Very true, you never see people up in arms about streaming services that rely on massive energy intensive data centres, who guess what, are also located in marginalised communities. Boycotting ai is not going to solve the issues of data centres. The solution to data centres as a whole lies in stripping away the "cloud" metaphor and regulating them as heavy industrial utilities that must prove a net-positive physical and economic benefit to the specific ground they stand on.
Yeah there's valid critique of A.I. but it certainly doesn't lie in the realm of defending I.P. and worrying about small artists losing 'potential' profit
The other branch of this post is fun, but for a serious answer in case you're asking in good faith: there is a difference between the proletarian artist concern of losing your employment to AI (e.g. getting fired because your boss decided that he doesn't need an illustrator when he can just use AI go generate graphics), which I think most serious socialists on this website including OP recognize as a valid concern rooted on labour issues, and the petit-bourgeois artisan concern of losing *potential* profits because of AI (e.g. being a commission artist and getting mad when you see someone generate an image with AI because they didn't commission you or someone like you instead), which by and large is rooted in the bourgeois logic that your imaginary potential profits are being stolen whenever someone who *hypothetically* could have paid for your services decides to access those services some other way instead.
Ah yes the bourgeois artists of the economic bracket of "relying on other people to pay them to draw to make ends meet". Clearly these are the same as those that own the means of production.
Absolutely adore this form of vibes-based marxism where "bourgeois" is not a descriptor of someone's position within capitalist labor relations but instead a descriptor of wealth and immorality. The term petit-bourgeois apparently doesn't mean you're referring to someone who sells products or services directly to customers (making their class interests distinct from someone who sells their labor power to an employer) but instead someone who is moderately well-off and only kinda evil.
Yeah there's valid critique of A.I. but it certainly doesn't lie in the realm of defending I.P. and worrying about small artists losing 'potential' profit
The other branch of this post is fun, but for a serious answer in case you're asking in good faith: there is a difference between the proletarian artist concern of losing your employment to AI (e.g. getting fired because your boss decided that he doesn't need an illustrator when he can just use AI go generate graphics), which I think most serious socialists on this website including OP recognize as a valid concern rooted on labour issues, and the petit-bourgeois artisan concern of losing *potential* profits because of AI (e.g. being a commission artist and getting mad when you see someone generate an image with AI because they didn't commission you or someone like you instead), which by and large is rooted in the bourgeois logic that your imaginary potential profits are being stolen whenever someone who *hypothetically* could have paid for your services decides to access those services some other way instead.
Ah yes the bourgeois artists of the economic bracket of "relying on other people to pay them to draw to make ends meet". Clearly these are the same as those that own the means of production.
Absolutely adore this form of vibes-based marxism where "bourgeois" is not a descriptor of someone's position within capitalist labor relations but instead a descriptor of wealth and immorality. The term petit-bourgeois apparently doesn't mean you're referring to someone who sells products or services directly to customers (making their class interests distinct from someone who sells their labor power to an employer) but instead someone who is moderately well-off and only kinda evil.
"This is funny because Disney creators don't own anything
I think they were genuinely under the impression that they'd get to own what they make, but are stuck supporting a creative environment where they don't own anything anyway, under the delusion that a corporation like Disney would support their interests.
This is why some years ago you really saw these people talking about how Disney and Nintendo or whoever would "destroy" AI because they personally dislike it. But now they realize they don't own shit. They still don't realize why. It's the entertainment industry itself!
The problem with the US entertainment complex is that it depends so heavily on corporations, and the people working within it can't even imagine a world where it doesn't, but the corporations don't have their interests.
Alex Hirsch doesn't own anything. Dana Terrace doesn't own anything. Guillermo Del Toro doesn't own anything, Matt Youngberg (especially) doesn't own anything. Yet they fail to realize the issue. They have less rights over their own works than the average fanfiction writer.
They're desperately on Twitter posting, hoping that the corporations they work for will come around via the sheer power of Twitter likes, while Disney looks at something like Sora and how popular UGC content is becoming, and getting antsy about not getting that slice.
And these Disney creators are not longing for a world where they own what they make, or where someone can create something without millions of dollars. They're mourning the death of a world where a brutal corporate rat race can potentially lead to creative fulfillment.
They're nostalgic for the status quo of exactly 10 years ago, where after a period of decades, endless pitching and convincing to media financiers, they have a tiny chance of getting the movie to put something on TV, for the price of giving it all to those financiers.
There's a catch-22 here that's kind of amusing, both wanting to return to this world, and stuck denouncing it because those corporations now are getting different interests, while more or less oblivious to what is happening/will happen to media."