Available today, starting with version 1.4 of its desktop browser, Brave has added a 404 detection system, with an automated Wayback Machine lookup process to its desktop browser.
By default, it now offers users one-click access to archived versions of Web pages that might otherwise not be available. Specifically we are checking for 14 HTTP error codes in addition to the 404 (page not found) condition, including: 408, 410, 451, 500, 502, 503, 504, 509, 520, 521, 523, 524, 525, and 526.
If you are a Brave desktop browser user, the answer is now just a click away. But first – you have to update your browser. Then see the benefits of this new feature in action by clicking on this URL.
For the past 23 years the Wayback Machine has archived more than 900 billion URLs, and more than 400 billion Web pages, and adds many hundred million more archived URLs each day. As such there is a good chance archived versions of “missing” pages you are looking for are available.
This is not the first time the Internet Archive has partnered with Brave. In 2017 we announced our support of their micropayments system and then last year we shared an update about that effort. We appreciate how Brave continues to innovate and deliver new value and services through their browser.
We are grateful for their commitment to user privacy, helping advance alternatives to the current ad-supported Web, and focusing on improving the overall Web browsing experience. We applaud Brave’s leadership in these efforts and look forward to working with them on other ways to help make the Web more useful and reliable.
While native Wayback Machine 404 support is only available via the Brave desktop browser, various Wayback Machine functionality, including 404 detection and archived URL playback, is available via browser extensions for Safari, Chrome and Firefox.
If you have ideas about how we can improve the Wayback Machine please share them with us via email to firstname.lastname@example.org Many of the recent features we have added are the result of suggestions from users of the service and we appreciate all feedback. Together we can help make the Web more useful and reliable.
We’ve been digitizing a bunch of books in Russian recently, and we’ve been enjoying some of the distinct graphical design choices made by Russian publishers. A lot of information about a culture can be extracted through their advertising.
One of the stand out features of the late 80s and early 90s designs is bold and oversized typography :
Conveying the book’s meaning is hard on it’s own with the use of lettering exclusively it can become nearly impossible so often we see interwoven letters used as eye catching designs.
Several Publications like Молодая гвардия, which has been around for over 80 years, serialize their designs to fit in and present a uniform layout with bold alternating colors, black heavy font centered at the top of the cover and a set of 3 illustrations/images, the author’s name in knockout (white text on black background) and decorative cursive font.
These incredible detective novella series published by a much younger publisher, Эксмо, was established in the 90’s but carved out a unique niche and immense popularity due to the eye catching hand drawn collages with a lot of items to draw the eye and with fonts like a serial killer’s note made out of dozens of fonts. These covers range from funny to surreal.
As far as trends go, a whole drinking game could be devised from spotting a greyscale photograph of someone’s face on a cover that has a colored background. In fact the whole bust/head only presentation is so common we’re beginning to suspect having a full figure on a cover is illegal…
In the end it is really fun to browse through decades of russian literature even if some of the design choices are questionable. Assuming you’re interested in judging these books by something other than the cover, enjoy the Internet Archive’s 39,000 books in Russian for entertainment, research, or building your language skills.
The Internet Archive’s Archive-It service is collaborating with the Internet Preservation Consortium’s (IIPC) Content Development Group (CDG) to archive web-published resources related to the ongoing Novel Coronavirus (Covid-19) outbreak. The IIPC Content Development Group consists of curators and professionals from dozens of libraries and archives from around the world that are preserving and providing access to the archived web. The Internet Archive is a co-founder and longtime member of the IIPC. The project will include both subject-expert curation by IIPC members as well as the inclusion of websites nominated by the public (see the nomination form link below).
Due to the urgency of the outbreak, archiving of nominated web content will commence immediately and continue as needed depending on the course of the outbreak and its containment. Web content from all countries and in any language is in scope. Possible topics to guide nominations and collections:
A special thanks to Alex Thurman of Columbia University and Nicola Bingham of the British Library, the co-chairs of the IIPC CDG, and to other IIPC members participating in the project. Thanks as well to any and all public nominators assisting with identifying and archiving records about this significant global event.
When Jack Dorsey, founder of the very centralized social media platform, Twitter, posted this message about decentralized social media, our DWeb community took note:
Dorsey went on to enumerate the current problems with social media: misinformation and abuse; opaque, proprietary algorithms that dictate what you see and hear; and financial incentives that elevate “controversy and outrage” rather than “conversation that informs and promotes health.” But Twitter’s co-founder and CEO also sees promising new solutions:
We agree. Much work has been done and some of the fundamentals are in place. So on January 21, 2020 the Internet Archive hosted “Exploring Decentralized Social Media,” a DWeb SF Meetup that attracted 120+ decentralized tech builders, founders, and those who just wanted to learn more. Decentralized social media app builders from London, Portland and San Francisco took us on a tour of where their projects are today.
WATCH PRESENTATIONS HERE:
The evening began with a survey of the decentralized social media landscape by researcher and Happening.net developer, Jay Graber. (See her two excellent Medium articles on the subject.) Graber helped us understand the broad categories of what’s out there: federated protocols such as ActivityPub and Matrix; peer-to-peer protocols such as Scuttlebutt, and social media apps that utilize blockchain in some way for monetization, provenance or storage. What was clear from Graber’s talk was that she had tested and used dozens of tools, from Mastodon to Iris, Martti Malmi’s new P-2-P social app and she deftly laid out the pros and cons of each.
What followed were talks by the founders and developers from each of Graber’s categories:
Evan Henshaw-Plath, an original Odeo/Twitter engineer, is the founder of Planetary.social, a P-2-P mobile app that’s “an open, humane Facebook alternative” built atop Scuttlebutt. His goal with Planetary is to make an app reflecting the values of the commons, but that feels as seamless and familiar as the social apps we already use.
Flying in from London, Matthew Hodgson, founder of Matrix.org, brought us up-to-date with his open network for fully encrypted, real-time communication. With an impressive 13.5 million account holders, including the governments of France and Germany, Matrix is showing hockey-stick-like growth. But Matrix’s greatest challenge: in an encrypted, decentralized system, how do you filter out the bad stuff? By using “decentralized reputation,” Hodgson explained, allowing users to moderate what they are willing to see. Hodgson also revealed he’s building an experimental P-2-P Matrix in 2020.
Thought leader and tech executive, John Ryan, provided valuable historical context both onstage and in his recent blog. He compared today’s social media platforms to telephone services in 1900. Back then, a Bell Telephone user couldn’t talk to an AT&T customer; businesses had to have multiple phone lines just to converse with their clients. It’s not that different today, Ryan asserts, when Facebook members can’t share their photos with Renren’s 150 million account holders. All of these walled gardens, he said, need a “trusted intermediary” layer to become fully interconnected.
Next CTO, Parag Agrawal, outlined Twitter’s goals and the problems all social media platforms face. “Decentralization to us is not an end, it’s a means to an end,” he explained. “We have a hypothesis on how it can help solve these problems.” Agrawal says Twitter will be bootstrapping a team they call “bluesky,” who will not be Twitter employees, but independent. “Twitter will have very little control (over bluesky) other than our bootstrapping efforts,” he laid out.
Next up was Burak Nehbit, founder of Aether, something akin to a peer-to-peer Reddit. But here’s Aether’s secret sauce: expert moderation, with 100% transparency and communities who elect their own moderators. Aether is focused on “high quality conversations” and those users willing to roll up their sleeves and moderate them.
And rounding out the evening was Edward West, founder of Hylo.com, an app that combines group management, messaging and collaboration built on holochain. Recently Holo acquired the Hylo software and Holo’s Director of Communications Jarod Holtz explained why this union is significant for decentralized builders, including the Terran Collective‘s Aaron Brodeur and Clare Politano, who will be stewarding the Hylo project:
From both a design and an engineering perspective, the way Hylo is structured makes it perfectly suited to being converted to run in the future as a decentralized application on Holochain. The Hylo code base will be instrumental in helping us demonstrate how a centralised app can be transformed into a distributed app.
Blockchain based social media solutions, including Bevan Barton’s Peepeth built on Ethereum and Emre Sokullu of Pho Networks, gave overviews of their work at lightning speed. After the Meetup, Sokullu penned this article explaining how Pho can serve as a programming language to build decentralized applications.
From federated to blockchain and gradations in between, decentralized social media is taking flight. And on one winter night in San Francisco, builders of wildly diverse projects came together at the Internet Archive to demonstrate how far they’ve come—and the long road ahead.
Readers consume publisher’s products many hours every day– and consume on publisher’s terms. Publisher’s framing on our screens, publisher’s business models, publisher’s flow and pacing. Yes, there are many publishers now, but we are, mostly, locked into their presentation forms. We check into their black box theaters and consume as intended.
Libraries have always bought publisher’s products but have traditionally offered alternative access modes to these materials, and can again. As an example let’s take newspapers. Published with scoops and urgency, yesterday is “old news,” the paper it was printed on is then only useful the next day as “fish wrap”– the paper piles up and we felt guilty about the trash. That is the framing of the publisher: old is useless, new is valuable. This has carried into social media– flip up to read on. Scroll through your “feed” (gosh, the word “feed” is illustrative, what happens after “feed” is “fed”? Well, it comes out the other end in a way we do not cherish 🙂 ).
But a library gives old news a new life, not a commercial life, but a life that encourages reflection, perspective, critique, analysis. In a word– “History”. The library keeps the former “news” and offers it in new ways in a new framing, with new tools– not just flip flip flip. It can be quoted, placed side by side with other publisher’s news and enable researchers to inject commentary.
This capture, representation, searching, rethinking is not a crime– it is thought, it is memory and our history– it builds to become our culture. It has been supported, nurtured, taught.
But the library is in danger in our digital world. In print, one could keep what one had read. In digital that is harder technically, and publishers are specifically making it harder. Technical enforcement measures and laws are making remembering difficult, and worse, a crime.
Libraries live to offer new ways to see published works that were often produced for a different purpose. But this is difficult in a digital world.
Digital newspapers sometimes disappear from their web presence. App-based newspapers can not be pointed to with a citation or URL. Archives, sometimes available, are segmented into each publisher’s platforms.
Similarly, digital books live in proprietary digital book readers that disappear the books. If “cut and paste” functions at all, often just inside that “platform.” Annotations are stored with the vendor, with their terms and conditions.
A personal library now means a purchase list on a website.
Libraries and publishers have lived together throughout the paper era, not always peacefully, but libraries were possible because of paper technologies, laws, and funding. Multiple copies were kept in different libraries ensuring preservation and creating different access modes for different communities.
Once publications became electronic, preservation and access became harder. Radio and television did not fit into the library mold. Early tele-text, Lexis-Nexis, Westlaw, and AOL really did not work as library collections in traditional libraries. Academic journal publishing shifted to digital and libraries moved to serve as customer service departments for leased database access.
Some of us helped build the Internet so digital works could be archived and “libraried”. And then made archives of Web pages and created services around them.
But it turns out that few of us did this, and the biggest, Google, did it privately and for profit. The Internet Archive was created to help and has archived billions of Web Pages, millions of hours of TV and radio, millions of books, records, movies and software.
Most traditional libraries have done little to preserve digital materials. The Internet Archive is quite unique in focusing on this mission and I would say under supported. Encouraging, however, is that 100,000 individuals a year now donate to support the Internet Archive’s public services. Hope is there.
We need libraries of digital materials, tools to use these libraries, and ways to protect them, fund them and integrate them into schools and our lives more generally. This way we can remember, think, and build on the past.
With so much in digital form, and storage and communication so easy, it should be the librarian’s day! It can be the library user’s day…
Let’s build that world… of preservation and access, of reflection and critique, with confidence that what happened actually happened so that our histories can rely on immutable evidence.
Libraries do not command the world, but libraries are necessary in the functioning of a thoughtful world.
Why, you might wonder, is a famous Harvard Law professor and the founder of Creative Commons writing a book to wake us up to the fundamental problem facing our republic?
The simple answer: Aaron Swartz.
Swartz, the free culture activist, and Lawrence Lessig were friends and collaborators. As Lessig recounted here in February, one day, Swartz came to visit him, challenging Lessig to combat the basic corruption of our political process. “But Aaron, it’s not my field, corruption. My field is internet, culture and copyright,” Lessig protested. Swartz countered, “As an academic? What about as a citizen?”
That was in 2006. Thirteen years later on on a drizzly December night in San Francisco, Lawrence Lessig came to the Internet Archive where Swartz once worked, to frame the core flaw in our republic in a new way. It forms the central argument of Lessig’s latest book, They Don’t Represent Us. The “they” is of course our Congress—who aren’t representing our interests. “And Us. We the People. We don’t represent us,” he said to an audience of 300 listeners.
Lessig began with a lesson in historical time. In Silicon Valley time, 20 years is an epoch—the Googlian Era one might call it. But in government, Lessig contrasted, 20 years can add up to nothing. Twenty years ago, he noted, climate change was acknowledged to be man-made and real; the Clinton administration proposed affordable health care; the mass shooters at Columbine killed 13 people. And two decades later, our government has passed not a single law that comprehensively addresses climate change, universal health care or gun control.
Why? Because our elected representatives aren’t representing us. With the precision of a surgeon, Lessig took the stage to perform an autopsy on our body politic. Our diseases are well known: gerrymandering that empowers the political extremes, campaign funding that empowers the wealthy, the media that feeds us whatever sells best.
And yet, Larry Lessig says he is hopeful. “You know my brand. My brand is pessimism. But I am optimistic.” In the coming election year, he reminds us that “being a citizen is a public office.” Even though the election will most likely be a “dumpster fire,” he told me, “We must steer the conversation beyond 2020, to more fundamental issues.”
Lessig’s critique stands above party or personality. He urges us to challenge every candidate, blue or red, by saying: “Tell me how you are going to fix this problem first, this corrupt system, first,” he said “If we are going to fix anything else, we have to take up that fight.”
On paper, it seemed like everything should be going right. I was working long hours at a promising startup in a rapidly growing industry. My job was to use cutting-edge digital marketing technology to optimize email content; I worked to find the most compelling language possible, to tap into the phrasing and rhetoric that would inspire people and drive them to action. I was learning the craft of perfect subject lines and clickable links, honing my skill set, polishing my resume.
And I hated it.
My emails went to tens of millions of people, but I wasn’t really communicating with any of them. My carefully-tested copy drove thousands upon thousands of purchases, but I wanted to care about something more than some corporation’s bottom line. I was working with some of the most advanced communications tools in the world—and I was using them to sell sweaters.
That wasn’t me.
Let’s go back a decade or so. The high school I attended wasn’t especially distinguished. Our football team was mediocre; our debate team didn’t win championships. The one thing that Riverton High was good at—the thing that made us unique—was Silver Rush.
Silver Rush was our annual holiday fundraiser. (The name was a play on “gold rush;” our mascot was the silverwolf.) Every year, we would pick a charity that helped underserved members of our community: newly-arrived refugees, homeless teens, domestic violence victims. The whole month of December was dedicated to raising money for them. And at that, we excelled.
The great thing about Silver Rush was that it brought the whole school together, and everyone found ways to help out. The choir had a benefit concert. The food science class sold baked goods. The track team did a “fun” run in 20-degree weather. I shoveled snow in exchange for donations, and sang holiday songs outside the local grocery store, and gathered spare change. There were so many events and volunteer opportunities that most nights, I didn’t get home until 8 or 9 PM (and that was before homework). For me and my classmates, the whole month of December dissolved into a cocoa-fueled haze of sleep deprivation, caroling, and the camaraderie that comes from advancing a good cause.
A lot of other schools in the area tried to emulate Silver Rush. Our biggest rival, Bingham High, had a perennial goal of raising more money than we did. But the attempts to create a rivalry missed the point entirely, because the thing that made Silver Rush great was that we weren’t competing with anybody.
Our slogan was “It’s not about the dollars, it’s about the change.” Everyone took it to heart—and the first proof was that nobody knew how much we’d raised until after the fundraiser was over. We weren’t trying to show off; we weren’t trying to prove anything; we were trying to make the world a better place. My senior year we set a new record, raising over $129,000 for children who needed wheelchairs.
But it wasn’t the numbers that made Silver Rush the highlight of my high school years. It was the feeling of making a difference.
So by the time 2019 rolled around, as I was working for that digital marketing firm, I couldn’t help but feel that I’d lost my way somehow. I was creating campaigns that earned millions of dollars at a time, but each big win felt a little empty. I couldn’t shake the sense that there was more that I could—should—be doing to give back to society. And I was so sick of writing subject lines about sweaters.
So seven months ago, I applied for a job at the Internet Archive.
What I found at the Archive was something radically different from the world of marketing startups. It was a team with a vision—not of venture capital funding and IPOs, but of a great library for all. It was work with a purpose—not synergy or hypergrowth, but preservation, education, accurate information. And it was an organization that survived not on e-commerce but on people’s goodwill—the dedication of countless volunteers, archivists, librarians, and programmers, as well as thousands of donors big and small.
December at the Internet Archive is a busy time. We launch our end-of-year fundraising drive right around Thanksgiving, and chaos ensues. Everyone is scrambling to make sure that our donation systems work and our banners are up to date, that the letters are sent and the events are organized, that the checks are counted and the newsletter goes out on time. The days are a haze of coding, camaraderie, and—yes—sleep deprivation. This month, I’ve been working long hours; I’ve been trying to craft perfect subject lines; I’ve been looking for ways to inspire people and drive them to action. And I couldn’t be happier.
It’s a vision of a world without disinformation, a world where verifiable facts are just a click away. It’s a vision of a great library for all, where the best that humanity has ever produced is freely available. It’s a vision of universal access to all knowledge.
So far this year, thousands of people have joined in supporting that vision, chipping in a few dollars to keep the servers running and the lights on. And it’s a privilege to read your comments, and hear your stories, and see the direct impact that your support has on the mission of the Archive.
My favorite moment, so far, came near at the beginning of our fundraising drive, when I happened to check the donations tally. The number is constantly changing, but for one brief moment, I saw it hit exactly $129,000. The same amount we raised for Silver Rush during my senior year of high school.
And for that moment, it felt like the entire world had lined up just right—like I am exactly where I am supposed to be.
If you’d like to contribute to the Internet Archive, please visit archive.org/donate. You can also show your support by getting the word out on social media or telling your friends and family about our work. We’re grateful for everyone in our community—we couldn’t do it without you.
When I was about 20, I fell in love with the love of Vera and Roland, British youth that loved to chat and write about books, Oxford, and love. Roland would go to war. Vera would go to Oxford. They would meet a few times, kiss a few times, and get secretly engaged. He had leave at Christmas 1915. She waited by the phone. His sister called instead. Roland had been killed a few days earlier. Vera was never the same. She became a nurse, and she would write about Roland, her brother, and their two friends, along with her own experiences for the rest of her life. For a long time, she was the only woman recognized as writing about the Great War. I sought to find other women’s stories and compare them to the stories of men. And I did. But I also ran into copyright issues that drove me to law school, to study duration of copyright, and to wait. The wait took over 20 years, but the opening of the U.S. public domain will now be in its second year. Books from 1923 came into the public domain last year, and books from 1924 come into the public domain as of 2020.
Scholars, and especially biographers, have choices: get permission from the families of copyrighted works, rely on fair use, or use public domain works. When I started my dissertation, most of the works I was using as a World War scholar, looking at the war generation writing throughout the 20th century about their experiences (although I didn’t know it), were in the public domain. But before I filed my dissertation, the world had changed. In 1996, foreign works that had previously been in the public domain were suddenly restored by the Uruguay Round Agreements Act, including most of Vera Brittain’s works. In 1998, the Copyright Term Extension Act was passed, freezing the public domain for 20 years. I would be hooded in the Spring of 1998.
Now, as of 2019, the world is moving again. Works from 1923 were released into the public domain last year. That included Vera Brittain’s The Dark Tide (1923), published in England. And now, her second novel, Not without Honour (1924) comes into the public domain in 2020. The war generation books, generally published 1925-1932 will soon be flooding our public domain. And this matters tremendously.
While Internet Archive has many books that are available through their lending system—books that we have access to and read, and while Section 108(h) allows libraries to copy and disseminate non-commercially available books in the last twenty years of their term, this does not allow scholars the freedom to use the books without fear of threats, or use of more than a judge might think acceptable under fair use. This is particularly problematic for biographers, who tend to rely on some sources in ways that families may threaten with a lawsuit (think the Schloss case with the Joyce estate) or publishers that may feel uncomfortable relying on fair use.
In the last twenty years, fair use has developed into a robust tool. Maybe that was partly because the published public domain was frozen? And we’ve taken strides in Best Practices and other means to make fair use vibrant and usable. Much of the work that I was doing would clearly be covered under fair use today. The world is very different from when I was writing about Vera Brittain and her ghosts in the 1990s. I would probably not have gone to law school. But it is still important that works come into the public domain, and that’s the story we are here to tell.
And so, on the second anniversary of the opening of the public domain again, I am re-reading The Dark Tide and Not Without Honour, and looking forward to the books that should shortly come into the public domain in the future. I’m also very excited to sift through the Internet Archive collection for hidden gems – books written in 1923, 1924, and even anticipating the new additions in 2021 from 1925. Oh, the possibilities!
Here’s some of the works I’m particularly excited about, that are part of the war generation, Vera’s generation that I studied so long ago:
Agatha Christie’s The Man in the
Brown Suit (1924) and Poriot Investigates (1924) (she learned about
poisons while working as a nurse in the war, and her husband, Archie Christie
Winifred Holtby (Vera’s best
friend), The Crowded Street (1924),
A.A. Milne, When We Were Very
Young (1924) and we get the first appearance of Pooh in the poem “Teddy
Bear” (1924) (Milne was also in the Great War), and
The first novel of Ford Maddox
Ford’s Parade’s End series, titled Some Do Not, to name a few.
And it’s not just novels and poetry, its art. Käthe Kollwitz’s War series, 1923 also came into the public domain last year.
A Chasm: US versus the rest of the world
Because of our nutty U.S. system – for works first published before 1978, the term is 95 years from publication, many foreign works will be in the public domain for many years in the United States before they are out of copyright in their home country. Take, David Jones’ “The Garden Enclosed” (1924).
But the joy of the public domain in the U.S. is more than the great works; it is also the ephemera – the photographs in newspapers, postcards, films and so much more that have been locked up because they were restored as foreign works. All of these works are now coming into the public domain, and it is glorious. As of January 1, 2020, any work published anywhere in the world before 1925 is in the public domain in the United States.
One of the best features of the Internet Archive is that you can add a filter to any search of the publication year. So, as you search, check “1924”. It doesn’t matter whether the works were published here or in the US, whether they were renewed or had proper notice. They are now in the public domain in the U.S. for all to enjoy unfettered and without restriction.
So, I encourage you to go play on the Internet Archive site and around the world in search of new public domain treasures. Just remember, these works are in the public domain in the U.S. They may be (and likely are) still under copyright in other places around the world.
Elizabeth Townsend Gard holds a Ph.D in European History from UCLA, and is a Professor of Law at Tulane University, where she focuses on the intersection of law and culture, and in particular the role of law in creativity in copyright and trademark. Her work includes the invention of the Durationator, and the host of the popular research podcast, Just Wanna Quilt, exploring the art, craft and copyright of an industry. She is currently a Lepage Entrepreneur Faculty Fellow at the A.B. Freeman School of Business, and the Greenbaum Fellow at the Newcomb Institute, both at Tulane University. For more information on the Durationator and determining copyright can be found at www.durationator.com.
Today, the Internet Archive launches is End of Year FundraisingCampaign. We’re lucky to have a 2-to-1 Matching Grantfor the next few weeks, so your impact will be tripled if you give today. Of the 1.1 million people who use the Internet Archive each day, only a tiny percentage donate. Why give? Here are ten great reasons to support the Internet’s non-profit library for all:
#1. The Wayback Machine has fixed 11 million broken links in Wikipedia, making the web more reliable.
#2. We’re home to the live recordings of the Grateful Dead. (And 7800 other bands!)
#8. What was the sound of America from 1898 to 1960? Just listen to our 150,000 78rpm recordings. Including 4172 polkas to dance to!
#9. The superpowers of Free-range archivist, Jason Scott.
#10. Information you can trust has never been more important. Our mission is to preserve the best knowledge of humankind and share it with everyone.
If you listen to music and radio, read books, play vintage video games, or reference past web sites at the Internet Archive, we ask that you chip in and help keep us going strong in 2020! Don’t forget, we have a 2-to-1 matching grant, so if you donate $5 it becomes $15 for the Internet Archive today.
On Tuesday, the Internet Archive joined Public Knowledge, the Wikimedia Foundation and the Samuelson Law, Technology and Public Policy Clinic from Berkeley Law to brief the Congressional Internet Caucus on efforts to combat misinformation online. Misinformation is a complex issue but one of the root causes is a lack of easy, reliable ways for Internet users to distinguish good information from bad, or authoritative sources from propaganda. The panel highlighted our recent work to weave books into Wikipedia articles, giving users the ability to dig deeper and fact check assertions in just one click.