Agents at Future Generali India Life Insurance Company Limited equipped with a 360 integrated digital platform to combat COVID 19 situation- Tempemail – Blog – 10 minute

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In keeping with the current global COVID19 crisis and the subsequent announcement of social distancing by the government that called for a quick action on digital adoption, Future Generali India Life Insurance Company Ltd was swift to respond to the call. They developed a 360-degree digital delivery platform helping their agents all over India to carry out everyday business activities, without having to move out of their current locations. The digital solution integrates all existing digital platforms used by agents at one place. Hence it simplifies the whole process making it smarter to work with.
Commenting on the introduction of the platform,Mr. Subhasish Acharya, Executive Vice President & Head – Proprietary Channels, Future Generali India Life Insurance Company,said, “The unprecedented global COVID 19 crisis caught businesses off guard and disrupted our routine. The new normal calls for businesses to adapt and adopt digital solutions at a faster pace. FGILI is one of the few insurance players who worked on a solution using agile methodology and was quick to go to the market.  With our integrated online platform for distributors, we are better off now to adapt to the new normal.”
What are the digital tools made available to agents on the integrated platform?
In the life insurance industry, bringing in new policy holders is either a physical process or a mix of physical and digital process. The COVID19 disruption entirely disabled the physical process. FGILI’s integrated digital platform takes the entire process online. From recruiting agents to identifying leads, to generating interest, to calling clients, to having online conference or video chats with customers, to finally issuing a policy document – all these activities can be done online at one place.

Connected Agent: One of the unique things FGILI did was to bring all their distributors and agents online by giving them ‘Connected Agent’, a personalized URL in the FGILI domain. This platform enables them to connect with their customers and have a digital footprint. It empowers them with several tools to conduct everyday business with customers. Distributors can manage email & SMS marketing initiatives, sync mobile phone contacts, and use them for marketing as well as track and analyse traffic on their personalised website. The platform can be synced to latest devices while also having wearable compatibility.
Online Recruitment Tool (ORT): ORT is a real time state of the art digital tool that can recruit agents and distributers online. This tool undertakes various functions like receiving initial interest from the prospect while giving them detailed information about FGILI as required to know. Some of the core features offered on this tool are

Income calculator for Distributors
Dashboard for recruiters and their supervisors / mangers
Quick, easy, and mobile compatible journey for applicants
Workflow approach to track each application
Approval prompts for each level of hierarchical approvals
Simplified online processes for exam and training
An online content library
On the fly code creation and disbursement of the Offer / Appointment Letter

91.27% Front line Sales teams have adopted it this tool in the company while 77% of them have successfully hired distributors through this tool in the month of April 2020.

FG Infinity: This platform is a 360-degree sales management tool that gives flexibility to an agent to log-in a new business from anywhere and at any time. This solution is device agnostic. The Agency channel and the Direct channel teams have logged in 87% and 83% policies through this platform respectively.
FG One: This is a web-based dashboard that gives real time and all necessary business-related MIS on the go. Within a month of launch, FGILI had 398 Distributors who engaged with the FG One platform and continue to do so regularly.
FG PLVC: Pre-Login Verification code is an app that verifies a new customer at the time of registration of a new policy. The agent can virtually assist the customer to complete verification process. Apart from elimination of fraudulent proposals, it also helps in making the customer aware about the policy and its terms and conditions. FGILI’s Agency channel team has demonstrated a seamless adoption of approximately 51%, while for the Direct channel team it is approximately at 57%.
FG Smart Academy: is an Online Training Platform developed to train the sales force on a plethora of topics ranging from products, processes, digital tools, and current affairs. This platform has succeeded in raising the Front Line Sales team engagement by 97%, post the launch in April. The company has succeeded in completing almost 60000 man hours of online training from March 24, 2020 to April 24, 2020, covering 14,000 distributors and 1,600 salespeople. In addition to ‘FG Smart Academy’, the company also conducts online interactive sessions on ‘MS Teams’ which influences the sales journey in the new Digital era.

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L&T Technology Services partners with CogniLore to accelerate digital transformation needs of educational institutes and corporates- Tempemail – Blog – 10 minute

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L&T Technology Services, a global pure-play engineering services company, announced that it served as a technology partner to Canada’s CogniLore Information Solutions enabling it to offer its acclaimed proLibro digital delivery tools for mass adoption by educational institutes and businesses who now face the imminent task of realigning their operations and business model for a “work from home” environment.
The move is in line with the recent spurt in demand of educational institutes to deliver their age-old teaching mechanisms to the COVID-19 triggered work from home mode where academia-student engagement model has attained a virtual note. This offering is also valuable for businesses which so far relied on print versions or documents.
To accelerate this transition, CogniLore is moving early to general release of version 3.0 of its proLibro digital delivery tools and is offering unlimited end user licensing for free to enable these institutions to rapidly transition to digital and provide the opportunity to reduce client costs while giving users a vastly superior digital publication experience. CogniLore has also decided to suspend end user fees until September 1st, 2020 to further speed up this deployment.
 Mark Mcleod, Global Director – Integrated Content Management, L&T Technology Services said,“LTTS is delighted to partner with CogniLore, to redefine how content is consumed. The version 3.0 suite of digital delivery systems allows organizations to speed up the use of content with increased migration online. With LTTS’ machine learning library, natural language processing capabilities, and machine vision computing abilities, CogniLore can help companies globally to transform to meet the demands of an evolving technological ecosystem. LTTS’ Digital Delivery Platform, involving flexible technology and processes, helps clients build high-quality, reliable and relevant content in a fully interactive environment. With the ability to quickly ramp-up during unexpected times, the platform seamlessly links both new and existing customer content to Industry 4.0 technology.”
CogniLore CEO, Andre Dube, “We want to ensure that affected institutions can make this transition rapidly while helping them to alleviate the costs associated with getting their content to students and workers who are suddenly working at a distance. While we believe that our system is the best of breed in digital delivery for both content owners and end user, our adherence to common standards means that clients can transition to other platforms at any time they choose.”
LTTS’ support and CogniLore’s offer includes:

Suspension of all user licensing fees throughout the summer to offer content owners and end users the opportunity to freely access digital content using proLibro’s powerful toolset while catching up and adjusting to remote work.
Free access to proLibro Build and the Connect Cloud access management and distribution accounts to support the rapid transition and secure deployment of this content – whether for commercial or non-commercial distribution.
Complimentary support and guidance from LTTS and CogniLore experts in the management and implementation of tools that will help speed up content transition from common content production formats such as MS Word, InDesign, EPUB or XML based content management and authoring systems.
Free proLibro reader Apps for all end user platforms with support to produce custom branded elements and management of product release to app distribution marketplaces.

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Investment in Drone Industry Grows to $1.2 billion | Tempemail – Blog – 10 minute

By the end of 2019, total investment in the drone industry was a record-high of $1.2 billion, a Year-Over-Year growth of 67% – this is according to the data acquired by Finbold.com. The report indicates that venture capital funding stood at $930 million at the end of last year.
VC funding accounts for 68.87% of all drone industry investment
The data shows how between 2008 and 2019 funding in the sector stood at $4.43 billion while venture capitalists pumped in a total of $3.46 billion by last year. In general, drone investment through VC represented 68.87% of all funding. There was a significant spike in the investment between 2012 ($42 million) and 2013 ($121 million) with a growth of about 188.1%.
Venture Capital funding joined the drone sector by only $2 million in 2010, a figure that has been rising to hit $930 million in 2019. The interest from venture capitalists was notable between 2013 and 2014 when the investment grew by 122.5%. On a yearly basis, the VC funding has ranged from $450 million to $550 million over the past four years before the 2019 spike.

“The drone industry has been growing with investment being pumped in at least 52 companies. Some of the big players in the sector include 3D Robotics, DJI, Toyota, Boeing, Audi, Airbus, DroneBase and Microsoft among others. The research notes that even though different companies are receiving fundings from venture capitalists, most of them are based in the United States,” reads the report.
With the recent growth in investment, the drone industry is expected to witness an increase in funding across 2020. The growth will mainly be fueled by an increase in drone adoption across the globe.

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In a polarised world, even checking facts on Twitter becomes politicised | Kenan Malik | Opinion- Tempemail – Blog – 10 minute

Like many Twitter debates, the war of words that broke out last week between Donald Trump and the social media company may seem inconsequential, even infantile. However, the spat raises important questions about the relationship between the public, technology companies and the state, especially in a polarised America.
On Tuesday, Twitter attached a health warning to two tweets by Donald Trump about postal ballots, urging users to “get the facts”. Two days later, a furious Trump retaliated with an executive order threatening to curtail legal protections for social media companies. Twitter then upped the stakes by labelling a later Trump tweet about the Minneapolis riots as “glorifying violence”.
At first sight, the issues are straightforward. Twitter did not censor Trump’s tweets, but merely alerted readers to factual or ethical problems. Trump’s executive order, on the other hand, menaced free speech, threatening legal sanctions as retribution. Free speech for Trump seems to mean the right not to be criticised.
Behind all this, however, lie deeper questions about the regulation of social media and its role in society. Trump’s executive order targets section 230 of the 1996 Communications Decency Act. It’s an obscure piece of US law that is, as the campaigning group Electronic Frontier Foundation observes, “one of the most valuable tools for protecting freedom of expression and innovation on the Internet”.

Free speech for Trump seems to mean the right not to be criticised

Section 230 excludes online platforms from most liabilities for content published by others, while allowing them to provide “good faith” moderation of users’ comments. Both are crucial not just for Silicon Valley behemoths but for newspapers and bloggers and any online site with which users interact or on which they can post comments.
Twitter and Facebook are private companies but also, as the US supreme court has observed, serve as “the modern public square”. This makes them ideal tools for governments to, in the words of Daphne Keller, of Stanford University’s cyber policy centre, “launder state action” – that is, use them to enforce regulation usually in the state’s domain. European nations are very good at pressing tech giants to “voluntarily self-regulate”, for instance by censoring speech deemed offensive or controversial.
Protections in other countries including in Europe are not as robust as in America. That’s why Section 230 has long been a target for US politicians, both liberal and conservative. The Democrats’ Joe Biden has gone even further than Trump, calling for section 230 “immediately [to] be revoked”.
Trump’s threat to Twitter is blatant and serves his narrow political ends. But many US politicians want America to be more like European nations, more easily able to use tech companies as proxies for the state. The result will not be to tame Silicon Valley but to disempower the public and constrain its use of the online public square.

The idea that the little people should be scrutinised, but not politicians, leaves a bad taste in the mouth

Trump’s feud with Twitter also raises questions about how to deal with misinformation. Facebook’s Mark Zuckerberg distanced himself from Twitter by suggesting private companies should not be “arbiters of truth”. Except that Facebook already is. It boasts of “fighting the spread of false news” and ensuring that content declared by fact-checkers to be “false” is sanctioned. However, Facebook excludes politicians from its fact checking. The idea that the little people should be scrutinised, but not politicians, leaves a bad taste in the mouth.
And yet, Zuckerberg has a point. In a polarised world, fact-checking itself can become a politicised process. As Covid-19 debates reveal, judgments about what is true and whom to trust are not straightforward, even in scientific and medical spheres. Twitter’s fact checking of Trump’s tweet was itself, as the tech magazine Wired observed, misleading. Fact-checkers, Wired pungently noted, “are often just as full of shit as the politicians they’re debunking”.
It’s not that lies should not be challenged, nor that there is no such thing as truth, nor yet that we should accept Trump adviser Kellyanne Conway’s insistence that lies are just “alternative facts”. It is rather that what people accept as “truth” depends partly on whose authority they are willing to trust. In a political climate in which trust is fractured, so, inevitably, are conceptions of truth and falsity.
Debunking lies, and holding politicians to account for their statements, is vital. The challenge we face, however, is primarily political, not factual or technological. That’s why the problem of misinformation seems so difficult to solve – there are no simple technological or factual fixes to deep-set political conundrums.
•Kenan Malik is an Observer columnist

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The Legend of Zelda: Majora’s Mask at 20 – still eerie and profound | The Legend of Zelda – Blog – 10 minute

I
t’s Termina’s terrifying moon that everyone remembers. Its grimacing, red-eyed stare looms large in the memory, summoning anxious recollections of hours spent watching its terrifying visage inch ever closer to the earth, of time slipping away.
Majora’s Mask recently celebrated its 20th anniversary. Sequel to the groundbreaking The Legend of Zelda: Ocarina of Time, it was released in April 2000, only 16 months after Ocarina’s initial release. Much has been written about the motivations behind the game’s unusually speedy development, not all of it in agreement, but an interesting consequence of this abbreviated production is that instead of producing new 3D models for the game, the developers reused the game engine and graphics from Ocarina. This gives Majora’s Mask an uncanny mirror-world quality that enhances its themes of isolation, identity and transformation.

The Legend of Zelda: Majora’s Mask. Photograph: Nintendo
After saving Hyrule from Ganon’s destruction, Link, the hero of time, has crept away in search of the fairy Navi. Having lost his way in a forest, he is transported to an alternate version of Hyrule called Termina by the impish, sinister Skull Kid, a lost child-spirit who has stolen the powerful Majora’s Mask. The mask’s evil magic has set the moon on a collision course with the earth, and Link has three days to avert certain disaster – three days that he must relive over and over, using his ocarina to slow, speed, reverse and invert time.
Ours was a Zelda household. Having played through Ocarina of Time with my brother and sister, my memories of the game are bright-edged and clear: that first breathless emergence into Hyrule Field as the music started up; the devastation of the ruins of Castle Town; fighting the spider boss Queen Gohma, which we found so terrifying that we had to call my mum in. But Majora’s Mask was different and bewitching. It was the first game I had ever encountered in which the world felt separate to you. It is a place in which you exist, rather than a place you create.
Characters come and go, each with their own timelines, thoughts and desires. Only by keeping careful note of their movements, learning and relearning the game, can you unearth their stories. More than anything, it was the game’s unshakeable melancholy, its pervasive strangeness, that appealed to me. Majora’s Mask is about revisiting familiar environments, peopled with characters players recognise from Ocarina, but everything has the slight wrongness and strangeness of a dream.
The first song that Link learns to play on his ocarina, the Song of Healing, is a literal inversion of the jaunty Saria’s Song from Ocarina. Every time you play it, it’s an aural reminder that Link has found himself somewhere very different to Hyrule, somewhere that things aren’t quite right.
The Song of Healing is central to some of Majora’s most moving and troubling scenes. The game is full of masks that Link can wear to give himself useful powers, some of which let him physically transform into different creatures: Deku, Goron and Zora. While these new identities give Link new attacks and magical abilities, they come at a cost to their bearer. These transformative masks are acquired from three dying or dead characters. While his Song of Healing can bring these figures to rest, enveloping their spirits in the masks, wearing them seems to cause Link terrible pain. Every time he puts one on it triggers genuinely frightening scenes in which he screams out and convulses as his body shifts and alters.

The Legend of Zelda: Majora’s Mask. Photograph: Nintendo
It’s a chilling reminder of the cost of such transformations, a clever gameplay idea made shocking and profound. The more Link wears these masks, which often cause him to be mistaken for the dead characters he resembles, the more his former identity as the triumphant hero of time seems to dwindle away. “You’ve met with a terrible fate, haven’t you?” observes the game’s Happy Mask Salesman, confronted with a hideously transformed Link at the beginning of the game. Majora’s Mask leaves you wondering whether this fate can ever be truly reversed, and what will be left of Link when the adventuring is done.
I remember with peculiar clarity Majora’s oppressive, claustrophobic atmosphere, the creeping anxiety that lay beneath even its lighter moments. Returning to the game, these things are still as present as they are in my memory, though the world feels a little smaller now I’m an adult.
Progress is slow, because resetting the clock causes nearly everything to reset with it, undoing large swathes of perceptible progress. The little old lady from the bomb shop is robbed again and again; Goron Village is once more blanketed under snow. But playing the game as an adult, I realised what I hadn’t seen as a child. Even as you rewind time again and again, finding yourself back at the dawn of the first day with your pockets empty, you are making progress. Little by little, hour by hour, Link is restoring order to Termina, finding a new end to everyone’s stories. For all the strangeness and sorrow of Majora’s Mask, there is, in the end, the possibility of salvation.
• Now’s the time – 15 epic video games for the socially isolating

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The five: robots helping to tackle coronavirus | Technology – Blog – 10 minute

Boston Dynamics
Singapore park-goers have been reminded of their social distancing obligations by Boston Dynamics’ yellow “dog”. The robot hound is equipped with numerous cameras and sensors, which it can use to detect transgressors and broadcast pre-recorded warnings. The authorities have reassured locals it is not a quadruped data-collection device.
Starship Technologies

A Starship Technologies delivery robot makes a home delivery in Milton Keynes. Photograph: Leon Neal/Getty Images
In Milton Keynes a recently expanded fleet of six-wheeled robots has been delivering food and small supermarket shopping consignments to hungry residents. The town’s large network of cycle paths makes it ideally suited to the knee-high machines, which trundle along at a top speed of 4mph. The company has been waiving its delivery charge for NHS workers during the crisis.
UVD Robots

Danish UVD robots are helping to disinfect patients’ rooms in the coronavirus pandemic. Photograph: IFR International Federation of Robotics/EPA
These Danish UV disinfection robots are being rolled out in Chinese hospitals. The machines deploy powerful UV lights, which destroy the DNA or RNA of any microorganisms in range. This effect of UV is well known but is dangerous to use if humans are nearby. However, the robots are able to learn the layout of hospitals and go about their work autonomously when medical staff aren’t present.
Zora Bots

One of the robots donated by the UN introduces itself in Kigali, capital of Rwanda. Photograph: Xinhua/Rex/Shutterstock
The UN has equipped Rwanda with five anti-epidemic robots made by Belgian company Zora Bots to help against the country’s battle with coronavirus. The robots can screen a patient’s temperature, identify people not wearing masks and monitor abnormalities in how patients sound or look. They can also be used to deliver medicine and other essentials to the infected.
OhmniLabs

Robots replace graduating students at a ceremony in Tokyo. Photograph: Bbt University/Reuters
In Japan, OhmniLabs’ Newme robots have been used to replace quarantined students who were unavailable to attend their graduation ceremonies. The “telepresence” robots, which had a computer tablet for a head, were draped in an academic gown and each student made a Zoom call to “receive” their degree from a university official. A similar ceremony, using robots built by students, has been held in Nanjing, China.

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Want to stand out on screen? Zoom in on that colossal collar… | Fashion- Tempemail – Blog – 10 minute

A look that brings to mind either William Shakespeare or Harry Hill is not one that immediately suggests sophisticated glamour. But big collars are having a resurgence, this time on women’s dresses, tops and jumpsuits.
The current look is less Renaissance bard and more pious puritan, and can be dramatic in scale, reaching the shoulders or even down to the belly button.
“We have seen a strong demand for the giant collar blouse this spring,” says Elizabeth von der Goltz, global buying director of Net-a-Porter. In general, she says, cotton blouses with exaggerated collars have been its bestselling style for tops, with designers from It-brand Ganni to Miu Miu getting in on the trend.
“The trend started on Instagram as a styling piece, often as a perfect contrast to something more masculine,” says von der Goltz.
Prime examples of the look are featured on the Instagram feed of Reese Blutstein, known as double3xposure to her 305,000 followers, or Man Repeller’s Leandra Medine. Both are recent champions of the big-collared designs of French label Maison Cléo.
Although expansive collars predate the pandemic, the fact that thousands of people are currently only being viewed from chest up on Zoom calls via laptops and phones has given the look a boost. Fashion historian Amber Butchart finds a historical echo in the 1930s, as “the decade that we really start to see film costumes impacting on fashion”.

At the moment, people really like getting back to the past

Marie Dewet

Butchart cites the work of Adrian, a 1930s costume designer, who put “an emphasis above the table”. His ethos for dressing leading ladies was, she explains, that “the most important details are those that are going to be seen when she’s in close up”. It’s an idea that could have come from the handbook of modern-day social media stars.
Butchart also looks to the less recent past, and says today’s collars are reminiscent of the falling-band collars of the 17th century: “a big wide collar that reached the shoulders” and took over from the extravagant Tudor ruff. Often made of expensive lace, the ruff had to be laboriously “starched, reset and re-pinned every time it was worn”, and was therefore condemned in Puritan pamphlets as “monstrous” and starched with the “devil’s liquor”. The fallen-band was made of simpler stuff, often linen, and were “associated with groups like the Oliver Cromwell’s Puritans.
These were also sported by the pilgrims to America. And that, she says, is where “we get these associations with wholesomeness from”. So, she suggests, these collars could now be part of a rose-tinted nostalgia for a rosy-cheeked past.
At Maison Cléo, which has been producing big-collared blouses for a few years, this year saw the introduction of vintage trims, in line with the trend for upcycling. Marie Dewet, one half of the team, says: “I think at the moment people really like getting back to the past.”

Blanca Miró and María de la Orden, the team behind La Veste, who supply their (almost sold-out) collars with scalloped trimmings as separate items as well as on blouses, are inspired by a different kind of past: primary school. Their necklines can be read as a progeny of the last few years’ fashion for infantilised styles. 
Whether big collars signal Puritanism, the playground, or simply bring to mind a certain playwright – expect to see them coming soon to a small screen near you.

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Twitter taking on Trump’s lies? About time too | John Naughton | Opinion – Blog – 10 minute

In addition to washing your hands while singing the first two verses of The Internationale, it might be a good time also to clean out your Twitter feed. According to a recent report of a research study by Carnegie Mellon University’s Center for Computational Analysis of Social and Organizational Systems, about 45% of the false narratives about Covid-19 on Twitter are sent by bots.
The study examined more than 100 false Covid narratives (including the 5G conspiracy theories) pushed in over 200m tweets since January. If you’re a reader of this newspaper, the likelihood is that you never saw any of these. But that’s because you are – like me – cheerfully encased in your own filter bubble. I write with feeling on this matter, because on the morning after the Brexit referendum I went through the list of about 800 people whom I follow on Twitter, and I could not locate a single one who seemed to have been in favour of Brexit in the run-up to the vote. The shock felt by them after the vote was palpable. But it was also a salutary reminder that anyone who uses social media lives in a digital echo chamber.
To those who study computational propaganda, the findings will come as no surprise. Philip Howard’s group at the Oxford Internet Institute has been doing great work in this field for several years. It would be nice to think that the mainstream media might have learned a thing or two from this work. If it had, it might have learned that just as you cannot believe anything you read in a British tabloid newspaper, you should never regard what’s “trending” on Twitter as anything other than an artefact of robotic amplification.
But bots are not the only problem facing Twitter. An equally difficult challenge is that presented by Donald J Trump, currently the president of the US. Twitter was a medium made for Trump, and he has exploited it masterfully ever since he contemplated running for public office. Although his campaign adroitly exploited targeted advertising on Facebook, Twitter was always how Trump directly communicated with his base. He currently has 80.3 million followers and has tweeted over 52,000 times. And while nobody was surprised that he campaigned using Twitter, nobody in the liberal (or even the conservative) establishment dreamed that, once elected, he would govern by tweet. Which is why the ingenious @RealPressSecBot bot that transforms Trump tweets into the proper presidential White House statement format is both such a good joke, and so depressing.
The fact that Twitter has allowed Trump to abuse the service by spreading lies, libels, conspiracy theories, nonsense and racist abuse continuously since he was elected has infuriated many people. Anyone else doing that kind of stuff would long ago have been banned from the platform. But to date, the company’s executives have shrunk from doing anything about the tweeter-in-chief. They have two reasons for their forbearance, one good and one bad. The good reason is fear for their lives. There are an estimated 392m unregistered firearms in the US, and my hunch is that banning Trump would eventually result in a Charlie Hebdo-type attack on the company by alt-right fanatics. The bad reason is that Trump is good for “user engagement”, which is the holy grail of all social media platforms.
This week, though, they took a baby step towards trying to rein him in. After he tweeted: “There is NO WAY (ZERO!) that Mail-In Ballots will be anything less than substantially fraudulent. Mail boxes will be robbed, ballots will be forged & even illegally printed out & fraudulently signed. The Governor of California is sending Ballots to millions of people, anyone…..” a label in blue lettering appeared underneath it urging people to “get the facts” about voting by Tempemail. The links led to a CNN story that said Trump’s claims were unsubstantiated and to a list of bullet points that Twitter had compiled rebutting the inaccuracies.
In any normally run polity, this would have been an unremarkable step for a platform to take. In the crazily polarised society that the US has become, though, it will be seen by Trump and his fans as an affront to his Supreme Leadership. Not quite on the Charlie Hebdo scale of publishing cartoons of the Prophet, perhaps, but an affront nonetheless. At best, legions of bots will now be enlisted to pump abuse at the Twitter bosses and pump more misinformation about postal voting to ordinary users of the platform. More dangerous – not only to Twitter but to the business models of all social-media companies – would be a move by a vengeful Trump to use the nuclear option’ of removing the shelter provided by Section 230 of the 1996 Telecommunications Act which frees online platforms from legal liability for what users post on their platforms. Ironically, though, if Trump did deploy that weapon, then the rest of us would be free to sue Twitter for what the president tweets!
What I’ve been reading
Bringing it all back home“How to fix globalisation – for Detroit, not Davos” is a really fascinating interview on the American Interest site with Lawrence Summers, a former US treasury secretary.
A time of lossThere’s an unexpectedly moving post, called “What We Leave Behind”, about the Covid-19 fallout by Scott Galloway on his blog.
No more robot overlordsIn a New York Times article, Ben Schneiderman lays out his view that we need machines to augment human capabilities rather than replace us.

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