#*it

[er-10-media]

Казахстанский стартап Call2action.ai произвел фурор в США

New Post has been published on https://er10.kz/read/it-novosti/kazahstanskij-startap-call2action-ai-proizvel-furor-v-ssha/

Казахстанский стартап Call2action.ai произвел фурор в США

Казахстанский стартап Call2action.ai, резидент международного технопарка Astana Hub, активно масштабирует свою деятельность на американском рынке. Более 40 транспортных компаний США выразили к проек��у интерес: две из них стали клиентами на коммерческой основе, а три сотрудничают в рамках пилотных проектов. 

Call2action.ai — это первое в мире решение на основе генеративного искусственного интеллекта, разработанное специально для автоматизации найма в транспортной и логистической отраслях. Стартап предлагает готовое к использованию SaaS-решение, которое делает процесс найма не только удобным, но и экономически эффективным.

Рабочие гипотезы проекта доказали свою состоятельность, благодаря чему команда начала наращивать трекшн. В результате стартап открыл инвестиционный раунд и ведет переговоры с венчурными фондами и бизнес-ангелами. Некоторые из них уже выступают в роли местных эдвайзеров и планируют присоединиться в качестве инвесторов.

Американский рынок значительно отличается от казахстанского, но мы увидели огромный потенциал для трансформации процессов найма в транспортной и логистической сферах. Благодаря участию в программе Silicon Valley Residency Program при поддержке Astana Hub и Министерства цифровизации, мы прошли акселерацию в Кремниевой долине и достигли значительных результатов всего за несколько месяцев: более 40 транспортных компаний проявили интерес, с двумя из которых были заключены контракты, а три запустили пилотные проекты. У нас есть потенциальные инвесторы для pre-seed раунда, а также внимание крупных японских корпораций, таких как Persol Group и Mitsui Group. При таком спросе мы рассчитываем, что наш продукт будет оценен в миллиард долларов уже через несколько лет

отметил Ерсултан Джусакинов, CEO и сооснователь Call2action.ai.

Команда Call2action.ai активно развивает сотрудничество с инновационными центрами в США, включая Silkroad Innovation Hub, основанный выходцами из Центральной Азии. Стартап уже продемонстрировал свой потенциал на крупнейших международных выставках, таких как TechCrunch Disrupt и CESV 2024, зарекомендовав себя как перспективный игрок на глобальном рынке. Кроме того, Call2action.ai был отобран в акселерационную программу от Mitsui Group, которая стартует в 2025 году.

[int1macyyyy]

Hi people in Oregon, would you say it's a cool place to live? How is the IT / computer science and graphic design scene there? Like would around Portland be good for that? Sorry just trying to know more about the state lol

[hockstetters-overbite]

Do y'all wanna see my art project when it's finished?

It's a multi-medium canvas that's inspired by IT(2017) that has a custom linoleum stamp design for the prints on it :)

I'll be making a ceramic pencil holder with the linoleum stamp as well so I can post that as well!

[graveyardbunnii]

[charlie-grusin]

IT (2017) : Movietalk # 03

With or without a god we are all children – it’s only in the coziness of patterns and routines, the wear and tear of time that makes us assume otherwise that we have grown up, that we have become the adults through the ability to withstand the monotonous mundanity of the real world as so opposed by it. But we do not grow so much as we experience; and we do not change or transform so much as we only shift further towards our truer, greater selves. All it takes – if it can be believed – is a thin resonance, a revelation of the self that is at once demolition and renewal: a toppling of dominoes which finds at its end not a full-scale collapse but a newly-christened bridge, a sudden elapse between the once-impenetrable points of what-once-was and the here-and-now that all at once “creates” before our eyes (then, in a more reasonable understanding after the fact, reveals) the roots of our lives from the inside out. We do not see our schedules, for these are material and therefore immaterial; we see instead our very own inner patterns – our own array of patch-and-stitches we have either caught, earned, or made on ourselves in the days of youth – and how these fabrics and colors, in one way or another, have intercepted, overlapped, and/or taken over our lives in the past and the now without our very knowing. They are little apocalypses with their own five stages, and more often than not they are terrifying. And all it takes is but a drop – a slim, singular, yet altogether complete and pure emotion with the gut-punch of nitroglycerin. Worry... lonesomeness… doubt… they are but a few of the boiling triggers, and they are also branches to that most reactant of personal tides: fear.

2017 was not just the Inevitable Return of the Stephen King Flick, it was also the Year of IT, and my slightly younger, much dumber self had rode on its frontlines like a storm. I read the book whilst trailing away from a nasty sick spell that just so happened to be the sweet little nook of time before the cranks in Movieworld really started churning out the clown bucks, and once I had caught its developing whiffs I kept my eyes and ears on the headlines over that thin span of years, making only light utterances in my company of friends whose only point of reference was the Tim Curry miniseries (yes it’s that movie but this is not a remake it’s a new adaptation of the book have you read it have you read the book IT??). I don’t think I ever spouted any further words about IT back then, even as the project shifted hands from Fukunaga to Muschietti and the tides were starting to be reassured – for all I knew it was a territory known to by me and me alone, a world as strange and exciting as it was when I’d cracked my very first King (and Straub, RIP) back in middle school and just as impossible to put into words (what would I’ve said if any of my teachers and classmates caught in this ailing red state had asked me about what I was reading, not knowing I was deep in the part in The Talisman where Jack’s friend Wolf had gotten the nards to murder a bunch of Evangelical fascist children and was loving every word of it?) – but it turned out I didn’t have to wait for long; once that first trailer came out it was all that any of us could think about – talk about, even. In my circle I was IT’s finest cheerleader, affecting them with accursed knowledge of American literature’s finest, greatest, ever-unsurpassed, ever-imitated-but-never-duplicated novel of love and monsters.

When IT (2017) came out I had no good way of selling my parents to take me to watch it – even though they had given up on shielding me away from reading any “mature” books (let alone King’s) a long time ago and the very first film I ever saw was fuckin’ Commando, them taking me to an R-rated film that prominently featured the premise of monsters killing children still didn’t seem such an easy ask; I saw all three Hobbit films when they were first released and what somehow dreaded me more than having to walk out of that theater with two-and-a-half hours spent watching The Battle of the Five Armies was to hear another agonizing spiel about God and Jesus and the Coming of the Rapture and Tribulation and the Book of Revelations on the long ride back. I admire them. I still do. But I hated that, loathed it – if that was the ride home I could expect from three hours of stupid over-bloated Tolkien shit, what would horses do with a real love?

Fortunately, I had a friend. They had gone to see it opening weekend and loved it so much they were aching to see it again. When I told them I hadn’t seen it despite being IT’s amateur oracle they had offered to take me with them on a late October night. How could I refuse?

Up to now I had ever only believed I’d gone on a single date with someone from school. It was a date with a love as everlasting as an obligatory prom invite on a crumpled slip of notebook paper. We’d gone to dinner, we’d gone to a movie, and even though it was a double date with some close friends of ours it was still by the end of the night an uncomfortable, awkward experience. Part of it was no doubt a slipping across that veil from the young adult to the adult – we were starting to push against each other beyond the restrictive confines of school toward territories never before embarked upon – but now I have no doubt it was a personal trouble, a question so vague even its mark was left unfinished, a river without an end. It was a love with endless pairs of eyes staring at it from every possible angle belonging to faces more familiar than unfamiliar, observant while their backs were turned, glazed with an expectation that was ultimately honed to a final premeditated result which had seemed at first no different than the systems we were already being churned through until you realize in a momentous flash of precognition (an intake of terror) that this time it could go on and on and on and on. We were going to be sweethearts; we were going to be pure, natural; an easily discernible match of inner-clique love that had to stick because it had to stick, it must, and there was no other way around it, it was just that inevitable. One of my parents had mentioned it to a neighbor friend of ours when I got back; he had joked about me being a bachelor, a playboy. I’d laughed with them (just as expected) then I took solitude in my bed to meditate myself to sleep on the hatred I felt for everybody, for myself.

Then I willed its disintegration. It was static. Silent. A meanness, yet numbing enough you theoretically hardly felt it ever happened as if whatever occurred there and then hadn’t ever been at all... yet you could feel its dusts collect to thickets in your nose, its last mysterious jolts of convulsion bristle against the tongue to the brain all the same. We had walked away in debris unaccounted for, not a word more between us. I would wonder, then dare not wonder no more, either afraid to acknowledge the cruelty I was able to manifest or the source of the brutality that laid beneath it all.

But that night. I wonder if there could’ve been something I missed in the mix of our talk and laughter on the way to the theater, in the beats of every squirm and jump the movie managed to get out of us from the back row seats, in midst of all the breathless talk on the drive back that was admittedly made more on my front (as cheerleader I am prone to the asthmatic). I don’t know – only that it can’t help but be a one-sided affair, that even if I were to delve further I cannot ever find a temporary answer or an overall glimpse of that night and our relationship anymore because it is by all accounts too late. You know how it goes – the great exodus of the senior class where we drift away to seek our own corners of the world to such an extent that we first begin to forget those who we only knew mildly at a distance, only to then (though we might attempt its delay) lose touch with the ones we knew more dearly. But ours had been the most distorted and the most sudden, an abrupt separation, all before coming back around not to bitterness (at least I don’t think – I don’t want to think it) but to a flat-line that had no choice but to dissipate the way it did to nothingness. Perhaps it was karmic. I don’t know. Maybe I don’t ever want to know that either even if such a resolution could very well be the most helpful comforting thing whatever it could possibly be. We were supposed to celebrate together, but as soon as we had tossed our caps and shot our concealed confetti cannons he’d ran off to join a party the rest of us had no knowing of. Though some of us might’ve talked – must’ve talked – I never knew the rest. Our next goodbye (the last goodbye) never even felt like a goodbye, least not at first, but as the get-together dwindled away into the evening and as I breathed the birthday cupcake vape smoke that was as alien to me as this strange cubicle-carved apartment with the single dying lamp tucked in the corner I had known it was. And yet in the midst of this own quiet revelation, as I look not in that moment but in the ones from farther back from that scattered gallery of occasional triumphs and resentments I cannot help but want to reach in (reach through) for something, anything. Maybe I want to go back to that night – the most ecstatic I ever felt going to a movie theater – and really talk to them (to hell with the movie), talk to them and ask them and understand them and know them if I can (and this time I really have to listen because there’s no notes to take this time) if they really really knew what it meant when that skinhead-looking motherfucker had posed whether or not we had something for each other while the teacher was off-and-about doing everything and nothing about it and why that now seems to me so close to the opening of Jack Ketchum’s The Lost where the two women sharing this uneasy warmth for each other they could never proclaim are silenced in cold blood by a gun-toting psychopathic youngster, why the first thought I had then was thought of in the delivery of Norm Macdonald on the Weekend Update: “I’m gonna tell ya that is some bad luck when the one who would’ve known you kills you.” So the river goes.

The music is IT’s enemy; same as it ever was. I knew on this rewatch to steel myself against it but damn, right out of the gate? It’s kinda like how these adaptations have opted to let poor Georgie’s arm get bitten off rather than have it be the much crueler fate he gets in the book where Pennywise straight up rrrrrrips this six year old kid’s arm clean off the bone like an insect, but perhaps even that isn’t such a fair comparison – there at least the point of disturbance fairly stayed the same. With Wallfisch’s scoring however there is often an uncomfortable vastness between its good intentions and its end results to a point where you’re supposed to be watching this opening scene that’s meant to be tragic and terrible and all that good nasty horror business but the music it’s hitting you with is going so far the right way the wrong way that it has this unintended mellowing effect to where it becomes more of an obstruction than a compliment. This has probably been said and served a dozen different ways by now, I’m sure – this movie’s like, what, seven years old now (seven years? damn) and it has also likely been mentioned how the rest of the score plays out exactly the same even when it’s not trying to be overtly sinister (it’s all too literal, all too blunt, making its horrors obnoxious and most of its moments of tenderness whimsical to the point of tartness)… but, in a way, it… kinda works? Or it at least makes some leap of sense? Maybe it helps to consider whatever higher bars of potential Wallfisch may’ve had going on here and for Chapter Two (my best guess is something of a mix between John Williams schmaltz and either an easily peeved or mildly perked Merzbow strolling through some gray weather), but I think what eventually lets much of the film’s faults slide back to the shadows from which they came – whether it be the overreliance on score and sound or even the freakin fuckin goddamnawful rock fight scene (I mean whatthefu- really shoddy re-shoots aside why did you turn one of the biggest major turning points of the story into some comical snowball battle and why oh why oh whyy did you have to make the worst needle-drop out of Anthrax right after arguably doing the best one in the film with The Cure!?) – is that unlike Chapter Two much of its negatives are still easily outweighed by its positives (if we were to measure it in beakers it’s probably about a third or a fourth of the whole), and that those positives, when all’s been taken for granted, are still pretty good. Damn good, at parts; bordering on great in others.

What one must acknowledge when they approach IT (2017) – whether it be its own quality or why it had become the big surprise horror hit that it did and why it was the highest grossing R-rated film for quite awhile before other worser, more terrible things proceeded to claim that title – is that it is in its final strokes a YA rendition of IT the novel. Nevermind that the main cast of characters are predominantly young adults to begin with, though that of course cannot be unaccounted for; compared to King’s original book which is so unrelenting and merciless in its bloodshed on adult and child alike it appropriately pulls an epigraph from Clive Barker and Mean Streets(there’d be the usual limb-ripping, the occasional melon-knocking, then there’d be what really happens to Patrick Hockstetter), the film plays itself on a reserved line when it comes to the topic of murder, opting to drag Georgie down the sewers rather than have his marbled eyes fill up with rain, willing to show severed pieces of horrifically maimed children (whether dead or undead, real or unreal) only when obscured by ink or greywater or are near unidentifiable to be mistaken for anything else anyway. It’s not as… sophisticated?… as adult?… not as honed in to the gravities of sudden death as King’s writing often is or as it could’ve been, but the little weight and muscles it has going for here are surprisingly doable (and durable) than one would expect. It rode proudly on the waves of ADA-approved horror adventures and ‘80s nostalgia binges Stranger Things somehow managed to cast first, yet it’s also a film that asks the dreaded question of Who Can Kill A Child? when Bill cocks the captive bolt and aims it point blank to his little brother’s head, and fires. It’s not really his brother, of course, but the image – that primal discomforting thought as striking as the opening massacre from Children of the Corn (1984), as powerful as Carrie or Charlie McGee setting everything ablaze – is Metal all the same.

I’d come out of my first viewing thinking the only thing about the film that could really, truly amount to horror was everything with Beverly’s stepfather – all the lepers and flute ladies were as spooky as they told me but I remembered feeling (and talking about I just had to that night) almost frozen to ice every time she had to encounter that viler beast (and I still felt as such this time around, just as much as I couldn’t help but cheer through abated breath as she knocks that fucker dead-on), but the truth of the matter now is that very much like the book it’s not the clown that’s really scary but it’s the adults – the whole fucking town. Every turn, every glance from the eyes of an elder, is a tyger waiting, daring you to pull away and take back your dismissive act of resistance just so they can pounce on you and pin you down where they want you;it gets (in part) that there are many worse fates to befall rather than a sudden demise by some strange creature from out of the blue, that it really is submission through guilt and confinement, through downright abuse and absolute cruelty by someone as familiar to you as your very household, which can devise an even graver, more permanent death than the one you’ll eventually find in that last great incubator. It’s the kind of revelation that many of us since time immemorial have cast aside as angst (oh you angsty teens with your dour behaviors why don’t you cheer up you’re in America (well you see that’s kinda the problem)), as if that feeling is all trivial and superficial and not at all a real concern that based on circumstances can breach the lanes of life and death as swiftly as an ill sheet of ice on a bad day at hockey practice – what do you mean we’re so worried, so scared all the time? Of course we are! The ice is gonna break and it’s gonna break even further when there’s people like you who will make all our futures a living hell when you keep your selfishness and your arrogance close to your blackened hearts and you keep watching those clown-a-thon propaganda programs until it all gives way beneath our feet and we all drown in stupidity because you were all so preoccupied with the expectation and hope of death and an afterlife that you forgot to teach your children and peers the worth and meaning of life and how we must live it you bastards, you goddamn liars! Now That’s Horror – the never-ending struggle to turn survivalist against anyone or anything slightly older and/or unfairly superior to you who wishes to keep you dead in the mucks – but within it also is the Truth Inside the Lie: with friends like these, you wouldn’t have it any other way. I could be a loser, I may be a lover, but if you don’t think me a fighter you’ve got another thing comin – send you high up to kingdom come where all the gods swim we will. Count on it.

Clowns got shticks, it’s that genetic – and much like any other shtick it is also genetic to get tired of said shtick fairly quick which is often where the masters make their spotlights, leaping not away from the danger of potential mediocrity and failure but towards that sucker (hit that eye of the storm with a pie in the face and a bonk! at the nose). Yet to say Muschietti hadn’t shown any mastery in this films would be perhaps dismissive; it is fair to say he had become more a master of self-deprecating horror (if that be a term) by the time he tackled Chapter Two, and it’s definitely something you cannot miss tracing its more idle beginnings back in Chapter One, but while this film certainly began the duology’s unhealthy reliance on irritating play-to-the-screen rubber-faced Pennywise it was not without a greater counterbalance (it’s like they had themselves well on a Pennywise yin-yang before either slipping (or diving) all in on the yin). Bill Skarsgård screaming and yelping and doing a victory royale emote is annoying now, yes, but Bill Skarsgård teasing his victims, mocking (and miming!) their misery before really going werewolf (holy shit the clown’s got nards!) is right as rain. I had figured by memory alone the entire House on Neibolt Street sequence was going to be the moment the film would lose its gas for good and for all this time round; boy howdy was I mistaken. It doesn’t exactly cross the veil of transcendence to Horror Valhalla but for what it’s worth the thing comes close, I tell ya – it’s that chaotic energy, that bit of gnarly bloodied edge, this symphonic cacophony of worried youth and terror emphasized with growls and that mean mean laughter at the end of every line that really gets to you. Either something of the magic was lost in between the films or what, but man did Muschietti know how to make his tight corners tight back then, how unpredictable anything and everything can be when an adult (or something unlike an adult (or human for that matter)) holds the opportune moment of power against someone as incredibly vulnerable as a child, how suddenly frightening things like a Mr. Bob Gray or a Mr. Marsh can be once they really start to make some moves. All handheld, all close-ups, and with all the powers of the film’s varied strengths it emanates a surrealness that then swiftly swings back to reality – Now That’s Horror. You know how some people often preach about science fiction and fantasy being these great vantage points of genre fiction because they’re capable of reflecting upon our societies’ ups and ills with ease? That may be true to some extents (I’ve seen footage) but yeah right; as if. To me nothing can get any more poignant, more intimate, and much more immediate and down to the point than a meat-cleaving homicidal or a knife wielder on the loose (or in this case a monkey bastard clown sprouting mantis claws in a sewer depths). We can play civil, act coy, be erudite and perceive ourselves the superior all we want – they’re all just alternatives for what we really want to do. Everybody wants to scream. And sometimes, we do.

[theroosterfairytaler]

A couple of months ago, I walked into a second-hand store just to see if I could find anything that interested me, and I did find multiple things there on my first day. However, with the tight budget that I had, I had to think about what I wanted to get. Because even though I'm an adult and could buy whatever I wanted in the world within a reasonable price range. I still had to use it in a responsible way, I can't let my inner child want something that might be considered silly.

I had to choose between five films, an action figure, and this rare doll that had caught my eye immediately when I stepped into the place.

_____________________________

_____________________________

I recall seeing it for the first time and thought: "Is that a Pennywise doll? He's so small. It's not that creepy to me... Should I take him home?"

This doll is from the 1990 movies of IT too, so that made it extra special in my eyes. I had glanced at it a few times, just thinking, as well as debating if I should take it or not, only to leave the place with the five films.

Listen, that doll was expensive, even for a second-hand item. I didn’t even have enough money, not to mention the fact that I didn’t want people I knew telling me that I was an idiot for buying it. So I began saving to raise up my money again while also making sure to check if it was still there every week. And whilst this was going on, I was actually thinking if I did actually need it or not. Not as an item of use, but more of an item of display and glee. I got this question answered in the middle of October.

It was gone, completely gone, I didn't ask the receptionist what had happened to it, but anybody could tell that some other customer had bought it.

I wasn't that upset about it, mainly because I had expected this to happen, but I was still sad that I didn't have a proper chance to get it. I still think about it every now and then, yet it isn't like as if I actually miss it. It's more of a what-if scenario. He would have looked really great on my shelf. Well, at least I'm not bitter...

[harawata44]

プロが教える「PCをオフにする時はシャットダウンとスリープ、どっちがいいの？」　理想の選択肢は意外にも……　「有益な情報ありがとう」「感動しました - ねとらぼ

[thestargazingstrawberry]

oh we are fucking going going

The Justice Department is trying to make Google sell its Chrome browser : NPR

[ithoughtghostsjustfloatedaway]

how do communities work & how do we make a fem losers one

[honou-izzu]

I didn't expect to see a reference to Toho's kaiju movies in this novel lol

[assistantcaptainmitchmarner]

MINTEN FIRST GOAL!!!!!!!!!

[televisionlassie]

Mike really was standing on business in the IT movie. All of those kids would’ve been long gone if not for him.

[mentalnote1]

Case Study #1 ~ Therapy

Security did escort me out of my therapist office, well 4 of my previous therapist anyway but who’s counting

This was my 9th visit to doctor Hommer Crumb

Hommer Crumb

Hommer Crumb

Hommer Crumb

His name doesn’t scream come talk to me

For some reason I’m always paired with a man

They can’t be trusted around a big ass and titties

We talked about everything and nothing at all

I covered my breast really well, the eagle hoodie I wore to every visit was intentional

Frankly I was bored

Therapy doesn’t work for me

I’m convinced my brain is broken and doctors have planted something sinister in my head when I had my tonsils removed when I was 11

Yea, I was 11, maybe 10

That’s when it happen

The thing

The something

It

The incident

Occurrence

The situation

Episode

It was an event

The dirty deed, landmark 

The happening

The ugly  

I just pretend it was a dream 

Something ugly has happened again

Just my fuckin’ luck

I know its altered the thing the doctors planted in my brain when I got my tonsils removed when I was 10 or 11, I may have been 9

They put cha’ta’sleep ya know

4 or 5 maybe 6 doctors who I spate curse words at are convinced I need to talk about it

I mean…

If security wouldn’t have escorted me out the building this time again I may have gotten to it

But they never gave me a chance

I hate therapy

[faline-cat444]

Daffy as Pennywise got into toy status

[zelda-larsson]

Integrating Social Programs to Build Consumer Loyalty

In the competitive business landscape, creating and maintaining customer loyalty is essential for long-term success. One way businesses achieve this is by integrating social programs into their core strategies. By aligning with causes that resonate with their audience, companies demonstrate their values and foster a connection that goes beyond transactions.

Why Social Programs Matter in Business.

Social programs provide businesses with an opportunity to engage meaningfully with their communities while addressing societal challenges. Initiatives like environmental sustainability efforts, educational outreach, or support for underprivileged groups show customers that a company prioritizes social responsibility. Consumers increasingly seek brands that align with their values, and these programs can create lasting emotional connections.

Michael Shvartsman, a business leader and philanthropist, shares his perspective: “A company’s success depends on more than its products or services. People want to support businesses that reflect their values and make a positive difference in the world. Integrating social programs into business practices is a way to show genuine commitment to making an impact.”

Boosting Loyalty Through Shared Values.

Loyalty stems from trust, and trust grows when customers see that a company consistently delivers on its promises — both in the quality of its products and its social initiatives. Social programs resonate with customers because they reflect shared values, whether it’s reducing plastic waste, promoting equality, or supporting local communities.

For instance, companies that donate a portion of their profits to charitable causes or invest in local schools and infrastructure often see enhanced loyalty. Customers who align with these initiatives feel they are contributing to something meaningful by choosing that brand. Michael Shvartsman emphasizes, “When companies align their mission with the needs of their community, they build a sense of shared purpose. Customers are drawn to brands that give them a chance to be part of something larger.”

Types of Social Programs That Drive Loyalty.

Community Engagement: Sponsoring local events or supporting area nonprofits strengthens ties with the community. Companies that demonstrate care for the regions they operate in often see increased brand loyalty from residents.

Sustainability Efforts: Programs focused on eco-friendly practices, such as reducing carbon emissions or minimizing waste, attract environmentally conscious consumers who value sustainability.

Employee-Centric Initiatives: Providing employees with volunteer opportunities or matching charitable donations fosters a positive internal culture, which often reflects in customer interactions.

Cause-Oriented Campaigns: Brands that support causes like mental health awareness or disaster relief show empathy and social awareness, qualities that resonate with socially conscious consumers.

Measuring Success and Building Authenticity.

To make social programs effective, businesses must ensure authenticity. Customers can detect when initiatives are solely for show. Companies must genuinely invest in these causes, providing transparency in their efforts and regularly reporting progress.

Michael Shvartsman advises, “It’s essential for businesses to be honest and consistent. Consumers are savvy — they appreciate genuine efforts but will quickly turn away from brands that appear insincere. Authenticity is the foundation of long-lasting loyalty.”

Integrating social programs into business practices can strengthen consumer loyalty by creating emotional connections and aligning with shared values. As Michael Shvartsman observes, “Customers are loyal to companies that reflect the world they want to see. Businesses have a unique opportunity to inspire and lead by incorporating meaningful social initiatives into their strategy.”

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