A10 Networks Delivers Highest-Performance Virtual DDoS Defense Solution to Protect 5G and Cloud Infrastructures- Tempemail – Blog – 10 minute

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Today announced it has delivered the industry’s highest-performance virtual DDoS defense solution with its software version of the Thunder Threat Protection System (TPS) solution, vThunder TPS. The enhanced vThunder TPS provides 100 Gbps throughput in a single virtual appliance and can be expanded to 800 Gbps with eight-way clustering. As a result, service providers can build elastic DDoS defenses that can be incrementally scaled during wartime when peak capacity is required. vThunder TPS is compact and efficient, allowing it to be deployed in next-generation mobile edge compute (MEC) environments, conserving space and power while providing powerful DDoS protection.
5G mobile operators and cloud service providers are increasingly moving from purpose-built hardware-centric infrastructures to be more agile and virtualized. These operators need DDoS defenses that can keep pace with this movement toward elastic, virtualized private clouds. The transition to 5G makes this even more critical as operators need to be able to ensure the availability of business services against the potential for large DDoS attacks, particularly during high-visibility times like global sporting events and seasonal shopping spikes. DDoS attacks will only increase in severity as operators expand services to support IoT-driven energy, agriculture, transportation, healthcare and manufacturing.
vThunder TPS provides operators a cost-efficient way to protect their networks and infrastructures without over-provisioning DDoS defense capacity. vThunder TPS provides customers:

 Cloud-ready DDoS Defense: Customers are able to gain deployment and operational flexibility with DDoS defenses that support major private cloud platforms including KVM, VMware ESXi and Microsoft Hyper-V. A high-performance 100 Gbps virtual appliance can scale to 800 Gbps with eight-way clustering to meet the performance needs of 5G mobile operators and cloud providers.
 Agility and Scalability: With A10’s FlexPool® licensing, capacity can be scaled up in hours via license allocation rather than in weeks or months required for hardware purchasing, delivery and installation. Capacity can be scaled back down by reallocating licenses to other points of presence when intermittent demand subsides. A10’s subscription price model also provides lower start-up and upgrade costs.
Comprehensive Protection: When combined with the Orion 5G Security Suite, vThunder TPS provides high-performance DDoS detection and mitigation and protection against other threats across mobile and cloud network infrastructures.

AvailabilityvThunder TPS is available now. vThunder TPS with 100 Gbps performance is available in March 2020.

If you have an interesting article / experience / case study to share, please get in touch with us at [email protected]resscomputeronline.com

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Haptik develops Virtual Assistant for Kotak Life: Kaya- Tempemail – Blog – 10 minute

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Kotak Mahindra Life Insurance Company (Kotak Life) today announced the launch of its voice assistant KAYA – AI-driven conversational assistance to get instant solutions. Kotak Life At Your Assistance (KAYA) has been developed by Kotak Life and Haptik – a conversational Artificial Intelligence (AI) platform developers. KAYA provides 24X7 assistance and easy instant solutions to consumers thereby enhancing customer experience by resolving queries about premium payment, policy renewals, policy statements, policy information and bonus/fund value.
Presently, Kotak Life’s customer service department handles a huge number of customer queries on a day-to-day basis. KAYA’s integration into customer service department significantly reduces human dependency and call waiting time, and importantly, ensures queries do not go unattended.
Kirti Patil, Chief Technology Officer, Kotak Mahindra Life Insurance Co. Ltd. said, “KAYA is a major milestone in Kotak Life’s digitalization journey. KAYA has reduced the wait time for our customers by as much as four times, and has reduced human dependence to resolve a large number of routine queries. With its self-learning architecture, KAYA can connect to various sections of the support team for a smooth customer experience.”
KAYA, with a comprehensive understanding of the complex processes, is self-learning and is also equipped with advanced agent chat solution, where complex queries outside its scope are seamlessly transferred to Kotak Life’s customer support teams. Quite a few processes were re-imagined and re-designed to provide simplicity for customers.
Kartik Poddar, Business Head, Haptik said, “Conversational Artificial Intelligence (AI) is really transforming the customer support function by providing real-time, accurate and emphatic resolution at scale. We are delighted by KAYA’s immediate impact as she resolves large number of queries while offering a consistent experience to each caller. Together, we will keep evolving the virtual assistant KAYA as she becomes the epicenter of customer engagement at Kotak Life.”
Users can start conversations with KAYA on Kotak Life’s website.

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Man caused virtual traffic jam on Google Maps with with 99 phones- Tempemail – Blog – 10 minute

Call it bizarre, but a German artist Simon Weckert has posted a video on YouTube, showing how he “hacked” Google Maps with 99 smartphones and a wagon to create “virtual traffic jams” on the streets of Berlin. Weckert put 99 smartphones with Google Maps on into a small wagon cart and then wheeled that cart around various streets in Berlin, including outside the Google office, Android Authority reported.
The smartphones “apparently fooled Google Maps” into thinking that there was a high concentration of users on those streets.
Because the second-hand phones were in a cart, Maps was further tricked into believing that the traffic was slow-moving. As a result, the navigation app started showing virtual traffic jams by turning green streets to red in the online navigational tool, showcasing how digital technology can have a real impact on the real world.
Basically, Google Maps’ servers interpreted the situation as traffic congestion, and began showing this to others on the street. This, in turn, prompted drivers to turn away and avoid streets where there was actually no traffic.
Google was yet to officially comment on Weckert’s experiment.
“I work for Google Maps and I know quite a bit about how this works. I believe this is possible,” tweeted a senior software engineer for Google Maps.
With its geo tools, Google has created a platform that allows users and businesses to interact with maps in a novel way, well, unless Weckert aims to play around it.

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Artist uses 99 smartphones to create virtual traffic jams in Google Maps – Blog – 10 minute

In brief: An artist from Berlin has proven just how easy it can be to manipulate Google Maps’ real-time traffic data. With a wagon full of phones, he was able to create virtual traffic jams and presumably reroute traffic, causing others to unnecessarily avoid the area. Clever or dangerous?
Google for well over a decade has used colored overlays in its mapping application to illustrate real-time traffic conditions. Green means smooth sailing, yellow indicates some crowding and red signifies a bona fide traffic jam.
This information about your commute is deemed invaluable to many, but did you ever stop to question where Google and others source their data from? Look no further than the trusty ole spy in your pocket, otherwise known as your smartphone.
Mapping providers like Google rely on crowdsourcing to collect speed and location information from smartphone users. By analyzing the movement and congestion of phones, they’re able to determine traffic conditions with a reasonable level of accuracy. That is, until a prankster like Simon Weckert comes along.

Weckert gathered 99 smartphones, loaded each one with the Google Maps app then walked around town with them in a wagon. As Weckert appears to demonstrate in the clip above, the behavior succeeded in creating a virtual traffic jam, turning green streets red within the app.
Presumably, this also affected others by rerouting them to avoid the “traffic jam.”
For its part, Google seems to be taking it all in stride. A spokesperson for Google told 9to5Google that “Whether via car or cart or camel, we love seeing creative uses of Google Maps as it helps us make maps work better over time.”
Masthead credit: Google Maps by XanderSt

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Virtual digital assistants aren’t yet ready to save your life – Blog – 10 minute

Facepalm: Researchers from the University of Alberta recently compared the responses of the four leading virtual digital assistants – Alexa, Google Assistant, Cortana and Siri – when asked basic first aid and life support questions. The results may surprise you.
The team asked each of the assistants 123 questions spanning 39 first aid topics, arranging questions and statements with syntaxes like “How can I tell if …” or “I’m having a …” and providing three rephrasing attempts. Responses were rated based on whether or not the assistant recognized the query and against existing first aid guidelines.
Amazon’s Alexa and Google’s Assistant were able to recognize queries 98 percent and 92 percent of the time, respectively. Conversely, Cortana only understood what it was being asked of 19 percent of the time and Siri only got it right 23 percent of the time.

As for the quality of recommendations issued, the Google Assistant had a recognized acuity of 62 percent versus just 35 percent for Alexa. The overall low quality responses from Cortana and Siri “prohibited their analysis,” researchers said. Siri only appropriately referred to emergency response systems 12 percent of the time, the study found.
In other words, it’ll probably be a few years still before most are comfortable trusting virtual digital assistants with first aid tasks.
On a positive note, Amazon reached out after the results were published in hopes of improving its results.
Masthead credit: John Brecher, Washington Post. First Aid by stockcreations.

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Love, loss and virtual memorials: my brother’s digital legacy | Society- Tempemail – Blog – 10 minute

When my phone used to light up with my younger brother’s name, I always knew I could safely ignore it if I wanted to – whether it be a self-indulgent video of his latest attempt at Z-list fame or a harsh tweet about a celebrity I’d never heard of. Whatever. I even coined a sarcastic hashtag when replying to him: #nobodycaresmartyn.
But then one nondescript morning in May 2017, my phone lit up with his name on all the notifications – hundreds of them – and there was no way I could ignore any of them.
My brother was one of the 22 people killed in the Manchester Arena terror attack. He was 29. Losing him in this way meant I instantly went from an almost complete inexperience of grief to having to endure the most unexpectedly public form of loss imaginable.

Is losing him made easier by the rectangle of glass in my pocket?

In an ideal world – relatively speaking – you get your affairs in order when you are facing your own mortality, at least when you have the time to think about it. A person knowingly approaching their end writes a will, ties up loose ends and makes their peace. I’m not sure what I’d do – and I strongly suspect Martyn didn’t know either (although, curiously, his dramatic funeral was arranged in perfect accordance with his wishes, as discussed jokingly over many drinks with friends. Be careful what you morbidly joke about, because when your number is up those hazy musings quickly become event directions). The point is that part of making your mortal exit is drawing a line under your existence and leaving your legacy behind. Planting your flag and communicating to future observers: “I was here. I existed.”
But sometimes the universe doesn’t extend you the courtesy of allowing you to shuffle your paperwork and settle your affairs in your own time. Despite this, even though he checked out quite ahead of schedule, in a strange way Martyn had already done some of the work himself, without realising it. Like the rest of my generation, my brother’s existence was eternally self-documented in detail across social media. It is an archive of self that he accidentally left behind and an example of what makes losing someone in the modern world an experience that’s unique to our time.
It’s been bittersweet so far. Although the manner in which he died meant that there wasn’t any time to prepare, he left behind an unfathomably rich web of content – endless tendrils of his digital self, captured in imagery, video, music, writing and a truly breathtaking number of tweets. Although he was impressively prolific, it wasn’t ever completely raw – he carefully curated his online presence as it unfolded (photos taken from his good side strongly preferred, please, and don’t post them online without his sign-off, thank you). The abrupt end to this constant barrage of self-directed content means his online legacy has a stark truth about it that’s more powerful than anything he could have intentionally put together.

‘His final tweets are still replied to by hundreds of other users, years after his death.’ Photograph: Martyn Hett
The digital mixed-media self-portrait he created in these spaces is, in many ways, the real him, rather than whatever planned content I’m sure he’d have put together had he had the luxury of a little time to work on his media strategy (and believe me, he would have).
That technology underpinned the entire experience wasn’t just in his use of it – it was in our use of it, too. Family, community, press, police, rubberneckers. It was my smartphone that lit up when the attack happened; social media where we put the word out about him being missing and circulated his photograph, and online platforms that ultimately let people know when we’d found out what happened to him.
It was, of course, also social media that worked as an easy vector for fairly hostile press intrusion, something that began literally after the attack and in many ways continues to this day. More importantly, though, social media still plays a critical role in the story: it allows me, my family, his friends and anyone else to explore the digital legacy that he’s built. His social feeds still exist, but the channels are paused – he was writing and broadcasting until the very last moment; his final transmission being a tweet complaining about the toilet queues in the arena. His broadcast stopped there.
He did what many of us do most days – built a digital footprint, filled with imagery and notes and videos and a million other captured moments, fragments, pieces of the trail that make up you as a person (or at least, the version of your online self you’ve chosen to present to the world, be that accurate or not). These fragments of digital ephemera have now become intangible virtual memorials. Some are improvised, like his final tweets that are still replied to by hundreds of other users, years after his death. Others are more planned – Martyn’s personal Facebook page was quickly and officially “memorialised” in a surprisingly sensitive way by Facebook, but (as I’m sure he’d howl laughing at) this contrasts wildly with the wholly inappropriate header image and scathing posts underneath. He was here and then he wasn’t, but everything he’s created remains exactly how he left it, as it will when you or I check out – expected or not.
My brother and I sit squarely in that curious generational overlap where we existed as children without digital technology or the internet, but suddenly had it bestowed upon us as teenagers. This abrupt connection totally re-wired how we existed as young people and, subsequently, as adults. Put another way, I’m old enough to remember nervously calling the house phone of a girlfriend and praying her father didn’t pick up, but at the same time I’m young enough that my angsty teenage diary entries were posted to early online journalling sites, and not scrawled into the traditional hidden notebook. This contrast, this rapid-onset unveiling of our digital selves, has been a huge factor in how and why my generation has taken to social media, and why my brother and I both went full tilt with it from the minute it was something we could use to broadcast with.
Now, in 2020, this progress has had a human impact in ways I didn’t expect. In my pocket is a tiny miracle of engineering that allows me to access the sum of human knowledge, reach out to almost anyone on the planet, and indeed call up a perfect video recording of my departed brother.

‘Martyn carefully curated his online presence.’ Photograph: Martyn Hett
The really big companies that shepherd our online existences are incredibly good at what they do, but Martyn’s death has shown me that many digital entities handle tricky things like death and difficult human “stuff” really badly.
I build things with technology for a living, and in my job we sometimes call these things “squishy” problems – awkward human problems that can’t be solved easily with data points and algorithms, and need a human hand (and human empathy) to correct. This is a phenomenon that will affect us more and more as AI and machine-learning technologies take over more of our computational heavy lifting. But it still feels like we’re a long way off knowing how to deal with it.
I found this out in the blackest of ways while standing at the site of the bomb blast in the arena a few weeks later, speechless at the damage. He’d laugh, I’m sure, at the notion of Facebook helpfully asking me to “check in” to let my friends know how much fun I was having…
More broadly, the digital behemoths of social media are beginning to reach a tipping point where the demand for usernames is outstripping supply. Twitter recently announced (and then hastily retracted) a proposed cull of what they deem to be inactive accounts. It’s quite a loaded word though – inactive – isn’t it? The accounts of the lost are certainly inactive in a literal sense, but they still have a reason to be there: they have meaning to people, and that’s what makes them active for so many.

‘The accounts of the lost are inactive in a literal sense but they still have meaning to people’: Martyn and Dan Hett, as children. Photograph: Family Picture
The data can be downloaded and saved, but the notion that one of these inadvertent crystallisations of my brother’s digital self could arbitrarily disappear is a challenging one, not least because there could feasibly be a day where the account is gone and someone else takes the name.
When streams of online activity abruptly cease broadcasting, they don’t disappear, they become vital archives that are, for now, permanent. We’re only a decade or two away from reaching that macabre milestone on long-standing platforms such as Facebook where accounts belonging to dead users outnumber the accounts of the living.
Martyn’s digital legacy continues to inspire and be built upon, even within my own work. Understandably, my creative output effectively ceased when Martyn died. Over time, as we rebuilt, I found my work changing direction, too. For the past few years I’ve been engaged in creating introspective experimental video games and digital artworks that explore grief, loss and, increasingly, the nature of going through this process in a world powered by technology that is in a constant state of flux. I’m now creating bigger and more ambitious work that examines radicalisation and extremism, and our fragmented existences within digital spaces. I’m using technology to not just look at the loss I experienced, but ask how we got here and why any of this happened. Not all of this work is about Martyn, but all of it is because of him – and quietly for him.
Living each moment as if it’s your last is a well-worn cliché, but in 2020 it might be more accurate to settle for updating your status as if it’s your last. Inevitably, without knowing, you’ll have inadvertently written the closing sentence of the terribly self-indulgent story you’ve spent your whole life creating. Was it the grand sign-off you wanted, or a throwaway tweet about the train being late? I wonder which of those would be more truthful, and whether or not this is important to those looking back at it from the future?
I wonder, too, whether those facing their mortality with a little more notice than my brother had may end up with more than the trail of annoying nonsense he left behind by accident. The nonsense is his truth, in a way. I often question whether losing someone is made more difficult, or easier, by the fact I have a rectangle of glass in my pocket that can find the sound of his voice, in seconds, at any time. I can sit with my two young children, watching Uncle Martyn’s idiot grin and hearing his ceaselessly irritating cackling, and when I see them smile back at it, I have my answer.

Mourners gather: partner Russell Hayward (centre) at Martyn’s funeral. Photograph: Dave Thompson/Getty Images
As a society it feels as if we’re still adjusting to the effects of this constant digital capture, not least when it comes to thorny human problems, like losing someone. We’re rapidly traversing technological and ethical ground that nobody has covered before. For better or worse, we are currently part of the first generation in history to inhabit a world where the living, and increasingly the dead, are documented with such accuracy.
This shift has taken place incredibly quickly, and it’s easy to forget that, within living memory, the sum total of most people’s visual existence was contained in a handful of printed photographs. The rest was passed down as stories, retellings, memories. Over time the clarity faded, the person moved in and out of focus, became invisible. Our enormous advancements in technology (and our willingness to embrace them) mean that, for the first time, that image never blurs or fades, but lives on. The meaning of this is subtle, yet profound: the way we look at death itself has changed for ever. There are ghosts in our machines, and I’m glad we have them.

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Can virtual influencers build real connections with audiences?- Tempemail – Blog – 10 minute

Despite investment in virtual influencer campaigns by brands such as SK-II, Calvin Klein and Smart Car, some marketers still doubt whether a virtual character can forge a real connection with an audience.
Speaking at the Tempemail Live, a new monthly magazine launch event hosted by the Hospital Club, Lore Oxford, global head of cultural insights at We Are Social, suggested that audiences may not yet be willing to fully engage with virtual content creators. She said: “We’re right in the middle of uncanny valley… it’s still an emerging space.
“People affiliate these platforms with reality and real people. There’s a soap opera element to social media, where we engage with all of these different people’s conflicts and stories – but I don’t know whether people are ready for those platforms to have fictional narratives on them.”
Oxford said people still desire authenticity from creators, pointing to recent stories of influencers accused of deceiving followers, such as the revelation that Instagrammer Caroline Calloway had produced much of her content with the aid of a ghostwriter and the Calvin Klein campaign featuring Lil Miquela and Bella Hadid accused of queerbaiting.
Andrew Jude Rajanathan, global director at Zenith, suggested that for now, the publicity gained by associating with popular virtual characters could outweigh audience reservations. He said: “You’ve now got the virtual world colliding with the real world. And you’ve got your brand front and centre.”
For Lucy Robertson, account director at influencer agency Seen Connects, virtual influencers aren’t currently able to produce “emotive storytelling“.
She said: “Part of the reason why people invest in influencers long term is if they see themselves in that person, and they really connect with their values.
“We’ve seen people like virtual influencers, like Lil Miquela… she did a vlog not too long ago talking about her experience of sexual assault. That’s a very traumatic and real human experience. And there’s something very kind of like cold and clinical about someone who isn’t real explaining a human experience. So I wonder, when it comes to that kind of emotive storytelling, how can we bridge that gap?”

Tempemail recently unveiled its own virtual influencer, a digital character named Floresta, in partnership with Live & Breathe and the Virtual Influencer Agency (VIA). Dudley Nevill-Spencer, founder of VIA, suggested that audiences would engage with virtual influencers as entertainment, rather than documentary.
“The key is understanding that that character is not real,” he said. Then I think it’s fine to engage in those kinds of deep emotional stories. Effectively, it’s just another art form. The difficulty is when you don’t know if a person is real or not – that messes with your head.”
Tempemail Live is a new event series that marks the launch of each issue of Tempemail, held every month at the Hospital Club in London. Tempemail Tempemail’s events team to be notified about the next event.

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Tempemail Live asks whether virtual influencers can build real connections with audiences- Tempemail – Blog – 10 minute

Despite investment in virtual influencer campaigns by brands such as SK-II, Calvin Klein and Smart Car, some marketers still doubt whether a virtual character can forge a real connection with an audience.
Speaking at the Tempemail Live, a new monthly magazine launch event hosted by the Hospital Club, Lore Oxford, global head of cultural insights at We Are Social, suggested that audiences may not yet be willing to fully engage with virtual content creators. She said: “We’re right in the middle of uncanny valley… it’s still an emerging space.
“People affiliate these platforms with reality and real people. There’s a soap opera element to social media, where we engage with all of these different people’s conflicts and stories – but I don’t know whether people are ready for those platforms to have fictional narratives on them.”
Oxford said people still desire authenticity from creators, pointing to recent stories of influencers accused of deceiving followers, such as the revelation that Instagrammer Caroline Calloway had produced much of her content with the aid of a ghostwriter and the Calvin Klein campaign featuring Lil Miquela and Bella Hadid accused of queerbaiting.
Andrew Jude Rajanathan, global director at Zenith, suggested that for now, the publicity gained by associating with popular virtual characters could outweigh audience reservations. He said: “You’ve now got the virtual world colliding with the real world. And you’ve got your brand front and centre.”
For Lucy Robertson, account director at influencer agency Seen Connects, virtual influencers aren’t currently able to produce “emotive storytelling“.
She said: “Part of the reason why people invest in influencers long term is if they see themselves in that person, and they really connect with their values.
“We’ve seen people like virtual influencers, like Lil Miquela… she did a vlog not too long ago talking about her experience of sexual assault. That’s a very traumatic and real human experience. And there’s something very kind of like cold and clinical about someone who isn’t real explaining a human experience. So I wonder, when it comes to that kind of emotive storytelling, how can we bridge that gap?”

Tempemail recently unveiled its own virtual influencer, a digital character named Floresta, in partnership with Live & Breathe and the Virtual Influencer Agency (VIA). Dudley Nevill-Spencer, founder of VIA, suggested that audiences would engage with virtual influencers as entertainment, rather than documentary.
“The key is understanding that that character is not real,” he said. Then I think it’s fine to engage in those kinds of deep emotional stories. Effectively, it’s just another art form. The difficulty is when you don’t know if a person is real or not – that messes with your head.”
Tempemail Live is a new event series that marks the launch of each issue of Tempemail, held every month at the Hospital Club in London. Tempemail Tempemail’s events team to be notified about the next event.

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Virtual reality headsets may hamper visual memory- Tempemail – Blog – 10 minute

Virtual Reality (VR) is gaining popularity in fields like healthcare, multimedia, entertainment and education but too much use of the technology may hamper your visual memory, Japanese researchers have warned. During experiments with two sets of human participants, they discovered that people who wore head-mounted displays (HMDs) performed worse on memory tests later.
“From this, it became clear for the first time in the world that VR may interfere with visual memory due to the way it moves images in conjunction with user movement,” the authors wrote in a paper published in the journal Frontiers in Psychology.
To reach this conclusion, Kyoko Hine, assistant professor at the Department of Computer Science and Engineering, Toyohashi University of Technology and a research team at Tokyo Denki University conducted an experiment using HMDs and examined the effects of VR on memory.
In the experiment, the participants visited a museum virtually and looked at paintings. After that, a memory test was conducted about the paintings.
With regard to the VR experience, the research team set up conditions such that one group viewed images linked to their movements on an HMD (active VR) and a second group watched another person’s VR video on a display (passive VR).
“In other words, under active VR, the participants could look around at the surroundings themselves, but under passive VR, the participants could not look around,” the researchers said.
Comparing the results of the memory test for these two groups, the results were worse for the active VR group.
“The reason may be that the enhanced sense of realism and immersion created by the ability to look around freely, that is characteristic of VR, tires the brain and consequently prevents the formation of visual memory,” the authors wrote.
While there are high hopes for VR technology as an educational tool that attracts users, and children in particular, it is important to create teaching materials that take into account these characteristics of VR.
“In order to benefit society, IT needs to take human characteristics into consideration. The nature of VR can become known through scientific verification based on experiments like the work undertaken in this research,” the researchers noted.
VR moves the displayed images to match the movement of the user, creating a high sense of realism and enhanced immersion. The team now aims wants to find out why visual memory is hindered when the participants can look around freely in VR.
“Moving forward, the team hopes to offer suggestions on how to use VR as a better learning tool by removing the causes of this phenomenon,” the study said.

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How to use Amazon and advertising to build a D2C startup

It seems like every week there is a well-funded team launching another new direct-to-consumer (D2C) brand. From mattresses to pet treats, digital-native vertical brands are seeing peak attention and funding from both founders and VCs. Part of the reason for all that attention is that it has never been easier to use the tools of the internet to build these brands from the ground up, opening up formerly closed markets.

Ecommerce consultancy VMG Ignite’s Matt Altman and Tyler Elliston discuss their framework to using Amazon as a commerce platform with Facebook ads to build a new D2C brand. It’s a deep and lengthy piece filled with actionable insights that can really help jumpstart your new product or category, or at the very least, giving you insight into how many of these modern brands come into being.

3. Product display ads (Limited to Amazon advertising console users only)

PDAs live on each product page below the buy box and a few other spaces on the product page. These ads can be used in a variety of ways since they allow up to a 50 character headline and a logo.

Three great ways to use them are for defense, frequently bought together, and competitor targeting.

Defense – You can buy placements on your own product pages to keep competitors off your listings. These are great to keep customers focused on buying your product since there are several ads featured on each product page.

Frequently bought together (FBT)– This is a great opportunity most sellers don’t take advantage of. On every product page, there is an unpaid placement of items that are FBT. With the click of a button, all of these items will be added to your cart and it takes very few actual sales to claim these positions. FBT can be used to target your own products to increase basket size or complementary products to drive incremental sales from future placements on product pages.

Competitor targeting– You can also target competitor ASINs (Amazon Standard Identification Number) to be the last ad a person sees before adding a competitor’s product to their cart. Make sure to use your 50 character headline to call out why your product is the better choice. Bonus Tip: Add coupons to the products you feature in these ads to grab attention and increase click-through.


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