Art and Artificial Intelligence: A Pivotal Moment for Unions

[Pictured: Striking writers and actors picket outside Paramount studios in Los Angeles on Friday, July 14, 2023. Credit: AP Photo/Chris Pizzello)

By Bavand Karim

Last summer, the premiere episode of Marvel's Secret Invasion featured opening credits crafted by artificial intelligence. While reviews were mixed, the credits were objectively effective for exploring AI’s potential as a storytelling tool. Perhaps more importantly from the studio’s perspective, the production costs were likely much less than an agency like The Mill or an artist like Daniel Kleinman would demand.

It’s no coincidence that Marvel’s use of AI occurred amid union-led strikes by Hollywood’s writers and directors. And as studios were negotiating with creative unions, they were simultaneously rolling out the tools that might eventually replace many of those creatives. At the time of the negotiations, it was unclear what impact AI would have on the entertainment industry. But the prevailing wisdom seemed to support the general anxiety among insiders that an industry-wide shift was coming.

By November 2023, Dreamworks co-founder Jeffrey Katzenberg predicted that AI will replace 90% of artists on animated films within three years. It may even be sooner. In December, Google released Gemini, its most advanced AI tool to date. One of Gemini’s advancements is the ability to process up to an hour of video and 11 hours of audio in mere minutes. Although Google warns that processing times vary, their demonstration of long-context understanding analyzes a 44-minute video in under one minute. Earlier this month, OpenAI released Sora, a powerful new tool that generates one-minute video clips based on text prompts. Sora is what is known as a diffusion model. It converts text to videos that resemble static noise, and then removes the noise over several passes. While these emerging AI video tools are not perfect, they are compelling enough in their first-generation iterations to provoke meaningful questions about the future of all creative industries.

It was less than a year ago that we began speculating whether AI visualization tools would disrupt the artistic foundation of Hollywood. Now, it appears the event horizon is upon us.

Last year’s strikes were a watershed moment for unions who were forced to acknowledge the wide uncertainty that the looming threat of AI has introduced into Hollywood. The Association of Motion Picture and Television Producers’ (AMPTP) agreement with the the Director’s Guild of America (DGA) defines AI as “not a person” and clarifies that it will not replace the role of any DGA member. However, it allows studios to use AI as long as a “consultation” takes place with the director, which has stirred debate around the validity and integrity of the agreement.

The Writer’s Guild (WGA) similarly resolved their dispute with new guidelines prohibiting the use of AI in creating written source material such as scripts for films or TV shows.

No other artistic guild or technical union has yet defined how AI will be regulated within their respective domain. The Art Director’s Guild (ADG), which represents title and graphic artists, one of hundreds of International Association of Theatrical and Stage Employees (IATSE) chapters nationwide that could potentially be impacted by AI, released a statement expressing concern over AI video generators, but the path forward remains unclear. While animation industry professionals are unionizing at a record rate, IATSE Local 839 — the Animation Guild — still has fewer than 10,000 members, meaning that the vast majority of the animation industry’s workforce of more than 200,000 artists, assistants, coordinators, and managers are not unionized.

As more major studios utilize AI, the inevitable result will be a wave of disenfranchised and marginalized artists. This industry shift will produce a flood of new independent content as those artists attempt to find their own audiences. While studios like Dreamworks and Pixar are cutting costs in the short term by exploring the benefits of AI, they are also creating a new generation of pissed-off indie competitors.

It feels nefarious of Disney, which owns Pixar, to use the stories most beloved by audiences to sideline workers. The most popular tentpole story franchises like Marvel and Star Wars likely won't be impacted too seriously by viewer backlash. Diehard fans love those stories and they pass that love through generations. So audiences will continue to watch those films and TV series even if they incorporate AI. Disney is surely hoping so. And they probably don't consider those disenfranchised artists, taken independently or collectively, to pose any kind of real economic threat to their business model.

Can human artists use AI to produce their own creative work? Sure. But they can't sell it in the same way. The independent market is nothing like a studio job, which typically offers long-term stability, training, networking and advancement opportunities, health and retirement benefits, and — most importantly — an audience. Copyright laws prevent indie artists from accessing the most desirable story franchises without the impending doom of litigation, and the privatization and monopolization of distribution outlets prevent all artists, disenfranchised or not, from ever being compensated equivalent to the true value of their labor. 

The next three years will be pivotal for the entertainment industry and will test the power of America’s labor unions. Will Disney’s move toward AI produce a greater awareness of, if not a fully-fledged social movement against, these AI tools exactly because of the threat that they pose to human labor? Right now, there is little stopping major studios like Disney from engaging AI across the range of artistic disciplines involved in media production — titles, graphics, story generation, script writing, character design, 3D modeling, environment design and lighting design, editing, visual effects, sound design, music composition — potentially impacting hundreds of thousands of people around the globe.

Disney’s strategy is nothing new. Corporations have always primed consumers to accept socially deleterious but profitable change. During the Industrial Revolution, automobile manufacturers sold individuals on independence and freedom, and gave them an entire infrastructure built around private individual transportation with little regulation resulting in disconnected, unwalkable, traffic-plagued communities. At the dawn of the information age, technology companies promised us enhanced efficiency, connectedness, and socialization. Now it’s apparent how modern electronics and software invade our privacy, harvest and sell our personal information, micromanage our productivity, and erode democracy. The proliferation of AI into mainstream life — even through such an innocuous injection point as entertainment — has the potential for much more destructive erosion of our personal freedoms. Will society nonetheless embrace it, only to later realize the damage done? Or is Disney betting that, as in the past, we will grow to love the chains that bind us?

Make no mistake: once major corporations establish a model for displacing human labor with AI, it will be a global phenomenon. Workforce reduction will occur in every industry to satisfy capitalism’s demand for infinite growth. The Big Four consulting firms will justify it and The Wall Street Journal will report that it was great for the economy while thousands of Americans find themselves unemployed. As they have throughout history, the powers that be are reforming the economy to their own benefit. The rest of us will be left to deal with the consequences.

Multinational corporate monopolies determined to undermine workers’ and human rights in the name of profit must be met with equivalent, equally resolved multinational resistance. Indie artists should leverage as much power as possible and cooperate with unions across the globe to foster government support against the ongoing exploitation and oppression of the working class. Society’s hope may be that in the face of continued oppression, America is able to form a new political party that represents and protects workers, and promises them an equal share of a company’s revenue as if they were shareholders.

We must fight for a world in which technology, including AI, is liberatory — socially and economically — and not corrosive. AI must be a tool for the greater good, not for the profit of the few at the expense of the many.

For an industry that markets and congratulates itself for telling authentic human stories, the result of film’s shift to AI will ironically be narratives about humanity produced with minimal human input through a process that economically disenfranchised as many humans as possible for the sake of profit. This cataclysm will force us to question not just the impact of late-stage capitalism on human creativity but whether creation is a uniquely human trait at all.

Soon, audiences will pack theaters to watch a film produced exclusively by AI. On the screen, a long-deceased Harrison Ford will star as a young Indiana Jones. As he holds up a copy of the original Raiders of the Lost Ark, written by a human and produced with practical effects, the AI Indy flashes a sardonic smile and says, “This belongs in a museum.”

Bavand Karim is a creative executive and academic residing in Los Angeles, California. He is the founder and chairperson of CINE and Lost Winds Entertainment, and co-director of the film program at the College of the Canyons.

Artificial Intelligence and the Class Struggle

By Chris Fry

Republished from Fighting Words.

Since the earliest days of the industrial revolution, workers have fought company owners over their use of automated machinery to step up the pace of exploitation.

“Programmable” looms in textile mills allowed owners to hire children to work 12 to 14 hours a day at half pay.

Famously, workers used to throw their wooden shoes called “sabot” into the machine gears to force them to stop, hence the word “sabotage”.

At the Flint sit down strike in 1936, workers barricaded the doors to prevent General Motors from removing the assembly line machinery and setting it up at another location. This tactic helped the workers win the strike and force union recognition.

Today, the focus of automation has moved from mechanical to digital, particularly with the advent of AI (Artificial Intelligence).  Webster’s dictionary provides two related definitions for AI: “1) a branch of computer science dealing with the simulation of intelligent behavior in computers; and 2) the capability of a machine to imitate intelligent human behavior.”

Current AI applications depend on vast databases of different fields of knowledge (e.g., street maps, pictures, languages, literature, etc.) plus powerful computer hardware and software to interact with those databases to allow applications to simulate human intelligence, speech, behavior, appearance and more.

The incredible pace of AI’s increased use has even alarmed some of its developers, so much so that 1,000 of them wrote an open letter calling for a six month pause for AI’s most powerful technologies, as a May 1 New York Times article reports:

In late March, more than 1,000 technology leaders, researchers and other pundits working in and around artificial intelligence signed an open letter warning that A.I. technologies present “profound risks to society and humanity.”

“Powerful A.I. systems should be developed only once we are confident that their effects will be positive and their risks will be manageable,” the letter said.

“Our ability to understand what could go wrong with very powerful A.I. systems is very weak,” said Yoshua Bengio, a professor and A.I. researcher at the University of Montreal. “So we need to be very careful.”

These systems can generate untruthful, biased and otherwise toxic information. Systems like GPT-4 get facts wrong and make up information, a phenomenon called “hallucination.”

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Automated weapons systems – the Pentagon’s “Terminator” syndrome

The most dangerous application of AI to humanity is its use in modern imperialist warfare. On July 9, PBS held an interview with Paul Scharre, Vice President and Director of Studies at the Center for a New American Security, a war industry “think tank”, who said that the Pentagon is already preparing autonomous weapons in its proxy war in Ukraine:

Well, we’re already seeing drones being used in Ukraine that have all of the components needed to build fully autonomous weapons that can go out over the battlefield, find their own targets, and then all on their own attack those targets without any further human intervention. And that raises very challenging legal, and moral and ethical questions about human control over the use of force of war.

Of course, these “questions” have not stopped the war industry’s head-long rush to implement AI technology. Scharre complained in his interviewer that the Pentagon is moving too slowly:

Well, they’re not keeping up. That’s the short version, they’re woefully behind because the culture is so radically different. And the bottom line is, you can’t buy AI the same way that you might buy an aircraft carrier. The military is moving too slow. It’s mired in cumbersome bureaucracy. And the leadership of the Pentagon has tried to shake things up. They had a major reorganization last year of the people working AI and data and software inside the Defense Department.

But we haven’t seen a lot of changes since then. And so the Pentagon is going to have to find ways to cut through the red tape and move faster if they’re going to stay on top of this very important technology.

In the famous Terminator movies, autonomous robot weapons destroy their own creators before attacking humanity in general. In a recent blog from the British Campaign for Nuclear disarmament, that scenario was described in a U.S. military simulation:

Also in May, the Royal Aeronautical Society hosted the ‘Future Combat Air & Space Capabilities Summit’ conference that brought together over 200 delegates from around the world to discuss the future of military air and space capabilities. A blog reporting on the conference mentioned how AI was a major theme and a presentation from Col Tucker ‘Cinco’ Hamilton, the Chief of AI Test and Operations, USAF, warned against an over reliance on AI systems and noted that they were easy to trick and deceive. They can also create unexpected strategies to achieve their goals, and he noted that in one simulated test an AI-enabled drone was told to identify and destroy ground-based missile sites.

The final firing decision was to be made by a human, but the system had been trained that destruction of the missile site was the top priority. The AI decided therefore that ‘no-go’ decisions from the human were interfering with its higher mission and, in the simulation, it attacked the operator. Hamilton was reported as saying that the human operator would tell it not to kill the threat, “but it got its points by killing that threat. So, what did it do? … It killed the operator because that person was keeping it from accomplishing its objective.” Although the system was trained not to kill the operator, it started destroying the communication tower used to connect with the drone.

The Pentagon excuses itself for developing these dangerous weapons AI applications by saying that the People’s Republic of China is also developing these systems. But it must be pointed out that it is the U.S. fleet that is parading its nuclear-armed warships just off the coast of China in its arrogant and provocative “freedom of navigation” campaign, giving China no warning time to respond to an attack. U.S. Imperialism has no such justification.

AI and the strike by the Writers and Screen Actors Guilds

Artificial Intelligence is a major issue  in the ongoing strike by writers and movie production workers, including actors, and the entertainment industry’s corporate owners, called the Alliance of Motion Pictures and Television Producers (AMPTP). This “alliance” includes such giants as Amazon, Netflix, Paramount, Sony, HBO and The Walt Disney Company, the parent company of ABC News.

This is the first combined strike by these two groups of workers since 1960. The real pay for these workers after inflation has greatly declined in the last decade while the pay for owners and executives has skyrocketed. Along with demanding higher pay, these unions are demanding that AI applications not be used against them to lower their compensation.

AI applications like ChatGPT can “scrape” millions of documents from the internet without the writers’ permission to create new documents, or in this case, new story scripts. The writers call AI “plagiarism machines.”

For the writers, they demand that their writing not be used to “train” AI applications, and they not be tasked to correct AI generated scripts, for which they would receive less pay.

As one striking worker put it:

On Twitter, screenwriter C. Robert Cargill expressed similar concerns, writing, “The immediate fear of AI isn’t that us writers will have our work replaced by artificially generated content. It’s that we will be underpaid to rewrite that trash into something we could have done better from the start. This is what the WGA is opposing, and the studios want.”

The Screen Actors Guild has parallel demands regarding AI as their fellow strikers from the Writers Guild. As ABC News reported on July 19:

In addition to a pay hike, SAG-AFTRA said it proposed a comprehensive set of provisions to grant informed consent and fair compensation when a “digital replica” is made or an actor’s performance is changed using artificial intelligence. The union also said it proposed a comprehensive plan for actors to participate in streaming revenue, claiming the current business model has eroded our residual income for actors.

These AI issues may seem obscure to many members of the working class and oppressed communities. But it is important to remember that artificial intelligence in the hands of the Wall Street billionaires and Pentagon generals will lead to more and more exploitation for our class and increase the chances of a global nuclear catastrophe for our planet.

AI could offer tremendous social benefits, such as medical cures and economic scientific planning, but only if it is controlled by the workers through a socialist system.