A weepy Seydoux allegedly responded, “I have given a year of my life to this film. “The orderlies suffer, the unemployed suffer, construction workers could talk about suffering. “How indecent to talk about pain when doing one of the best jobs in the world!” Kechiche told reporters, in an angry diatribe translated from French by the Hollywood Reporter. press event for the film, Kechiche railed back at his stars, reportedly leaving Seydoux in tears. “Thank god we won the Palme d’Or, because it was so horrible,” added Seydoux.Īt an L.A. “Most people don’t even dare to ask the things that he did, and they’re more respectful - you get reassured during sex scenes, and they’re choreographed, which desexualizes the act.” Both actresses agreed they never wanted to work with the director again. “Once we were on the shoot, I realized that he really wanted us to give him everything,” said Exarchopoulos. In an interview with the Daily Beast during Telluride, the two lead actresses speak out about the demanding and “horrible” shooting conditions that Kechiche subjected them to, particularly when it came to the sex scene, which Seydoux said took ten days to film. Meanwhile, in France, where they are a little more lackadaisical when it comes to onscreen scissoring, the film is rated “12.” In an unsurprising move, Sundance Selects announces that the movie will be released in the U.S. As she wrote on an English translation on her blog: “This was what was missing on the set: lesbians.” While Dargis’s critiques were mostly unshared by fellow critics who saw the film at Cannes, Julie Maroh, author of the comic-book novel that the movie was based on, took to her blog to level complaints at its sex scenes, arguing that it was “a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn.” She also took issue with the fact that none of the actresses in the film were lesbians in real life. The three are all hugs and smiles, and for a brief moment it seems that all is well. In an unusual move, the festival jury - blown away by the two main performances - decides to split the award between the director and the lead actresses. They alleged that Kechiche and his team had violated the Labor Code with “workdays of 16 hours reported as 8,” an “anarchic” schedule, and a “bullying” atmosphere. That same day, French film union Spiac-CGT released a statement to the French press leveling complaints against the director and his team regarding the conditions on set. In a review that day, Manohla Dargis of the New York Times argued that the film’s sex scenes weren’t so much art as voyeuristic exertions of the male gaze, writing that Kechiche “registers as oblivious to real women” and that “the movie feels far more about Mr. Yet early on there was criticism of the film’s anti-feminist tone. Here’s a timeline of how it’s all gone down so far:īlue Is the Warmest Color premieres at Cannes, receiving largely rave reviews (and a few audience walkouts). Kechiche shot back angrily, precipitating an ugly back-and-forth media brawl between Kechiche and Seydoux that shows no signs of simmering. Beginning with claims of poor working conditions by the crew and allegations of anti-feminism against director Abdellatif Kechiche, the merde really hit the fan after stars Léa Seydoux and Adèle Exarchopoulos criticized the director’s exploitative shooting practices in an interview with the Daily Beast. But soon a much less sexy controversy began to emerge. Still, critics were quick to praise the film as a masterpiece, which, despite its NC-17 rating, looked well poised to become the indie darling of this year’s awards season. Even before winning the Palme d’Or, the three-hour French lesbian love story was Cannes’ most buzzed-about film, largely owing to its graphic, seven-minute-long sex scene. Blue Is the Warmest Color has been mired in controversy from the beginning. Record details of your gameplay and strategic moves with BlueStacks! 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But regardless, the game is still tremendously popular and is still very good in terms of its stories, but it's just the earlier games set the bar so high that it's a little tough for this version of it to compete.Īs far as controls, that might be the biggest harp on this game. However, because of this, the story is a little bit zany and hard to believe, making the characters lovable but just not as endearing as past versions. Thes story and events in the game are largely larger-than-life and a little bit tongue-in-cheek, as with the other GTA games. While the game is certainly entertaining, if you're looking for a very in-depth and more true-to-life story as some of the other games featured, this is not the game. In the earlier GTAs, there was much more emphasis on the storyline and not as much on the gameplay and customizable open-world aspects of the game. To be fair, compared to earlier renditions of the series, GTA on Android and ios is not the same as its previous editions. 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