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The explosive (and inclusive) potential of NFTs in the creative world

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Digital collectibles are having a very large moment. Just last month, a piece of digital art by Beeple sold for $6.6 million on online art marketplace Nifty Gateway. Meanwhile, Linkin Park’s Mike Shinoda recently sold clips of a song via online marketplace Zora. Over on Dapper Labs’ NBA Top Shot, more than 200,000 people recently waited hours for the chance to buy one of just 10,631 packs of digital NBA moments.

Those marketplaces, along with others, are where people go to buy digital assets, or, non-fungible tokens (NFTs) that live on the blockchain. This whole world of NFTs is super new to me (I’ve only been using Top Shot for a couple of weeks now) so I caught up with a couple of NFT creators to break it down for me, as well as share some insights on where they think the space is going, and it’s overall potential.

“The way I like to explain NFTs, they are digital assets with true ownership and provenance,” Ronin the Collector told TechCrunch. “You can track their origin and they can only be owned by one person.”

Many people, myself included, at some point wonder why someone would pay for a short video clip of, for example, Stephen Curry making a three-pointer when you download it to your computer for free.

“Humans inherently, whether we will like to admit it or not, want to own things,” Ronin said. “And I think that that’s part of the human experience is owning things. When you own things, it’s a connection, and it’s like you have reason for being and there’s something unique about ownership. And I think that at the end of the day, yeah, you can you can watch it all you want. But can you sell it?”

With that clip as an NFT, you can. As an example, one user bought a LeBron James dunk for $208,000 a couple of weeks ago, according to CryptoSlam. Last month, Top Shot reached nearly $50 million in marketplace transactions. Then, over a 24-hour period last week, Top Shot saw more than $37 million in sales, according to Cryptoslam.

As to why they’re blowing up right now, Ronin attributes it to a couple of things: the pandemic that’s forced everyone behind a computer screen and an easy entry point. Top Shot, for example, makes it super easy for plebeians like me to sign up and you don’t need to have a crypto wallet. You can just use your credit card. The same goes for Nifty Gateway.

But Top Shot and Nifty are outliers, Ronin said. For the majority of NFT platforms, you need to have an Ethereum wallet. As Cooper Turley, crypto strategy lead at Audius, wrote on TC, “this means collectors need to purchase ETH from an exchange like Coinbase and send it to a non-custodial address that consists of a long string of numbers and letters to get started.”

That sounds like a whole thing that I, for one, am not ready to dive into. In general, barriers to access continue to be a problem in the NFTs space, Ronin said.

“Projects are just now starting to pay attention to the user experience,” he said. “And just barely in time. One of the best rooms I’ve been on Clubhouse was one that talked about how basically, with the whole world watching, how do we not mess this up. So I think when you have a product like Top Shot, which is easy to get into, easy to sign up for, and easy to purchase. You have to use a credit card, you don’t need crypto and throw in the mix that everyone’s online and then Beeple sells $3 million worth of digital art, and all of a sudden, people want to pay attention. So I think that was the catalyst.”


But an even more expansive and interesting arena for NFTs than Top Shot is the world of NFT art. Ameer Carter, an artist that is also known as Sirsu, got into NFTs last summer thanks to a friend, he told TechCrunch. Pretty much immediately, he said, he realized the transformative nature of the technology.

“We literally have creative immortality,” he told me he realized at the time.

But the art world has historically been inhospitable to Black folks and people of color, and especially in the world of NFTs, Carter said. The traditional art scene, Carter said, is elitist. And while Carter himself is a classically trained artist, he hasn’t been able to make his way into the traditional art world, he said.

“And it’s not because of lack of trying,” he said.

Carter said he’s had a number of conversations with art curators who all love his work, but they’ve told him it’s not “something that they could build a whole curriculum around and intellectualize,” he said. What NFTs do is enable artists like Carter to create and share their art in a way that hadn’t previously been afforded to them.

“And this is a much more open and accessible platform, and environment for them to do so,” Carter said. “And so my goal is to help really give them that type of visibility and empower them to be creatives. My mission is to remove the starving artists stigma. I don’t believe that creativity is cheap. I believe that it is rich. And it enriches and it gives us the reasons why we live in the first place.”

However, Carter said he’s begun to notice white folks taking credit for things Black artists have already done.

“There’s this push and pull between folks who are really about the provenance of the blockchain versus folks who are wanting to predispose themselves as first because they have more visibility,” Carter said.

He pointed to Black artists like Connie Digital, Harrison First and others who were some of the first people to institute social tokens for their fans on the blockchain.

“They were some of the first to deploy and sell albums as NFTs, EPs as NFTs, singular songs,” Carter said. “And now we have Blau that came out and people were saying he’s the first to sell an album. And it’s like, well, that’s not true, technically. But what works and has continued to work is because there’s a lot of hoopla and a lot of money around that sale, that becomes the formative thing as being first because it’s the one that’s made the most noise. And I find it interesting because of the fact that we can literally go back tangibly, and there’s verifiable hash proof that it wasn’t the case.”

These are the types of phenomena pushing Carter to become an NFT archivist of sorts, he said.

“I’m not necessarily a historian, but I think the more and more I get involved in this space, the more and more I feel that pressing role of being an archivist,” he said. “So that culturally, we aren’t erased, even in a space that’s supposed to be decentralized and supposed to be something that works for everyone.”

That’s partly why Carter is building The Well to archive the work of Black artists, like Blacksneakers, for example. The Well will also be a platform for Black artists to mint their NFTs in a place that feels safe, supportive and not exploitative, he said.

On current platforms, Carter said it feels like white artists generally get more promotions on the site, as well as on social media, than Black artists.

“They deserve to have that kind of artists’ growth and development,” Carter said. “Yet it is afforded to a lot of other artists that don’t look like them.”

Carter said he recognizes it’s not the responsibility of platforms like Nifty Gateway, SuperRare and others to provide opportunities to Black artists, but that they do have the ability to put Black artists in a better position to receive opportunities.

That’s partly what Carter hopes to achieve with The Well Protocol. The Well, which Carter plans to launch on Juneteenth, aims to create an inclusive platform and ecosystem for NFT artists, collectors and curators. Carter said he wants artists to not have to feel like they have to constantly leverage Twitter to showcase their work. Instead, they’ll have the full backing of an ecosystem pumping up their work.

“Everywhere else, you look at other artists and they have write-ups, and they have news coverage and things of that nature,” Carter said. “And [Black artists] don’t have a lot of those avenues to compete. You know, I’m in the business of building true equity for us, so part and parcel to that is developing the tools and the ecosystem for us to thrive.”

No longer should art just be for the rich, Carter said.

“We have the ability to completely dismantle that,” he said. “So we have to be very, very, very careful about that and make a concerted effort to make that thing work, but we can’t do it when we have folks entering the space with money erasing folks who were already here. We can’t have that where platforms are not allowing the positioning of artists to grow. You know, we can’t have that when we have folks by and large, fear mongering and trying to get other artists to not be a part of this system.”

It’s also important, he said, for NFTs to not solely be seen as collectible, investable objects.

“Everyone’s getting into the game like it’s a money grab,” he said. “It’s not. It’s playing with artists lives and careers here.”


For those who aren’t yet in on NFTs, there’s still time, Ronin said. Even with the increased attention on NFTs, Ronin says it’s still early days.

“Honestly, I don’t even think we’ve got a full foot into early adoption yet,” he said. “I don’t think you come out of early adoption until we’ve got a solid experience across the board. I think we’re still in alpha.”

That’s partly because Ronin believes the things people will be able to do in five or ten years with this technology will pale in comparison to what’s happening today. For example, Ronin said he spoke with an artist who is experimenting with an NFT experience that will transcend VR, AR and XR.

“And I’m so excited that she chose to work with me and bring me in on this, and use me as kind of an advisor,” he said. “And she can change the world with this technology.”

That’s really what’s so exciting about NFTs for Ronin — the notion that the technology can change your life, and the world, he said.

“And it is a space in which you should feel free to come into and dream big and then figure out how to make those dreams happen,” he said. “You can use AR, VR, mobile, you know, the internet — you can use all these aspects and create an NFT experience that transcends space, transcends time, transcends our life. So it’s a super powerful technology. And I think that people should really pay attention.”

Down the road, Ronin also envisions having connected blockchains “where you can take an NFT from, you know, Bitcoin to Ethereum to WAX to Flow,” he said. “I really think that it’s why this this is that important.”

For Carter, he hopes his work at The Well will help to set a precedent for inclusivity and access in the NFT space. It’s worth mentioning that Carter is also working on the Mint Fund to help minimize the barriers to entry for artists looking to mint their first NFTs. Minting an NFT can be expensive to the tune of $50-$250 depending on how busy the Ethereum network is, and Mint Fund will pay those fees for new artists, making the on-ramp into the world smoother.

“If we don’t do this the right way with the right type of community-driven thinking, then we will lose,” he said. “And it’s not going to look good, it’s going to be ugly. And it’s going to again perpetuate the rich getting richer and the poor getting poorer…We have to find the best ways to redistribute wealth at any given point in time within this economy, within this system. If we do not know how to do that, we are fucked. At least in my opinion.”

There are also conversations in the space around the ecological impact of minting NFTs, which requires a good amount of energy to do. Carter described the existence of two camps: the camp arguing minting NFTs are very ecologically damaging and the ones saying it’s not the fault of minters and you can’t blame them “for minting on a system that is already going to process these transactions, whether they mint or not.”

For Carter, he thinks the first camp could be right, but says there’s just a lot of yelling at this point.

“I think that collectively, us as minters should not feel so fucked up that we can’t do anything anymore,” he said.

Carter also pointed to the energy required to print and ship a bunch of his work.

“To sell one piece of art that I’ve minted versus the energy expenditure and the emissions it takes for me to sell, let’s say 1,000 prints at $20,” he said. “To now shop those to 1,000 different places and for those things to then be transported to 1,000 different homes. Like, maybe they’re comparable, maybe they’re not. I’m not too interested in doing the math at this point.”

Ultimately, Carter thinks there needs to be better access to renewable energy sources and more innovative hardware in the space.

“And the production of creating that innovative hardware also has to be coming from renewable energy sources, like the entire framework should be working to be carbon negative,” he said. “As carbon neutral to carbon negative as possible. And not just the minting side but the mining side. And, you know, the manufacturing side. It’s a cyclical issue.”

Lyron Foster is a Hawaii based African American Musician, Author, Actor, Blogger, Filmmaker, Philanthropist and Multinational Serial Tech Entrepreneur.

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Pakistan temporarily blocks social media

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Pakistan has temporarily blocked several social media services in the South Asian nation, according to users and a government-issued notice reviewed by TechCrunch.

In an order titled “Complete Blocking of Social Media Platforms,” the Pakistani government ordered Pakistan Telecommunication Authority to block social media platforms including Twitter, Facebook, WhatsApp, YouTube, and Telegram from 11am to 3pm local time (06.00am to 10.00am GMT) Friday.

The move comes as Pakistan looks to crackdown against a violent terrorist group and prevent troublemakers from disrupting Friday prayers congregations following days of violent protests.

Earlier this week Pakistan banned the Islamist group Tehrik-i-Labaik Pakistan after arresting its leader, which prompted protests, according to local media reports.

An entrepreneur based in Pakistan told TechCrunch that even though the order is supposed to expire at 3pm local time, similar past moves by the government suggests that the disruption will likely last for longer.

Though Pakistan, like its neighbor India, has temporarily cut phone calls access in the nation in the past, this is the first time Islamabad has issued a blanket ban on social media in the country.

Pakistan has explored ways to assume more control over content on digital services operating in the country in recent years. Some activists said the country was taking extreme measures without much explanations.

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Oxbotica raises $13.8M from Ocado to build autonomous vehicle tech for the online grocer’s logistics network

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Ocado, the UK online grocer that has been making strides reselling its technology to other grocery companies to help them build and run their own online ordering-and-delivery operations, is making an investment today into what it believes will be the next chapter of how that business will grow: it is taking a £10 million ($13.8 million) stake in Oxbotica, a UK startup that develops autonomous driving systems.

Ocado is treating this as a strategic investment to develop AI-powered, self-driving systems that will work across its operations, from vehicles within and around its packing warehouses through to the last-mile vehicles that deliver grocery orders to people’s homes. It says it expects the first products to come out of this deal — most likely in closed environments like warehouses rather than open streets — to be online in two years.

“We are excited about the opportunity to work with Oxbotica to develop a wide range of autonomous solutions that truly have the potential to transform both our and our partners’ CFC [customer fulfillment centers] and service delivery operations, while also giving all end customers the widest range of options and flexibility,” said Alex Harvey, chief of advanced technology at Ocado, in a statement.

The investment is coming as an extension to Oxbotica’s Series B that it announced in January, bringing the total size of the round — which was led by bp ventures, the investing arm of oil and gas giant bp, and also included BGF, safety equipment maker Halma, pension fund HostPlus, IP Group, Tencent, Venture Science and funds advised by Doxa Partners — to over $60 million.

The timing of the news is very interesting. It comes just one day (less than 24 hours in fact) after Walmart in the US took a stake in Cruise, another autonomous tech company, as part of recent $2.75B monster round.

Walmart owns one of Ocado’s big competitors in the UK, ASDA; and Ocado has made its first forays into the US, by way of its deal to power Kroger’s online grocery business, which went live this week, too. So it seems that competition between these two is heating up on the food front.

More generally, there has been a huge surge in the world of online grocery order and delivery services in the last year. Earlier movers like online-only Ocado, Tesco in the UK (which owns both physical stores and online networks), and Instacart in the US have seen record demand, but they have also been joined by a lot of competition from well-capitalized newer entrants also keen to seize that opportunity, and bringing different approaches (next-hour delivery, smaller baskets, specific products) to do so.

In Ocado’s home patch of Europe, other big names looking to extend outside of their home turfs include Oda (formerly Kolonial); Rohlik out of the Czech Republic (which in March bagged $230 million in funding); Everli out of Italy (formerly called Supermercato24, it raised $100 million); Picnic out of the Netherlands (which has yet to announce any recent funding but it feels like it’s only a matter of time given it too has publicly laid out international ambitions). Even Ocado has raised huge amounts of money to pursue its own international ambitions. And that’s before you consider the nearly dozens of next-hour, smaller bag grocery delivery plays.

A lot of these companies will have had a big year last year, not least because of the pandemic and how it drove many people to stay at home, and stay away from places where they might catch and spread the Covid-19 virus.

But now, the big question will be how that market will look in the future as peoples go back to “normal” life.

As we pointed out earlier this week, Ocado has already laid out how demand is lower, although still higher than pre-pandemic times. And indeed, the new-new normal (if we can call it that) may well see the competitive landscape tighten some more.

That  could also be one reason why companies like Ocado are putting more money into working on what might be the next generation of services: one more efficient and run purely (or at least mostly) on technology.

The rationale of forking out big for autonomous tech, which is still largely untested and very, very expensive technology, to save money is a long-term play. Logistics today accounts for some 10% of the total cost of a grocery delivery operation. But that figure goes up when there is peak demand or anything that disrupts regularly scheduled services.

My guess is also that with all of the subsidized services that are flying about right now, where you see free deliveries or discounts on groceries to encourage new business — a result of the market getting so competitive — those logistics have bled into being an even bigger cost.

So it’s no surprise to see the biggest players in this space looking at ways that it might leverage advances in technology to cut those costs and speed up how those operations work, even if it’s just a promise of discounts in years, not weeks. Of course investors might see it otherwise if that doesn’t go to plan.

In addition to this collaboration with Oxbotica, Ocado continues to seek further investments and/or partnerships as it grows and develops its autonomous vehicle capabilities.

Notably, Oxbotica and Ocado are not strangers. They started to work together on a delivery pilot back in 2017. You can see a video of how that delivery service looks here:

 

“This is an excellent opportunity for Oxbotica and Ocado to strengthen our partnership, sharing our vision for the future of autonomy,” said Paul Newman, co-founder and CTO of Oxbotica, in a statement. “By combining both companies’ cutting-edge knowledge and resources, we hope to bring our Universal Autonomy vision to life and continue to solve some of the world’s most complex autonomy challenges.”

But as with all self-driving technology — incredibly complex and full of regulatory and safety hurdles — we are still fairly far from full commercial systems that actually remove people from the equation completely.

“For both regulatory and complexity reasons, Ocado expects that the development of vehicles that operate in low-speed urban areas or in restricted access areas, such as inside its CFC buildings or within its CFC yards, may become a reality sooner than fully-autonomous deliveries to consumers’ homes,” Ocado notes in its statement on the deal. “However, all aspects of autonomous vehicle development will be within the scope of this collaboration. Ocado expects to see the first prototypes of some early use cases for autonomous vehicles within two years.”

We’re speaking to Ocado and Oxbotica shortly and will update this post with more from that.

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All the tech crammed into the 2022 Mercedes-Benz EQS

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Mercedes-Benz lifted the final veil Thursday on its flagship EQS sedan after weeks of teasers, announcements and even a pre-production drive that TechCrunch participated in. The company peeled off the camouflage of the EQS — the electric counterpart to the Mercedes S Class — and revealed an ultra-luxury and tech-centric sedan.

The exterior is getting much of the attention today; but it’s all of the tech that got ours from the microsleep warning system and 56-inch hyperscreen to the monster HEPA air filter and the software that intuitively learns the driver’s wants and needs. There is even a new fragrance called No.6 MOOD Linen and is described as “carried by the green note of a fig and linen.”

“There is not one thing because this car is 100 things,” Ola Kaellenius, the chairman of the board of management of Daimler AG and head of Mercedes-Benz, told TechCrunch in an interview the morning of the EQS launch. “And it’s those 100 little things that make the difference and that makes a Mercedes, a Mercedes.”

Mercedes is betting that the tech coupled with performance and design will attract buyers. This is a high-stakes game for Mercedes. The German automaker is banking on a successful rollout of the EQS in North America that will erase any memory of its troubled — and now nixed — launch of the EQC crossover in the United States.

Quick nuts and bolts

Before diving into the all the techy bells and whistles, here are the basics. The EQS is the first all-electric luxury sedan under the automaker’s new EQ brand. The first models being introduced to the U.S. market will be the EQS 450+ with 329 hp and the EQS 580 4MATIC with 516 hp. Mercedes didn’t share the price of these models. It did provide a bevy of other details on its performance, design and range.

The EQS that will be available in the U.S. has a length that is a skosh over 17 feet, precisely 205.4 inches long, which is the Goldilocks equivalent to the Mercedes S Class variants.

Mercedes-EQS

Mercedes EQS 580 4MATIC

The vehicle has a co-efficient drag of 0.202, which sneaks below Tesla’s Model S and the upcoming Lucid Motors Air, making its the most aerodynamic production car in the world. All EQS models have an electric powertrain at the rear axle. The EQS 580 4MATIC also has an electric powertrain at the front axle, giving it that all-wheel drive capability. The EQS generates between 329 hp and 516 hp, depending on the variant. Mercedes said a performance version is being planned that will have up to 630 hp. Both the EQS 450+ and the EQS 580 4MATIC have a top speed of 130 miles per hour. The EQS 450+ will have a 0 to 60 mph acceleration time of 5.5 seconds while its more powerful sibling will be able to achieve that speed in 4.1 seconds.

The EQS will have two possible batteries to choose from, although Mercedes has only released details of one. The heftiest configuration of the EQS has a battery with 107.8 kWh of usable energy content that can travel up 478 miles on a single charge under the European WLTP estimates. The EPA estimates, which tend to be stricter, will likely fall below that figure.

The vehicle can be charged with up to 200 kW at fast charging stations with direct current, according to Mercedes. At home or at public charging stations, the EQS can be charged with AC using the on-board charger.

Now onto some of the technological highlights within the vehicle.

ADAS

There are loads of driver assistance features in the EQS, which are supported by a variety of sensors such as ultrasound, camera, radar and lidar that are integrated into the vehicle. Adaptive cruise, the ability to adjust the acceleration behavior, lane detection and automatic lane changes as well as steering assist helps the driver to follow the driving lane at speeds up to 130 mph are some of the ADAS features. The system also recognizes signposted speed limits, overhead frameworks and signs at construction zones and includes warnings about running a stop sign and a red light.

Another new feature is the micro-sleep warning function, which becomes active once the vehicle reaches speeds over 12 mph. This feature works by analyzing the driver’s eyelid movements through a camera on the driver’s display, which is only available with MBUX Hyperscreen.

There are several active assist features that will intervene if needed. An active blind spot assist can give a visual warning of potential lateral collisions in a speed range from around 6 mph to 124 mph. However, if the driver ignores the warnings and still initiates a lane-change, the system can take corrective action by one-sided braking intervention at the last moment if the speed exceeds 19 mph, Mercedes said. The feature remains active even while parked and will warn against exiting if a vehicle or cyclist is passing nearby.

There is also an active emergency stop assist feature that will brake the vehicle to a standstill in its own lane if the sensors and software recognizes that the driver is no longer responding to the traffic situation for a longer period. The brakes are not suddenly applied. If the driver is unresponsive, it begins with an acoustic warning and a visual warning appears in the instrument cluster. Those warnings continue as the vehicle starts to slowly decelerate. Hazard lights are activated and the driver’s seatbelt is briefly tensioned as a haptic warning. The final step is what Mercedes describes as a “short, strong brake jolt” as an additional warning followed by the car decelerating to a standstill, with an optional single lane change if necessary.

Mercedes is also offering the option of DRIVE PILOT, which is an SAE Level 3 conditional automated driving system feature. This would allow hands free driving. Regulations in Europe prevent that level of automation to be deployed in production vehicles on public roads. However,  Kallenius told media in Germany on Thursday that the company is on “on the verge of trying to certify the first volume production car Level 3 system in Germany in the second half of this year,” Automotive News Europe reported.

The car that learns

Many of the technological gee-whiz doodads in the EQS tie back to an underlying AI that is designed to learn the driver’s behavior. That is achieved through software and a dizzying number of sensors. Mercedes said that depending on the equipment, the EQS will have up to 350 sensors that are used to record distances, speeds and accelerations, lighting conditions, precipitation and temperatures, the occupancy of seats as well as the driver’s blink of an eye or the passengers’ speech.

The sensors capture information, which is then processed by electronic control units (computers) and software algorithms then take over to make decisions. TechCrunch automotive reviewer Tamara Warren noticed the vehicle’s ability to learn her preference during a half day with the EQS.

Mercedes ran through a number of examples of how these sensors and software might work together, including an optional driving sound that is interactive and reacts to different parameters such as position of the accelerator pedal, speed or recuperation.

The intuitive learning is mostly apparent through interactions with the MBUX infotainment system, which will proactively show the right functions for the user at the right time. Sensors pick up on change in the surroundings and user behavior and will react accordingly. Mercedes learned from data collected from the first-generation MBUX, which debuted in the 2019 Mercedes A Class, and found most of the use cases fall in the Navigation, Radio/Media and Telephone categories.

That user data informed how the second-generation MBUZ, and specifically the one in the EQS, is laid out. For instance, the navigation app is always in the center of the visual display unit.

2022_Mercedes_EQS__79

Image Credits: Mercedes-Benz

The MBUX uses a natural language processing and so drivers can always use their voice to launch a radio station or control the climate. But Mercedes is really pushing the EQS’ intuitive learning capabilities. This means that as a driver uses the vehicle, items that might be typically buried in the menu will appear up front, or offered up depending on the time or even location of the vehicle.

“The car gets to know you as a person and your preferences and what you do,” said Kaellenius. “It’s almost like it serves up the option that you want to do next, before you even think about it you get.”

“You get a pizza delivered before you even get hungry,” Kaellenius said, jokingly. “That phenomenal in terms of intuition.”

According to Mercedes there are more than 20 other functions such as birthday reminders that are automatically offered with the help of artificial intelligence when they are relevant to the customer. These suggestion modules, which are displayed on the zero-layer interface, are called “Magic Modules.” Here is how it might work: if the driver always calls a particular friend ore relative on the way home on certain evenings, the vehicle will deliver a suggestion regarding this particular call on this day of the week and at this time. A business card will appear with their contact information and – if this is stored – their photo, Mercedes said. All the suggestions from MBUX are coupled with the logged-in profile of the user. This means that if someone else drives the EQS on that same evening, with their own profile logged-in, this recommendation is not displayed.

If a driver always listens to a specific radio program on their commute home, this suggestion will be displayed or if they regularly use the hot stone massage, the system will automatically suggest the comfort function in colder temperatures.

This also applies to the vehicle’s driving functions. For example, the MBUX will remember if the driver has a steep driveway or passes over the same set of speed bumps entering their neighborhood. If the vehicle approaches that GPS position, the MBUX will suggest raising the chassis to offer more ground clearance.

Health and wellness

Remember those sensors? There’s a way for drivers to take it a step further and link their smartwatch — Mercedes-Benz vivoactive 3, the Mercedes-Benz Venu or another compatible Garmin — to the vehicle’s so-called energizing coach. This coach responds to the user’s behavior and will offer up one of several programs such as “freshness,” “warmth,” “vitality,” or “joy” depending on the individual. Via the Mercedes me App, the smartwatch sends vital data of the wearer to the coach, including pulse rate, stress level and sleep quality. The pulse rate recorded by the integrated Garmin wearable is shown in the central display.

What does this all mean in practice? Depending on the user’s wants and the AI system’s understanding of what he or she wants, the lighting, climate, sound and seating might change. This is, of course, all integrated with the voice assistant ‘Hey Mercedes’ so drivers can simply make a statement to trigger the program they want.

If the driver says “I am stressed,” the Joy program will be launched. If the driver says “I’m tired,” they are then prompted to take a break the Vitality program.

Mercedes S Class owners might already be familiar with these options, although the automaker notes that EQS builds on the system. There are now three new energizing nature programs called forest glade, sounds of the sea and summer rain as well as training and tips options. Each program launches different and immersive sounds, which created in consultation with the acoustic ecologist Gordon Hempton. For instance, “forest glade” will deliver a combination of birdsong, rustling leaves and a gentle breeze. The program is rounded off by warm music soundscapes and subtle fragrance.

Sounds of the Sea will produce soft music soundscapes, wave sounds and seagull sounds. Blasts of air from the air conditioning system completes the effect. Meanwhile “summer rain” offers up sounds of raindrops on leafy canopies, distant thunder, pattering rain and ambient music soundscapes.

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Image Credits: Mercedes-Benz

For those long drives which require a break, Mercedes added a power nap feature. Once power nap is selected (and no never when driving), the program runs through three phases: falling asleep, sleeping, and waking up. The driver’s seat moves into a rest position, the side windows and panorama roof sunshade are close and the air ionization is activated. Soothing sounds and the depiction of a starry sky on the central display support falling asleep, according to Mercedes. Once it is time to wake up, a soundscape is activated, a fragrance is deployed and a brief active massage and seat ventilation begins. The seat raises and the sunshade in the roof liner opens.

Voice

As mentioned before the “Hey Mercedes” voice assistant uses natural language processing and can handle an array of requests. Mercedes said the assistant can now do more and certain actions such as accepting a phone call can be made without the activation keyword “Hey Mercedes.” The assistant can now explain vehicle functions.

The assistant can also recognize vehicle occupants by their voices. There is in fact individual microphones placed at each seating area within the vehicle. Once they have been learned, the assistant can access personal data and functions for that specific user.

The voice assistant in the EQS can also be operated from the rear, according to Mercedes.

These personal profiles are stored in the Cloud as part of “Mercedes me.” That means  the profiles can also be used in other Mercedes-Benz vehicles with the new MBUX generation. Security is built in and includes a PIN and then combines face and voice recognition to authenticate. This allows access to individual settings or verification of digital payment processes from the vehicle, the automaker said.

Screens and entertainment

Finally, yes the screens. All of the screens. The 56-inch hyperscreen gets the most attention, but there are screens throughout the EQS. What is important about them is how they communicate with each other.

The hyperscreen is actually three screens that sit under a common bonded glass cover and visually merge into one display. The driver display is 12.3 inches, the central display is 17.7 inches and front passenger display is 12.3 inches. The MBUX Hyperscreen is a touchscreen and also throws in haptic feedback and force feedback.

“Sometimes when I think about the first design and what we’ve actually done here, it’s like, ‘Are we mad to try to create a one meter 41 centimeters curved bonded glass, one piece in the car,” said Kaellenius. “The physical piece in its own right — It’s a piece of technological art.”

2022_Mercedes_EQS

Image Credits: Mercedes-Benz

A lot of attention was paid to the backseat because the EQS, like its S Class counterpart, are often used to chauffeur the owner. Mercedes won’t call this a rear-seat entertainment system and instead refers to it as multi seat entertainment system because everything is connected to each other.

Kaellenius explained that if a driver wants the two rear passengers to watch a different movie, a simple drag and swipe motion on the main screen will throw that new programming back to the rear. The passengers can also throw movies from left to right.

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