Vulnerable workers bearing the cost of providing Australia with cheap food

"Across Australia's fruit and vegetable industry, Fair Work Ombudsman investigations have repeatedly uncovered widespread non-compliance...: systemic worker exploitation, forced labour, debt bondage and, in some cases, human trafficking and servitude."

"In Coffs Harbour, 61 per cent of growers and labour hire companies inspected were found to be breaching workplace laws, including underpaying workers. The figure rose to 72 per cent in the Riverina and 83 per cent in Victoria's Mornington Peninsula and Yarra Valley....Oz Group, a co-operative representing more than 140 berry growers across NSW's Mid North Coast, said in its 2020 statement it "does not accept any form of slavery-like practices within the co-operative or throughout its supply chain".However, in its 2025 statement, the co-operative said, "addressing modern slavery requires ongoing effort and collaboration" and it remained "committed to continuous improvement"." >>
abc.net.au/news/2026-08-04/aus…
#exploitation #work #ForcedLabour #food #slavery #CoffsHarbour #HorticulturalIndustry #governance #regulation #ModernSlaveryAct #TokenisticLaw #NSW #MidNorthCoast #blueberries

RSF – WB | Commemoration Post for the Historic Hul Kranti by Adivasi Masses Against #Colonialism & #Feudal #Exploitation

আজ হুল দিবস। সিধু কানহু ফুলো ঝানো চাঁদ ভৈরবদের হুল দিবস। জল জঙ্গল জমির অধিকারের লড়াই আজও চলমান।

Today is Hul Diwas: the Hul Diwas of Sidhu, Kanhu, Phulo, Jhano, Chand, and Bhairav. The struggle for rights over water, forest, and land continues to this day.

Long Live the People's Struggle for Jal-Jangal-Zameen!
—Long Live Revolution!

Yet again, US courts side with AI, let big tech get away with stealing.

(Quoting the article, some editing for brevity.)

Carter spent years building up Diversity Photos, which he founded because minority communities have been historically overlooked in stock photography. Carter says the company invested heavily in recruiting real, everyday people and obtained proper consent for the photos.

After launching in 2016, Diversity Photos made strong growth and partnered with Adobe in 2018 via a Stock Contributor Agreement. “The deal was a revenue-share arrangement,” Carter explains. “We’d supply the content, Adobe would distribute it through Adobe Stock, and we’d both benefit. We granted Adobe a license to distribute and promote our work to their end customers for mutual benefit — it literally says this in the contract.”

“So when I found out that Adobe had fed our entire library into their AI training pipeline without asking, without a separate license, without any compensation — it was devastating,” Carter says. “They didn’t just use a few images. They ingested our content and used it to build products that now directly compete with us. Adobe’s AI can now generate the same kind of diverse imagery that we spent years and significant resources creating. They took our competitive advantage and turned it into their feature.”

Carter points out that the entire value proposition of Diversity Photos is its scarcity, along with the quality of the content. If a tech company wants to use the archive to train an AI model, Carter will charge a perpetual license premium.

After Adobe informed Carter that it had a right to train its AI with Diversity Photos, the company offered $1,173.93 as a bonus fee. “Not compensation, not a licensing fee — a bonus,” says Carter. “As if they were doing me a favor. And they made it clear they didn’t even believe they were required to pay that under the agreement. … It showed a fundamental disrespect for the value of what we’d created and the communities we represent,” he says.

Carter and his attorney filed for arbitration in June 2024. Adobe then moved for a summary judgment on the case, which was fully granted except for one of Diversity Photos’ claims: negligence. The negligence claim stated that Adobe put Diversity Photos’ archive online without any watermarks or copyright management information. In doing so, other AI companies such as Midjourney, Stability AI, and Google were also able to train on the photo library without compensation. But even on that claim, Carter still didn’t win.

“We believe the arbitration process was fundamentally flawed,” Carter says. “The arbitrator refused to address the cost issue that was contractually required before ruling on Adobe’s motion to dismiss everything.”

Adobe has since moved to have the arbitration award confirmed in court as precedent for future cases. “This has nothing to do with any of our claims so he ruled on something that doesn’t pertain to our case but will be used and referenced against creators for decades,” Carter adds. “We’re asking the court to vacate the award on multiple grounds under California’s arbitration statute.”

Back when Carter signed his agreement with Adobe in 2018, generative AI products didn’t exist. “The contract I signed gave Adobe a license to use my images for ‘developing new features and services [to promote my work],’” Carter says. But while he assumed that wording was there for Adobe to improve its platform, the company assumed otherwise.

“Adobe’s argument? The word ‘new’ means they can do anything new. Anything. Including something that didn’t exist when I signed the contract. Including AI training. Including building a tool that directly competes with the very content I licensed to them… That’s why we’re fighting to have this ruling vacated. Not just for Diversity Photos, but because if this interpretation stands, it sets a precedent that guts creator rights across the board. No contract from the pre-AI era should be interpreted as a blank check for AI training. The creators who signed those agreements never could have imagined this use, and the platforms know it.”

“The irony is that our content is valuable precisely because it’s hard to create — real people, real diversity, real consent… Generative AI threatens to commoditize all of that. And the companies building these AI models are profiting from our work without compensating us.”

Please do read the whole article from PetaPixel.

#tech #ai #Photography #StockPhotos #Diversity #LLMs #GenerativeAI #Adobe #Copyright #Law #Exploitation #LegalPrecedent #BigTech #SmallBusiness

“We do not have to politicize ecology – we have to ecologize politics.”

"To overcome the anthropocentric and dualistic foundations of the first Enlightenment, we need to overcome the dualisms between nature and culture, humans and animals."

"The duties of the state cannot be limited to the reduction of inequalities and to security. We need to talk about justice to future generations and animals."

"Ecology is not reducible to the fight against climate change and the erosion of biodiversity – it is also the way we share resources and the burden of the fight against climate change. Ecology has a social dimension, not to mention the fact that it forces us to change the way we work as well as our modes of production. It has an existential dimension that is connected to our relationships with other beings."
- Corine Pelluchon >>
thenew.institute/en/media/just…
#biodiversity #AnimalWelfare #AnimalEthics #ethics #values #wildlife #meat #food #exploitation #EcologicalPreservation #climate #AtomisticSubject #ecology #philosophy #nature

🧵 2/3
MADEIN S, the all Japanese member subunit of MADEIN (formerly LIMELIGHT) recently released “Blue”.

Although I like MADEIN, I am aware that the agency that manages them stands accused of serious abuse.

One Korean member, Gaeun, left the group amidst allegations of sexual harassment by an agency executive. Another Korean member, Sohye, is on hiatus “for personal reasons.” Yeseo, a Korean who, together with the Japanese Mashiro, was taken from the group Kep1er, appears to have been dungeoned by the agency.

This leaves MADEIN S, made up of the four Japanese members of MADEIN: Mashiro, MiU, Serina, and Nagomi.

A group of fans have started a campaign to put pressure on the agency:

>>We Condemn 143 Entertainment’s Inaction on the Sexual Assault Case and the Shameless Behavior of CEO Lee Yonghak .

143 Entertainment (hereinafter "143") recently announced that their idol group would be promoting in Japan. It has been three months since the sexual assault committed by CEO Lee Yonghak was clearly exposed to the public, yet 143 has neither issued a proper apology nor taken any meaningful follow-up action—only denying the facts. While law enforcement has begun accelerating the investigation, the conduct of 143 and CEO Lee Yonghak remains outrageous. The company has offered no apology or response whatsoever regarding the situation. Even the formal announcement of Lee Yonghak’s resignation has quietly disappeared, and instead, his name was listed as Executive Producer and Head of Global Business in the credits of another artist’s music video released on July 31st.

The company has yet to pay overdue production fees and wages, totaling hundreds of millions of won. Even more shockingly, it was revealed that 143 had signed exclusive contracts and arranged broadcast appearances for artists without registering as a legitimate agency under the Popular Culture and Arts Industry Development Act. This unregistered business operation has already been reported to the Ministry of Culture, Sports and Tourism by the Youth Media Human Rights Network, and additional investigations are expected. 143 not only failed to comply with basic administrative regulations, but also ignored wage delays during production and, above all, passively allowed its CEO to commit crimes against underage artists.

What is even more serious is that CEO Lee Yonghak shows no remorse for his actions. Just last night, he posted a link to a private photo of the victim—unrelated to the current case—on his personal SNS account with the caption: “This is karma and justice.” Circumstantial evidence strongly suggests that Lee himself was the original distributor of the photo. This is not only a blatant attempt to blur the core issue but also a clear effort to defame the victim. Such conduct will undoubtedly face appropriate legal consequences.

Prosecution of Lee Yonghak is imminent. There can be no justification for violence against a minor artist under any circumstances. Swift investigation and a firm ruling by the courts must ensure the victim’s safety and allow her to regain her daily life. Even now, 143 must issue an official apology for this incident. CEO Lee Yonghak must cease his disgraceful attempts to divert attention, genuinely repent, and fully comply with the proper legal procedures.

Hanbit Media Labor Human Rights Center<<

The boycott campaign demands are set out here:

pbs.twimg.com/media/GwMbHJQXUA…

As a result of all this,….

#Kpop #Idols #Labor #Exploitation #EntertainmentIndustries #MADEIN

🧵 1/3
@girlbandgeek wrote recently about his discomfort with attending a Kpop concert when the idols are possibly being maltreated by their agency.

I responded by noting that such maltreatment probably does take place, but is of a type hardly confined to the Kpop industry, since the same kind of exploitation is, alas, to be found in other "glamour" industries such as sports or fashion.

Although what I wrote is true, I now feel my response was inadequate.

“This rotten behaviour is going on all over the place” sounds uncomfortably like a preface to “there is no simple solution to this global problem, so we can’t do anything and we therefore might just as well ignore it.”

If we are not to be dismissive, what can we do?

As a first step, we Kpop fans should do our best to keep ourselves well informed. This awareness is difficult to achieve, given the industry’s lack of transparency, the dearth of reliable English language news sources, and the teen dominated fandom’s proclivity for the worst social media practices.

If an organized fan/consumer campaign to pressure an abusive agency exists, one could take part in that. I’m not sure, though, that an individual’s refusal to buy tickets or watch videos in the absence of a targeted campaign benefits the idols, although it might maintain that individual’s fan’s integrity, a non-neglible consideration.

These thoughts are on my mind at the moment because…

#Kpop #Idols #Labor #Exploitation #EntertainmentIndustries

Banksy: Art Against Capitalism and Consumerism

Through his provocative and inspiring works, Banksy exposes the darker sides of capitalism and consumerism. Pieces like Fat Tourist and Rickshaw, Shop Until You Drop, and Sale Ends Today reveal how privilege, exploitation, and materialism shape modern society. By blending wit and stark imagery, Banksy challenges us to question the values driving Western culture.

More: 24 artworks by Banksy: Who Is The Visionary of Street Art

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Banksy’s Barcode Leopard shows a leopard walking away from a barcode cage, symbolizing the commodification of nature under capitalism.

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Banksy’s Trolley Hunters highlights the absurdity of consumer culture, showing hunters targeting shopping carts in a savanna-like setting.

More: Street Art Legend Banksy Reveals His Name in a Rare BBC Interview

3

Banksy’s Napalm pairs Mickey Mouse and Ronald McDonald with a distressed child from the Vietnam War, critiquing corporate exploitation and the detachment of consumer culture from human suffering.

In Banksy’s repurposing of Nick Ut’s iconic Vietnam War photograph he make a statement against large corporations and their involvement in warfare. This piece not only critiques the military-industrial complex but also warns of the destructive nature of capitalist imperialism.

Through these artworks, Banksy challenges viewers to reflect on the impact of capitalism on society, culture, and individual lives. His art transcends mere visual expression, becoming a catalyst for critical thought and discussion about the current state of our world.

More: 14 Great Banksy Street Art Photos and Quotes!

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Banksy’s mural uses a red graph line as a whip, held by a businessman driving people forward. It’s a commentary on how economic growth often comes at the expense of human suffering and exploitation.

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Banksy’s Sale Ends Today shows figures worshipping a “SALE ENDS TODAY” sign, highlighting how consumerism has replaced spirituality and values in modern society.

6

Banksy’s artwork Christ with Shopping Bags portrays a crucified figure of Christ holding shopping bags filled with Christmas-themed items like candy canes and gifts. The image critiques the commercialization of religious holidays and the materialism that overshadows their original meaning.

7

Banksy’s artwork Shop Until You Drop features a stencil of a woman falling headfirst through the air, clinging to a shopping cart filled with groceries. The piece critiques consumerism, portraying the dangerous obsession with material goods.

8

Banksy’s Sorry! The Lifestyle You Ordered mocks consumer culture, with a billboard declaring the unavailability of the promised lifestyle. It’s a critique of modern materialism and unfulfilled expectations.

9

Banksy’s Show Me the Monet reinterprets Monet’s iconic garden, adding shopping carts and a traffic cone to critique consumerism and environmental disregard in modern society.

10

Banksy’s Fat Tourist and Rickshaw from the Banksy vs. Bristol Museum exhibition in 2009 highlights social inequality, depicting a couple enjoying luxury at the expense of a struggling child pulling their rickshaw.

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This image captures the essence of Banksy’s Dismaland (2015), a dark parody of theme parks, where a staff member with Mickey Mouse ears and a bored expression underscores the critique of consumerism and artificial joy.

More photos from Dismaland: Inside Banksy´s Dismaland

What do you think about this art by Banksy? Do you have a favorite?

STREET ART UTOPIA

2025-03-23 22:09:22

Banksy’s Hidden Identity Revealed?

An Insight Into the World of Street Art

Banksy’s artworks continue to attract attention worldwide, particularly following recent revelations about his identity. In this extraordinary BBC interview, Banksy shares rare insights about his art and personal life. Could this finally reveal the mystery of his identity? Watch the full interview: BANKSY – The lost interview

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A Glimpse into Banksy’s Artistic World

The interview delves into Banksy’s “Turf War” exhibition, a hallmark of his anti-establishment themes. This 2003 London show was a spectacle of defiance, showcasing graffitied police vehicles and live animals adorned with distinctive police patterns, not to mention the famous Winston Churchill portrait with a twist.

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The Name Revelation

In a candid moment, the interviewer, Nigel Wrench, inquires about using Banksy’s real name. The response? “Robbie.” While this opens up possibilities (could he be Robert Del Naja of Massive Attack, or perhaps Robin Gunningham?), it’s a rare peek behind the curtain of the elusive artist.

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Banksy on Graffiti and Art

Banksy’s views on graffiti are clear: it’s vandalism if it’s illegal, but that’s part of its charm. He sees the city as a playground for expression, where painting and repainting are part of an ongoing dialogue. His approach to art? Quick and impactful, much like the fleeting nature of street art itself.

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Banksy’s Take on the Art Establishment

Banksy remains detached from the traditional art world, expressing disinterest in the ‘Brit Art’ movement and a pointed avoidance of selling to figures like Charles Saatchi. His focus is on art that resonates with the public, rather than seeking approval from the elite.

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Banksy’s Art in the Market

Despite his disconnection from the art market, Banksy’s canvases are highly sought after, fetching high prices. His reaction? A mix of surprise and indifference, hinting at a disconnection between the artist’s intentions and the commercial value of his work.

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More Banksy: 14 Great Banksy Street Art Photos and Quotes!

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Some classics by Banksy:

Kissing Coppers, Brighton, UK

A stencil artwork of two British policemen passionately kissing.

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We’re All In The Same Boat, Lowestoft, UK

Children depicted on a wall appearing to sail a makeshift boat.

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Zebra Stripes, Timbuktu, Mali

A striking piece showing a woman washing the stripes off a zebra.

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Follow Your Dreams – Cancelled, Boston, USA

A worker painting over the words “Follow Your Dreams” with a red “Cancelled” stamp.

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Flower Thrower, Bethlehem, Palestine

A masked man throwing a bouquet instead of a weapon.

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The Claw, Norfolk, UK

An installation showing a giant arcade claw poised above a bench, humorously portraying vulnerability and chance in everyday life.

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Devolved Parliament, London, UK

A satirical painting depicting the UK House of Commons populated by chimpanzees, offering sharp commentary on political chaos and human behavior.

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More Banksy: 24 artworks by Banksy: Who Is The Visionary of Street Art

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What do you think about Banksy’s hints in this interview? Share your thoughts in the comments below!

This post was updated on March 18, 2025.