#software for plumbing

[invoxa]

𝗦𝘁𝗿𝗲𝗮𝗺𝗹𝗶𝗻𝗲 𝗬𝗼𝘂𝗿 𝗕𝗶𝗹𝗹𝗶𝗻𝗴: 𝗛𝗼𝘄 𝘁𝗼 𝗨𝘀𝗲 𝗮 𝗣𝗹𝘂𝗺𝗯𝗶𝗻𝗴 𝗜𝗻𝘃𝗼𝗶𝗰𝗲 𝗧𝗲𝗺𝗽𝗹𝗮𝘁𝗲 𝗘𝗳𝗳𝗲𝗰𝘁𝗶𝘃𝗲𝗹𝘆 This article is for plumbers and plumbing business owners who want to simplify their billing process. You will learn how to use a plumbing invoice template to create clear, professional invoices that ensure timely payments. You’ll gain valuable tips on what details to include, how to present your services clearly, and ways to avoid common invoicing mistakes. With Invoxa, an easy-to-use invoice maker, you can save time, improve accuracy, and focus on growing your business. This guide provides actionable advice and practical steps for efficient billing. Start streamlining your invoicing today!

[recordtime]

Revolutionise Your Plumbing Business with Record TIME

Are you a plumbing business owner aiming to expand your customer base and streamline operations? If you aim to enhance business planning, streamline operations, and have more control over your business structure, RECORD TIME is the ideal solution. Staying ahead of the competition in today's rapid business environment demands embracing technological developments. Therefore, for plumbing business owners, RECORD TIME plumbing contractor software is a game changer. To revolutionise business operations, companies utilise our solution to streamline processes, increase efficiency, and provide a superior client experience.

[projectsforce]

The Essential Role of Plumbing Installation Software in Contractor Success

In the fast-paced world of plumbing contracting, managing data efficiently is key to meeting deadlines and satisfying clients. Plumbing installation software offers a streamlined solution, ensuring seamless operations for both your team and customers. By leveraging this technology, you can gain a competitive edge, securing more contracts, tracking essential information, assigning tasks efficiently, and closing jobs effectively. However, choosing the right plumbing management software tailored to your business needs is crucial for success in today's market.

[ahumoki0]

I was almost falling behind on my work, even though it's the first week.

But now that the governor decreed emergency state because of the rain I HAVe to put my ass in gear and study more ;-;

Where I live is flat but doesn't really flood. The rain here isn't so strong, so as long as I have light I have to get a move on ;-;

Good thing I already did most of my cleaning yesterday, now I just have to prepare the girls' bathroom again and clear space on my desk.

Everyone's home so I have to go to my room tô concentrate. Hopefully the dogs won't be too excited today. Barely 8 am, and they get too loud to be allowed to really play at this hour.

[genio4]

The Benefits of Using Plumbing Estimating Software

Discover how plumbing estimating software can revolutionize your business. Streamline your processes, increase accuracy, and save time with this powerful tool.

plumbing estimating software

[contractor-invoicing-software]

How Often Do you Have to Replace Your HVAC System?

Your home’s HVAC system plays a huge role in your indoor comfort. During the coldest winters and the hottest summers, your HVAC system hums along, and you may not even notice it working – until it stops. Even the best HVAC unit is going to stop working someday, so it makes sense to wonder how often you need to replace your HVAC system.

Unfortunately, there isn’t a clear-cut answer to this question. Some systems last longer than others, and how hard your system has to work can play a big part in how long it lasts. Additionally, modern HVAC systems are usually more energy efficient than older systems, so the technology used in an HVAC system can also play a part in determining when it should be replaced.

A Good Rule of Thumb

A good rule of thumb to follow is to replace your HVAC unit every 10 years. Some experts claim that a quality HVAC system can last as long as 15 years or more when cared for properly, but once again, each system will be different.

To get a better idea regarding your specific situation, you’re encouraged to contact an HVAC specialist to have your system inspected. Your HVAC pro can give you a better idea about the specifics of your system and let you know whether replacement makes sense or not. Using HVAC contractor invoicing software, your service tech can provide you with an onsite estimate if your unit does need to be replaced. In most cases, HVAC contractor invoicing software can also be used to bill you electronically, so you can simply pay with your card on the spot.

Buying a New HVAC System

If you find that replacing your HVAC unit makes sense, consider your future plans. If you plan to sell your home, or you’ll be in it for a while, purchase a new system that comes with a good warranty and a strong reputation. You shouldn’t buy junk just because you’ll be selling or moving in the future, but it may not be worth investing in an expensive system if you’ll be moving out in a few years.

Read a similar article about general contractor insurance here at this page.

[netmaxims-technologies]

Discover the industries that can benefit most from FSM Software. Enhance productivity, efficiency, and profitability with streamlined workflows and improved customer service

[eyeontask]

EyeOnTask streamlines your workflow

As a business owner, managing your field service operations can be quite challenging. However, with EyeOnTask, you can simplify your field service operations, increase efficiency, and ultimately, grow your business.

EyeOnTask provides a complete field service management solution that helps you manage your entire field service operation from a single platform. You can schedule jobs, track your technicians, and manage all of your tasks in one place. This reduces the need for manual intervention, which saves you time and money.

[fieldservicemanagementsoftware]

Why Plumbing Businesses Need Management Software

In today’s fast-paced world, plumbing businesses are expected to deliver top-notch service quickly and efficiently. However, managing a plumbing business can be challenging, especially when it involves scheduling, dispatching, tracking inventory, invoicing, and customer management. Plumbing business management software offers a comprehensive solution to these challenges, helping businesses streamline operations, reduce costs, and improve customer satisfaction. 

1. Streamlining Scheduling and Dispatching

Efficient scheduling and dispatching are critical for plumbing businesses. Traditional methods often involve manual processes that are prone to errors, such as double-booking or missed appointments. Plumbing business management software automates this process, ensuring that jobs are assigned to the right technicians based on their location, availability, and skill set.

- Improved Efficiency: According to a report by WorkWave, businesses using scheduling software can increase their job completion rate by up to 25%.

- Reduced Travel Time: Optimized dispatching helps reduce travel time by up to 20%, allowing technicians to complete more jobs in a day.

 2. Enhancing Customer Management

In the plumbing industry, maintaining strong customer relationships is essential. Plumbing business management software allows you to create a centralized customer database, where you can store service history, contact information, and preferences. This not only helps in delivering personalized service but also ensures that all customer interactions are well-documented.

- Better Customer Retention: A study by HubSpot found that businesses with effective customer management systems experience a 45% higher customer retention rate.

- Personalized Service: By accessing detailed customer information, technicians can tailor their approach, leading to improved customer satisfaction.

 3. Real-Time Tracking and Monitoring

For plumbing businesses, keeping track of field technicians is crucial for ensuring timely service delivery. Plumbing business management software provides real-time GPS tracking, allowing you to monitor the exact location of your technicians throughout the day.

- Increased Accountability: Real-time tracking increases accountability among technicians, as managers can monitor their progress and ensure they are following the optimized routes.

- Accurate ETAs: Providing customers with accurate estimated times of arrival (ETAs) enhances trust and improves overall customer experience.

 4. Efficient Inventory Management

Managing inventory is a significant challenge for plumbing businesses, where a lack of essential supplies can lead to delays and lost revenue. Plumbing business management software includes inventory management features that allow you to track stock levels, monitor usage, and reorder supplies automatically when they run low.

- Reduced Stockouts: A report by Wasp Barcode Technologies found that businesses with automated inventory systems experience 35% fewer stockouts compared to those relying on manual processes.

- Lower Operational Costs: Efficient inventory management can reduce unnecessary expenses by up to 15% by preventing overstocking and wastage.

 5. Simplifying Invoicing and Payments

Handling invoicing and payments manually can be time-consuming and prone to errors. Plumbing business management software automates the billing process, generating invoices immediately after a job is completed and allowing for seamless payment collection.

- Faster Payments: According to QuickBooks, businesses using automated invoicing software receive payments 30% faster than those using traditional methods.

- Reduced Errors: Automating the invoicing process reduces the risk of errors, leading to fewer disputes and a smoother financial operation.

 6. Detailed Performance Analytics

Understanding the performance of your business is crucial for making informed decisions and driving growth. Plumbing business management software provides detailed analytics and reporting features, allowing you to track key performance indicators (KPIs) such as job completion rates, revenue per job, and technician efficiency.

- Data-Driven Decisions: Businesses that use analytics tools are 5 times more likely to make faster decisions, according to a study by Bain & Company.

- Identifying Trends: By analyzing historical data, you can identify trends and areas for improvement, enabling you to optimize your operations and increase profitability.

 7. Seamless Integration with Other Tools

One of the significant advantages of plumbing business management software is its ability to integrate with other tools and systems you may already be using, such as accounting software, customer relationship management (CRM) systems, and communication platforms.

- Improved Workflow: Seamless integration eliminates the need for manual data entry, reducing errors and saving time. According to Zapier, businesses that automate data entry save an average of 20 hours per week.

- Unified Platform: With all your business operations integrated into a single platform, you can manage your business more effectively and efficiently.

Case Study: How FieldWeb Transformed a Small Plumbing Business

Let’s consider the example of a small plumbing business that implemented FieldWeb, a leading plumbing business management software. Before using FieldWeb, the business struggled with inefficient scheduling, frequent stockouts, and delayed payments. After integrating FieldWeb into their operations, they experienced a 30% increase in job completion rates, a 25% reduction in operational costs, and a 20% improvement in customer satisfaction scores.

FieldWeb’s real-time tracking and inventory management features allowed the business to optimize its operations, while automated invoicing ensured faster payments and improved cash flow. The detailed analytics provided by FieldWeb also enabled the business to make data-driven decisions, further driving growth and profitability.

Conclusion

In conclusion, plumbing business management software is an essential tool for modern plumbing businesses, offering a range of benefits from streamlined scheduling and real-time tracking to efficient inventory management and automated invoicing. By investing in the right software, plumbing businesses can overcome common operational challenges, deliver better customer service, and achieve long-term growth. Whether you’re a small business looking to scale or a larger operation aiming to optimize your processes, plumbing business management software like FieldWeb can provide the tools you need to succeed.

[recordtime]

Plumbing Contractor Software: Simplify Your Scheduling and Docketing Process

Coordinating multiple projects, technicians, and appointments efficiently can be a complex task for any contractor in plumbing services. Managing multiple projects simultaneously while ensuring they are completed on time and within budget is another challenge. Therefore, Record TIME facilitates an innovative approach that digitalises all operations in plumbing field service. With Record TIME, you can have all your essential data at your fingertips, accessible anytime, anywhere in real time. 

[wordsystech]

Commercial Plumbing Estimating Software

[mostlysignssomeportents]

AI “art” and uncanniness

TOMORROW (May 14), I'm on a livecast about AI AND ENSHITTIFICATION with TIM O'REILLY; on TOMORROW (May 15), I'm in NORTH HOLLYWOOD for a screening of STEPHANIE KELTON'S FINDING THE MONEY; FRIDAY (May 17), I'm at the INTERNET ARCHIVE in SAN FRANCISCO to keynote the 10th anniversary of the AUTHORS ALLIANCE.

When it comes to AI art (or "art"), it's hard to find a nuanced position that respects creative workers' labor rights, free expression, copyright law's vital exceptions and limitations, and aesthetics.

I am, on balance, opposed to AI art, but there are some important caveats to that position. For starters, I think it's unequivocally wrong – as a matter of law – to say that scraping works and training a model with them infringes copyright. This isn't a moral position (I'll get to that in a second), but rather a technical one.

Break down the steps of training a model and it quickly becomes apparent why it's technically wrong to call this a copyright infringement. First, the act of making transient copies of works – even billions of works – is unequivocally fair use. Unless you think search engines and the Internet Archive shouldn't exist, then you should support scraping at scale:

https://pluralistic.net/2023/09/17/how-to-think-about-scraping/

And unless you think that Facebook should be allowed to use the law to block projects like Ad Observer, which gathers samples of paid political disinformation, then you should support scraping at scale, even when the site being scraped objects (at least sometimes):

https://pluralistic.net/2021/08/06/get-you-coming-and-going/#potemkin-research-program

After making transient copies of lots of works, the next step in AI training is to subject them to mathematical analysis. Again, this isn't a copyright violation.

Making quantitative observations about works is a longstanding, respected and important tool for criticism, analysis, archiving and new acts of creation. Measuring the steady contraction of the vocabulary in successive Agatha Christie novels turns out to offer a fascinating window into her dementia:

https://www.theguardian.com/books/2009/apr/03/agatha-christie-alzheimers-research

Programmatic analysis of scraped online speech is also critical to the burgeoning formal analyses of the language spoken by minorities, producing a vibrant account of the rigorous grammar of dialects that have long been dismissed as "slang":

https://www.researchgate.net/publication/373950278_Lexicogrammatical_Analysis_on_African-American_Vernacular_English_Spoken_by_African-Amecian_You-Tubers

Since 1988, UCL Survey of English Language has maintained its "International Corpus of English," and scholars have plumbed its depth to draw important conclusions about the wide variety of Englishes spoken around the world, especially in postcolonial English-speaking countries:

https://www.ucl.ac.uk/english-usage/projects/ice.htm

The final step in training a model is publishing the conclusions of the quantitative analysis of the temporarily copied documents as software code. Code itself is a form of expressive speech – and that expressivity is key to the fight for privacy, because the fact that code is speech limits how governments can censor software:

https://www.eff.org/deeplinks/2015/04/remembering-case-established-code-speech/

Are models infringing? Well, they certainly can be. In some cases, it's clear that models "memorized" some of the data in their training set, making the fair use, transient copy into an infringing, permanent one. That's generally considered to be the result of a programming error, and it could certainly be prevented (say, by comparing the model to the training data and removing any memorizations that appear).

Not every seeming act of memorization is a memorization, though. While specific models vary widely, the amount of data from each training item retained by the model is very small. For example, Midjourney retains about one byte of information from each image in its training data. If we're talking about a typical low-resolution web image of say, 300kb, that would be one three-hundred-thousandth (0.0000033%) of the original image.

Typically in copyright discussions, when one work contains 0.0000033% of another work, we don't even raise the question of fair use. Rather, we dismiss the use as de minimis (short for de minimis non curat lex or "The law does not concern itself with trifles"):

https://en.wikipedia.org/wiki/De_minimis

Busting someone who takes 0.0000033% of your work for copyright infringement is like swearing out a trespassing complaint against someone because the edge of their shoe touched one blade of grass on your lawn.

But some works or elements of work appear many times online. For example, the Getty Images watermark appears on millions of similar images of people standing on red carpets and runways, so a model that takes even in infinitesimal sample of each one of those works might still end up being able to produce a whole, recognizable Getty Images watermark.

The same is true for wire-service articles or other widely syndicated texts: there might be dozens or even hundreds of copies of these works in training data, resulting in the memorization of long passages from them.

This might be infringing (we're getting into some gnarly, unprecedented territory here), but again, even if it is, it wouldn't be a big hardship for model makers to post-process their models by comparing them to the training set, deleting any inadvertent memorizations. Even if the resulting model had zero memorizations, this would do nothing to alleviate the (legitimate) concerns of creative workers about the creation and use of these models.

So here's the first nuance in the AI art debate: as a technical matter, training a model isn't a copyright infringement. Creative workers who hope that they can use copyright law to prevent AI from changing the creative labor market are likely to be very disappointed in court:

https://www.hollywoodreporter.com/business/business-news/sarah-silverman-lawsuit-ai-meta-1235669403/

But copyright law isn't a fixed, eternal entity. We write new copyright laws all the time. If current copyright law doesn't prevent the creation of models, what about a future copyright law?

Well, sure, that's a possibility. The first thing to consider is the possible collateral damage of such a law. The legal space for scraping enables a wide range of scholarly, archival, organizational and critical purposes. We'd have to be very careful not to inadvertently ban, say, the scraping of a politician's campaign website, lest we enable liars to run for office and renege on their promises, while they insist that they never made those promises in the first place. We wouldn't want to abolish search engines, or stop creators from scraping their own work off sites that are going away or changing their terms of service.

Now, onto quantitative analysis: counting words and measuring pixels are not activities that you should need permission to perform, with or without a computer, even if the person whose words or pixels you're counting doesn't want you to. You should be able to look as hard as you want at the pixels in Kate Middleton's family photos, or track the rise and fall of the Oxford comma, and you shouldn't need anyone's permission to do so.

Finally, there's publishing the model. There are plenty of published mathematical analyses of large corpuses that are useful and unobjectionable. I love me a good Google n-gram:

https://books.google.com/ngrams/graph?content=fantods%2C+heebie-jeebies&year_start=1800&year_end=2019&corpus=en-2019&smoothing=3

And large language models fill all kinds of important niches, like the Human Rights Data Analysis Group's LLM-based work helping the Innocence Project New Orleans' extract data from wrongful conviction case files:

https://hrdag.org/tech-notes/large-language-models-IPNO.html

So that's nuance number two: if we decide to make a new copyright law, we'll need to be very sure that we don't accidentally crush these beneficial activities that don't undermine artistic labor markets.

This brings me to the most important point: passing a new copyright law that requires permission to train an AI won't help creative workers get paid or protect our jobs.

Getty Images pays photographers the least it can get away with. Publishers contracts have transformed by inches into miles-long, ghastly rights grabs that take everything from writers, but still shifts legal risks onto them:

https://pluralistic.net/2022/06/19/reasonable-agreement/

Publishers like the New York Times bitterly oppose their writers' unions:

https://actionnetwork.org/letters/new-york-times-stop-union-busting

These large corporations already control the copyrights to gigantic amounts of training data, and they have means, motive and opportunity to license these works for training a model in order to pay us less, and they are engaged in this activity right now:

https://www.nytimes.com/2023/12/22/technology/apple-ai-news-publishers.html

Big games studios are already acting as though there was a copyright in training data, and requiring their voice actors to begin every recording session with words to the effect of, "I hereby grant permission to train an AI with my voice" and if you don't like it, you can hit the bricks:

https://www.vice.com/en/article/5d37za/voice-actors-sign-away-rights-to-artificial-intelligence

If you're a creative worker hoping to pay your bills, it doesn't matter whether your wages are eroded by a model produced without paying your employer for the right to do so, or whether your employer got to double dip by selling your work to an AI company to train a model, and then used that model to fire you or erode your wages:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

Individual creative workers rarely have any bargaining leverage over the corporations that license our copyrights. That's why copyright's 40-year expansion (in duration, scope, statutory damages) has resulted in larger, more profitable entertainment companies, and lower payments – in real terms and as a share of the income generated by their work – for creative workers.

As Rebecca Giblin and I write in our book Chokepoint Capitalism, giving creative workers more rights to bargain with against giant corporations that control access to our audiences is like giving your bullied schoolkid extra lunch money – it's just a roundabout way of transferring that money to the bullies:

https://pluralistic.net/2022/08/21/what-is-chokepoint-capitalism/

There's an historical precedent for this struggle – the fight over music sampling. 40 years ago, it wasn't clear whether sampling required a copyright license, and early hip-hop artists took samples without permission, the way a horn player might drop a couple bars of a well-known song into a solo.

Many artists were rightfully furious over this. The "heritage acts" (the music industry's euphemism for "Black people") who were most sampled had been given very bad deals and had seen very little of the fortunes generated by their creative labor. Many of them were desperately poor, despite having made millions for their labels. When other musicians started making money off that work, they got mad.

In the decades that followed, the system for sampling changed, partly through court cases and partly through the commercial terms set by the Big Three labels: Sony, Warner and Universal, who control 70% of all music recordings. Today, you generally can't sample without signing up to one of the Big Three (they are reluctant to deal with indies), and that means taking their standard deal, which is very bad, and also signs away your right to control your samples.

So a musician who wants to sample has to sign the bad terms offered by a Big Three label, and then hand $500 out of their advance to one of those Big Three labels for the sample license. That $500 typically doesn't go to another artist – it goes to the label, who share it around their executives and investors. This is a system that makes every artist poorer.

But it gets worse. Putting a price on samples changes the kind of music that can be economically viable. If you wanted to clear all the samples on an album like Public Enemy's "It Takes a Nation of Millions To Hold Us Back," or the Beastie Boys' "Paul's Boutique," you'd have to sell every CD for $150, just to break even:

https://memex.craphound.com/2011/07/08/creative-license-how-the-hell-did-sampling-get-so-screwed-up-and-what-the-hell-do-we-do-about-it/

Sampling licenses don't just make every artist financially worse off, they also prevent the creation of music of the sort that millions of people enjoy. But it gets even worse. Some older, sample-heavy music can't be cleared. Most of De La Soul's catalog wasn't available for 15 years, and even though some of their seminal music came back in March 2022, the band's frontman Trugoy the Dove didn't live to see it – he died in February 2022:

https://www.vulture.com/2023/02/de-la-soul-trugoy-the-dove-dead-at-54.html

This is the third nuance: even if we can craft a model-banning copyright system that doesn't catch a lot of dolphins in its tuna net, it could still make artists poorer off.

Back when sampling started, it wasn't clear whether it would ever be considered artistically important. Early sampling was crude and experimental. Musicians who trained for years to master an instrument were dismissive of the idea that clicking a mouse was "making music." Today, most of us don't question the idea that sampling can produce meaningful art – even musicians who believe in licensing samples.

Having lived through that era, I'm prepared to believe that maybe I'll look back on AI "art" and say, "damn, I can't believe I never thought that could be real art."

But I wouldn't give odds on it.

I don't like AI art. I find it anodyne, boring. As Henry Farrell writes, it's uncanny, and not in a good way:

https://www.programmablemutter.com/p/large-language-models-are-uncanny

Farrell likens the work produced by AIs to the movement of a Ouija board's planchette, something that "seems to have a life of its own, even though its motion is a collective side-effect of the motions of the people whose fingers lightly rest on top of it." This is "spooky-action-at-a-close-up," transforming "collective inputs … into apparently quite specific outputs that are not the intended creation of any conscious mind."

Look, art is irrational in the sense that it speaks to us at some non-rational, or sub-rational level. Caring about the tribulations of imaginary people or being fascinated by pictures of things that don't exist (or that aren't even recognizable) doesn't make any sense. There's a way in which all art is like an optical illusion for our cognition, an imaginary thing that captures us the way a real thing might.

But art is amazing. Making art and experiencing art makes us feel big, numinous, irreducible emotions. Making art keeps me sane. Experiencing art is a precondition for all the joy in my life. Having spent most of my life as a working artist, I've come to the conclusion that the reason for this is that art transmits an approximation of some big, numinous irreducible emotion from an artist's mind to our own. That's it: that's why art is amazing.

AI doesn't have a mind. It doesn't have an intention. The aesthetic choices made by AI aren't choices, they're averages. As Farrell writes, "LLM art sometimes seems to communicate a message, as art does, but it is unclear where that message comes from, or what it means. If it has any meaning at all, it is a meaning that does not stem from organizing intention" (emphasis mine).

Farrell cites Mark Fisher's The Weird and the Eerie, which defines "weird" in easy to understand terms ("that which does not belong") but really grapples with "eerie."

For Fisher, eeriness is "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI art produces the seeming of intention without intending anything. It appears to be an agent, but it has no agency. It's eerie.

Fisher talks about capitalism as eerie. Capital is "conjured out of nothing" but "exerts more influence than any allegedly substantial entity." The "invisible hand" shapes our lives more than any person. The invisible hand is fucking eerie. Capitalism is a system in which insubstantial non-things – corporations – appear to act with intention, often at odds with the intentions of the human beings carrying out those actions.

So will AI art ever be art? I don't know. There's a long tradition of using random or irrational or impersonal inputs as the starting point for human acts of artistic creativity. Think of divination:

https://pluralistic.net/2022/07/31/divination/

Or Brian Eno's Oblique Strategies:

http://stoney.sb.org/eno/oblique.html

I love making my little collages for this blog, though I wouldn't call them important art. Nevertheless, piecing together bits of other peoples' work can make fantastic, important work of historical note:

https://www.johnheartfield.com/John-Heartfield-Exhibition/john-heartfield-art/famous-anti-fascist-art/heartfield-posters-aiz

Even though painstakingly cutting out tiny elements from others' images can be a meditative and educational experience, I don't think that using tiny scissors or the lasso tool is what defines the "art" in collage. If you can automate some of this process, it could still be art.

Here's what I do know. Creating an individual bargainable copyright over training will not improve the material conditions of artists' lives – all it will do is change the relative shares of the value we create, shifting some of that value from tech companies that hate us and want us to starve to entertainment companies that hate us and want us to starve.

As an artist, I'm foursquare against anything that stands in the way of making art. As an artistic worker, I'm entirely committed to things that help workers get a fair share of the money their work creates, feed their families and pay their rent.

I think today's AI art is bad, and I think tomorrow's AI art will probably be bad, but even if you disagree (with either proposition), I hope you'll agree that we should be focused on making sure art is legal to make and that artists get paid for it.

Just because copyright won't fix the creative labor market, it doesn't follow that nothing will. If we're worried about labor issues, we can look to labor law to improve our conditions. That's what the Hollywood writers did, in their groundbreaking 2023 strike:

https://pluralistic.net/2023/10/01/how-the-writers-guild-sunk-ais-ship/

Now, the writers had an advantage: they are able to engage in "sectoral bargaining," where a union bargains with all the major employers at once. That's illegal in nearly every other kind of labor market. But if we're willing to entertain the possibility of getting a new copyright law passed (that won't make artists better off), why not the possibility of passing a new labor law (that will)? Sure, our bosses won't lobby alongside of us for more labor protection, the way they would for more copyright (think for a moment about what that says about who benefits from copyright versus labor law expansion).

But all workers benefit from expanded labor protection. Rather than going to Congress alongside our bosses from the studios and labels and publishers to demand more copyright, we could go to Congress alongside every kind of worker, from fast-food cashiers to publishing assistants to truck drivers to demand the right to sectoral bargaining. That's a hell of a coalition.

And if we do want to tinker with copyright to change the way training works, let's look at collective licensing, which can't be bargained away, rather than individual rights that can be confiscated at the entrance to our publisher, label or studio's offices. These collective licenses have been a huge success in protecting creative workers:

https://pluralistic.net/2023/02/26/united-we-stand/

Then there's copyright's wildest wild card: The US Copyright Office has repeatedly stated that works made by AIs aren't eligible for copyright, which is the exclusive purview of works of human authorship. This has been affirmed by courts:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Neither AI companies nor entertainment companies will pay creative workers if they don't have to. But for any company contemplating selling an AI-generated work, the fact that it is born in the public domain presents a substantial hurdle, because anyone else is free to take that work and sell it or give it away.

Whether or not AI "art" will ever be good art isn't what our bosses are thinking about when they pay for AI licenses: rather, they are calculating that they have so much market power that they can sell whatever slop the AI makes, and pay less for the AI license than they would make for a human artist's work. As is the case in every industry, AI can't do an artist's job, but an AI salesman can convince an artist's boss to fire the creative worker and replace them with AI:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

They don't care if it's slop – they just care about their bottom line. A studio executive who cancels a widely anticipated film prior to its release to get a tax-credit isn't thinking about artistic integrity. They care about one thing: money. The fact that AI works can be freely copied, sold or given away may not mean much to a creative worker who actually makes their own art, but I assure you, it's the only thing that matters to our bosses.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

[ayeforscotland]

Ad | Some Humble Bundle Goodies

One for the audio engineers - The Audio Arcade bundle gives you a whole bunch of royalty-free music and SFX as well as plugins to insert in all the major game engines. Ambient tracks, environmental sounds, explosions, you name it.

Money raised goes towards Children's Miracle Network Hospitals.

For those who dabble in Virtual Reality, the Upload VR Showcase with Devolver Digital has a bunch of Serious Sam VR games as well as the Talos Principle, a really solid puzzle game.

Money raised goes to Special Effect which helps people with disabilities enjoy games via accessible controllers. I've seen the stuff they do and it's honestly great.

Want to get into programming but don't know where to start? The Learn to Program bundle has a tonne of resources covering everything from HTML and CSS through to Python, C# and Ruby.

Money raised goes towards Code.org which seeks to expand participation in computing science by helping women and students of colour.

The Future Tech Innovators Toolkit is a software bundle with courses on Robotics, Electronics and programming with Raspberry Pi and Arduino.

Money raised goes towards Alzheimers Research UK.

The Home How-To Guides bundle offers a complete set of books for home improvements and projects. Want to know more about plumbing, home repair, bathrooms, wiring or carpentry? This bundle has you covered.

Money raised goes to It Gets Better, a charity that supports LGBT Youth.

Want to pick up the latest Elden Ring DLC? It's also available on the Humble Store with the key being redeemable on Steam.