content

OpenAI knows that it needs to continue generating memes and virals. That’s why she’s willing to pay Disney a lot of money for her content.

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Disney and OpenAI have announced a three-year licensing agreement that will allow users to create short videos featuring more than 200 Disney, Marvel, Pixar and Star Wars characters through soraOpenAI’s AI video generation platform. The operation includes an investment of $1 billion by the Mickey Mouse company in the AI ​​startup. Change of sight. Disney has gone from sue AI platforms like Midjourney for unauthorized use of its characters to become OpenAI’s first major content licensing partner. The company also sent a cease and desist letter to Character.AI in September for the same reason. This change in strategy gives clues to Disney’s move, choosing to monetize and control the use of its intellectual property instead of trying to stop it completely. What users can do. Starting in early 2026, according to OpenAI, Sora users will be able to generate short videos for social networks with characters such as Mickey Mouse, Iron Man, Darth Vader, Elsa, Simba or Groot, as well as iconic costumes, accessories, vehicles and settings from these franchises. From ChatGPT, users will also be able to create static images of these same characters using text instructions. The agreement expressly excludes the faces and voices of real actors. The business model behind the agreement. OpenAI need viral content to maintain the attention of users, and in recent months it has made it clear to us that this route is its current main source of income to attract more users who want to go through the hoops of its subscription plans. Disney characters are precisely the type of content that fits this vision. That is why the company is willing to pay to license this intellectual property. Disney as a corporate client of OpenAI. Beyond the license, Disney will become a “major customer” of OpenAI, under the terms of the agreement. The company will deploy ChatGPT to its employees and use OpenAI APIs to build new tools, products and experiences, including functionality for Disney+. In fact, perhaps the most striking thing about the agreement is that a curated selection of videos generated by Sora It will be available to play from the streaming platform. Investment and purchase options. Disney will provide $1 billion in equity investment and will receive warrants to acquire additional stakes in OpenAI in the future. The transaction is still subject to negotiation of definitive agreements and approvals prior to closing. Commitments on responsible use. Both companies say in the joint statement that they will maintain “robust controls” to prevent the generation of illegal or harmful content, respect the rights of content creators and protect the use of people’s voice and image. OpenAI is further committed to implementing age-appropriate policies and other safety measures on the service. The vision of the CEOs. Bob Iger, CEO of Disney, assures that “the rapid advance of artificial intelligence marks an important moment for our industry” and defends that collaboration will allow “extending the reach of our narrative in a thoughtful and responsible way.” For his part, Sam Altman, head of OpenAI, affirms that the agreement “shows how AI companies and creative leaders can work together responsibly to advance innovation.” What’s coming now? It remains to be seen if this licensing model extends to other studios and large content owners. Everything indicates that it certainly will not be the only large company to take advantage of this type of agreement. The litmus test will be when all the content in Sora is released and if it gains enough traction on networks for OpenAI to consider it a small victory in its quest for make ChatGPT a profitable tool for your business. In Xataka | Quietly, a country is becoming a technological power thanks to data centers: India

so you can watch our channel for free with technology and science content

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We are very happy to announce that Xataka TV is now available on all Samsung televisions with Samsung TV Plus. This is our FAST channel with a selection of our technology and science audiovisual content. After debuting in the entertainment services of Xiaomi, TCL, Plex and Tivify, it now arrives at Samsung, which will make it easier for more people to access our most successful formats for free. YouTube channel. How to watch Xataka TV on your Samsung TV? You don’t need to register or subscribe to anything. If you have a Samsung TV, you just have to go to Samsung TV Plusthe free platform to watch movies, series, sports and more from Samsung, and search within the Entertainment channels. There you will see our logo in green, although you can also access directly by going to channel 4205. Your remote probably has direct access to Samsung TV Plus, so it’s even easier. Once you click on Xataka TV, you will automatically begin to see the selection of content that we have prepared for you, including the best of our recent gala of the Xataka NordVPN Awards 2025. Samsung TV Plus is also available on Galaxy smartphones and tablets with Android 11 or higher. Keep in mind that you will need an Internet connection to watch Samsung TV Plus and Xataka TV. What if I don’t have a Samsung TV? At Webedia and Xataka we are committed to bringing our content to more platforms than traditional ones, and connected television is one of them. For this reason, our Xataka TV channel is also now available on: Xiaomi TV+ TCL TV Plus Plex Tivify (dial 97) What can you see on Xataka TV? As a leading technology medium in Spanish and with more than 20 years of experience, we take care of our productions so that you have a good time with us and, above all, help you as best as possible with: Test and comparisons of tech products Tricks and tips to squeeze our products Reports Purchase recommendations Curiosities about science and technology We are waiting for you on Xataka TV! In Xataka | Samsung TV Plus: what it is, how it works and what channels it offers Tivify: what it is and how to use it to watch your channels for free and without registration

Disney+ wants viewers to create AI content of its characters. The precedents are not very encouraging.

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The company that literally changed copyright laws To prevent Mickey Mouse from falling into the public domain, it wants its subscribers to create content with its ultra-protected characters. The company’s CEO announced that Disney+ will integrate generative AI tools so that viewers can produce short videos with characters from the house. Contradiction or strategy? Perhaps it is the first diffuse step towards something more radical: a future where studios tolerate spin-offs created by fans. The advertisement. In its last communication of results to shareholdersCEO Bob Iger announced that platform users will be able to create and consume self-generated content, primarily short videos. He has called these changes the most significant since 2019, and Iger confirmed that in addition to its already known alliances with companies with Epic Games, Disney has conversations with AI companies that have not been revealed. His priority, as he has commented, is to protect the properties of the house, which undoubtedly contrasts with the idea of ​​letting viewers generate content to their liking. Where are the shots going? The model Disney is likely exploring already exists. Showrunner, from Amazon-backed Fable Studio, calls itself the “Netflix of AI”. The platform allows you to generate complete animated episodes using simple 10-15 word descriptions. Its SHOW-2 technology automatically manages aspects such as script, animation, voices and editing. Last year they created nine unauthorized episodes of ‘South Park’ that racked up 80 million views. Edward Saatchi, CEO of Fable Studio, has confirmed that he has had conversations with Disney about licensing intellectual property. Saatchi’s vision: specific models where fans pay subscriptions to create stories within official universes. Users could even insert themselves into episodes by supplying photos or videos. Of course, the limitations are abundant: we are talking more about a gimmick with episodic content than about a real possibility of extensive narrative arcs. Showrunner also currently only produces animation. But it represents exactly what Disney seems to be trying: turning its passive audiences into co-creators, all under strict controls. Why now. According to the Deloitte Digital Media Trends 2025 study56% of Generation Z affirm that content on social networks is more relevant to them than traditional series and movies. They don’t just want to passively watch: they also want to participate. On the other hand, Disney+ added 3.8 million subscribers in the last quarter, but needs to differentiate itself in the saturated streaming market. And AI, in which Platforms like Netflix are also enteringgives that opportunity that will reward the fastest, which also has clear precedents in the publishing world: the fanfic phenomenon. Where are we going? We can guess. In the short term, we could see basic tools that allow creating short clips with limited characters and strict moderation. The content probably cannot be exported or taken to social networks. In the medium term, things get interesting. If the model workswe could see more complex narratives and a change that would be truly revolutionary: the entry into the canon of fan content that is especially popular. In an ideal world, compensation models would arrive for featured creators, in a similar way to partner programs that we already see on YouTube or TikTok. New rates could be proposed for platforms that allow creation, compared to cheaper ones that only allow content to be consumed. Again, we have very clear precedents: the communities of modding of the video games that have turned games like ‘Minecraft’ into fully participatory experiences. And before that, games like ‘DOOM’ they grew to infinity thanks to the contribution of the fans. The risks. For the brand, they are very clear: the loss of control of what can and cannot be shown. Disney would have to implement very strict and possibly costly moderation strategies to avoid situations like the memorable chaos generated by ‘Fortnite’ players when they started interacting with Darth Vader’s voice. Then there’s the legal maze: who actually owns the authorship of fan-generated content? Is it a derivative work, a collaboration, or a complete property of Disney or whoever it may be? Not to mention sexual or violent content that breaks laws: who is responsible for that? Beyond the legal implications are the concerns of artists: as Kotaku statedthis may be a way for large corporations to bridge the agreements reached after the 2023 strikes. If it is the viewers who work for free… why pay professional story creators? In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

pop divas have changed songs for content

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On October 3, the new and successful album by Taylor Swift, at least if we understand that “coming out” means the physical fact that the vinyl is available to buy in stores and that you can already listen to the songs on Spotify. Because the reality is that the North American singer-songwriter lives in a perpetual state of promotion born from the fusion a few years ago of his private life and his work as an artist. We are not with the hackneyed “the album began when the artist faced the blank page”, but with a conscious effort to maintain attention for longer than the 41 minutes and 40 seconds it lasts. The Life of a Showgirl. We can say that the album started with her presentation on her now fiancé’s podcast, she continued with that Instagram announcement of your wedding with 37 million likes and continued with his “documentary”, the second highest grossing film October in the United States. To tell the truth, Taylor Swift, while continuing to dedicate herself mainly to making songs, has mutated into a politician. More than anything because it is in a constant campaign for the attention of his fans. or even if we want to see it from a more well-intentioned and not so commercial prism, he carries out a kind of public service for his followers. It can’t produce 12 songs every month, but it is capable of leaving small recurring crumbs to keep voracious fans in need of content entertained. ‘I Bet You Think About Me’ If for a mere mortal it is impossible to please everyonemuch less if you are the North American singer-songwriter, accustomed to criticism directed more at the person than at the music itself. Nor should the chapter of Taylor Swift in ‘Family Guy’‘, where they booed her for being happy with her boyfriend and writing songs about that instead of her disappointments in love; but there is some evident point and separation between the stage Eras Tour which closed about a year ago and The Life of a Showgirl. It’s not just Taylor Swift that the conversation around her new job is going to last weeks or even months. The album came out earlier this month, but how long have your fans been talking about it? His discography is his biography and each Was It is an approach to a chapter in the life of the singer from Pennsylvania. Her followers keep Swift relevant, whether because of re-recording of his previous albumsthe recovery of his masterstheir love relationships, your friends… Not only is his discography his biography, but both have a symbiotic relationship. Few details of her life are unknown to her fans, and with each new release, Swift creates new satellite experiences. She is fully aware of the attention she receives and of the entourage that will be willing to participate in everything she proposes; how to discover countless Easter Eggs to events unthinkable for other types of creators: yaa in 2014, anticipating the release of his album 1989Swift held a series of «1989 Secret Sessions» at his different residences around the world where carefully selected fans were told that they were going to attend some kind of secret event, without knowing what awaited them. Another example is the event that accompanied the re-recording of Grid and the launch of ‘All Too Well’ (10 minute version) (Taylor’s Version). On this occasion, Swift decides to present and give her fans a romantic and heartbreaking short film video clip. So, seeing how the author usually operates and seeing that the end of the pharaonic last tour was approaching, her audience was already rambling about what her new project would be. And, as always, Swift left them a clue: in her last show she went, after finishing her last song, to an orange door, beginning the color and the entrance of the new Was. (Taylor’s Version) With the singer-songwriter we have the impression that we are in a perpetual happening of You were and vinyls. The Life of a Showgirl It came out on October 3 but we were already in the loop of their new work and experiencing their new album since that ‘Karma’ at the end of the Eras Tour. It’s all part of a person’s life showgirl: their love relationship, their NFL appearances to see his fiancé, the revelation of his new job on his own sports podcast Travis Kelce and his brother Jasonthe promotion of the different vinyl versions that we can buy even without listening to a single, the announcement of his marriage and the conversation around his engagement ring. Perhaps it all started organically thanks to its global relevance, but there is little doubt that this continuous state of promotion is a marketing weapon that it uses to its advantage. It is curious that the fact of making all the songs on the album known to the public seems like another important step, but not even the main one. We not only talk about everything lore that is created just before the release, or the enormous and lucrative anticipation of fans that ends when they finally get to hear the songs. In the case of Swift it goes much further and is renewed with each new release: On this occasion the success of The Life of a Showgirl came accompanied by an event very box office in the form of a party/launch like ‘The Official Release Party of a Showgirl’. While waiting for the doors to the room to open, a girl of about seven years old arrived accompanied by her mother. Full of glitter and wearing a dress appropriate for the occasion, the man from the cinema asked her if she was coming to a birthday; “No, I’m coming to Taylor’s,” he snapped before looking for someone to exchange his words with. friendship bracelets. And like her, groups of friends or couples add up to a number of viewers well above the average for a Friday afternoon screening. This community … Read more

ZonaGemelos generates the darkest content on the Spanish internet. They had to cancel their own ‘Big Brother’ in nine hours

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Extreme content has always existed on the Internet, but until recently it was part of the exclusive redoubt of the network’s sewer: deep webforums in which you had to register to enter, P2P circuits closed to the general public. Social networks, however, are increasingly expanding their themes in more aggressive directions. The lack of moderation and the avalanche of content has created monsters like ‘The House of Twins’, a reality show inspired by ‘Big Brother‘ which was canceled nine hours after its premiere. But who are you? Daniel and Carlos Ramos are brothers and content creators under the label ZoneTwins. They have become known for debate videos that revolve around controversy, morbidity, arguments and sometimes live violence between the guests of their program. Their accounts have hundreds of thousands of followers (just over 300,000 on YouTube, almost 400,000 on TikTok) and their style is reminiscent of entertainment programs from the beginning of the century like ‘Crónicas Marcianas’, and also dating shows like ‘First Dates’ or challenge shows, but in a more extreme way. Among its regulars are Paco Porras or Simon Perezand also include betting and gambling content (in casinos like LocoWin, with high-risk bets). What is ‘The House of Twins’? A reality show for networks which premiered on October 12 on Kick (the twins are banned from Twitch) and YouTube and was canceled in the early hours of the next day, due to violent incidents and serious confrontations between the seven participants, especially between two women who are regulars in the ZonaGemelos debates: la Falete and Triana Marrash. The latter had its fifteen minutes of fame on a national scale thanks to ‘Tardear’ and an alleged disappearance that turned out to be a setup to gain followers. What happened? Three contest participants voluntarily left the program before its cancellation, given the direction the program was taking, with the participants becoming increasingly drunk. Among other things, constant fights could be seen, attempts to quilting with three people involved, inappropriate comments on sensitive topics such as the war in Ukraine and destruction of the house and furniture. The organizers, when announcing the closure, spoke of “a second edition with some basic rules of coexistence and a few hours to sleep.” Some figures. In its first hours, the program was followed by more than a million live viewers, which makes it clear that we are not exactly facing a niche product. The hashtag #LaCasaDeLosGemelos became a trending topic on X and YouTube ended up cutting the broadcast due to the questionable content. Of course, as happens in reality shows, it soon began to generate lots of derivative content from other creators commenting on what happened in the house. extreme youtube. The type programs reality streaming like The House of Twins raise moral and ethical questions that have been object of study: emotional manipulation, exploitation of participants, loss of privacy, psychological and social effects on those who participate and consume this type of entertainment… Producers usually edit and manipulate recorded material to provoke conflicts and extreme reactions that keep the public’s attention. This strategy generates economic benefits, but results in the emotional exploitation of the contestants, who may suffer anxiety and psychological deterioration. Other key moral dilemma revolves around the actual consent of the participants. In many productions, contestants sign contracts that allow them to be constantly filmed, without effective control over their image once broadcast: participants are recorded in moments of emotional and physical vulnerability, such as arguments or personal crises. And if these issues are considerable in realities traditional, its impact is multiplied on the internet, where algorithms amplify emotionally conflictive content to maximize public interaction. In Xataka | Now I regret what I uploaded about myself to the internet when I was a teenager

Sora’s AI is resurrecting dead celebrities to turn them into cheap viral content: it’s technological nonsense

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What of digitally resurrect deceased public figures It’s not new, but Sora 2 by OpenAI is crossing the line from homage to pure morbid entertainment, with videos ranging from harmless humor to the most explicit cruelty. This phenomenon, which has provoked the indignation of relatives of the daughter of actor Robin Williams, raises serious ethical and legal questions. What is happening. Michael Jackson shows up at a KFC and steals a man’s fried chicken while dancing away. Pope John Paul II does some skate tricks. Albert Einstein gives an interview after a UFC fight. These are just a few examples of what people are doing with Sora 2. There’s more: Martin Luther King, Kennedy, Nixon…many videos have a humorous and seemingly harmless tone. Others, however, are in very bad taste, such as those that show a Stephen Hawking being abused brutally. And the worst thing is that no one seems to be stopping it. The Robin Williams case. Zelda Williams, daughter of the late actor, has used her Instagram account to show her rejection of this trend. “Please stop sending me AI-generated videos of dad. Stop believing that I want to see them or that I will understand them. I don’t want them and I won’t understand them,” he said in his message. Although he does not give details about whether the videos he has received are made with Sora 2, his complaint comes just a few days after its release. The cameos. They are the great novelty of Sora 2 and one of the reasons for its popularity. In fact, the app was launched with a cameo by Sam Altman that has already generated all kinds of memes. With cameos you can create funny videos of yourself or a friend, but Sora won’t let you make videos of real people unless they have given their consent. Except if those people are dead. Blurred boundaries. In it Sora security document 2OpenAI states that “only you can decide who can use your cameo, and you can revoke access at any time. We also take steps to block depictions of public figures.” However, they don’t say anything about public figures who have died, and from what we’re seeing, it doesn’t seem like these guidelines apply in the same way. According to the TechCrunch teststhe app does not allow you to create videos of Jimmy Carter or Michael Jackson (although there are published videos), but it does not cause problems when doing so with Robin Williams or Richard Nixon. defaming the dead. Although it is ethically questionable, at a legal level things change. In the United States, where OpenAI operates, legally it is not possible to open a process for defaming a deceased personso the company would not have any responsibility. In Spain it is similar; the Organic Law 1/1982 includes the right to honor, personal and family privacy and one’s own image. However, according to the article 32 of the civil codecivil personality is extinguished after death. Yes, it could be the case that heirs claim the right to honor of the deceasedbut it is a complex process and full of nuances. The new AI dump. At the beginning of the year we talked about how Junk AI or ‘AI Slop’ had flooded the networks. Were most disturbing videosof very bad tastebut they were clearly made with AI. With Sora 2 a dangerous door opens and it is that of a new AI dump more realistic than ever. If we add to this the use of the image of deceased people as if they were toys with which we can do whatever we want, no matter how legal it may be, it sets a very worrying precedent. Image | tiktok In Xataka | OpenAI and AMD have just signed more than just an AI agreement: it’s the barter of desperation

La 1 only had to win the morning battle. It has achieved it as with everything else: by politicizing its content

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Follow the rising rhythm of RTVE. The only part of the day that remained to be conquered, with two giants of morning news at the helm such as Ana Rosa Quintana on Telecinco and Susanna Griso on Antena 3, it was in the mornings. And after a series of changes in search of an identity, finally ‘Mañaneros 360’ has found success, with a share which doubles what it had a few months ago. And along the way, he has angered the government’s political rivals. The figures. The historical audience record was achieved by ‘Mañaneros’ on Monday October 6 with a 16.9% share (also preceded by another success on the network’s mornings, Silvia Intxaurrondo and the debate on ‘La Hora de la 1’, which this season is exceeding 20% ​​on several days). Both programs are experiencing the best moment of their respective histories (‘La Hora’… is five years old, and ‘Mañaneros’ is two years old), but it is not an isolated phenomenon on public television. In general, the mornings increase in audience: ‘The Ana Rosa Program’, for example, also the season is starting very well with figures that are helping to boost Telecinco’s totals. Hesitant starts. Until reaching this point, ‘Mañaneros 360’ has undergone some changes. It started in September 2023 simply called ‘Mañaneros’ (another one was previously proposed, ‘Bienvenidos’), and with Jaime Cantizano at the helm, after more veteran options such as Jordi González, Isabel Gemio and Gemma Nierga were discarded. Cantizano accepted an assignment very inspired by the morning magazines on North American television, which sought to distance himself from the competition of Quintana and Nierga. The result was a hodgepodge of sections that mixed health, events and heart, without a fixed order to surprise the viewer every day. The casual tone was cultivated, significantly, with a heart section that already mattered to collaborators of ‘Sálvame’ such as Terelu Campos, Lydia Lozano, Chelo García Cortés and Alba Carrillo. The result was discreet, with an average of 8.2%, but improving, as reported by ‘El País’ in a chronicle of the history of the programthe figures of its predecessor, ‘Speaking clearly’, which had been closer to 7%. New changes. Cantizano ended up quitting his job because he couldn’t stand the stress: Monday to Friday on television, and Saturdays and Sundays on Onda Cero. He was replaced by Adela González, who had experience in live programs like ‘Sálvame’, and with her came an even more relaxed tone thanks to the experience of the presenter, and which increased the audience. The following change did not come from within, but from outside the program: Sergio Calderonwhich would take to port very notable changes in the RTVE grideliminated the social chronicle part (which led to a series of not very well received dismissals, as the aforementioned article comments) and introduced a political chronicle part, commanded by Javier Ruiz. Enter Javier Ruiz. Ruiz, who in addition to presenting and directs the program, has given the program a definitive boost in audiences, focusing almost its entire duration on current politics and turning it to the left. Whether the openly progressive positioning of the program is debatable or not (the eternal discussion of the politicization of public television), it is clear that this is what is providing audiences. And many of the most apolitical sections ended up migrating towards the evening ‘Sálvame’ project, ‘The TV family‘, which ended up shipwrecked. Chainsaw or flamethrower. This is how VOX said that it would enter RTVE when it had the support of the voters, in the mouth of his deputy Manuel Mariscal. He made reference to the leftist speech of Marc Giró, Jesús Cintora, and also Javier Ruiz. Without a doubt, (literally) incendiary words for a change in programming that is bothering conservative sectors (there was also the root of the Mariló Montero’s loud anger on David Broncano’s program). But, somehow, it is getting more audiences than ever. In Xataka | Thirty years later, there is still an unbeatable television format in Spain: desktop soap operas

Carrefour has an outlet price of this 75 -inch Samsung TV that also has a discount coupon and gift content

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Carrefour is one of those stores that, lately, does not stop surprising us with good offers on televisions. If you are thinking of buying one with a big screen, now you can take this SAMSUNG TQ75Q7F4AU 75 inches by 899 euros. In addition, if you buy it before September 10, you take a Coupon with 15% of the value of TV For upcoming purchases. In addition, Samsung gives exclusive content with the purchase of this product and shipping is completely free. SMART TV SAMSUNG TQ75Q7F4AU * Some price may have changed from the last review A TV with big screen and reduced price The most striking of this TV of the Korean firm is its huge QLED panel with a 75 -inch diagonal and which offers 4K UHD resolution. In addition, it sets a Q4 AI processor processor with which you will enjoy excellent image quality. Its soda rate is 50 Hz and is compatible with formats such as HDR10+. Regarding its audio section, it comes with two speakers with Q-Symphony. In addition, if you want to use it for gaming, it incorporates some interesting functions as a specific mode and super ultra wide view. The operating system under which it works is Tizen and is compatible with Alexa and Google Assistant. As far as connectivity is concerned, it brings three HDMI portsa USB-A and WiFi 5 wireless connectivity and Bluetooth 5.3. Some accessories that may interest you for this TV Amazon Fire TV Stick 4K (last generation) * Some price may have changed from the last review Samsung Sound bar HW -C430/ZF – Wireless subwoofer included * Some price may have changed from the last review Some of the links of this article are affiliated and can report a benefit to Xataka. In case of non -availability, offers may vary. Images | Webedia and Samsung In Xataka | Best home film projectors. Which to buy and five recommended models from 299 to 18,000 euros In Xataka | Mega-guide to ride a home cinema: projector, screen, sound system and more

The future of the Internet is flooding of ia. And there are those who have already seen a business niche: content made by humans

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Internet has been filled with Searches results generated by artificial intelligence and of ‘Slop‘. The first is already reducing clicks to halfand points to collapse for the media. The second is something that users will have to live if the platforms do not get more serious to improve the filtering. Among all the tangle of new and ancient actors, an old Google opponent has returned to position itself as an alternative to the current in this era. Forks Duckdukgo. What are they doing. Duckckgo is an alternative search engine focused on offering the greatest possible privacy to its users, and for this, use, for example, the Bing searches. After 16 years since its foundation, the company has launched a Filter of images generated with AI that frames in its philosophy of the “private, useful and optional” functions. For the end user, this means being able to see or hide the images generated by the general search of images, something that is already problematic in Google where, for example, we come to see distorted results, even in examples as recognizable as ‘The young woman of the pearl’. The company has already shown that it can be differentiated, with Duck.aian own chatbot that anonymizes conversations and does not use them for training. How do they. To use this filter, the company is not using an engine driven by artificial intelligence or something similar. Those responsible have detailed the method, and is based on using manual open source block lists that the popular content blocker provides Ublock Origin and the Ublacklist’s Hage AI Blocklist, a browser extension created so that users can manually filter concrete websites of their Google results. Effectiveness. One of the big problems of the contents generated with AI is that they not only come from repositories that clearly indicate it, such as Midjourney explore, for example. In this sense, from DuckDuckgo They recognize That the filter “will not capture 100% of the results generated by AI”, but “will considerably reduce the amount of images generated that are shown.” Examples of images generated by AI that do not come out when activating the filter. Some of them is not as obvious as the largest in the first row. In our case, for example, we have sought “dog jumping” without activating the filter so as not to see. And he has found the image of a dog jumping with a suspicious origin: Freepik. It was an image generated by AI that has stopped appearing when activating the filter. Next to him was more of the same source that he has also leaked. The challenge. The filtering works well, but the challenge for companies such as Duckduckgo is capital, because Freepik already serves as “generated with AI”. But what happens when a random image that we find in media like this has no label to indicate it? There they have to play methods that use verification system with detailed analysis of the image, which makes the resources required to do so effectively fire. Beyond images, the difficulty is in the filtering of websites with texts generated by artificial intelligence. Openai, for example, launched A tool to detect plagiarismand then He withdrew it silently. Although according to leaks now they have a tool that operates, They do not throw it. The problem. Detectors do not just work well, and after reaching accuse students of using and erruniversity professors are suffering the phenomenon: To make undetectable texts, students are resorting to rewriting tools that worsen their quality. Google, a strong defender of the generative AI, has opened Its Synthid water brand technology. The inconvenience? We continue needing a universal standard that at the moment does not arrive. And even if it arrives, users will not always want to mark their creation as done with ia. For example, the images generated with Google image indicate its nature with the “AI” icon, but erase or cut it is very simple. The snowball does not stop, The hole. According to the Empty Internet Theory either ‘Dead Internet Theory‘, Much of the content that exists in the network is created by automated bots and algorithms, and with generative intelligence, the thing is going more. In addition, Google’s preview has only been the first step: now it touches Ai mode, which no longer delivers a results, talk. So, although we win comfort, there will be a huge hole for companies such as Duckckgo, looking for that the basic unit of communication on the Internet is still aliveor that knowledge remain something democratized without Loot all Internet content. As an idea, DuckDuckgo can deepen including filters throughout web navigation: it can be distinguished from browsers with AI with a different approach to Your browser. Images | Xataka In Xataka | People did not stop hacking virtual work interviews with AI. Solution: We want to meet you in person

The AI does not stop stealing internet content to improve. And the Internet has swollen the noses

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That Reddit blocks the action to the Archive Internet is a tragedy. And also a way of stopping a voracious and implacable The price to be paid for having ia It is the looting of all the internet content. In Reddit they know it well, and they have just taken an extreme measure against those indiscriminate robberies: it is not that Block access to their contents to the ‘scrapers’ of the companies of AI directly. Now they also block them if these companies try to access with rodeos. The injured party? Internet Archive. What happened. Reddit, who has always been very proactive when protecting “their” contents (which, by the way, have been generated by users voluntarily and free), has realized something: they were stealing them. But not directly, but through previous versions stored in that gigantic digital hemeroteca library called Internet Archive. Wayback Machine without access. Wayback Machine is the “Machine in Time” of the Internet Archive, and allows access to old versions of any website. But to avoid more content theft, Reddit has banned this platform to index the vast majority of Reddit content. Only the Reddit.com home page can be indexed. Reddit’s argument. Tim Rathschmidt, spokesman for Reddit, explained In The Verge That although Internet Archive is a service aimed at the open web, they had discovered “cases in which artificial intelligence companies violate the platform policies, including ours, and extract data from Wayback Machine.” In addition, he pointed out the following: “Until they are able to defend their site and comply with the policies of the platform (for example, respect the privacy of users, in relation to the elimination of deleted content), we are limiting part of their access to Reddit data to protect Reddit users.” If you want our contents, pay. That message from the spokesman is reasonable, but as little is incomplete. Especially since Reddit has persecuted that kind of looting of AI companies. He has tried to block those who did it with technical means, and the goal both before and now was the same: that companies pay for their contents. It is something that has achieved with the agreements that have reached since this type of processes began. The first thing he did was close his APIa disaster for all the Internet. Then he ended up reaching a Google agreement, which pays 60 million dollars a year In order to have access to those contents. And the same ended up with OpenAiwith which he sealed a pact whose economic details have not been unveiled but that gives access to Reddit’s contents to the models that enhance chatgpt. My content is mine (more or less). Social platforms have been nourishing the content of users for years. Until now the business model focused on advertising, but the arrival of AI has allowed us to have an interesting alternative model: that the companies of AI pay for being able to access those contents. Users barely win, Reddit and social networks do. Contents affirming that they are his – as Reddit, which in June He sued Anthropic– But that actually created the users of these platforms, who without realizing have become slaves of these social networks: they do not stop producing content that others consume, and do so without charging a euro. These platforms are intermediaries that provide the necessary infrastructure for this content to be available for free, but there are hardly any consideration for creators. Only a few can make a living on YouTube, Tiktok or Instagram for example. In Reddit exist Some metallic remuneration for the “taxpayers” who create the most for the platform. Cloudflare and content locks. Content companies are beginning to act in a similar way, and in the last two years we have seen how some editorial groups –Including haste– They reach agreements with AI companies so that they can use their contents. You Shall Not Pass! However, there are companies that go further. We have as clear example to Cloudflare, which has created a system so that companies that use their services can block the “Crawlers of AI” that try to steal their contents. If you are a cloudflare customer, you can activate that block, thus avoiding the problem or at least putting it Much more difficult to the AI companies that try to train their models with your data. Media and platforms such as The Associated Press, Fortune, Time or Stack Overflow are some of the companies that are already using said system. Quid Pro quo. This cat and mouse game is especially striking for the entire content creation segment, because IA companies use All shortcuts that can to capture (and steal) That data, Have or not copyright. What Reddit raises is a model in which creators compensate for the AI to take that data. Or more than creators, platforms that serve as their meeting and showcase. Media groups and audiovisual content producers have an interesting opportunity here Before the potential traffic collapse caused by solutions like Google AI Overviews. In Xataka | The “digital decomposition”: how 38% of the websites that existed in 2013 have disappeared from the Internet

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