Artists and Rights Owners Now Have Their Own ‘Google Books’ Case

EXTRA The timing was mere coincidence, and the context different. But the official organs or the copyright industries were quick to pounce on what is at least a colorable connection between the Supreme Court’s 7-2 ruling in Andy Warhol Foundation v. Lynn Goldsmith and the current bubbling controversy around the use of copyrighted works to train generative AI models.

A European Model for Generative AI

EXTRA As it did with data protection and privacy with its General Data Protection Regulation (GDPR), the European Union is again moving to establish a de facto global standard for the design and operation of generative artificial intelligence models and applications. Votes by two key committees of the European Parliament last week put the E.U.’s long-gestating AI Act on a glide path to adoption by the full legislature at a plenary session scheduled for mid-June. Once adopted, the proposed law would move to the final stage of the legislative process, involving three-way negotiations known as a trilogue among Parliament, the EU Commission and the EU Council.

Generative AI and Copyright: From Metadata to Metaphysics

EXTRA The U.S. Copyright Office held the second of its planned series of four listening sessions on generative AI last week, this time with a focus on visual arts. But if the officials were hoping to hear how Congress and the courts can or should respond to the challenges presented by the new technology they may have been disappointed.

While there was plenty of robust discussion over allegations of copyright infringement and whether images produced by or with AI tools should to eligible for copyright protection, one major theme to emerge from the three-hour event was the need to look beyond copyright law alone to address those questions.

Music & AI: Mix, or Match?

The recent release of the song “Heart on My Sleeve,” with a vocal track featuring the AI-cloned “voice” of Drake and The Weeknd, sent a shockwave through the music industry. But artificial intelligence technology has been in use in the music business since before the latest generation of generative AI tools were widely available. We asked Jessica Powell, CEO of 2021 startup Audioshake, which uses AI to isolate and separate stems from recordings, whether fake Drake represents a break from the past, or more of the same.

Jessica Powell

RightsTech: Audioshake has been using artificial intelligence technology to help music rights owners create new licensing and monetization opportunities since before the current generation of generative AI tools were commercially available. Do you envision those new tools also playing a role in Audioshakes’ business?

From AI Worries to API Wars

EXTRA Universal Music Group chairman & CEO Lucian Grainge has had it up to here with generative AI.

 “The recent explosive development in generative AI will, if left unchecked, both increase the flood of unwanted content hosted on platforms, and create rights issues with respect to existing copyright law, in the U.S. and other countries, as well as laws governing trademark, name and likeness, voice impersonation, and right of publicity,” he said on UMG’s otherwise upbeat Q1 earnings call this week.

Generative AI and the Language of Copyright (Updated)

The U.S. Copyright Office last week held the first of its planned series of “listening sessions” on artificial intelligence and copyright, which focused on AI and literary works. It featured representatives from authors’ groups and speakers from the technology and academic worlds talking past each other for three hours.

I highly recommend watching the replay when it’s posted on the Copyright Office website.

I say that not to be facetious. Rather, it’s because the communication breakdown on display was itself illustrative of where the policy debate around AI and copyright currently stands: We lack the critical, let alone shared vocabulary to fairly debate what we’re trying to debate.

Meta Hits a Sour Note in Italy

EXTRA Facebook-parent Meta last month suddenly began removing music by Italian songwriters from its various platforms, after failing to renew is licensing agreement with the Italian Society of Authors and Publishers (SIAE), the main collecting society for Italian writers and publishers. This month, the Italian Competition Authority (AGCM) launched an investigation into Meta’s handling of those negotiations. According to AGCM, Meta “could have unduly interrupted the negotiations for licensing the use, on its platforms, of musical rights thus abusing SIAE’s economic dependence.”

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