Current approaches to emotion detection often overlook the inherent subjectivity of affective experiences, instead relying on aggregated labels that mask individual variations in emotional responses. We introduce iNews, a novel large-scale dataset explicitly capturing subjective affective responses to news headlines. Our dataset comprises annotations from 291 demographically diverse UK participants across 2,899 multimodal Facebook news posts from major UK outlets, with an average of 5.18 annotators per sample. For each post, annotators provide multifaceted labels including valence, arousal, dominance, discrete emotions, content relevance judgments, sharing likelihood, and modality importance ratings (text, image, or both). Furthermore, we collect comprehensive annotator persona information covering demographics, personality, media trust, and consumption patterns, which explain 15.2% of annotation variance - higher than existing NLP datasets. Incorporating this information yields a 7% accuracy gain in zero-shot prediction and remains beneficial even with 32-shot. iNews will enhance research in LLM personalization, subjectivity, affective computing, and individual-level behavior simulation.

Japan's news industry association issued a statement Wednesday demanding providers of generative artificial intelligence services obtain permits from member media organizations to use their news content and ensure accuracy. The Japan Newspaper Publishers and Editors Association, whose members also include broadcasters, said in the statement that generative AI service providers have expanded their businesses in defiance of the association's repeated requests for them to gain permission. In the RAG services, AI answers in a written form questions asked by users by digging related information out of online sources. Sometimes generated answers are identical with original news stories, or sometimes they are inaccurate due to inappropriate diversion and processing of such original content, the association noted, adding that another problem is that AI does not correct wrong answers. Unless such "freeriding" of content is regulated, media organizations' content will die out, causing irreversible harm to the foundation of democracy and national culture, it warned, urging the government to promptly review laws on intellectual properties.

Tech evangelists like to say that AI will eat the world--a reference to a famous line about software from the venture capitalist Marc Andreessen. In the past few weeks, we've finally gotten a sense of what they mean. This spring, tech companies have made clear that AI will be a defining feature of online life, whether people want it to be or not. First, Meta surprised users with an AI chatbot that lives in the search bar on Instagram and Facebook. It has since informed European users that their data are being used to train its AI--presumably sent only to comply with the continent's privacy laws. OpenAI released GPT-4o, billed as a new, more powerful and conversational version of its large language model.

Video doorbells manufactured by a Chinese company called Eken, sold under different brands for around 30 each, have serious security issues, according to Consumer Reports. These doorbell cameras are sold on Walmart, Sears and even with an Amazon Choice badge on Amazon. As is often the case with basic technology products, the device is available under multiple brands, including Eken, Tuck, Fishbot, Rakeblue, Andoe, Gemee and Luckwolf, among others. Most pair with an app called Aiwitt. These devices aren't encrypted and can expose the user's home IP address and WiFi network name to the internet, making it easy for scumbags to gain entry.

Two years ago, the Google News Initiative partnered with the London School of Economics and Political Science to launch JournalismAI, a global effort to foster media literacy in newsrooms through research, training and experimentation. Since then, more than 62 thousand journalists have taken Introduction to Machine Learning, an online course provided in 17 languages in partnership with Belgian broadcaster VRT. More than 4,000 people have downloaded the JournalismAI report, which argued that "robots are not going to take over journalism" and that media organizations are keen to collaborate with one another and with technology companies. And over 20 media organizations including La Nación, Reuters, the South China Morning Post and The Washington Post have joined Collab, a global partnership to experiment with AI. To mark this anniversary, together with the London School of Economics, we are hosting a week-long online event to bring together international academics, publishers and practitioners.

From purchasing a paper to opening a news application on your tablet, from leasing a DVD to streaming your #1 TV show on a smart TV, from purchasing a cookbook to getting modified recipe recommendations on your cell phone, it's certain that the digital transformation of the media business has already started. In the digital world, innovation is changing rapidly while buyers are the ones making and disrupting the guidelines of the game. In this specific situation, each business gets digital and hence requires a digital focus in all business processes and capacities. In the media business, the digital transformation seems, by all accounts, to be going mainstream. The fast progressions in technology combined with the unlimited opportunities brought by digital video empower new players to enter the market and construct disruptive business models that destabilize traditional media organizations and draw in crowds in a matter of seconds.

The economic fallout from the COVID-19 pandemic has caused an unprecedented crisis in journalism that could decimate media organizations around the world. The future of journalism -- and its survival -- could lie in artificial intelligence (AI). AI refers "to intelligent machines that learn from experience and perform tasks like humans," according to Francesco Marconi, a professor of journalism at Columbia University in New York, who has just published a book on the subject: Newsmakers, Artificial Intelligence and the Future of Journalism. Marconi was head of the media lab at the Wall Street Journal and the Associated Press, one of the largest news organizations in the world. His thesis is clear and incontrovertible: the journalism world is not keeping pace with the evolution of new technologies.

The economic fallout from the COVID-19 pandemic has caused an unprecedented crisis in journalism that could decimate media organizations around the world. The future of journalism -- and its survival -- could lie in artificial intelligence (AI). AI refers "to intelligent machines that learn from experience and perform tasks like humans," according to Francesco Marconi, a professor of journalism at Columbia University in New York, who has just published a book on the subject: Newsmakers, Artificial Intelligence and the Future of Journalism. Marconi was head of the media lab at the Wall Street Journal and the Associated Press, one of the largest news organizations in the world. His thesis is clear and incontrovertible: the journalism world is not keeping pace with the evolution of new technologies.

We are at a crossroads. A crossroads that will in large part determine the future of journalism. The Covid-19 pandemic has caused an unprecedented crisis that could decimate certain media organizations. One possible solution has been proposed: artificial intelligence (AI). AI refers "to intelligent machines that learn from experience and perform tasks like humans," according to Francesco Marconi, a professor of journalism at Columbia University in New York who has just published a book on the subject: Newsmakers, Artificial Intelligence and the Future of Journalism.

With the latest release of DaVinci Resolve 15, Blackmagic Design has radically made over its editing suite to create one of the best video-editing systems at any price -- even against mainstream options like Premiere Pro CC and Apple's Final Cut Pro X. It now comes with Fusion, a powerful visual effects (VFX) app used in Hollywood films, along with an excellent color corrector and audio editor. Despite doing more than most editors will ever need, the full studio release costs just $300, and you can get a stripped-down version with most features for a grand total of zero dollars. I use Adobe's Premiere Pro CC as part of its Creative Cloud suite, which costs more than $50 a month, so Resolve 15 is certainly a cheaper option. After trying it out for a week, would I be willing to switch?