The penultimate draft of the European Union’s AI Code of Practice has a blind spot: it only limits copyright compliance requirements to web crawling. This narrow focus ignores other data collection methods—such as torrenting—potentially creating loopholes in AI training data regulations.
Source: Is Web Scraping the Only Copyright Concern for AI? – Open Future
A federal judge on Wednesday rejected OpenAI’s request to toss out a copyright lawsuit from The New York Times that alleges that the tech company exploited the newspaper’s content without permission or payment. In an order allowing the lawsuit to go forward, Judge Sidney Stein, of the Southern District of New York, narrowed the scope of the lawsuit but allowed the case’s main copyright infringement claims to go forward.
Source: Judge allows ‘New York Times’ copyright case against OpenAI to go forward
As reported earlier today (March 26), a federal judge in California shot down a request from UMG and the other music publishers (including Concord and ABCKO) to block the AI company from using song lyrics to train its AI models. Importantly, the court did, however, issue two separate but related discovery orders on March 25 – granting Universal and the other publisher plaintiffs significant investigative tools to potentially improve their legal arguments.
With fewer people stopping by the box office, Regal Cinemas, Pacific Theatres, Alamo Drafthouse and others filed for Chapter 11. Some of these companies have reemerged after bankruptcy; others have dimmed their marquees forever. As a result, North America has 5,691 fewer screens compared with pre-COVID times, according to research by media consultancy Omdia.
The industry bodies demand that AI developers obtain proper licenses before using copyrighted works to train their models. They point to precedents like OpenAI’s licensing agreements with media companies such as ShutterStock and the Financial Times as a positive model. The recommendation emphasizes that licensing of AI training creates a “symbiotic relationship” between rights owners and AI developers.
Source: What the RIAA, NMPA and other music organizations want from Donald Trump’s AI Action Plan
PPL, the UK’s collective management organization (CMO) for performers and recording rightsholders, recorded the highest revenue in its 90-year history in 2024. Revenue for the year rose 6% year-on-year to GBP £301 million (USD $384.4 million at the average exchange rate for 2024) from the previous record of £283.5 million ($352.6 million) set in 2023.
Source: UK collection org PPL’s 2024 revenue jumps 6% to record $384M
Today’s refined GPT-4o model makes it easier for consumers, and businesses, to create more life-like images and paragraphs of comprehensible text—and even company logos and slide decks, OpenAI said. Behind the improvement to GPT-4o is a group of “human trainers” who labeled training data for the model—pointing out where typos, errant hands and faces had been made in AI-generated images.
Source: OpenAI Claims Breakthrough in Image Creation for ChatGPT
A lawsuit filed by several authors against Meta centers on Meta’s alleged use of pirated books for AI training data and the technical details of BitTorrent. Yesterday, Meta filed a motion for summary judgment, while countering the authors’ request to resolve the copyright claims in their favor. Meta’s request includes new information, including the revelation that its uploads of ‘pirate’ library data were roughly 30% of the data it downloaded.
The fundamental problem of licenses undermining libraries and scholarly research remains, even as technology and business models shift. Today, some publishers are attempting to implement new contractual bans on artificial intelligence by sending impromptu addendums to their customers and, in some cases, claiming that they’re unable to waive these bans because they intend to create their own AI tool.
Source: AI Is Reigniting Decades-Old Questions Over Digital Rights, but Fair Use Prevails | TechPolicy.Press
Rohan Sahai, who leads the Sora product team, tells The Hollywood Reporter in an interview that there’s been considerable interest from the entertainment industry, without specifying the contours of the conversations. He sees utilization of the tools across most stages of production as the tools improve. “For some of these bigger production companies, the ones who are forward-looking, they see where things are going and try to think about how to change their whole workflows to make the best fit at this moment in time,” he says.