IP#7 - Digital Labour

"The lifecycle of an AI system from birth to death has many fractal supply chains: forms of exploitation of human labour and natural resources and massive concentrations of corporate and geopolitical power. " (Crawford, 2021, p. 32)

"Workers have found ways to intervene and resist, even when technological developments were forced on them or presented as desirable improvements, particularly if the only refinements were to increase surveillance and company control." (Crawford, 2021, p. 82)

In Kate Crawford's Atlas of AI, she defines "digital labour" as any work that involves the use of digital technologies, including data collection, analysis, and dissemination. One example of digital labour that I find particularly interesting is that of social media influencers. Influencers create content for social media platforms such as Instagram and YouTube, often sponsored by brands. They use their social media following to promote products and services, and they earn a living through sponsored posts, advertising revenue, and collaborations with brands. I can say it is not something I am extremely interested in understanding and learning about however, I would never be interested in doing it myself. 

Crystal Abidin notes that the work of influencers is often invisible and unrecognized, despite the fact that they are performing a great deal of labour. She argues that influencers are engaging in a form of "emotional labour," constantly managing their online personas, responding to comments and messages, and projecting a certain image to their followers. This labour is often underpaid and undervalued, and it can be physically and emotionally taxing. This is something I have thought about constantly when looking at an influencer’s page. When do they get to truly be present in life? When do they get to be in a moment? I always wonder how taxing they find it to be that person, as they seem they always have to be on and they can be extremely exhausting and draining. 

In the special issue on video games and labour, there are several examples of digital labour in the video game industry. For example, game developers and programmers work long hours in high-stress environments, often without adequate compensation or job security. They are expected to meet tight deadlines and produce high-quality work, even if it means sacrificing their personal time and well-being. The use of AI in digital labour is becoming increasingly common. For example, social media platforms like Instagram and YouTube use algorithms to recommend content to users and to determine which content appears in their feeds. This can have a significant impact on the visibility and success of influencers. Similarly, video game companies use AI to create virtual worlds and characters, which can reduce the need for human labour in certain aspects of game development.

Overall, digital labour represents a new frontier in the history of labour exploitation. As Crawford notes, the use of digital technologies has enabled new forms of exploitation and inequality, even as it has opened up new opportunities for creativity and innovation. By understanding the complexities of digital labour, we can work towards creating more equitable and sustainable work environments in the digital age.

Connect Learning Alliance. (2021). Crystal Abidin's Connected Learning Summit 2021 keynote - "TikTok, youth cultures and the East Asian Influencer industry" 

Crawford, K. (2021). Atlas of AI. Yale University Press.

Duffy, B. E. (2017). (Not) getting paid to do what you love: Gender, social media, and aspirational work. Yale University Press.

"Technologically driven forms of worker exploitation are a widespread problem in many industries. Workers are fighting against the logics of production and the order of time they must work within. The structures of time are never completely inhumane, but they are maintained right at the outer limit of what most people can tolerate." (Crawford, 2021, p. 86)