And sometimes, they fail so badly that they scare creators and make them self-censor. In early January , SmellyOctopus did a nine-minute, private stream where spoke into his microphone to check how new technology he was using affected it. It looks like the match system really blew it on this one. CD Baby dropped the claim as soon as they saw the dispute, so at least that part of the process worked. Content ID is even more automated than you might think. So companies face no negative consequences for Content ID matches hitting white noise , public domain works , or mic checks. This means that many users will prefer not to run the risk and will let bad strikes take down their content or let others monetize it. So he just left it. This is how the system discourages users from speaking up.
O ne morning in November, in the midst of an already excruciating election campaign, I woke up to what felt like a fever dream. What social media the BBC uses is far from millennial-friendly — a tepid array of memes on Instagram, mostly news-y Twitter accounts, and Facebook pages that share BuzzFeed-style videos of the kind that were already tired cliches in There has been no real effort to develop an original presence, either, on YouTube — a digital space that has been a social media staple for a decade. There are users in Broadcasting House ready to build these digital presences, such as BBC journalists Sophia Smith Galer and Emma Bentley, who both share videos about working at the broadcaster on TikTok, and who have both accrued over 12K followers and regularly go viral. Yet they seem to be either flying under the senior radar, or being ignored. There are, of course, some exceptions.
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