#hire a programmer online

[myjackwilliamblog]

Essential Website Development Trends to Watch in 2024

Website development is constantly evolving, driven by emerging technologies and changing user behaviours. To remain competitive in this dynamic field, businesses must stay updated with the latest trends. In 2024, we expect to see a surge in innovative approaches that will transform how websites are built and delivered. For companies looking to leverage these trends, knowing where to hire programmers for projects, or how to choose the right front-end web development services, will be critical to success.

In this blog, we’ll explore key web development trends for 2024, offering insights into why they matter and how businesses can stay ahead by hiring expert developers.

1. AI and Machine Learning in Web Development

Artificial intelligence (AI) and machine learning (ML) have grown significantly in web development. From chatbots and automated customer support to AI-driven personalisation, these technologies help create smarter and more intuitive websites. Companies seeking to implement these features should consider hiring a programmer online who is experienced in AI and ML. Businesses can also benefit by collaborating with a reliable CodeIgniter development company or hiring a Java programmer to integrate these advanced solutions into their web platforms.

AI is especially useful for eCommerce, where personalised shopping experiences powered by AI can boost customer satisfaction. Whether you hire a programmer online or work with a WordPress design agency, embracing AI-driven solutions can significantly enhance your website’s performance.

2. Emphasis on Headless CMS

Headless Content Management Systems (CMS) are gaining popularity as businesses seek more flexible and scalable solutions for managing content. Unlike traditional CMS platforms, headless CMS decouples the front end from the back end, allowing developers to use various frameworks and tools for front-end development. If you need a seamless user experience, consider hiring a programmer online who specialises in headless CMS or hiring programmers for projects with expertise in this area.

Headless CMS is perfect for businesses looking to create omnichannel experiences across multiple platforms. By leveraging the skills of a Laravel developer in London or a PHP developer for hire, you can build fast, scalable, and content-rich websites that deliver a superior user experience.

3. Progressive Web Apps (PWAs)

Progressive Web Apps (PWAs) continue to be a major trend in 2024. PWAs combine the best features of mobile apps and traditional websites, offering users fast loading speeds, offline access, and push notifications. They have proven to be an effective way for businesses to engage with users while reducing development costs.

For businesses interested in leveraging PWAs, partnering with a WordPress design agency or opting for WordPress developer hire could be an effective strategy. Developers can convert existing websites into PWAs or create new ones that provide a seamless and responsive experience across devices. If you’re looking for a custom solution, hire a Magento programmer who is experienced in creating PWAs for eCommerce websites.

4. Server-Side Rendering (SSR) and Static Site Generators (SSGs)

Server-side rendering (SSR) and static site generators (SSGs) are making a comeback as websites aim to deliver content faster while improving SEO. SSR ensures that the content is pre-rendered on the server, leading to better load times and enhanced user experience. Meanwhile, SSGs are perfect for content-heavy websites that require high performance and security.

Businesses looking for efficient web solutions can benefit from front-end web development services that specialise in SSR and SSGs. Whether you need a hired programmer for projects with expertise in these techniques or work with a PHP developer for hire, optimising your website with SSR and SSG can offer noticeable performance gains.

Conclusion

The web development landscape in 2024 is set to be shaped by AI, headless CMS, PWAs, and performance-boosting techniques like SSR and SSG. Staying ahead of these trends is crucial for businesses that want to remain competitive. Whether you hire a programmer online or engage with a CodeIgniter development company, selecting the right developers with the relevant skills will be the key to your project’s success.

As the digital space evolves, it’s essential to adapt quickly by working with the best front-end web development services or a trusted WordPress design agency. Whether you’re seeking a Laravel developer in London, hire a Magento programmer, or a PHP developer for hire, always prioritise experience and expertise.

What are your thoughts on these trends? Have you started incorporating any of them in your projects? Feel free to leave a comment below and share your experiences!

[charile0]

Find Top Programmers for Hire in the UK: How to Hire the Right Coder for Your Project

Need to build a website, develop an app, or streamline your business with custom software? There are plenty of programmers for hire in the UK who can help turn your ideas into functional, high-quality digital products.

Whether you're looking for a programmer for hire on a freelance basis or a dedicated team member, the options are endless. From startups to established companies, the need to hire a programmer with the right skills is more important than ever.

You can now hire programmers across multiple platforms, giving you access to top talent from anywhere. Many businesses prefer to hire a programmer online for convenience, flexibility, and access to global expertise. Whether you need backend specialists, app developers, or a web programmer for hire in the UK, there’s a perfect match out there for every project.

If you're unsure where to start, coder hire services can connect you with pre-vetted professionals. The key is to clearly define your goals, timeline, and tech stack. Once that’s done, you’re ready to hire programmer talent that delivers.

So whether you're planning a new build or upgrading existing software, now is the time to hire for programmer roles that fit your vision and budget.

[hireindiandevelopers]

Hire Developers Online for Seamless Software Development!

Hire developers online for flawless software development from start to finish. With our team’s expertise, you’ll get reliable, fast, and smooth software solutions, saving time and delivering the results you need. Ensure your project’s success with Debugged Pro’s experienced professionals on board!

[ahansaxena]

Join MindStick Training's online platform for expert-led programming courses that empower you with practical skills for real-world applications.

[irascible-iridescent]

Every time I hear that There is a way to make money online!!!! I'm just get tired and annoyed. Bc no there is No way if you don't know right people or have some very specific specialization or ready to spend like 8 to 11 hours on your computer. Its a myth that there is some easy way to make lots of money staying at home. Its like so few ppl actually achieved that, why are we talking about it like its so easy and accessible to everyone?

[tnsfrbc]

👆Unlock New Career Opportunities of (NBEMS)! Apply Now!

For more details check description👇

Organization Name: National Board Of Examinations In Medical Science Notification No: A.12022/1/2023-Estt. Date: 21.09.2023 Job Category: Central Govt Jobs Employment Type: Regular Basis Total No of Vacancies: 48 Deputy Director (Medical), Law Officer, Junior Programmer, Junior Accountant, Stenographer, Junior Assistant Posts Place of Posting: New Delhi Starting Date: 30.09.2023 Last Date: 20.10.2023 Apply Mode: Online

LINK:http://natboard.edu.in/ or https://surl.li/lnkys

[kowai-kabuki-tanuki]

Annecy: A Lake of Broken Promises

Fantastic article by Matt Jones from Medium:

How Annecy 2025 exposed the widening chasm between graduate hopes and industry reality – and what must change before an entire generation of creative talent is lost forever

The picturesque lakeside town of Annecy should have been the place where dreams came true. Instead, it became the scene of a devastating awakening. As thousands of animation students clutched their sketchbooks and business cards with QR codes linking to online portfolios at the 2025 festival, the world’s premier animation celebration, they encountered a sobering truth: just 3 recruitment booths operated alongside 23 educational providers – a stark 3:23 ratio that perfectly encapsulated the industry’s fundamental supply-and-demand crisis.

The recruitment reality was brutal. Cartoon Saloon from Northern Ireland told hopeful graduates they weren’t currently hiring. Doghead from Italy maintained a booth that remained largely unstaffed throughout the festival. Dwarf offered opportunities, but only for those willing to work in France. A small recruitment room on Mifa Campus ran sessions for merely 2 days, yet was oversubscribed, leaving countless students without access.

This disconnect between aspiration and opportunity represents far more than a scheduling mishap or economic blip. It reveals a fundamental crisis brewing at the heart of the animation industry – one that threatens to squander a generation of creative talent whilst simultaneously undermining the very foundations upon which animated storytelling is built.

Key takeaways

Only a fraction of animation graduates – as few as 3 to 5 out of every 100 – secure employment in their chosen field, despite an industry valued at $400 billion globally

Major studios including Pixar have reduced their workforces by 14% whilst simultaneously increasing their reliance on artificial intelligence and sequel-based content

Animation festivals like Annecy, which should serve as crucial bridges between education and employment, are failing to provide meaningful recruitment opportunities despite charging premium attendance fees

Universities continue expanding animation programmes whilst knowing full well that industry absorption rates cannot support graduate numbers

A new model of industry collaboration, educational transparency, and creative risk-taking is urgently needed to prevent the collapse of animation’s talent pipeline

Where are the Jobs When Animation is Booming?

The question that haunts every animation graduate clutching their sketchbooks and business cards with QR codes to online portfolios seems almost absurd when set against the industry’s financial success. These students, many shy and anxious, scribble copious notes and desperately seek opportunities to showcase their work, lacking the confidence of seasoned professionals yet carrying the same creative passion. The global animation market reached $400 billion by 2024, with North America alone anticipated to grow from $23.2 billion in 2023 to $36.7 billion by 2031. Yet this prosperity hasn’t translated into opportunity for the very people who dream of creating these blockbuster films and series.

Behind the impressive box-office numbers, however, the animation industry has been experiencing seriously choppy waters. Major animation players have implemented cutbacks over the past year, with Pixar’s recent cuts affecting 14% of its workforce. The studio justified these layoffs as part of a move away from creating streaming content for Disney+ to refocus on features, but industry insiders recognise this as symptomatic of broader cost-cutting measures across the sector.

The cruel irony becomes apparent when examining what’s actually being produced. Studios are making unprecedented profits from animated content whilst simultaneously reducing the workforce needed to create it. 3 animated releases in 2024, all sequels, dominated the worldwide box-office: Disney/Pixar’s Inside Out 2 topped with nearly $1.7 billion, followed by Universal/Illumination’s Despicable Me 4 and Universal/DreamWorks Animation’s Kung Fu Panda 4.

The Academic Industrial Complex

Universities have become unwitting accomplices in this crisis, continuing to expand animation programmes despite knowing that industry absorption cannot support graduate numbers. The business model is too attractive to resist: animation courses command premium fees – often reaching $50,000 annually in prestigious institutions – whilst requiring relatively modest infrastructure compared to other disciplines.

Gobelins’ 3D Character Animator certificate boasts that graduates have a 100% employment rate within 6 months of completing the program, but this represents an elite programme admitting perhaps 20 students annually. Meanwhile, hundreds of other institutions worldwide graduate thousands more students into a market that simply cannot accommodate them.

The disconnect between educational marketing and employment reality has created what industry observers describe as an “academic industrial complex.” Universities promote animation programmes using imagery of Pixar campuses and DreamWorks success stories, whilst carefully avoiding discussions of actual employment statistics. Students accumulate debt pursuing dreams that statistical analysis suggests are increasingly unlikely to materialise.

Michelle Connolly of Educational Voice observed that “Schools must stop selling 1990s-era career dreams. Our 2024 survey shows 68% of graduates need hybrid tech/art roles to survive”, yet this message hasn’t reached prospective students who continue enrolling in traditional animation programmes expecting traditional career paths.

The Festival Paradox

Annecy 2025 perfectly embodied the industry’s contradictions. The festival featured phenomenal lineups with major studios like Disney Animation, DreamWorks, and Pixar presenting new work, drawing a record 18,000 accredited guests. Yet for the students who travelled from across the globe, often spending their last savings on accommodation and festival passes, meaningful employment opportunities were virtually non-existent.

Beyond the supply-demand imbalance lay deeper structural problems. The exhibition hall for students was even reduced in size this year, with 1/3 blocked off for Mifa (aimed at buyers), along with the traditional ground floor. This physical reduction of student space in favour of commercial activities perfectly symbolised the festival’s shifting priorities.

Even established schools like MoPA admitted the exhibition costs were incredibly expensive, yet they gambled on the opportunity to promote that year’s graduates – with very few actually getting the chance to meet with recruiters. This expensive gamble proves indicative of how educational institutions are forced to compete in an increasingly desperate marketplace, whilst being particularly unfair to students from institutions that couldn’t afford booth space.

This represents the festival’s core contradiction: it markets itself as an industry gateway whilst the economics tell a different story. Students invest hundreds of pounds in passes, travel, and accommodation, often funded by family savings or student loans, based on promotional materials suggesting attendance will improve career prospects. Meanwhile, the festival charges educational institutions premium rates to compete for attention from virtually non-existent recruiters.

The Artificial Intelligence Acceleration

Perhaps no factor threatens animation employment prospects more dramatically than the rapid advancement of artificial intelligence. 75% of survey respondents indicated GenAI tools, software and/or models had supported the elimination, reduction or consolidation of jobs in their business division, according to a comprehensive study of entertainment industry executives.

The impact extends beyond simple job displacement. About 33% of industry executives predicted that AI would displace 3D modellers by as early as 2026, with 25% expecting graphic designers to be affected as well. These entry-level positions traditionally served as stepping stones for animation graduates, providing essential industry experience whilst developing professional portfolios.

About 21.4% of Film, Television, and Animation jobs (or approximately 118,500 jobs) are likely to have sufficient tasks affected to be either consolidated, replaced, or eliminated by GenAI in the U.S. by 2026. California, home to major animation studios, will be impacted the most, affecting 39,500 jobs.

The technology’s advancement was evident at Annecy itself, where AI companies maintained booths that were all but empty, targeting studios rather than students. Chat3D, offering text-to-3D model generation, charged between $500–1,000 per user per month – pricing that made clear their focus on corporate clients rather than emerging artists. The sparse attendance at these AI booths suggested either industry wariness or that deals were being struck behind closed doors, away from the festival’s public spaces.

The Sequel Trap

Studios’ increasing reliance on sequels and franchise content represents another threat to emerging talent. The 2025/26 slate demonstrates an unprecedented commitment to reboots and spinoffs: Stranger Things is being animated, whilst beloved series including Gumball, Regular Show, Adventure Time, Foster’s Home, and Steven Universe are all receiving reboots or spinoffs. Even these familiar properties face production delays, further restricting opportunities for new talent.

Original content traditionally provided opportunities for newcomers to prove themselves on smaller projects before advancing to major productions. However, this shift reflects risk-averse corporate strategies prioritising proven intellectual property over creative innovation. Tom Sito, a Hollywood animation veteran now teaching at USC, suggests that the widespread cutting of jobs “bespeaks the lack of vision in a lot of the corporate strategy”.

The sequel dominance creates a vicious cycle: fewer original productions mean fewer opportunities for new talent, which reduces the industry’s creative diversity, ultimately leading to even greater reliance on proven properties. Young animators find themselves competing for positions on projects led by established teams with decades of experience, making entry-level opportunities even scarcer.

What Must Change: A 3-Pillar Solution

Festival Reform: Creating Real Opportunity

Annecy and other major festivals must evolve beyond their current model of celebration without substance. Festival organisers should implement tiered exhibition fees, charging premium rates to companies without active recruitment whilst subsidising booths for studios offering genuine employment opportunities. This would incentivise meaningful job creation whilst reducing the financial burden on organisations actually hiring.

Festivals should establish year-round digital portfolio platforms rather than relying on brief, expensive physical events. These platforms could operate continuously, providing far better return on investment for both students and employers than current festival models. Having Annecy support the thousands of students who pay dearly to attend each year feels just, and recruiters should be incentivised to use such platforms or disincentivised to ignore them.

Most importantly, festivals must abandon romanticised career presentations in favour of honest industry discussions. Panel sessions should include employment statistics, salary realities, and alternative career paths rather than perpetuating unrealistic expectations about traditional animation careers.

Educational Transparency: Truth in Advertising

Universities must implement mandatory employment outcome reporting, similar to medical schools’ residency placement rates. Prospective students deserve accurate information about career prospects before committing to expensive programmes. Accreditation bodies should require institutions to demonstrate minimum employment rates – perhaps 25% within 6 months of graduation – to maintain programme approval.

Curricula need fundamental restructuring to prepare students for hybrid careers combining animation skills with business, technology, and entrepreneurship. Rather than training students exclusively for studio employment that may not materialise, programmes should develop versatile creative professionals capable of adapting to changing industry conditions.

Industry Innovation: Breaking the Sequel Cycle

Studios should establish “original content quotas,” dedicating specific percentages of budgets to new intellectual property development. This could follow models already implemented in some territories, ensuring continued creative innovation whilst maintaining profitable franchise production.

Governments that offer tax incentives and provide funding for large employers in the creative industry to operate in their countries should mandate original content quotas and student hiring/development programmes as conditions for receiving these benefits. Public investment in studios should yield public benefit through job creation and creative diversity.

Companies should develop apprenticeship programmes providing paid training rather than relying solely on traditional hiring from oversaturated graduate pools. These programmes could identify promising talent early whilst providing practical industry experience currently lacking in 3–4 year degree programmes.

Emerging Opportunities: Beyond Traditional Animation

Despite the challenges, new opportunities are emerging for creative professionals willing to adapt. The animation industry employs more than 220,000 professionals in the United States and is expected to grow by 5% annually, though these roles increasingly require hybrid skills combining animation with technology, business, or education.

Gaming represents a significant growth area, with the gaming and animation industry reaching a massive $268.8 billion by 2025. These positions often offer more creative freedom and better employment prospects than traditional film animation, whilst still utilising core animation skills.

Virtual and augmented reality applications continue expanding, creating demand for animators in educational technology, healthcare simulation, and interactive media. These emerging sectors often welcome candidates with animation backgrounds, even if they lack specific industry experience.

Independent production has become increasingly viable through crowdfunding and digital distribution platforms. Software publishers lead the animation industry’s pay scale with a $110,000 average annual salary, whilst tools like Blender and affordable rendering services enable small teams to produce professional-quality content.

An Industry’s Reckoning

The numbers from Annecy 2025 tell a story that the animation industry can no longer ignore. With 23 educational providers competing for the attention of just 3 recruitment booths, the festival became an inadvertent expose of systemic dysfunction. Thousands of students, armed with portfolios and dreams, encountered a marketplace that had no genuine intention of hiring them.

This revelation demands urgent examination of how the animation industry markets itself versus how it actually operates. The disconnect between promotional promises and employment reality threatens not just individual careers but the creative future of animation itself. If the industry continues excluding new voices whilst relying on artificial intelligence and franchise content, it risks cultural stagnation that could undermine the very creativity that built studios like Pixar and DreamWorks.

The current trajectory requires acknowledgement from all stakeholders – festivals, universities, and studios – that existing practices are unsustainable. Students deserve honest information about career prospects, meaningful opportunities to demonstrate their abilities, and alternative pathways when traditional employment proves elusive.

The animation industry stands at a crossroads. It can continue celebrating past achievements whilst failing future creators, or it can restructure itself to nurture the talent pipeline essential for continued innovation. The stark reality exposed at Annecy 2025 – 3 recruitment opportunities amid 23 educational providers – demands immediate action.

The next Annecy festival could feature genuine employment opportunities rather than empty promises, honest career discussions rather than promotional presentations, and sustainable pathways for emerging talent rather than exclusive access for established professionals. Whether this transformation occurs depends on industry leaders’ willingness to prioritise long-term creative health over short-term financial convenience.

The alternative – continued exclusion of new talent whilst relying on artificial intelligence and franchise content – threatens the very creativity that made animation beloved worldwide. For an industry built on imagination and wonder, such an outcome would represent the ultimate broken promise beside the pristine waters of Lake Annecy.

Students hoping to be noticed – by Matt Jones

[mathysphere]

Hey, so, this post here-- by @hadeelfamily, a woman trying to evacuate her family from Palestine-- is real. She is who she says she is. I'm certain of it.

I've donated myself, and will donate more; for the rest of the year-- or until their need is met-- one half of everything I get selling cross-stitch patterns will go to Hadeel Mikki and her family.

If you would like to see my research and reasons to be certain, it's after the cut.

The fundraiser is for a woman named Hadeel Mikki and her family-- her husband, two daughters, her mother, and her two brothers-- and includes two photos of her:

A search for her name brings up a long internet trail: as a programmer and former computer science major, Hadeel Mikki's been active online, and when she's posting about work stuff-- mostly web and app development-- Hadeel uses her real name and photo.

I found six different accounts, all using the same name, and all featuring photos of the same woman-- not all identical photos, but separate photos of the same person-- and all with activity dating back at least a year or more.

I've looked over the activity for each, and I do not believe there's any chance that they aren't legitimate.

Two of them are static freelancer websites, and another is an abandoned Pinterest account: the info there matches the others, but there's nothing current. On the other three (LinkedIn, Threads, and TikTok) the most recent posts are all variations on the same theme: "Please help my family. My young daughters are suffering. Please donate to help get us out of Gaza."

They're certifiably real accounts, and they link to the same GoFundMe. Is it possible that either her LinkedIn or Threads or TikTok account could have been hacked and hijacked into posting a scam fundraiser? I guess. But not all three, and not with the ability to post new photos and videos of her kids-- how would a hacker even get footage of a hackee's daughters in war-torn Gaza? You can't just hire some child actors. They need to match the kids from the family portrait.

This is not a scammer using someone else's name and photos, and this isn't an opportunistic hacker who managed to break in and hijack an account: this is a real woman trying to save her family.

I've looked through everything, and am myself convinced. I'll include summaries and screenshots of each account, along with the links if you'd like to check them out yourself.

On LinkedIn: profile from 2015, photo updated a year ago, liked and commented on various tech posts. Shared her GoFundMe four months ago.

On Threads: icon is her and her husband, shares programming content, "#ProgrammersCoffee" etc, and four months ago she shares a link to her GoFundMe. She has the same laptop as me.

On TikTok: early videos are about programming and app development, and the current ones are asking for help for her daughters, including photos and videos of the girls both before the war and now.

On Pinterest: nothing really there. Looks like she tried it out a long time ago and then dropped it. Still links to her long-defunct Google Plus account, even.

Five years ago she did have a board called 'Boyfriend gifts'. Must've gone well for her; they're married now.

[foxglovegames]

DEVLOG: JULY 2024

Another month, another fight not to spoiler everyone...

We sort of just skipped over the June update (I think?) and I cannot remember whether that was intentional or not, whoops! Been so deep into game devving, my brain has little space to think of anything else lately haha

So, what have we been up to the past two months?

June and July were super productive, courtesy of our amazing art team and our editor floss! Here's some highlights:

Toby's updated the original idea for our main menu - the final results are going to be amaaaazing. You can see a little sneak peek at it above, starring our female protagonist! 🦇

Writing and editing for the demo is 100% done (minus the glossary entries), sitting at a little over 42 000 words!

We had the time and budget, so we decided to add five more BGs to the demo! Those are all done now as well!

We're prepping to get started on the side character sprites and key art for the game!

We've officially chosen our three merch guest artists, who will be working on the designs for some physical Kickstarter merch! We've got chibi sticker sheets, chibi charms, and prints on the menu. 🩸

Not related to BURN THE MIDNIGHT OIL, we've finally written our post-mortem for Trouble Comes Twice and plan to share it soon!

For any devs or aspiring devs or players who are curious for a glimpse at our development process, we hope that it may be quite insightful. We also plan to share (what we can) regarding the game's income - we know that those numbers aren't readily available online for most games, and we thought it might give some more insight into how these things work!

Plans for August 2024

Lots of stuff and thangs in the art/merch department

Finish writing the glossary entries

Hopefully, hire a programmer. Check out our recruitment post if you're interested!

See you at the end of the month for our next update!

.... Or at the end of September, if we miss the August update :p

[myjackwilliamblog]

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[kanguin]

Prometheus Gave the Gift of Fire to Mankind. We Can't Give it Back, nor Should We.

AI. Artificial intelligence. Large Language Models. Learning Algorithms. Deep Learning. Generative Algorithms. Neural Networks. This technology has many names, and has been a polarizing topic in numerous communities online. By my observation, a lot of the discussion is either solely focused on A) how to profit off it or B) how to get rid of it and/or protect yourself from it. But to me, I feel both of these perspectives apply a very narrow usage lens on something that's more than a get rich quick scheme or an evil plague to wipe from the earth.

This is going to be long, because as someone whose degree is in psych and computer science, has been a teacher, has been a writing tutor for my younger brother, and whose fiance works in freelance data model training... I have a lot to say about this.

I'm going to address the profit angle first, because I feel most people in my orbit (and in related orbits) on Tumblr are going to agree with this: flat out, the way AI is being utilized by large corporations and tech startups -- scraping mass amounts of visual and written works without consent and compensation, replacing human professionals in roles from concept art to story boarding to screenwriting to customer service and more -- is unethical and damaging to the wellbeing of people, would-be hires and consumers alike. It's wasting energy having dedicated servers running nonstop generating content that serves no greater purpose, and is even pressing on already overworked educators because plagiarism just got a very new, harder to identify younger brother that's also infinitely more easy to access.

In fact, ChatGPT is such an issue in the education world that plagiarism-detector subscription services that take advantage of how overworked teachers are have begun paddling supposed AI-detectors to schools and universities. Detectors that plainly DO NOT and CANNOT work, because the difference between "A Writer Who Writes Surprisingly Well For Their Age" is indistinguishable from "A Language Replicating Algorithm That Followed A Prompt Correctly", just as "A Writer Who Doesn't Know What They're Talking About Or Even How To Write Properly" is indistinguishable from "A Language Replicating Algorithm That Returned Bad Results". What's hilarious is that the way these "detectors" work is also run by AI.

(to be clear, I say plagiarism detectors like TurnItIn.com and such are predatory because A) they cost money to access advanced features that B) often don't work properly or as intended with several false flags, and C) these companies often are super shady behind the scenes; TurnItIn for instance has been involved in numerous lawsuits over intellectual property violations, as their services scrape (or hopefully scraped now) the papers submitted to the site without user consent (or under coerced consent if being forced to use it by an educator), which it uses in can use in its own databases as it pleases, such as for training the AI detecting AI that rarely actually detects AI.)

The prevalence of visual and lingustic generative algorithms is having multiple, overlapping, and complex consequences on many facets of society, from art to music to writing to film and video game production, and even in the classroom before all that, so it's no wonder that many disgruntled artists and industry professionals are online wishing for it all to go away and never come back. The problem is... It can't. I understand that there's likely a large swath of people saying that who understand this, but for those who don't: AI, or as it should more properly be called, generative algorithms, didn't just show up now (they're not even that new), and they certainly weren't developed or invented by any of the tech bros peddling it to megacorps and the general public.

Long before ChatGPT and DALL-E came online, generative algorithms were being used by programmers to simulate natural processes in weather models, shed light on the mechanics of walking for roboticists and paleontologists alike, identified patterns in our DNA related to disease, aided in complex 2D and 3D animation visuals, and so on. Generative algorithms have been a part of the professional world for many years now, and up until recently have been a general force for good, or at the very least a force for the mundane. It's only recently that the technology involved in creating generative algorithms became so advanced AND so readily available, that university grad students were able to make the publicly available projects that began this descent into madness.

Does anyone else remember that? That years ago, somewhere in the late 2010s to the beginning of the 2020s, these novelty sites that allowed you to generate vague images from prompts, or generate short stylistic writings from a short prompt, were popping up with University URLs? Oftentimes the queues on these programs were hours long, sometimes eventually days or weeks or months long, because of how unexpectedly popular this concept was to the general public. Suddenly overnight, all over social media, everyone and their grandma, and not just high level programming and arts students, knew this was possible, and of course, everyone wanted in. Automated art and writing, isn't that neat? And of course, investors saw dollar signs. Simply scale up the process, scrape the entire web for data to train the model without advertising that you're using ALL material, even copyrighted and personal materials, and sell the resulting algorithm for big money. As usual, startup investors ruin every new technology the moment they can access it.

To most people, it seemed like this magic tech popped up overnight, and before it became known that the art assets on later models were stolen, even I had fun with them. I knew how learning algorithms worked, if you're going to have a computer make images and text, it has to be shown what that is and then try and fail to make its own until it's ready. I just, rather naively as I was still in my early 20s, assumed that everything was above board and the assets were either public domain or fairly licensed. But when the news did came out, and when corporations started unethically implementing "AI" in everything from chatbots to search algorithms to asking their tech staff to add AI to sliced bread, those who were impacted and didn't know and/or didn't care where generative algorithms came from wanted them GONE. And like, I can't blame them. But I also quietly acknowledged to myself that getting rid of a whole technology is just neither possible nor advisable. The cat's already out of the bag, the genie has left its bottle, the Pandorica is OPEN. If we tried to blanket ban what people call AI, numerous industries involved in making lives better would be impacted. Because unfortunately the same tool that can edit selfies into revenge porn has also been used to identify cancer cells in patients and aided in decoding dead languages, among other things.

When, in Greek myth, Prometheus gave us the gift of fire, he gave us both a gift and a curse. Fire is so crucial to human society, it cooks our food, it lights our cities, it disposes of waste, and it protects us from unseen threats. But fire also destroys, and the same flame that can light your home can burn it down. Surely, there were people in this mythic past who hated fire and all it stood for, because without fire no forest would ever burn to the ground, and surely they would have called for fire to be given back, to be done away with entirely. Except, there was no going back. The nature of life is that no new element can ever be undone, it cannot be given back.

So what's the way forward, then? Like, surely if I can write a multi-paragraph think piece on Tumblr.com that next to nobody is going to read because it's long as sin, about an unpopular topic, and I rarely post original content anyway, then surely I have an idea of how this cyberpunk dystopia can be a little less.. Dys. Well I do, actually, but it's a long shot. Thankfully, unlike business majors, I actually had to take a cyber ethics course in university, and I actually paid attention. I also passed preschool where I learned taking stuff you weren't given permission to have is stealing, which is bad. So the obvious solution is to make some fucking laws to limit the input on data model training on models used for public products and services. It's that simple. You either use public domain and licensed data only or you get fined into hell and back and liable to lawsuits from any entity you wronged, be they citizen or very wealthy mouse conglomerate (suing AI bros is the only time Mickey isn't the bigger enemy). And I'm going to be honest, tech companies are NOT going to like this, because not only will it make doing business more expensive (boo fucking hoo), they'd very likely need to throw out their current trained datasets because of the illegal components mixed in there. To my memory, you can't simply prune specific content from a completed algorithm, you actually have to redo rhe training from the ground up because the bad data would be mixed in there like gum in hair. And you know what, those companies deserve that. They deserve to suffer a punishment, and maybe fold if they're young enough, for what they've done to creators everywhere. Actually, laws moving forward isn't enough, this needs to be retroactive. These companies need to be sued into the ground, honestly.

So yeah, that's the mess of it. We can't unlearn and unpublicize any technology, even if it's currently being used as a tool of exploitation. What we can do though is demand ethical use laws and organize around the cause of the exclusive rights of individuals to the content they create. The screenwriter's guild, actor's guild, and so on already have been fighting against this misuse, but given upcoming administration changes to the US, things are going to get a lot worse before thet get a little better. Even still, don't give up, have clear and educated goals, and focus on what you can do to affect change, even if right now that's just individual self-care through mental and physical health crises like me.

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[fatehbaz]

The SAWP is a temporary labour program that brings foreign workers to Canada for periods between six weeks and eight months annually [...], paving the way for the recruitment of Jamaican workers as well as workers from other Caribbean countries like Trinidad and Tobago and Barbados [beginning] in 1968. [...] The SAWP has been a resounding success for Canadian growers because offshore indentured workers enable agribusiness to expand and secure large profits. Being indentured means that migrant farm workers are bound to specific employers by contractual agreements [...]. First, they are legally prevented from unionizing. [...] Additionally, because they are bound to specific employers, they must ensure that the employer is happy with them [...]. For instance, migrant farm workers are forced to agree to growers’ requests for long working hours, labour through the weekend, suppress complaints and avoid conflicts, if they want to stay out of “trouble” [...]. In “Canada’s Creeping Economic Apartheid”, Grace Galabuzi shows that the Canadian Government’s immigration policy is, in reality, a labour market immigration policy [...].

[Text by: Julie Ann McCausland. "Racial Capitalism, Slavery, Labour Regimes and Exploitation in the Canadian Seasonal Agricultural Workers Program". Caribbean Quilt Volume 5. 2020. Paragraph contractions added by me.]

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A big finding that came out of the oral history interviews was a much richer tapestry of worker protest than has previously been documented. Speaking with workers – including former workers back in their home countries of Jamaica and Barbados – allowed me to hear the types of stories that often don’t make it into archives or newspapers. Interviewees told me stories about wildcat strikes, about negotiating conditions with employers, and also about protesting their home governments’ role in organizing the migrant labour program. [...] [T]hings did not have to be this way; our current world was anything but inevitable. [...] [But] economic forces transformed tobacco farming (and agriculture writ large), [...] leaving mega-operations in their wake. [...] [L]arge operations could afford [...] bringing in foreign guestworkers. The attraction of foreign workers was not due to labour shortages, but instead in their much higher degree of exploitability, given the strict nature of their contracts and the economic compulsion under which they pursued overseas migrant labour. [...] Ontario’s tobacco belt (located in between Hamilton and London, on the north shore of Lake Erie), was from the 1920s to 1980s one the most profitable sectors in Canadian agriculture and the epicentre of migrant labour in the country [...]. In most years, upwards of 25,000 workers were needed to bring in the crop. [...]

[The words of Edward Dunsworth. Text is a transcript of Dunsworth's responses in an interview conducted and transcribed by Andria Caputo. 'Faculty Publication Spotlight: Ed Dunsworth's "Harvesting Labour"'. Published online at McGill Faculty of Arts. 15 December 2022. At: mcgill.ca/arts/article/faculty-publication-spotlight-ed-dunsworths-harvesting-labour. Some paragraph breaks/contractions added by me.]

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Jamaican agricultural workers say they face conditions akin to “systematic slavery” on Canadian farms, as they call on Jamaica to address systemic problems in a decades-old, migrant labour programme in Canada. In a letter sent to Jamaica’s minister of labour and social security earlier this month [August 2022], workers [...] said they have been “treated like mules” on two farms in Ontario, Canada’s most populous province. [...] The workers [...] are employed under [...] (SAWP), which allows Canadian employers to hire temporary migrant workers from Mexico and 11 countries in the Caribbean [...]. “We work for eight months on minimum wage and can’t survive for the four months back home. The SAWP is exploitation at a seismic level. Employers treat us like we don’t have any feelings, like we’re not human beings. We are robots to them. They don’t care about us.” Between 50,000 and 60,000 foreign agricultural labourers come to Canada each year on temporary permits [...]. Canada exported more than $63.3bn ($82.2bn Canadian) in agriculture and food products in 2021 – making it the fifth-largest exporter of agri-food in the world. [...]

[Text by: Jillian Kestler-D'Amours. "Jamaican farmworkers decry ‘seismic-level exploitation’ in Canada". Al Jazeera (English). 24 August 2022.]

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In my home country, St. Lucia, we believe in a fair day’s pay [...]. In Canada, we give more than a fair day’s work, but we do not get a fair day’s pay. [...] I worked in a greenhouse in [...] Ontario, growing and harvesting tomatoes and organic sweet peppers for eight months of the year, from 2012 to 2015. [...] In the bunkhouse where I lived, there were typically eight workers per room. Newly constructed bunkhouses typically have up to fourteen people per room. [...] I also received calls from workers (especially Jamaicans) who were either forbidden – or strongly discouraged – from leaving the farm property. This outrageous overreach of employer control meant that workers had difficulty sending money home, or buying necessary items [...]. [O]n a lot of farms, [...] workers’ movement and activity is policed by their employers. The government knows about this yet fails to act.

[Text are the words of Gabriel Allahdua. Text from a transcript of an interview conducted by Edward Dunworth. '“Canada’s Dirty Secret”: An Interview with Gabriel Allahdua about migrant farm workers’ pandemic experience'. Published by Syndemic Magazine, Issue 2: Labour in a Treacherous Time. 8 March 2022. Some paragraph contractions added by me.]

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The CSAWP is structured in such a way as to exclude racialized working class others from citizen-track entry into the country while demarcating them to a non-immigrant status as temporary, foreign and unfree labourers. The CSAWP is [...] a relic of Canada’s racist and colonial past, one that continues unimpeded in the present age [...]. [T]he Canadian state has offered a concession to the agricultural economic sector in the way of an ambiguous legal entity through which foreign agricultural workers are legally disenfranchised and legally denied citizenship rights.

[Text by: Adam Perry. "Barely legal: Racism and migrant farm labour in the context of Canadian multiculturalism". Citizenship Studies, 16:2, 189-201. 2012.]

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Other publications:

Smith. 'Troubling “project Canada”: the Caribbean and the making of “unfree migrant labour”’. Canadian Journal of Latin American Studies Volume 40, number 2. 2015.

Choudry and Thomas. "Labour struggles for workplace justice: migrant and immigrant worker organizing in Canada". Journal of Industrial Relations Volume 55, number 2. 2013.

Harsha Walia. "Transient servitude: migrant labour in Canada and the apartheid of citizenship". Race & Class 52, number 1. 2010.

Beckford. "The experiences of Caribbean migrant farmworkers in Ontario, Canada". Social and Economic Studies Volume 65, number 1. 2016.

Edward Dunsworth. Harvesting Labour: Tobacco and the Global Making of Canada’s Agricultural Workforce (2022).

Edward Dunsworth. “‘Me a free man’: resistance and racialisation in the Canada-Caribbean Seasonal Agricultural Workers Program,” Oral History Volume 49, number 1. Spring 2021.