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A melee is brewing over copyright and AI

Cbystander two AI approaches to the music industry (artificial intelligence). One of them was Giles Martin, son of Beatles producer Sir George Martin.Last year, to remix the Fab Four’s 1966 album “Revolver,” he used artificial intelligence Learned the sound of each band member’s instrument (for example, John Lennon’s guitar) from a mono master so he could separate them and reverse engineer them into stereo. The results are glorious. Another way is also good.Here’s the response from Nick Cave, a moody Australian singer-songwriter, when commenting on the lyrics Chat wrote in his stylecommon technologyone artificial intelligence A tool developed by a startup called Openartificial intelligence“This song sucks,” he wrote. “Writing a good song is not imitating, duplicating, or imitating, it’s the opposite. It’s an act of self-murder, destroying everything one has worked so hard to create in the past.”

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Mr Cave is unlikely to be impressed by the latest version of the algorithm behind the chatcommon technologyDubbing common technology-4, openartificial intelligence Opening March 14th. Mr. Martin may find it useful.Michael Nash, chief digital officer at Universal Music Group, the world’s largest record label, cites their example as a counterpoint to artificial intelligence Behind content creation apps like Chatcommon technology (for text) or steady diffusion (for images). It can help the creative process. It can also destroy or usurp it. Yet for recorded music in general, the advent of bots brings to mind a seismic event in its history: the rapid rise and fall of Napster, a platform that shared mostly pirated songs at the turn of the millennium. Napster eventually went out of business due to copyright laws. For offensive bot vendors accused of rough handling of intellectual property (intellectual property), Mr. Nash had a simple message that sounded like a threat, from a Napster-era music industry veteran. “Don’t deploy in the marketplace and beg for forgiveness. That’s the Napster way.”

The main problem here is not artificial intelligence– imitating Mr. Cave or imitating a Shakespeare sonnet. It’s an ocean of copyrighted data that bots ingest as they’re trained to create human-like content. This information is everywhere: social media feeds, internet searches, digital libraries, television, radio, statistical banks, and more. Usually, it is said, artificial intelligence Model looting database without permission. Those responsible for source material have complained that their work has been appropriated without consent, credit, or compensation.In short, some artificial intelligence platform Napster may treat songs in a similar way to other media—with complete disregard for copyright. Litigation has already begun.

It’s a legal minefield whose implications extend beyond the creative industries to any industry where machine learning plays a role, such as self-driving cars, medical diagnostics, factory robotics and insurance risk management. The European Union, conforming to its bureaucratic form, has a copyright directive (made before the recent robot boom) involving data mining.Experts say U.S. lacks generation-specific case histories artificial intelligence. Instead, it has competing theories about whether unlicensed data mining is allowed under the doctrine of “fair use.” Napster also tried to deploy “fair use” in the US as a defensive measure — and failed. That’s not to say the outcome will be the same this time around.

The main debate surrounding “fair use” is interesting.Borrowed from Mark Lemley and Bryan Casey at Texas Law Review, a journal that uses a copyright work is considered fair when it serves a valuable social purpose, the source material is transformed from the original source, and it does not affect the copyright owner’s core market.critics think artificial intelligences do not convert, but utilize the entire database they mine. They claim the company behind the machine learning is abusing fair use to “free-ride” an individual’s work.They argue that this would threaten the livelihood of creators if artificial intelligence Facilitating mass surveillance and the spread of misinformation.The authors weigh these arguments against the fact that the more access to the training set, the better artificial intelligence Will, and without this access, probably not artificial intelligence fundamental. In other words, the industry may die in its infancy. They describe it as one of the most important legal questions of the century: “Will copyright law allow robots to learn?”

An earlier lawsuit that drew attention comes from Getty Images.Photo agency blames stability artificial intelligencewhich has a stable diffusion, Violating the copyrights of millions of photos in its collection to build image generation artificial intelligence A model that will compete with Getty. It could set a fair use precedent if the case doesn’t settle out of court. The U.S. Supreme Court may soon deliver a more significant decision in a case involving the reworking of the late artist Andy Warhol’s copyrighted image of the pop icon Prince.Daniel Gervais intellectual property Experts at Nashville’s Vanderbilt Law School believe the judge may offer long-awaited general fair use guidance.

Scrapping copyrighted data isn’t the only legal issue generated artificial intelligence face.In many jurisdictions, copyright only applies to works created by humans, so the extent to which robots can assert intellectual property Protecting what they produce is another gray area.Outside the courtroom, the biggest issues will be political, including fertility artificial intelligence It should have the same liability protections as social media platforms for what it displays, and the extent to which it jeopardizes data privacy.

copyright on the wall

However intellectual property The battle will be a big one.Mr Nash said the creative industries should quickly take a stand to ensure artists’ work was licensed and used ethically in training artificial intelligence role model.he urged artificial intelligence Companies “document and disclose” their sources. But, he admits, it’s a delicate balance. Creative types don’t want to sound like the enemy of progress.many people may benefit from artificial intelligence in their work. The lesson of Napster’s “reality therapy” (as Mr Nash calls it) is that it’s better to engage with new technologies than to wish them away. Maybe this time it doesn’t take 15 years of shaky earnings to learn it.

Read more from our global business columnist Schumpeter:
How to Stop the Commoditization of Container Shipping (March 9)
Lessons from Novo Nordisk’s obesity drug stampede (March 2)
It’s time for Alphabet to spin off YouTube (February 23)

Plus: How Schumpeter’s Column Got Its Name

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