Twitter exec says moving fast on moderation, as harmful content surges

A Twitter logo hangs outside the company's San Francisco offices on Nov. 1, 2022. (AP)
A Twitter logo hangs outside the company's San Francisco offices on Nov. 1, 2022. (AP)
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Updated 03 December 2022
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Twitter exec says moving fast on moderation, as harmful content surges

A Twitter logo hangs outside the company's San Francisco offices on Nov. 1, 2022. (AP)
  • Twitter is restricting hashtags and search results frequently associated with abuse, like those aimed at looking up “teen” pornography

SAN FRANCISCO: Elon Musk’s Twitter is leaning heavily on automation to moderate content, doing away with certain manual reviews and favoring restrictions on distribution rather than removing certain speech outright, its new head of trust and safety told Reuters.
Twitter is also more aggressively restricting abuse-prone hashtags and search results in areas including child exploitation, regardless of potential impacts on “benign uses” of those terms, said Twitter Vice President of Trust and Safety Product Ella Irwin.
“The biggest thing that’s changed is the team is fully empowered to move fast and be as aggressive as possible,” Irwin said on Thursday, in the first interview a Twitter executive has given since Musk’s acquisition of the social media company in late October.
Her comments come as researchers are reporting a surge in hate speech on the social media service, after Musk announced an amnesty for accounts suspended under the company’s previous leadership that had not broken the law or engaged in “egregious spam.”
The company has faced pointed questions about its ability and willingness to moderate harmful and illegal content since Musk slashed half of Twitter’s staff and issued an ultimatum to work long hours that resulted in the loss of hundreds more employees.
And advertisers, Twitter’s main revenue source, have fled the platform over concerns about brand safety.
On Friday, Musk vowed “significant reinforcement of content moderation and protection of freedom of speech” in a meeting with France President Emmanuel Macron.
Irwin said Musk encouraged the team to worry less about how their actions would affect user growth or revenue, saying safety was the company’s top priority. “He emphasizes that every single day, multiple times a day,” she said.
The approach to safety Irwin described at least in part reflects an acceleration of changes that were already being planned since last year around Twitter’s handling of hateful conduct and other policy violations, according to former employees familiar with that work.
One approach, captured in the industry mantra “freedom of speech, not freedom of reach,” entails leaving up certain tweets that violate the company’s policies but barring them from appearing in places like the home timeline and search.
Twitter has long deployed such “visibility filtering” tools around misinformation and had already incorporated them into its official hateful conduct policy before the Musk acquisition. The approach allows for more freewheeling speech while cutting down on the potential harms associated with viral abusive content.
The number of tweets containing hateful content on Twitter rose sharply in the week before Musk tweeted on Nov. 23 that impressions, or views, of hateful speech were declining, according to the Center for Countering Digital Hate – in one example of researchers pointing to the prevalence of such content, while Musk touts a reduction in visibility.
Tweets containing words that were anti-Black that week were triple the number seen in the month before Musk took over, while tweets containing a gay slur were up 31 percent, the researchers said.
’MORE RISKS, MOVE FAST’
Irwin, who joined the company in June and previously held safety roles at other companies including Amazon.com and Google, pushed back on suggestions that Twitter did not have the resources or willingness to protect the platform.
She said layoffs did not significantly impact full-time employees or contractors working on what the company referred to as its “Health” divisions, including in “critical areas” like child safety and content moderation.
Two sources familiar with the cuts said that more than 50 percent of the Health engineering unit was laid off. Irwin did not immediately respond to a request for comment on the assertion, but previously denied that the Health team was severely impacted by layoffs.
She added that the number of people working on child safety had not changed since the acquisition, and that the product manager for the team was still there. Irwin said Twitter backfilled some positions for people who left the company, though she declined to provide specific figures for the extent of the turnover.
She said Musk was focused on using automation more, arguing that the company had in the past erred on the side of using time- and labor-intensive human reviews of harmful content.
“He’s encouraged the team to take more risks, move fast, get the platform safe,” she said.
On child safety, for instance, Irwin said Twitter had shifted toward automatically taking down tweets reported by trusted figures with a track record of accurately flagging harmful posts.
Carolina Christofoletti, a threat intelligence researcher at TRM Labs who specializes in child sexual abuse material, said she has noticed Twitter recently taking down some content as fast as 30 seconds after she reports it, without acknowledging receipt of her report or confirmation of its decision.
In the interview on Thursday, Irwin said Twitter took down about 44,000 accounts involved in child safety violations, in collaboration with cybersecurity group Ghost Data.
Twitter is also restricting hashtags and search results frequently associated with abuse, like those aimed at looking up “teen” pornography. Past concerns about the impact of such restrictions on permitted uses of the terms were gone, she said.
The use of “trusted reporters” was “something we’ve discussed in the past at Twitter, but there was some hesitancy and frankly just some delay,” said Irwin.
“I think we now have the ability to actually move forward with things like that,” she said.

 


Gaza’s Hamas rulers say 3 journalists killed in Israeli raids

Gaza’s Hamas rulers say 3 journalists killed in Israeli raids
Updated 02 December 2023
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Gaza’s Hamas rulers say 3 journalists killed in Israeli raids

Gaza’s Hamas rulers say 3 journalists killed in Israeli raids
  • Gaza’s deadliest war began when Hamas militants on October 7 launched a shock attack on southern Israel, killing 1,200 people, mostly civilians, according to Israeli officials

GAZA STRIP, Palestinian Territories: Gaza’s Hamas-run government said three journalists were killed in Israeli raids on Friday as fierce fighting resumed after a week-long truce.
The government press office identified the three as cameraman Muntassir Al-Sawwaf, who worked for Turkiye’s Anadolu state news agency, his brother Marwan, who worked as a soundman, and cameraman Abdullah Darwish.
It said their deaths brought to 73 the number of journalists killed since the war began on October 7.
The Turkish agency confirmed Friday the death of Sawwaf and two others who it did not name in southern Gaza.
“We are concerned about the lives of our colleagues, who fulfil their duties with great devotion under very difficult conditions,” Anadolu general director Serdar Karagoz said.
“We will continue our struggle to ensure that those who carried out these attacks are held to account.”
The Committee to Protect Journalists (CPJ) said earlier Friday that at least 57 journalists and media workers had died since the start of the war.
Gaza’s deadliest war began when Hamas militants on October 7 launched a shock attack on southern Israel, killing 1,200 people, mostly civilians, according to Israeli officials.
Israel responded with an air and artillery assault on the Gaza Strip that it said aimed to topple Hamas and return more than 240 hostages.
The Hamas-run health ministry in Gaza said at least 178 people had died in the territory since a seven-day pause in hostilities expired early Friday and ground battles and Israel air strikes resumed.
During the truce, Hamas freed 80 Israeli hostages in exchange for 240 Palestinian prisoners.
Hamas authorities say the Israeli campaign has killed more than 15,000 people, mostly civilians.

 


Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023

Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023
Updated 01 December 2023
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Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023

Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023
  • Adele’s ‘Set Fire to the Rain’ most popular song among Saudi listeners
  • Abdul Majeed Abdullah takes top spot on Arab artists list

DUBAI: Audio streaming service Spotify this week released its annual roundup of the most popular artists, songs, albums and podcasts streamed in each country over the past year.

“From gaming playlists reigning supreme to the fascinating connection between global music trends and local podcasts, it’s evident that Saudi audiences are not only embracing the world but also cherishing their roots, especially in the realms of Khaleeji music and the ever-expanding world of podcasts,” said Akshat Harbola, managing director for the Middle East, North Africa and South Asia.

This year’s Wrapped report marks five years since Spotify launched in the MENA region. In that time, streams of female artists in the Kingdom have grown by 9,150 percent, with Taylor Swift the most popular of all.

Assala Nasri and Sherine took the fifth and 10th spots on the most-streamed Arab artists in the Kingdom, while Balqees’s “Da Elly 7sal” ranked third and “Alfin Bab” by Oumaima Taleb eighth on the most-streamed Arabic songs list.

International artists dominated the most-streamed artists in Saudi Arabia, with Taylor Swift, The Weeknd and Lana Del Rey filling the top three places.

Saudis’ affinity for international music was also reflected in the lists of the most-streamed songs and albums.

Adele’s “Set Fire to the Rain,” Jung Kook’s “Seven” and Interworld’s “Metamorphosis” were the top three most-streamed songs in the Kingdom, while The Weeknd’s “Starboy,” Metro Boomin’s “Heroes and Villains” and Adele’s “21” were the most-streamed albums.

Most-streamed Arab artists in Saudi Arabia

  1. Abdul Majeed Abdullah
  2. Rashed Al-Majed
  3. Khaled Abdul Rahman
  4. Ayed
  5. Assala Nasri
  6. Majid Almohandis
  7. Mohammed Abdu
  8. Ahmed Saad
  9. Abadi Al Johar
  10. Sherine

Most-streamed artists in Saudi Arabia

  1. Taylor Swift
  2. The Weeknd
  3. Lana Del Rey
  4. Drake
  5. BTS
  6. Travis Scott
  7. Cigarettes After Sex
  8. Metro Boomin
  9. Abdul Majeed Abdullah
  10. Jung Kook

Most-streamed songs in Saudi Arabia

  1. “Set Fire to the Rain” by Adele
  2. “Seven” (feat. Latto) (Explicit Ver.) by Jung Kook
  3. “Metamorphosis” by Interworld
  4. “Kill Bill” by SZA
  5. “Alo Aleky” by Mohammed Saeed
  6. “Snowfall” by Oneheart
  7. “Another Love” by Tom Odell
  8. “I Wanna Be Yours” by Arctic Monkeys
  9. “Cupid” Twin Ver. by Fifty Fifty
  10. “Like Crazy” by Jimin

Most-streamed albums in Saudi Arabia

  1. “Starboy” by The Weeknd
  2. “Heroes & Villains” by Metro Boomin
  3. “21” by Adele
  4. “Midnights” by Taylor Swift
  5. “SOS” by SZA
  6. “Born To Die — The Paradise Edition” by Lana Del Rey
  7. “Cigarettes After Sex” by Cigarettes After Sex
  8. “After Hours” by The Weeknd
  9. “Proof” by BTS
  10. “1989” by Taylor Swift

Spotify users can access their personalized Wrapped experience on its mobile app and website.


Californian council meeting goes viral online after residents defend Hamas

Californian council meeting goes viral online after residents defend Hamas
Updated 01 December 2023
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Californian council meeting goes viral online after residents defend Hamas

Californian council meeting goes viral online after residents defend Hamas
  • Speakers express support for militant group as Oakland council members vote for ‘immediate ceasefire’ in Israel-Hamas war

LONDON: A recent city council meeting in Oakland, California went viral online after speakers defended militant group Hamas.

And following debate, council members voted for an immediate ceasefire in the Israel-Hamas war.

In a clip shared online, one person attending the meeting said: “Calling Hamas a terrorist organization is ridiculous, racist, and plays into genocidal propaganda that is flooding our media and that we should be doing everything possible to combat.”

 

Another speaker referred to the group as a “resistance organization that is fighting for the liberation of Palestinian people in their land.”

Tye Gregory of the Jewish Community Relations Council Bay Area later told The Jewish News of Northern California that the meeting had been the “most antisemitic room I have ever been in.”

British journalist Piers Morgan shared the video on X and accused the commenters of being “brazen terrorist sympathizers.”

During the city council meeting, lawmakers unanimously approved a resolution calling for an “immediate ceasefire” in the conflict, the unrestricted entry of humanitarian assistance into Gaza, the restoration of food, water, electricity, and medical supplies to the Strip, and respect for international law.

They also called for a resolution that protected the security of all innocent civilians.


Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine

Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine
Updated 01 December 2023
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Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine

Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine

LONDON: More than 1,300 artists, including Academy Award winner Olivia Colman and BAFTA winners Aimee Lou Wood and Siobhan McSweeney, signed an open letter on Thursday accusing cultural institutions across Western countries of “repressing, silencing and stigmatizing Palestinian voices and perspectives.” 

This includes “targeting and threatening the livelihoods of artists and arts workers who express solidarity with Palestinians, as well as cancelling performances, screenings, talks, exhibitions and book launches,” they said in the letter.

“Despite this pressure, artists in their thousands are following their conscience and continuing to speak out. Freedom of expression, as enshrined in the Human Rights Act and the European Convention of Human Rights, is the backbone of our creative lives, and fundamental to democracy.”

The letter cites several examples of censorship such as Lisson Gallery’s so-called postponement of a London exhibition by Ai Weiwei, Folkwang Museum’s last-minute cancellation of Anais Duplan’s Afrofuturism exhibition, as well as Saarland Museum’s cancellation of Candida Brietz’s solo exhibition in Germany. 

In addition, Hollywood producers announced their decision to remove actress Melissa Barrero from “Scream VII.”

In every instance, the organization stated that the reason for the cancellation was the artists’ support for Palestine, which is unrelated to their professional work.

Last month, the publicly funded Arnolfini, an international arts center and gallery in Bristol, decided not to hold film and spoken word poetry events organized by the Bristol Palestine Film Festival, due to claims the events might “stray into political activity.” 

The events have since been moved to other venues in the city. 

Letter signatory Hassan Abulrazzak, whose play “And Here I Am” is based on the life of a Palestinian actor, was canceled in Paris in October. 

He said: “This censorship is as frustrating as it is wrongheaded. Now is the time to listen to Palestinians, to understand what their lives are like.”

Film directors Emma Seligman, Hany Abu-Assad and Ken Loach, among many others, urged arts organizations to join calls for a permanent ceasefire and to “stand up for artists and workers who voice their support for Palestinian rights.” 

They accused arts organizations of a “disturbing double standard,” saying that “expressions of solidarity readily offered to other peoples facing brutal oppression have not been extended to Palestinians.” 

The letter calls on the arts and culture sector to publicly demand a permanent ceasefire, promote and amplify the voices of Palestinian artists, writers, and thinkers, stand up for artists and workers who voice their support for Palestinian rights and refuse collaborations with institutions or bodies that are complicit in severe human rights violations.

Award-winning composer Jocelyn Pook, Robert del Naja, David Sylvian and many others said they “stand in solidarity with those facing threats and intimidation in the workplace.”

They went on to warn that “many artists are refusing to work with institutions that fail to meet (these) basic obligations” to uphold freedom of expression and anti-discrimination when it comes to speech on Palestine. 

Two thousand poets announced a boycott of the Poetry Foundation in the US after its magazine refused to publish a book review it had commissioned. 

Artforum magazine is also facing significant backlash as artists and writers from around the world express their refusal to collaborate with the publication. 

Additionally, its editorial team has stepped down in protest following the dismissal of editor David Velasco, who had published a letter signed by 8,000 artists that called for a ceasefire and for “Palestinian liberation.”

Last Friday, UN experts said in a statement: “People have the right to express solidarity with victims of grave human rights violations and demand justice, whether from one side or the other or both.”

They added: “Some artists have been deprogrammed and censored for calling for peace, others have lost their jobs, and some artists have been silenced or side-lined by their own cultural organizations and artistic communities.”


‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal

‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal
Updated 01 December 2023
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‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal

‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal
  • New company will be powered by an integrated technology platform

DUBAI: Last month, OSN Group announced an investment of $50 million in local audio streaming app Anghami, which will see its streaming service OSN+ and Anghami merge to form one entity.

The deal, currently subject to regulatory approval, is expected to be completed before the end of the first quarter of 2024, combining over 120 million Anghami registered users and more than 2.5 million OSN+ paying subscribers.

“The move helps us scale very quickly,” Joe Kawkabani, CEO of OSN Group, told Arab News.

The new company will be powered by an integrated technology platform on the back end, which will “allow us to be more agile in terms of serving our customers and giving them a superior technological experience,” he said.

OSN is, however, taking its time to decide what the front end will look like. Both brands have different strengths; OSN+ is well known for premium video content, particularly in the Gulf, while Anghami is well known in West Africa and Levant, Kawkabani added.

“We want to leverage the strength of both brands and take our time to see what our customers want and make decisions accordingly,” he said.

This means that the companies have not yet decided whether they will merge both apps into one or introduce content from either platform on the other or some combination of the two.

Part of the uncertainty is intentional, Kawkabani said. “We have massive scale and great content, so we have all the right ingredients to go effectively wherever we want from here.”

He added: “I like to create strategic moves that give us the flexibility, and honestly at that point, we have to just listen to what the customer wants.”

The deal also “gives us an opportunity, through the combination of music and video, to engage our customers throughout the day,” he said.

The time and method of consuming audio and video formats can vary vastly, with audiences listening to music and podcasts while commuting, for example, and tuning into video formats like TV shows and movies at the end of the day, he explained.

“Now, we can engage with our customers throughout the day, and that will help us build a very robust foundation for our business,” he added.

And that is what ultimately matters to OSN. As Kawkabani put it: “We care a lot about engaged and happy customers.”

Approximately 37 percent of OSN’s customers in the Gulf are purely cord-cutters, while 23 percent are primarily traditional TV viewers and the remaining 40 percent are hybrid viewers, meaning that they consume content on streaming platforms as well as linear TV channels, Kawkabani explained.

The company has made several investments to cater to these various segments, such as launching an upgraded version of the OSNtv box this June, which provides both live TV and streaming channels through one device.

Western content performs extremely well in the Middle East, said Kawkabani. Christopher Nolan’s “Oppenheimer,” for example, broke the 2023 record for advanced ticket sales in Saudi Arabia.

OSN has capitalized well on this success, building exclusive partnerships with international studios such as HBO, NBC Universal, and Paramount.

When it comes to original content, the streamer wants to do more but is focused on quality over quantity, and that takes “time and patience” to build the kind of slate that can sit comfortably with other premium shows in its library, said Kawkabani.

Its first original feature film, “Yellow Bus,” premiered at the Toronto International Film Festival this year where it was one of the 26 titles featured in TIFF’s Discovery program.

Kawkabani was reluctant to name a number when it came to upcoming originals “because managing volume on a streaming service is different than managing volume on a linear service,” with the former allowing streamers to produce based on audience feedback and the latter requiring broadcasters to account for the number of hours they need to fill.

He said: “There is no fixed percentage we’re working towards, but we’re going to keep on increasing year on year, quarter over quarter as we find new projects.”

Although global companies like Netflix produce hundreds of originals every year — with several local partnerships now in effect in the Middle East — Kawkabani remains unfazed.

“What they do doesn’t dictate what we do,” he said.

“We don’t try to emulate or follow the footsteps of others. We believe that from a local perspective, we have a better vantage point. We are from the region,” he added.

Bringing together its array of Western as well as regional content — such as Turkish shows dubbed in Arabic that are popular among audiences — with its local background, Kawkabani views OSN as a “gateway” for international companies in the region.

He also believes there is an opportunity in the Middle East for “premium local stories” and that is where “OSN can play a role in producing and broadcasting.”

The need for a “strong local streamer” is critical, especially as the number of streaming services increases, he said.

“Being a successful streamer and offering content worthy of subscriptions — or their (consumers’) time and engagement — is very hard, so we feel that we need to be one of the top two or three apps that customers use frequently and repeatedly,” he concluded.