Published June 5, 2025 10:00am EDT close Don’t be so quick to click that Google calendar invite. It could be a hacker’s trap Cybercriminals are sending fake meeting invitations that seem legitimate. NEWYou can now listen to Fox News articles! Americans’ personal data is now spread across more digital platforms than ever. From online shopping habits to fitness tracking logs, personal information ends up in hundreds of company databases. While most people worry about social media leaks or email hacks, a far less visible threat comes from data brokers.I still find it hard to believe that companies like this are allowed to operate with so little legal scrutiny. These firms trade in personal information without our knowledge or consent. What baffles me even more is that they aren’t serious about protecting the one thing that is central to their business model: data. Just last year, we saw news of a massive data breach at a data broker called National Public Data, which exposed 2.7 billion records. And now another data broker, LexisNexis, a major name in the industry, has reported a significant breach that exposed sensitive information from more than 364,000 people. A hacker at work (Kurt "CyberGuy" Knutsson)LexisNexis breach went undetected for months after holiday hackLexisNexis filed a notice with the Maine attorney general revealing that a hacker accessed consumer data through a third-party software development platform. The breach happened on Dec. 25, 2024, but the company only discovered it months later. LexisNexis was alerted on April 1, 2025, by an unnamed individual who claimed to have found sensitive files. It remains unclear whether this person was responsible for the breach or merely came across the exposed data.MASSIVE DATA BREACH EXPOSES 184 MILLION PASSWORDS AND LOGINSA spokesperson for LexisNexis confirmed that the hacker gained access to the company’s GitHub account. This is a platform commonly used by developers to store and collaborate on code. Security guidelines repeatedly warn against storing sensitive information in such repositories; however, mistakes such as exposed access tokens and personal data files continue to occur.The stolen data varies from person to person but includes full names, birthdates, phone numbers, mailing and email addresses, Social Security numbers and driver's license numbers. LexisNexis has not confirmed whether it received any ransom demand or had further contact with the attacker. An individual working on their laptop (Kurt "CyberGuy" Knutsson)Why the LexisNexis hack is a bigger threat than you realizeLexisNexis isn’t a household name for most people, but it plays a major role in how personal data is harvested and used behind the scenes. The company pulls information from a wide range of sources, compiling detailed profiles that help other businesses assess risk and detect fraud. Its clients include banks, insurance companies and government agencies.In 2023, the New York Times reported that several car manufacturers had been sharing driving data with LexisNexis without notifying vehicle owners. That information was then sold to insurance companies, which used it to adjust premiums based on individual driving behavior. The story made one thing clear. LexisNexis has access to a staggering amount of personal detail, even from people who have never willingly engaged with the company.Law enforcement also uses LexisNexis tools to dig up information on suspects. These systems offer access to phone records, home addresses and other historical data. While such tools might assist in investigations, they also highlight a serious issue. When this much sensitive information is concentrated in one place, it becomes a single point of failure. And as the recent breach shows, that failure is no longer hypothetical. A hacker at work (Kurt "CyberGuy" Knutsson)7 expert tips to protect your personal data after a data broker breachKeeping your personal data safe online can feel overwhelming, but a few practical steps can make a big difference in protecting your privacy and reducing your digital footprint. Here are 7 effective ways to take control of your information and keep it out of the wrong hands:1. Remove your data from the internet: The most effective way to take control of your data and avoid data brokers from selling it is to opt for data removal services. While no service promises to remove all your data from the internet, having a removal service is great if you want to constantly monitor and automate the process of removing your information from hundreds of sites continuously over a longer period of time. Check out my top picks for data removal services here.Get a free scan to find out if your personal information is already out on the web.2. Review privacy settings: Take a few minutes to explore the privacy and security settings on the services you use. For example, limit who can see your social media posts, disable unnecessary location-sharing on your phone and consider turning off ad personalization on accounts like Google and Facebook. Most browsers let you block third-party cookies or clear tracking data. The FTC suggests comparing the privacy notices of different sites and apps and choosing ones that let you opt out of sharing when possible.3. Use privacy-friendly tools: Install browser extensions or plugins that block ads and trackers (such as uBlock Origin or Privacy Badger). You might switch to a more private search engine (like DuckDuckGo or Brave) that doesn’t log your queries. Consider using a browser’s "incognito" or private mode when you don’t want your history saved, and regularly clear your cookies and cache. Even small habits, like logging out of accounts when not in use or using a password manager, make you less trackable.GET FOX BUSINESS ON THE GO BY CLICKING HERE4. Beware of phishing links and use strong antivirus software: Scammers may try to get access to your financial details and other important data using phishing links. The best way to safeguard yourself from malicious links is to have antivirus software installed on all your devices. This protection can also alert you to phishing emails and ransomware scams, keeping your personal information and digital assets safe. Get my picks for the best 2025 antivirus protection winners for your Windows, Mac, Android and iOS devices.5. Be cautious with personal data: Think twice before sharing extra details. Don’t fill out online surveys or quizzes that ask for personal or financial information unless you trust the source. Create separate email addresses for sign-ups (so marketing emails don’t go to your main inbox). Only download apps from official stores and check app permissions.6. Opt out of data broker lists: Many data brokers offer ways to opt out or delete your information, though it can be a tedious process. For example, there are sites like Privacy Rights Clearinghouse or the Whitepages opt-out page that list popular brokers and their opt-out procedures. The FTC’s consumer guide, "Your Guide to Protecting Your Privacy Online," includes tips on opting out of targeted ads and removing yourself from people-search databases. Keep in mind you may have to repeat this every few months.7. Be wary of mailbox communications: Bad actors may also try to scam you through snail mail. The data leak gives them access to your address. They may impersonate people or brands you know and use themes that require urgent attention, such as missed deliveries, account suspensions and security alerts.Kurt’s key takeawayFor many, the LexisNexis breach may be the first time they realize just how much of their data is in circulation. Unlike a social media platform or a bank, there is no clear customer relationship with a data broker, and that makes it harder to demand transparency. This incident should prompt serious discussion around what kind of oversight is necessary in industries that operate in the shadows. A more informed public and stronger regulation may be the only things standing between personal data and permanent exposure.CLICK HERE TO GET THE FOX NEWS APPShould companies be allowed to sell your personal information without your consent? Let us know by writing us atCyberguy.com/Contact.For more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/Newsletter.Ask Kurt a question or let us know what stories you'd like us to cover.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved. Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Millennium Systems International is an exciting and dynamic software company based inParsippany, NJ and was founded in 1987 to provide the beauty and wellness industry withforward-thinking, powerful management software and vital tools. We’ve built a companybased on revolutionary technology, outstanding support, and more importantly, a strongpassion to educate salon and spa owners on how to sustain success. Our software isutilized in thousands of salons and spas in over 36 countries, processes billions of dollarsin transactions per year and is used by hundreds of thousands of users. MillenniumSystems International is honored to have been named one of New Jersey's TopWorkplaces!We are currently searching for a Revenue Enablement professional to train and coach oursales professionals to drive team success. Seeking an enthusiastic and high energyprofessional who is passionate about the beauty/salon space!  This is a remote role.Key Responsibilities:• Develop and deliver training materials and resources, including presentations, e-learning modules, and manuals.• Tailor training programs to meet the specific needs of different sales teams,ensuring relevance to products, services, and market trends.• Continuously update training content to reflect changes in the product portfolio,sales strategies, and market conditions.• Teach core sales techniques such as prospecting, lead qualification, negotiation,closing strategies, and upselling.Focus on improving key areas like objection handling, overcoming customerresistance, and relationship-building.• Onboard new sales team members by providing them with a comprehensiveunderstanding of company products, sales processes, and culture.• Facilitate product and sales training sessions to ensure new hires are equipped toperform in their roles from day one.• Monitor the performance of sales representatives before and after training to assessthe effectiveness of the programs.• Conduct regular performance reviews and provide ongoing coaching to individualteam members to ensure continued development and goal achievement.• Partner with sales managers and senior leaders to understand team performancegaps and emerging needs.• Offer solutions and recommendations for improving sales performance throughcustomized training initiatives.• Train sales teams on the use of CRM systems, sales tools, and other relevantsoftware to improve efficiency and tracking.• Ensure the team is proficient in using digital tools to track progress, managepipelines, and close sales.• Track and measure the success of training programs, using metrics such as salesperformance improvements, knowledge retention rates, employee engagement andsuggest adjustments for continuous improvement.• Stay up to date with the latest trends in sales strategies, tools, and technologies.Qualifications:• Bachelor’s degree in Business, Marketing, Communications, or a related field (orequivalent experience).• 3+ years proven experience in sales, with a solid understanding of sales processesand techniques.• Previous experience in a sales training, enablement or coaching role is preferred.Skills:• Strong presentation, communication, and interpersonal skills.• Ability to design engaging and impactful training programs.• Knowledge of CRM software and sales automation tools.• Analytical skills to assess performance and adjust training methods accordingly.• Organizational skills and attention to detail.• Motivational and coaching skills to help salespeople improve their performance.• Passionate about helping others succeed and developing their careers.• Creative thinker with a solutions-oriented mindset.Millennium Systems International is committed to providing all Team Members with competitive wages and salaries that are motivational, fair, and equitable. Our compensation program reflects our core values of Teamwork, Excellence, and Integrity, ensuring transparency and fairness while attracting top talent and fostering an environment that encourages growth and retention.We believe that every Team Member is integral to our collective success, and we value the diverse perspectives, creativity, and innovation they bring. Our compensation packages are designed to reflect individual contributions, taking into account skill set, experience, certifications, and work location.In line with our Client-Centric philosophy, we recognize that the success of our Team Members contributes directly to the success of our clients. As such, we offer compensation packages that not only motivate but also reward performance and excellence.The base salary range for this position in the United States is $54,000-$70,000. In addition to base pay, the total compensation package may also include commission, performance bonuses, benefits, and/or other applicable incentive compensation plans.At Millennium Systems International, we approach every challenge with Passion—striving to exceed expectations, solve challenges with urgency and determination, and create an environment where Team Members thrive and celebrate each other’s successes.We Offer:Paid Time Off (PTO) and Holidays: Enjoy a generous 3 weeks of Paid Time Off (PTO) that begins accruing with every pay period from your very first day! Plus, you’ll enjoy ten (10) paid holidays throughout 2025, along with five (5) paid sick days and one (1) personal day—because we believe in taking care of you!Medical, Dental, and Vision Benefits: Your well-being is a priority! We offer subsidized Medical, Dental, and Vision plans, with coverage kicking in quickly. It's all about making sure you stay healthy, happy, and well-cared for.Life Insurance: Peace of mind for you and your loved ones! We provide Life Insurance and Accidental Death & Dismemberment (AD&D). What’s even better? Millennium Systems International fully covers the entire cost—100% on us!Long-Term and Short-Term Disability Insurance: Stay secure no matter what life brings your way. Short-Term and Long-Term Disability insurance.  And we’ve got your back—Millennium Systems International covers the full cost of Long-Term Disability at 100%.401(k) Retirement Plan: Plan for your future with confidence! You’ll be eligible to enroll in our robust 401(k) plan. When you do, you’ll enjoy a 100% match on up to 4% of your contributions, thanks to our Safe Harbor plan. It’s our way of helping you build a brighter tomorrow.Learning & Development Opportunities: We foster a culture of growth and professional excellence. As part of our benefits, we offer unlimited access to Udemy’s online courses, helping you refine your skills, explore new areas, and advance your career. Whether you're deepening your expertise or learning new technologies, we’re here to support your development every step of the way.  Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote Sales and Marketing JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

A Peloton perched in the living room. A set of weights on the bedroom floor. Some wellness products have a way of making their presence known. But even the smaller things—think daily supplements, mushroom tinctures, herbal teas—can slowly start to sprawl out everywhere. With the rise and awareness of holistic health habits, wellness routines that rival your skincare shelf, and obsessions like ProteinTok—a whole corner of the internet dedicated to everything protein—you might find that wellness has taken over your kitchen. Suddenly, your blender is battling for space with the hydration powders, collagen tubs, and stacks of snack bars. If you don’t have a place to properly store it all, your kitchen can start to be more overwhelming than calming. But with thoughtful design, proper planning, and smart storage solutions, you can integrate it all into your home in a way that feels serene and seamless. We asked designers and wellness experts how they manage their ever-expanding collection of products and design their kitchens with well-being in mind.Consider An Appliance GarageTessa NeustadtGreen cabinet doors conceal the appliances in this kitchen by Interior Archaeology.“For things that need to be in reach and on the counter, we put everything in an appliance garage,” shares Lynn Kloythanomsup of Landed Interiors and Homes. By that she means is a built-in cabinet or nook—typically integrated into the cabinetry—that features a door that lifts, rolls, or swings open and shut to conceal bulky appliances. Designer Hollie Velten of Spaces by Hollie Velten is also a fan of this feature and notices more clients requesting it. “A custom appliance garage allows things like tea supplies to be accessible for entertaining but hidden for everyday use.”It’s not just designers who advocate for this intentional placement—wellness experts themselves are just as mindful of it. “Our juicer must be on the countertop to make juicing as effortless as possible but other appliances are fine tucked away,” says health coach and nutritionist Daphne Javtich of Doing Well. Kerrilynn Pamer of Cap Beauty echoes this: “I keep my juicer on the counter, I have a Nama, and it’s pretty discreet even though it's large. Everything else, I keep behind doors.”Think Beyond The Main KitchenStacy Zarin GoldbergThis auxiliary kitchen by Kate Abt Design makes a perfect spot for wellness essentials.One luxury feature on the rise? Auxiliary kitchens, also known as dirty kitchens. “When designing for clients, we almost always have the ‘family’ or ‘show’ kitchen and then a second kitchen where the real cooking happens,” says Eric Egan of Eric Egan Interior Design. “This is much like in a restaurant show kitchen, where you see them finishing the meals, but you don't see the prep work or the clean up, all of which happens in the background.” Designer Sarah Barnard of Sarah Barnard Design has also seen an increase in the request of auxiliary kitchens and loves them because they “provide concealed storage for juicers, blenders, dehydrators, and food processors.” While two kitchens might not be realistic for everyone, if you have access to a nice-sized pantry or closet nearby, that’s an ideal spot to corral it all, as well. Rethink Unused SpacesKEVIN MIYAZAKIRemove the booze, bring in the blender, and this liquor cabinet, in a library designed by Kate Marker, could be a wellness station.Speaking of ideal spots for wellness, consider transforming underutilized spaces like liquor cabinets or part of a mudroom into a wellness hub. “We don't find that too many of our clients have a liquor cabinet or use a bar anymore,” shares Kloythanomsup. “So that area can be repurposed as a wellness area.” While you're repurposing it, consider where you can plug in all those wellness appliances. “Clients are also asking us to design technology-stations, so they have multiple areas to hide their technology and free their view of cords and distractions,” Velten says. Get In The ZoneEmma Farrer//Getty ImagesA dedicated tea zone.If you are going to dedicate counter space to your wellness routine, whether it’s a juicing zone, smoothie station, a hydration corner—keep things arranged in groups or zones. “I keep the bulk of my supplements and remedies in a large, shallow pullout drawer in the kitchen,” Javitch shares. “I find this is the easiest way to organize and find products quickly. And you don't have to remove some to get to others.”“I love setting up thoughtful, dedicated zones, like a wellness drawer with teas, vitamins, and tinctures all in one place, or a water station with a glass water pitcher, reusable bottles, and electrolytes,” shares Blakey. Keeping similar items together allows products to stay top of mind and prevents them from getting lost in the shuffle. Contain YourselfCourtesy Holly BlakeyA pantry organized by Holly Blakey of Breathing Room Home.While baskets are a no-brainer for kitchen organization, designers and experts say that’s for good reason, advising homeowners not to overlook them—and to keep the materials as natural as possible. “Wooden bins are another favorite way to add warmth and style while keeping items grouped,” Blakey says. Velten seconds the idea of rush baskets or wooden bins, “We try to push living finishes as much as we can because with proper care, material that came from the earth just vibrates differently.” No matter how many products you use or how dialed-in your routine may be, “wellness becomes part of the daily flow when your space helps you follow through on your intentions,” says Blakey. For that reason, says Javitch, “I always keep a few small baskets in our cabinets with products I often grab for like the kids' sunblock stick or their multivitamin gummies.”Show Off Your Stash Thomas LeonczikHollie Velten designed this kitchen to keep essentials on view. The alternative to hiding things away? Showing them off! “We worked with a client who described her kitchen goals as ‘California health kitchen,’” shares Velten. “We actually removed the upper cabinets to create an easy-to-access corner of shelving to hold glass jars and sustainable practices for her teas, herbs, spices, tinctures, and other food prep essentials.” After all, some items deserve to be seen—not only from an aesthetic perspective but also to prompt daily use and consistency. “I’ll usually keep my essential daily products on a pretty wood tray on the kitchen counter,” Javtich shares.If you are going to keep things out in the open, Bay Area-based organizer of Breathing Room Home Holly Blakey, says clarity is key. “I swear by glass containers for food storage, not just for sustainability, but because they help you know what you have and when you can clearly see your items, you’re more likely to use them before they expire.”Plus, this keep-it-all-out method a way to incorporate your personal preferences and add a little personality into your kitchen. “Sometimes well-kept essentials really only bring more joy and utility when out in the open,” Velten adds. Follow House Beautiful on Instagram and TikTok.

Larry Fabbroni is an architect, strategic advisor, and Chief Innovation Officer for Practice of Architecture. Throughout his career, he has led efforts to reform studio culture and innovate practice. He earned his MBA from the University of Chicago’s Booth School of Business. In 2017, as leaders in the AIA’s Young Architects Forum (YAF), we led the launch of the Practice Innovation Lab (PIL) and hosted a symposium that imagined new architectural practice models. At that time, we already felt that practice innovation was overdue in a profession that has not seen scaled disruption to its business model in over a century. Today, we are confident that there has never been a more critical time for the profession to embrace innovation. Redefining Innovation Henley Hall: Institute for Energy Efficiency by KieranTimberlake, Santa Barbara, California | KieranTimberlake’s research expertise creates value beyond a baseline labor model.  Currently, artificial intelligence dominates strategy conversations, but just as we saw back in 2017, larger patterns prompt calls for innovation. Talent attraction is increasingly challenging, disruptive technology continues to emerge, and actors from outside our industry show growing interest in the space. While incremental innovation has long been a part of the profession, relatively few firms have adopted new practices that create value beyond a baseline labor model. Firms such as KieranTimberlake have shown that research expertise can do this. MASS Design has pioneered a mission-driven approach. BIG has taken on the role of architect-as-developer. Snøhetta houses a product design division. We could continue to list great firms that have pushed the boundaries of practice, but they represent exceptions that have yet to be recognized as new standards. Indeed, the confluence of those factors that led to the original PIL continues to make the case that the time for scaled innovation is now. A Melting Iceberg: Incremental Changes Depleting the Profession Powerhouse Telemark by Snøhetta, Vestfold og Telemark, Norway | Photo by Ivar Kvaal | Snøhetta houses a product design division, innovatively presenting a alternative business model for firms.  One of the dangers of operating in a slow-moving industry is that change is difficult to detect and even more challenging to comprehend. If an iceberg loses 1% of mass per year, it’s tough to take notice, but the end result is catastrophic. This is what is happening to our profession. For newcomers, if it feels like there are increasingly more attractive opportunities elsewhere, that’s because there are. For seasoned professionals, if it feels like it’s become more challenging to maintain the same levels of prosperity, that’s because it has. Less(er) Talent In some ways, the shift towards companies recognizing “talent” as their most excellent resource has bewildered architects: we have always relied on talent. However, the patterns of talent leaving our profession are concerning. We say “feel” because there is no significant data. We spoke to Kendall A. Nicholson, Senior Director of Research at the Association of Collegiate Schools of Architecture (ACSA), who confirmed that aggregated data on graduate placement does not exist. So we inquired about what placement looks like at several programs around the country. Omar Khan, Head of the Carnegie Mellon University School of Architecture, informed us that approximately 90% of students pursue a minor to expand their horizons, and that in 2022, nearly one in three graduates entered the tech sector. Khan stated that these opportunities aren’t just student-driven — large innovative companies increasingly seek the value that graduates of architecture schools will provide. This increasing difficulty in capturing the talent that architecture schools are producing results in a shrinking and diluted talent pool. For a profession so reliant on human resources, this presents extreme risk. Pay Gaps In an increasingly expensive world, we are not able to compete for the best talent with emerging industries. It’s easy to understand why a popular career pivot for architects has become UX design. Designing user experience for websites pays significantly better than designing the same for the built environment. According to Glassdoor, 2023 entry-level UX designers earned an average of $78K, while the AIA salary calculator suggests architecture grads can expect to earn an average of $59 K. The talent we do attract into the profession often loses interest when they experience low pay and long hours, all while most firms lack clear paths and criteria for advancement or compensation increases. A Smaller Piece of the Pie Examining data in isolation, one might conclude that the profession continues to grow; the number of architects has increased substantially over the last century, and this trend has persisted in recent years. The problem with this growth is that the estimated share of the US GDP for Architectural Services has shrunk over time. This is not a manageable number to measure before 1999, when NCARB first aggregated local jurisdictional data. Due to limitations in industry economic data, we’re only showing data since 2011 for the purposes of this article. In that time, the number of architects has grown, the market size for services has grown, but the share those services represent as a portion of the US GDP has declined — by 15% if we use US Census data to almost 30% if we use industry research data (we used IbisWorld.com, however we found data that suggested a worse and others that offered a slightly better picture). To put it another way, architecture is a stagnant industry with a shrinking share of the economy. It’s challenging to examine this data and emerge feeling confident about the profession, but there is a silver lining. The biggest impediment to innovation for architects is not a lack of talent, but rather the business model. Design thinking has been widely adopted throughout the world as a key component of innovation processes; however, the problem is that we operate in the realm of professional services, which inherently is not well-suited to promoting innovation. Reliance on that formula is causing our iceberg to melt. The Tsunami: The AI Tidal Wave is Here The Rwanda Institute for Conservation Agriculture by MASS Design Group, Rwanda | MASS Design has pioneered a mission-driven approach that creates value beyond a baseline labor model.  As we confront the exodus of talent, it is easy for both firm owners and clients to imagine AI bringing efficiencies and replacing “CAD-monkeys” with machines. However, any firm that wants to operate — and win — as anything more than a low-cost provider will need a strategy to increase value, not just cut costs. AI is merely part of the toolbox required to confront a perfect storm of forces. Jobs will Disappear Goldman Sachs predicts that as much as 37% of our industry tasks will be replaced by AI. Many see this as a pathway to lower costs and increased profits. However, that is short-sighted. Markets will adjust quickly and demand lower costs for services; additional new value will need to be articulated and proven, and this will only happen through innovation. New Jobs will Emerge (but fewer of them) AI prophets often emphasize that technological innovation has historically led to net employment gains. Previous World Economic Forum estimates predicted losses of up to 85 million existing jobs worldwide, with parallel gains of as many as 97 million new jobs. However, these estimates were revised in the WEF 2023 Economic Outlook, which now anticipates a net loss of 14 million jobs. This stark outlook signals an even greater need for architects to become more innovative. The 2024 RIBA AI Report indicates that 41% of architecture firms were already utilizing AI, though current tools are indeed just the beginning. Marketing, business development and content creation will be standard areas of AI deployment moving forward. Still, revolutionary changes will come in how we learn, not only to use new tools, but also to collaborate with digital agents. How will this happen? We can theorize, but it is not possible to know for sure until it arrives, so we need to have a plan before we can see the tidal wave from land. The Alien Invasion: Outsiders Are Entering Our Orbit VIA 57 West by BIG – Bjarke Ingels Group, New York City, New York | BIG has pioneered a new model for practice by taking on the role of architect-as-developer. For years, we’ve heard cries that “architects gave away the role of master builder.” But how much did architects actually give, and how much was taken by innovative competition? This distinction is critical because the wagons are circling, and the AEC space has become ever more attractive to investors. Venture Capital and Private Equity Investment The numbers are often difficult to parse because architecture can impact so many verticals and does not operate as its own sector in the investment realm; however, the trends suggest a groundswell is underway. A 2023 McKinsey report shows that construction tech deals nearly doubled from 2019 to 2022, growing by 85%. At the same period, the number of deals increased by 30%, indicating that interest continues to grow. An increasing size of deals also suggests a maturity of the market. As interest in infrastructure investments has declined from its high in 2020, and along with real estate, has been blunted by high interest rates, institutional investors continue to see opportunities in the AEC space. Firm Acquisitions AEC firms that deliver predictable returns have proven to be attractive targets for PE firms. In the second quarter of 2024, private equity firms accounted for over one-third of AEC firm mergers and acquisitions. For M&A deals, the industry has seen an increase in attractiveness with expanded infrastructure spending as a catalyst. However, this interest can also be tied to the lack of innovation that has resulted in an industry ripe for consolidation. M&A orchestrators generate large amounts of profit by streamlining operations, eliminating redundancies, and then stamping out competition. An entire community has been built around this, with AEC Advisors hosting an annual “Private Equity Summit” that brings together CEOs of AEC firms with PE investors. Startups As an extension of the growing interest from venture capital in the space, there is an upward trend in the AEC space being targeted for disruption by entrepreneurs who see an industry that represents a significant portion of the global GDP. AEC Works, a project of e-verse that catalogs AEC startups and investors, lists nearly 800 startups from around the world, with almost 200 identified as “architecture-focused.” The signal is clear: startups are looking to figure out how to do what you do cheaper, better, or perhaps both. Combining this environment with depleted talent pools, a declining share of GDP, and revolutionary technology, it is a correct response to be alarmed. Significant change is inevitable. It is time for architects to see the same opportunities that investors and entrepreneurs see, and learn to navigate within these spaces. The Great Opportunity Throughout history, new actors have enjoyed a “leap-frog” effect and been able to surpass established incumbents to reshape industries, markets and economies. From climate change to pandemic ripple effects, to the housing crisis, to generational shifts in the workforce, there are many forces that directly impact the work of architects and call for innovation. The need for new ways of designing and delivering different components of the built environment is ever-present and will be solved by teams that either include — and might be led by — architects, or those that do not. Most end users will only care if the resulting product is superior. This time of tension is indeed a time of great opportunity. Architects who embrace innovation in pursuing new iterations of our dated business models may actually achieve what many of us have dreamed of from the start: to leave a positive mark on the world. We think the future of the profession depends on it. Top image: Powerhouse Telemark by Snøhetta, Vestfold og Telemark, Norway The post Architects, Your Real Competition Isn’t AI — It’s Business Complacency appeared first on Journal.

In my last Fast Company column, I shared my reasons for manufacturing my electric trucks in the U.S. I’m not alone. While near-shoring to North America has been underway for several years, the current tariff shifts and shipping complexities make U.S. manufacturing a higher priority still. However, there were 292,825 factories in the U.S. as of 2021. Of those, 846 employ 1,000 people or more. Some of these are my engineering firm’s clients, giving us a front row seat to the complexity of retrofitting an existing factory to full U.S. manufacturing. While building a new factory is expensive and lengthy, these companies’ tasks are more difficult still. There are good reasons for making the shift as quickly as possible. Moving to most or fully U.S. manufacturing brings higher visibility, faster response time, and higher resilience to supply chain disruption, as well as greater protection from tariff shifts and geopolitical change. But if you’re early in the process, here’s my advice for your transition: Determine a priority ranking for the refining and raw materials you shift to in-country and North American sourcing. Give highest ranking to categories including defense, high value items (such as steel, aluminum, and rare minerals, etc.), and consumer safety items (such as pharmaceutical components, etc.). Be more strategic in the offshore suppliers you continue using for non-advanced manufacturing by prioritizing closer and more geographic-friendly locations for production and shipment such as Mexico and Argentina. Utilize government-backed capital, where possible, for extracting/mining minerals and metals such as lithium, red mud, magnesium, etc. Beyond the high-ranking product categories, move to domestic suppliers for primary materials such as steel, aluminum, cement, and plastics. Likewise, reduce offshoring of technical staff as well as raw materials, where possible. Use all means possible to become power independent through solar production, micro-grids, and nuclear power production. Consider creating a 4-year completion bonus for military vets. Hire vets wherever possible, as they make great workers and entrepreneurs. Likewise, we can press for future policy changes that best support Made in America manufacturing, as follows: Encourage ship building in the U.S., as well as creating new means of automated freight transit. Work towards transformation plans for government-funded R&D to include more attractive loans, rebates, and grants, as well as programs for tax-free status for intellectual property during commercialization, to incent and support organizations making the shift. Consider energy rebates to U.S. manufacturers and distributors to make American manufacturing more cost-effective and viable.   Create policies to include the cost of offshore staff in tariff calculations. Expand trade relationships with Caribbean nations for products such as sugar, avocados, bananas, etc. Avoid or even ban foreign ownership of the food supply chain. Create fair competition for government contracting. Make health supplements and homeopathic medicines tax deductible, to promote a healthy workforce. While it may not be readily evident, these policy changes are related to successful reshoring. In all, we need larger scale, lower costs, and more automated and simplified mechanisms for product manufacturing. These issues, in my experience, are as equally important as the raw materials we require. We need increased support for niche manufacturing. In my opinion, we also need deregulation, and increased access to land (particularly in the west; the federal government owns great quantities of the available land, which is choking available supply). I believe we need better education, self-reliance, health, and incentive structures to get the capital, entrepreneurs, and workers for Made in America manufacturing. Who’s with me? Matthew Chang is the founding partner of Chang Robotics.

By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

How this law firm is using AI to streamline legal practices  Techcircle

Pentagram's latest project introduces a striking new identity for TwelveLabs, an AI company redefining how machines comprehend video. At its heart, the rebrand marks a conceptual shift, positioning video not as a linear sequence of frames but as a volume. For TwelveLabs, this reframing is more than a technological advancement, as it's setting them apart in the fast-moving AI landscape. For Jody Hudson-Powell and the Pentagram team, it became the foundation for the entire creative direction. "The 'video as volume' idea became our way of visualising their technology," Jody explains. "Traditionally, AI sees video as separate frames – individual moments, isolated. But TwelveLabs understands everything at once, an interconnected whole. This shift in perspective became the core idea guiding all our design choices." Turning such an abstract and dynamic concept into a tangible brand identity was no small feat. In a sector often awash with dense data visualisations and corporate clichés, Pentagram's work for TwelveLabs stands out for its clarity and restraint. Described by the team as "smart, elegant, alive", the identity not only enhances the product's appearance but also helps explain it. "Abstract concepts can easily get complicated, but by staying closely focused on 'video as volume,' every decision felt purposeful and naturally clear," says Jody. A key part of this clarity is the system's use of diagrams and modular layouts. These elements do the heavy lifting when it comes to representing TwelveLabs' complex technology in a way that's accessible to a wide range of audiences, from engineers and developers to enterprise clients and creatives. "Complexity becomes understandable when you strip things back to what's truly important," Jody says. "We spent time refining the diagrams to say just enough – clear for everyone but authentic to those who really know the tech. When engineers see their work clearly represented, and others intuitively understand it, you've found some interesting ground." What's striking is how the identity balances the technical with the emotive. It's a visual language that feels structured but not cold, intelligent but not aloof. According to Jody, this tension was carefully calibrated. "Technology can feel distant, cold, but it's built around human experiences: images, memories, moments," he explains. "Our system provided clarity and structure, creating natural space for these human elements to emerge, balancing intelligence and warmth." Motion, too, plays a critical role in bringing the brand to life. Given that TwelveLabs' platform revolves around continuous, connected reasoning, it made sense for motion to echo that logic, being subtle but purposeful. "Motion always means something, even subtly," says Jody. "Every bit of movement mirrored the continuous reasoning of the platform. Allowing room for gentle expressiveness and even playfulness didn't take away from clarity – it enhanced it." One of the most distinctive elements of the new identity is the horse symbol. On the surface, it's a nod to Eadweard Muybridge's pioneering photographic studies of motion and an iconic reference for any visual technology. But there's a deeper connection, as TwelveLabs already named its AI models after horses. The Pentagram team simply brought that story to the forefront. "Often, the best ideas are already there, just waiting to be noticed," says Jody. "We simply amplified that story, connecting it back to Muybridge's historical images, allowing it to clearly communicate motion and intelligence in a fresh yet familiar way." Throughout the project, the team had to consider the diversity of TwelveLabs' audience, from developers and researchers to large-scale enterprise clients and the broader creative community. The result is an identity system that feels accessible without being simplistic and capable of meeting users at every level of expertise. "We aimed for a universal tone – clear, direct, and welcoming for everyone, regardless of their expertise," Jody says. "Precision doesn't have to be complicated, and clarity invites everyone in. Finding a voice that felt calm, clear, and honest meant meeting each person exactly where they are." The outcome is an identity that doesn't just repackage complex AI technology. It embodies the very qualities that make TwelveLabs' approach revolutionary: interconnected, intelligent, and distinctly human.

5 June, 2025 In this series, Clare Dowdy speaks with design studios that are 30+ years old, to find out some of the secrets behind their longevity. Michael Johnson set up his London-based brand consultancy Johnson Banks in 1992. From Duolingo to Pink Floyd, Cancer Research UK to the Royal Astronomical Society, the studio works with “people who want to do big things.” He sat down with Clare Dowdy to discuss what he’s learned over the past 33 years. Michael Johnson How did Johnson Banks come about? My 20s were very turbulent: eight jobs in eight years, a lot of different countries, different cities, learning on the job. My last job – at Smith & Milton – was relatively settled, I was kind of running a corporate design department. I had a client there, Tom Banks. After I left, he also left his role at Legal & General with the projects I had been working on, and we used that as a basis for the company. That was 1992, the back end of a recession. For a couple of years, everything was fine. Then we started having “creative differences.” And the pressures of running a tiny design company are substantial. So we parted ways in 1995, but I kept the name. Johnson Banks’ symbol for the V&A’s William Morris show At that time, we weren’t really in the branding world. For a decade, we were very distracted by getting on the graphic design map, trying to win D&AD awards, doing lovely stamp projects. And then we started to get some cultural projects: the V&A and the British Council. I started to think, OK, now we’re beginning to show what we can do. When and why did you start thinking seriously about your strategy offering? When we started to get into the branding arena, I knew we were underpowered in terms of the strategic thinking. I may have thought that I could do it, but it takes a bit to persuade clients when you’re 35, with hair almost down to your knees. If you’re up against important-looking people who can field a few grey hairs, you’re going to lose that pitch. So we partnered with strategic companies like management consultancy Circus, and followed that model for much of the 2000s. That led to the Shelter rebrand, and a few other quite big branding projects followed. Johnson Banks’ visual identity for Shelter Eventually we realised that we could do the strategy ourselves. I had sometimes been a little frustrated by the work that my strategic partners – naming no names – were doing. It sounds a bit mean, but sometimes I would get this 90-page PowerPoint document from them, and I’d put it on my designers’ desks, and their faces would go blank. I think that 20 years ago, there was still a bit of the idea that you’ve paid £100,000, so here’s your huge document. We slowly realised that if we were in control of the process, and were involved all the way through, then that jump out of the verbal brand to the visual brand could be much better managed. How did you rethink your strategy offer? The penny dropped in the mid-2000s when we worked with Save The Children. At the time, and I don’t think they’d mind me saying this, Save The Children were a bit of a basket case. They were associated with WI fairs and cake baking, and they had a royal as their patron – they were nothing like what they are now. I realised we needed to work out what they stood for before we did any design. I did this huge chart, and stuck it on a wall at the client’s office. And I said, it strikes me that there are strategic choices that you have got to make as a comms team about where you want to take the Save the Children brand. Johnson Banks’ poster for Save the Children That was an incredibly productive meeting, and also it helped us realise that before we got anywhere near the design, we needed to sort this out. I know that sounds like really basic stuff now. I didn’t trust my instinct for a decade or so, but in that Save the Children meeting, a light bulb went on for me. Once you’d worked out how to do strategy in-house why didn’t you scale up? A lot of companies would have done that. That’s how companies grow, and can end up quite quickly at 60 people. We have nearly always been around six to eight people. Because I could bridge that gap between the verbal and the visual, it meant we didn’t need to add people. And I’ve discovered over the last 25 years, that with a really good account director, Katherine Heaton, and me, and a design team, there is a heck of a lot that we can do. So we stayed small and partnered with filmmakers, animators, cultural specialists. Post-pandemic, a lot of people have adopted that hub and spoke model – we did it 20 years ago. Probably twice a year we’ll lose a pitch because of our scale. But conversely, with some clients you can sell in the fact that they’ll always deal with Michael Johnson. They’re not going to be handed down the chain, because there is no chain. Johnson Banks’ logos for Jodrell Bank Alongside this direct contact with you, what’s your main selling point? It seems to be that we think pretty hard about stuff. We almost never jump into design. A lot of thought goes into what we do, sometimes way too much. Sometimes our projects are incredibly difficult, gargantuan, intertwined and really hard to unpick. That’s a slightly poisoned chalice, because then people go, gosh, well, if they could unpick that, then they could unpick our Gordian knot. For example, we’re working on a major London university brand at the moment that has over 60,000 staff and students, 11 faculties, and hundreds of centres and institutes and departments, and we’re trying to navigate a way through. How did you work out what you wanted to specialise in? Sometimes you can get sucked into something that you just don’t want to be doing. By the end of the 1990s, Johnson Banks had got a reputation for doing annual reports. Part of me quite liked doing them because there was an interplay between words and pictures. And we were getting senior level access to clients, which makes you feel a bit better, because you’re having an interface with chief executives. But then I was thinking, hang on, we’re in danger of getting stuck here, because of course, they’re cyclical. And the death of the annual report – and the death of print – was coming over the horizon, with the internet. Johnson Banks’ Annual Report for Polygram (1995) Since then, my interests have changed. I do not have any interest any more in doing awful blue chips or terrible fintechs. I want to apply all the comms and the branding that I’ve learned to people who could really use it – not-for-profit, culture, education, philanthropy. You know, doing good. How did you build up this not-for-profit work? You lean into the referrals you’ll inevitably get within silos where you want to be referred. I learned this from Mary Lewis of Lewis Moberly. We were pretty close in the 1990s and she always said that referral business is the best business. Over 85% of our clients are not-for-profit – most design companies have a 20-80 split between non-profits and commercial clients. I never liked that ratio, what you might cruelly call ‘the Robin Hood principle’ – we are going to steal from our luxury car account and give to the charity. We did do a bit of that for a while. We did an airline in 2009/10 at the same time we were doing charities. I would justify that with the Robin Hood principle, but I just felt more and more uncomfortable with that. Johnson Banks’ campaign visuals for Cancer Research UK As our percentages went up and up in not-for-profit, eventually I said, look, we should just tell people this is who we are, and this is what we do. It was obvious anyway, so let’s be explicit about it. A few people said we were crazy, that we’d never get any work. But the reverse has been the case. We’re on our sixth environmental project. If you say this is what we want to do, and this is what we will do for you, then I think, funnily enough, clients find that very helpful. How did you build up to bigger projects? Let’s take education. We’ve done three or four really interesting campaigns for universities and now we’re in the position where we can do university rebrands, and have won a top 10 global university. But it has taken 15 years of education work to get to that point. I may not have thought that it would take quite so long to persuade people that we could do their identity. But education is a very conservative sector, and moves slowly, like museums and galleries. If you’re small, you can afford for a sector to move slowly, whereas bigger agencies need a pipeline. I’ve watched dozens of companies get to this critical point where they’ve grown and grown and then they’ve just fallen off the cliff because they’ve been feeding the monster. To help with that, agencies often add a new business person. No-one ever talks about this, but a new business person costs around £50,000. The rule of thumb, in my world at least, is that you have to take that salary and triple it with turnover to pay that salary. So you need £150,000 worth of projects to pay for the new business person before you’ve made a penny. So to make a profit, the new business person has to bring in over £200,000 of work. And if this person can do it, which is not guaranteed, then the company has to scale. It’s so easy to get caught on a treadmill. What else has helped you stay in business so long? We’ve always led with the thought behind the idea, not the way it looked. Because I was always much more interested in the idea behind something, I think that has helped us not get sucked into the visual, to use the type face du jour, the colour that everyone else is using. And it’s understandable, because graphic designers want to do stuff that their peers really like. But paradoxically the trick, in my opinion, is to try and zag away from the trends. Create a new trend yourself. Johnson Banks’ globe symbol for the COP 26 climate conference Design disciplines in this article Industries in this article Brands in this article What to read next Neville Brody on clients, education, and his unexpected OBE Graphic Design 30 Jan, 2025

Posted on : June 5, 2025 By Tech World Times AI  Rate this post Artificial intelligence tools now touch nearly every corner of modern business, from customer service and marketing to supply chain management and HR. These powerful technologies promise speed, accuracy, and insight, but their missteps can cause more than temporary inconvenience. A single AI-driven error can result in regulatory investigations, civil lawsuits, or public scandals that threaten the foundation of a business. Understanding how legal exposure arises from AI mistakes—and how a skilled attorney protects your interests—is no longer an option, but a requirement for any forward-thinking business owner. What Types of AI Errors Create Legal Liability? AI does not think or reason like a human; it follows code and statistical patterns, sometimes with unintended results. These missteps can create a trail of legal liability for any business owner. For example, an online retailer’s AI recommends discriminatory pricing, sparking allegations of unfair trade practices. An HR department automates hiring decisions with AI, only to face lawsuits for violating anti-discrimination laws. Even an AI-driven chatbot, when programmed without proper safeguards, can inadvertently give health advice or misrepresent product claims—exposing the company to regulatory penalties. Cases like these are regularly reported in Legal news as businesses discover the high cost of digital shortcuts. When Is a Business Owner Liable for AI Mistakes? Liability rarely rests with the software developer or the tool itself. Courts and regulators expect the business to monitor, supervise, and, when needed, override AI decisions. Suppose a financial advisor uses AI to recommend investments, but the algorithm suggests securities that violate state regulations. Even if the AI was “just following instructions,” the advisor remains responsible for client losses. Similarly, a marketing team cannot escape liability if their AI generates misleading advertising. The bottom line: outsourcing work to AI does not outsource legal responsibility. How Do AI Errors Harm Your Reputation and Operations? AI mistakes can leave lasting marks on a business’s reputation, finances, and operations. A logistics firm’s route-optimization tool creates data leaks that breach customer privacy and trigger costly notifications. An online business suffers public backlash after an AI-powered customer service tool sends offensive responses to clients. Such incidents erode public trust, drive customers to competitors, and divert resources into damage control rather than growth. Worse, compliance failures can result in penalties or shutdown orders, putting the entire enterprise at risk. What Steps Reduce Legal Risk From AI Deployments? Careful planning and continuous oversight keep AI tools working for your business—not against it. Compliance is not a “set it and forget it” matter. Proactive risk management transforms artificial intelligence from a liability into a valuable asset. Routine audits, staff training, and transparent policies form the backbone of safe, effective AI use in any organization. You should review these AI risk mitigation strategies below. Implement Manual Review of Sensitive Outputs: Require human approval for high-risk tasks, such as legal filings, financial transactions, or customer communications. A payroll company’s manual audits prevented the accidental overpayment of employees by catching AI-generated errors before disbursement. Update AI Systems for Regulatory Changes: Stay ahead of new laws and standards by regularly reviewing AI algorithms and outputs. An insurance brokerage avoided regulatory fines by updating their risk assessment models as privacy laws evolved. Document Every Incident and Remediation Step: Keep records of AI errors, investigations, and corrections. A healthcare provider’s transparency during a patient data mix-up helped avoid litigation and regulatory penalties. Limit AI Access to Personal and Sensitive Data: Restrict the scope and permissions of AI tools to reduce the chance of data misuse. A SaaS provider used data minimization techniques, lowering the risk of exposure in case of a system breach. Consult With Attorneys for Custom Policies and Protocols: Collaborate with experienced Attorneys to design, review, and update AI compliance frameworks. How Do Attorneys Shield Your Business From AI Legal Risks? Attorneys provide a critical safety net as AI integrates deeper into business operations. They draft tailored contracts, establish protocols for monitoring and escalation, and assess risks unique to your industry. In the event of an AI-driven incident, legal counsel investigates the facts, manages communication with regulators, and builds a robust defense. By providing training, ongoing guidance, and crisis management support, attorneys ensure that innovation doesn’t lead to exposure—or disaster. With the right legal partner, businesses can harness AI’s power while staying firmly on the right side of the law. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com