Tag Archives: artists

Say Goodbye to Spotify: A DIY Movement for Artists and Fans to Ditch Music Apps

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TThis past month, independent musicians in San Francisco convened for a series of discussions titled “Death to Spotify,” where attendees delved into “the implications of decentralizing music discovery, production, and listening from a capitalist framework.”

Hosted at Bathers Library, the event featured speakers from indie radio station KEXP, record labels Cherub Dream Records and Dandy Boy Records, along with DJ collectives No Bias and Amor Digital. What began as a modest gathering quickly sold out, gaining international interest. Organizers were approached by individuals as far away as Barcelona and Bengaluru eager to replicate the event.

“Death to Spotify” event held on September 23rd at Buzzards Library in San Francisco, California. Photo: Dennis Heredia

These discussions occur as the global backlash against Spotify gains traction. In January, music journalist Liz Perry released *Mood Machine*, a critical examination arguing that streaming services have decimated the industry, turning listeners into “passive, unstimulated consumers.” Perry asserts that Spotify’s business model pays artists meagerly, particularly if they consent to be “playlisted” in discovery mode, which delivers a bland, ambient soundtrack that blends into the background.

While artists have long voiced concerns over inadequate compensation, this past summer, criticism turned personal, specifically targeting Spotify’s billionaire co-founder Daniel Ek’s backing of Hellsing, a German company developing military technology AI. Prominent acts like Massive Attack, King Gizzard & the Lizard Wizard, Deerhoof, and Hotline TNT have pulled their songs from the platform in protest, though Spotify stresses that “Spotify and Hellsing are entirely separate entities.”

“Mood Machine: The Rise of Spotify and the Cost of the Perfect Playlist” by Liz Perry. Photo: Hodder

In Oakland, Stefani Dukic read *Mood Machine*, learned about the boycott, and felt inspired.

While not a musician, Dukic, who investigates city police complaints, describes her fascination with sound alongside her friend Manasa Karthikeyan, who works in an art gallery. They decided to foster a similar dialogue. “Spotify plays a vital role in our music interaction,” Dukic explains. “We thought it would be enriching to investigate our relationship with streaming, the significance of deleting a file, and the process involved.” Thus, Death to Spotify was conceived.

In essence, the aim was to “end algorithmic listening, cease royalty exploitation, and discontinue AI-generated music.”

Karthikeyan believes the onus of quitting Spotify falls on both listeners and musicians. “One must acknowledge that not everything is instantly available,” she states. “It prompts deeper consideration of what you support.”

Yet, will musicians and fans truly commit to a long-term boycott of the app?

Numerous prominent artists have previously pulled their catalogs from Spotify amid much fanfare, only to quietly return. Taylor Swift, one of the platform’s biggest stars, returned in 2017 after a three-year boycott over unfair payment practices. Thom Yorke, the frontman of Radiohead, removed some solo projects in 2013 for similar reasons, labeling Spotify as “the last desperate fart of a dying corpse,” yet he later reinstated them.

In 2022, Neil Young and Joni Mitchell left the platform due to an exclusive deal with anti-vaccine podcast host Joe Rogan. Having both contracted polio in their childhood during the 1950s, they have also reinstated their catalogs on Spotify.

Eric Drott, a music professor at the University of Texas at Austin, suggests this latest wave of boycotts feels distinct. “These artists are not mainstream. Many have realized for years that streaming isn’t lucrative, but they still sought recognition. With the sheer volume of available music, people are questioning its overall value.”

Will Anderson of Hotline TNT asserted there is “0%” chance his band will return. “There’s no rationale for genuine music enthusiasts to be there,” he claims. “Spotify’s primary objective is to encourage you to stop pondering what’s being played.” When the band sold their new album, “Raspberry Moon,” directly via Bandcamp and a 24-hour Twitch stream, it sold hundreds of copies and generated substantial revenue.

Manasa Karthikeyan (left) and Stephanie Dukic. Photo: Eva Tuff

Pop-rock artist Caroline Rose and others are also experimenting with alternative distribution methods. Her album *Year of the Slug*, influenced by Cindy Lee’s “Diamond Jubilee,” was exclusively released on vinyl and Bandcamp, initially available only on YouTube and the file-sharing platform Mega. “It’s disheartening to pour your heart and soul into something only to give it away online for free,” Rose articulates.

Rose is a member of the Union of Musicians and Allied Workers (UMAW), an advocacy organization established to protect music professionals since the onset of the COVID-19 pandemic. Joey DeFrancesco, a member of the punk band Downtown Boys and a UMAW co-founder, stated the group “clearly advocates for artists as agents, holding corporations accountable and facilitating necessary dialogue,” including efforts to remove music from Spotify. He also noted the “limitations” inherent in individual boycotts.

“Our goal in the labor movement and within UMAW is to act collectively,” he emphasized. Notable examples include UMAW’s successful campaign—in partnership with the Palestine for Palestine coalition—to persuade the South by Southwest music festival to cut ties with U.S. military and arms manufacturers as sponsors for its 2025 event, as well as the introduction of the Living Wage for Musicians Act (a bill aimed at regulating payments to artists on Spotify) championed by Congresswoman Rashida Tlaib.

The organizers of Death to Spotify assert that their intent isn’t to dismantle the app but rather to prompt users to critically reflect on their music consumption habits. “We want to encourage a more thoughtful engagement with how we listen to music,” Karthikeyan explains. “Sticking to algorithmically generated comfort zones only serves to diminish the richness of our culture.”

Source: www.theguardian.com

Pastor Revises Data Bill in Response to Artists’ AI and Copyright Concerns

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The minister proposed concessions regarding copyright modifications to address the concerns of artists and creators ahead of a crucial vote in Congress next week, according to the Guardian.

The government is dedicated to conducting economic impact assessments for the proposed copyright changes and releasing reports on matters like data accessibility for AI developers.

These concessions aim to alleviate worries among Congress members and the creative sector regarding the government’s planned reforms to copyright regulations.

Prominent artists such as Paul McCartney and Tom Stoppard have rallied behind a campaign opposing a range of high-profile intervention changes. Elton John remarked that the reforms “will expand traditional copyright laws that safeguard artists’ livelihoods.”

The Minister intends to permit AI companies to utilize copyrighted works for model training without acquiring permission, unless the copyright holder opts out. Creatives argue this favors AI firms and expresses a desire to adhere to existing copyright laws.

The government’s pledge will be reflected in amendments to the data bill, which will serve as a key instrument for advocates opposing the proposed changes and is scheduled to be discussed in the Commons next Wednesday.

The initiative has already faced criticism. Crossbench peer and activist Beevan Kidron stated that the minister’s amendments would not “meet the moment” and indicated that the Liberal Democrats would propose their revisions to compel AI companies to comply with current copyright laws.

British composer Ed Newton Rex, a notable opponent of the government’s proposal, argued there is “extensive evidence” suggesting that the changes “are detrimental for creators.” He added that no impact assessment was needed to convey this.

Ahead of next week’s vote, Science and Technology Secretary Peter Kyle sought to establish rapport within the creative community.

During a meeting with music industry stakeholders this week, Kyle acknowledged that his focus on engaging with the tech sector has frustrated creatives. He faced backlash after holding over 20 meetings with tech representatives but none with those from the creative sector.

Kyle further stirred criticism by stating at the conference that AI companies might choose to relocate to countries like Saudi Arabia unless the UK revamps its copyright framework. This was not discussed at a Downing Street meeting with MPs this week.

Government insiders assert that AI firms are already based abroad and emphasize that if the UK does not reform its laws, creatives may lack avenues to challenge the exploitation of materials by overseas companies.

According to government sources, the minister has not established an opt-out system and maintains “a much broader and more open-minded perspective.”

However, Labour lawmakers contend that the minister “has not proven any substantial job growth in return” and is yielding to American interests. They criticize this as, at best, outsourcing and, at worst, total exploitation.

Kidron, who has successfully amended the Lords’ data bill while opposing the government’s reforms, remarked, “The moment is not right for pushing the issue into the long grass with reports and reviews.”

“I ask the government why they neglect to protect UK property rights, fail to recognize the growth potential of UK creative industries, and ignore British AI companies that express concerns over favoritism towards firms based in China,” she stated.

James Fris, a Labour member of the Culture, Media and Sports Selection Committee who facilitated discussions on the matter this month, asserted, “The mission of the creative sector cannot equate to submission to the tech industry.”

Kidron’s amendments, aimed at making AI companies accountable under UK copyright laws regardless of location, were withdrawn in the Commons, but the Liberal Democrats plan to reintroduce them next week.

The Liberal Democrats’ proposal includes a requirement for AI model developers (the technology that supports AI systems like chatbots) to adhere to UK copyright laws and clarify the copyrighted materials incorporated during development.

The Liberal Democrat amendment also demands transparency regarding the web crawlers used by AI companies, referring to the technology that gathers data from the Internet for AI models.

Victoria Collins, spokesperson for Liberal Democrat Technology, stated:

“Next week in the Commons, we will work to prevent AI copyright laws from being diluted and push Parliament to urge lawmakers to stand with us in support of UK creators.”

Source: www.theguardian.com

The Pennsylvania Museum Presents a Sanctuary Beneath the Artist’s Glass Dome

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This article forms part of the museum’s special feature on how artists and institutions are evolving in response to a changing world.

“Super/Natural”—an immersive, dome-shaped stained glass artwork by Judith Schaechter—truly comes to life from within.

Entering through the small portal, one is enveloped by vibrant glows of birds, stars, insects, and fantastical plants and roots in optimal lighting. Earlier this year, I had the chance to experience it firsthand in Schaechter’s home studio, and I felt a unique blend of serenity and admiration.

This evokes a thoughtful design. Such illumination profoundly affects human emotions, a truth acknowledged by medieval architects and glass artisans centuries ago.

“I’m not particularly religious, but it’s hard not to feel a sense of reverence and awe when stepping into the dome,” noted Chief Curator Laura Turner Igo. The James A. Michener Museum in Doylestown, Pennsylvania, currently features nine glass panels and two related drawings that delve into the eight-foot-tall artwork and our connection to the universe. The exhibition, Super/Natural, opened on April 12th and extends through September 14th.

“You’re enveloped by a riot of plants, insects, and birds,” Igo explained. “Skeletons and bones are present, representing both the splendor of life and the interconnectedness of death and decay. It’s beautiful yet slightly unnerving.”

Schaechter created this exquisite piece during her recent tenure as an artist-in-residence at the Penn Neurotherapy Center in Philadelphia, situated about 40 miles from Michener. The center was on her radar due to her interest in literature regarding the science of consciousness and beauty, often referred to as the “aesthetic brain.” I will oversee the center’s various activities.

When Schaechter reached out a few years back, she found that the center frequently hosts artists, and the timing coincided with the end of the current residents’ term. Excitedly, she volunteered for the next opportunity.

Upon arrival, she aimed to create an immersive experience that positions humans at the center of a “three-layer cosmos,” as she described in a video interview. The resulting structure serves as a serene and enigmatic sanctuary.

Dr. Chatterjee remarked that he wasn’t surprised by the emotional impact of Schaechter’s work. “Usually, feelings of reverence arise in the presence of vastness, making individuals feel small and connected to something greater,” he mentioned in an email interview. “The brain’s network that triggers contemplation and rewards likely gets activated. This can lead to the release of endogenous endorphins related to transcendence, as well as the pleasant emotions of oxytocin associated with connection.”

Schaechter began her BFA at the Rhode Island School of Design in 1983 and was recently honored with the 2024 Smithsonian Visionary Award. She is represented by the Claire Oliver Gallery, and her works are part of collections at both the Philadelphia Museum and the Victoria and Albert Museum in London.

“No one works in glass quite like Judith,” Igo said. She recounted her recent visit to the Met, where she viewed “Garden Landscape,” a three-part stained glass window crafted by Agnes Northrop at Louis Comfort Tiffany’s studio. “Such artworks likely share the immersive quality and technique of ‘Super/Natural,'” she noted, referencing Maxfield Parrish’s “Dream Garden.”

“Of course, Northrop’s work was produced by a larger studio, while Judith meticulously crafted every piece for ‘Super/Natural,'” she added.

Last month, Schaechter discussed her work in a video interview from a beautifully restored 19th-century row house in Philadelphia. The conversation was edited for clarity and brevity.

What artistic goals did you set during your residency at the Penn Neuroaesthetics Center?

They focus on three core themes: beauty and morality, the built environment and wellness, and the relationship with art.

I aimed to undertake a project that confronted issues of beauty and morality, yet I yearned for artistic inspiration. At the onset of my residency, I delved into natural history illustrations, particularly those created by women, which had been one of the few acceptable art forms for women in the 17th and 18th centuries. I found Maria Sibilla Merian’s work particularly inspiring. These artists aimed to render nature objectively, yet their work often appeared more artistic than scientific. I sought to explore this intersection.

What is your experience like at the center?

The atmosphere is fascinating, accommodating around 15 individuals at any time. There are undergraduate students, many of whom are pursuing dual majors in artistic disciplines like architecture and fine art. There is also a medical student focused on plastic surgery who is keen on aesthetics for evident reasons. Weekly lab meetings gather everyone to share project updates, including both Dr. Chatterjee and myself.

Reflecting on my experience in “Super/Natural,” why do you believe glass, particularly the way it interacts with light, evokes such a sense of awe?

I think it has a biological basis. We have an inherent physical response to light, particularly when it’s refracted through glass. Colored light holds a certain magic; it isn’t simply perceived as absence. Most artworks are intended to be appreciated in reflected light since, as humans, we aren’t designed to gaze directly at the sun. Thus, the role of stained glass artists is to modulate that light, rendering it visible.

It’s as though you can reach out and touch the light; glass lets you momentarily grasp something ethereal.

Indeed, people are captivated by radiant light. Just think of how someone might place an empty vodka bottle in a kitchen window to catch the light. It doesn’t always have to be extravagant to be appreciated. There lies an extraordinary resonance in that experience.

What do you hope visitors take away from their experience with your work?

I aim to spark inspiration in others. Everything crafted within the dome emanates from my imagination.

I am immensely grateful for advancing technology, which allows me to explore the craft field within the dome without negating the human touch. However, I feel that many become enamored by technology and overlook the extraordinary power of our own hands and intellect. So while working on the dome, I relied on few reference materials; at 64, my mental repository is rich with experiences and knowledge.

Source: www.nytimes.com

Artists bring data to life through stunning screen prints

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Feather foil print. The barb on the right represents the population of British bird species from 40 years ago. The left shows the current population size.

Rebecca Kay

Rebecca Kay is also known as her alias ploterre With the help of hard data and clever design, turn the idle thoughts that occur while cycling into beautiful prints.

Edinburgh, UK, studied mathematics, worked as a data researcher, and developed her art as a side job. Covid-19 was then a hit, and she jumped into art full-time.

Her work inevitably begins outside in nature and arrives as an ever-inquisitive thought. How do tide ages change around the coast, where do oxai daisies grow across the UK, or how do the unique flashing patterns of lighthouses differ?

“Usually, I’d be wondering why the leaf pattern looks like it is, and most people would just keep walking and forget about it,” Kay said. “I turned it into a bit of a job.”

Ash Rise Weathering Letter Press Print. Using data from the UK Meteorological Service, each growth ring represents a year, with thin lines representing daily rainfall and gaps between lines representing daily temperatures.

Rebecca Kay

Once she gets an idea, the data hunt begins. The most recent question that came to mind was whether it was always raining somewhere in the UK. That led to her review of 130 years of records, leading to a perhaps surprising, pessimistic discovery.

Once the visual design is sketched on paper, Kay relies on computers to distort data into design, consolidating information and forms into a single piece that tells the story. This ultimately leads to a finished design that is screen printed by hand.

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Source: www.newscientist.com

Musiciansal Performance Society (MPS) emphasizes protecting artists’ rights in AI copyright discussion

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The MP’s two cross-party committees are urging the government to prioritize ensuring fair rewards for creators for their creative work and to facilitate the training of artificial intelligence models.

Lawmakers are advocating for more transparency in the data used to train generative AI models and urging the government not to implement plans that require creators to opt out of using such data.

The government’s proposed solution to the AI-copyright law tension includes exceptions for AI companies to train models with copyrighted work under “text and data mining,” while providing creators the option to opt out of the “rights reserve” system.

Caroline Dinage, chairman of the Culture, Media and Sports Committee, expressed concern over the response of the creative industry to the proposal, highlighting the threat to artists’ hard-earned success from unauthorized use of their work.

She emphasized the importance of fair treatment for creators and the need for transparency in data used to train AI models to ensure proper rewards for their work.

The Culture, Media, Sports Commission, Science, Science, Innovation and Technology Commission responded to government consultations on AI and copyright after a joint evidence session with representatives from AI startups and creative industries.

Letter to the Minister will enhance government transparency about training data, protect opt-out copyright holders, and empower consumers to make informed choices about AI models.

Failure to address these issues could disproportionately impact smaller creators and journalists operating under financial constraints, according to the letter.

Concerns among celebrities and the creative industry about government AI proposals have led to protests, with musicians releasing silent albums in protest.

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The letter also highlighted the need for transparency in training data for AI models, citing examples from the EU and California which have introduced requirements for detailed technical records on training data.

The government is considering revenue-sharing models for AI developers to address copyright concerns and is urged to conduct full impact assessments on proposed options.

The letter cautioned against AI developers moving to jurisdictions with more lenient rules and emphasized the need for compliance, enforcement, and remedies for copyright issues.

Source: www.theguardian.com

Paul McCartney warns that AI law revision may deceive artists

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In a recent statement, Sir Paul McCartney cautioned that artificial intelligence could potentially become an artist if copyright laws were to be revised.

Speaking to the BBC, he expressed concerns that such a proposal might diminish the incentives for writers and artists, ultimately stifling creativity.


The issue of using copyrighted materials to train AI models is currently a topic of discussion in government talks.

As a member of the Beatles, McCartney emphasized the importance of copyright protection, stating that anyone could potentially exploit creative works without proper compensation.

He raised concerns about the financial ramifications of unauthorized use of copyrighted materials for AI training, urging the need for fair compensation for creators.

While the debate continues within the creative industry over the usage of copyrighted materials, some organizations have entered into licensing agreements with AI companies for model training.

McCartney has previously voiced apprehensions about the impact of AI on art, co-signing a petition alongside other prominent figures to address concerns about the unauthorized use of creative works for AI training.

In light of these developments, the government is conducting consultations to address the balance between AI innovation and protecting creators’ rights.

McCartney urged the government to prioritize the protection of creative thinkers and artists in any legislative updates, emphasizing the need for a fair and equitable system for all parties involved.

The intersection of AI technology and creative industries remains a complex and evolving space, with stakeholders advocating for clarity and fairness in policy making.

Source: www.theguardian.com

How one artist’s vision of Mario Jump made him a key figure in Nintendo’s story | Games

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IIn 1889, craftsman Fusajiro Yamauchi founded a Hanafuda company in Kyoto, naming it “Nintendo.” Although the exact meaning has been lost over time, historians believe it translates to “leave it to luck.” Nintendo successfully transitioned from paper games to electronic games in the 1970s, establishing itself as a household name worldwide.

Working at Nintendo was a dream come true for Takaya Imamura, an art school student enamored with games like Metroid and Super Mario Bros. 3 in the 1980s. Despite initial misconceptions about the industry, Imamura discovered the creative opportunities at Nintendo and joined the team in 1989. Over the years, he contributed to iconic projects and characters, solidifying his place in gaming history.

Imamura’s journey at Nintendo was marked by memorable collaborations with Shigeru Miyamoto, leading to the creation of beloved games and characters. From F-Zero to Zelda and Star Fox, Imamura’s artistic vision helped shape Nintendo’s unique design philosophy. His work reflected a blend of traditional techniques with innovative storytelling, resonating with audiences worldwide.

As Nintendo evolved under new leadership, Imamura witnessed the company’s strategic shifts and successful product launches. Reflecting on his time at Nintendo, Imamura embraces the transformative era of gaming and technological advancements. His departure from Nintendo in 2021 marked a new chapter in his career as an indie developer, with a passion project inspired by his earliest days in the industry.

Embracing the spirit of chance and creativity, Imamura’s journey comes full circle with his indie game, Omega Six. Honoring Nintendo’s legacy of dedication and innovation, Imamura continues to explore new frontiers in game development, guided by his enduring vision and passion for storytelling.

Source: www.theguardian.com

‘Artists Join Forces with Murdoch in Fight Against Unauthorized AI Content Scraping’

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IIt’s an unlikely alliance between billionaire media mogul Rupert Murdoch and a group of top artists including Radiohead singer Thom Yorke, actors Kevin Bacon and Julianne Moore, and author Kazuo Ishiguro.

This week they launched two very public battles with artificial intelligence companies, accusing them of using their intellectual property without permission to build increasingly powerful and lucrative new technologies.

More than 13,000 creative professionals from the worlds of literature, music, film, theater and television have issued a statement saying that programs such as ChatGPT, where AI companies train their work without permission, are interfering with their lives. It warned that it posed a “serious and unwarranted threat”. By the end of the week, that number had nearly doubled to 25,000.

This comes as Murdoch, the owner of News Corp., a publishing group that owns the Wall Street Journal, The Sun, The Times, The Australian, and others, has warned Perplexity, an AI-based search engine, of illegal activities. This was the day after the company filed a lawsuit alleging that Some of his journalism in the US title has been copied.

The Stars’ statement supports the idea that creative works can be used as training data for free on grounds of “fair use” (a US legal term meaning no permission from the copyright owner is required). It is a collective effort to dissent. Adding to their ire is the fact that these AI models can be used to produce fresh work that competes with human work.




Rupert Murdoch has filed a lawsuit against Perplexity, an AI-powered search engine. Photo: Noah Berger/AP

AI was a major sticking point in last year’s double strike by Hollywood actors and screenwriters, who agreed to ensure new technology remains under the control of employees rather than being used to replace them. Secured. Several ongoing lawsuits could determine whether the copyright battle is similarly successful.

In the US, artists are suing the tech companies behind the image-generating devices, a major record label is suing AI music creators Suno and Udio, and a group of writers including John Grisham and George R.R. Martin is suing ChatGPT developer OpenAI for alleged copyright infringement.

In the fight to make AI companies pay for the content they scrape to build their tools, publishers are also pursuing legal avenues to get them to the negotiating table to sign licensing agreements. There is.

Publishers such as Politico owner Axel Springer, Vogue’s Condé Nast, the Financial Times and Reuters have signed content deals with various AI companies, and in May, News Corp. has signed a five-year contract with Open AI, reportedly worth $250 million. In contrast, the New York Times filed a lawsuit against the creators of ChatGPT and sent a “cease and desist” letter to Perplexity last week.

But in the UK, AI companies are lobbying for legal changes to allow them to continue developing tools without the risk of infringing intellectual property rights. Currently, the text and data mining required to train generative AI tools is only permitted for non-commercial research.

This week, Microsoft CEO Satya Nadella called for a rethink of what “fair use” is. He argued that the large-scale language models that power generative AI do not “regurgitate” the information they have been trained on, and that this would be considered copyright infringement.

Labour’s new minister for AI and digital government, Ferial Clarke, recently said she wants copyright disputes between creative industries and AI companies to be resolved by the end of the year.

she said it might be in there
Form of amendment to existing or new law
opening up the possibility of new provisions allowing AI companies to collect data for commercial purposes.




Actor Kevin Bacon is among those fighting back against AI. Photo: Richard Shotwell/Invision/AP

While news organizations publicly oppose AI-based content abuse, behind the scenes many are adopting technology to replace editorial functions, with commercially-strapped publishers using the technology at a cost. There is growing fear among staff that they will be used as a Trojan horse to enable retrenchment and redundancies.

Last month, the National Union of Journalists launched a campaign to highlight the issue.
“Journalism before algorithms”.

“With wage stagnation, below-inflation wage increases, newsroom staff shortages, and increasing layoffs, there is a need to consider the use of AI,” the paper said. “Threats to journalists’ jobs are considered top of mind… AI is no substitute for real journalism.”

“There are questions about how much publishers themselves are using these tools,” said Niamh Burns, senior research analyst at Enders Analysis. “I think the amount of adoption is low, and there’s a lot of experimentation going on, but I can see a world where publishers are using some of these tools heavily. We need to be realistic about the scale of the opportunity we create.”

Burns said that so far, publishers’ willingness to use AI tools to directly influence or create editorial content has largely depended on how commercially pressurized the media landscape is for their operators. He said that it is related to whether the

BuzzFeed’s once-mighty market value has fallen from $1 billion during its 2021 flotation to less than $100 million.
Rapid AI adapter Against the backdrop of drastic cuts in the news department and sharp decline in income.

And Newsquest, the second-largest newspaper in Britain’s beleaguered local and regional newspaper market, has embarked on initiatives such as rapidly increasing the role of “AI-assisted” journalism.

However, quality national newspapers and media brands remain very cautious, and many, including the Guardian, have set strict principles to guide their work.

But behind the scenes, AI tools are being leveraged to help categorize large datasets and help journalists report on new and exclusive content.

“I think the media companies that are most exposed to commercial risk in the short term are also at risk of overreaching,” Burns said.

“A lot of it has to do with commercial models, where you rely on advertising from a lot of traffic on social platforms and all you need is scale and not quality, where AI can be very helpful.

“But creating generative AI content is never worth the cost or risk.” [for quality national titles]. And for any publisher, producing more conventional journalism comes with long-term costs to quality and risks to competitiveness. ”

Source: www.theguardian.com

The Ethical Dilemma of AI in Art: Controversial or Innovative? Exploring How Artists are Embracing AI in their Work

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CBeloved actor, film star, and refugee advocate Atheé Blanchett stands at the podium addressing the European Parliament: “The future is now,” she says authoritatively. So far, so normal, but then you’re asked, “But where are the sex robots?”

The footage is from an actual speech Blanchett gave in 2023, but the rest is fictional.

Her voice was generated by Australian artist Xanthe Dobie using text-to-speech platform PlayHT for Dobie’s 2024 video work, Future Sex/Love Sounds, which imagines a feminist utopia populated by sex robots and voiced by celebrity clones.

Much has been written about the world-changing potential of large-scale language models (LLMs), including Midjourney and Open AI’s GPT-4. These models are trained on massive amounts of data, generating everything from academic papers, fake news, and “revenge porn.” Music, images, software code.

While supporters praise the technology for speeding up scientific research and eliminating routine administrative tasks, it also presents a wide range of workers, from accountants, lawyers, and teachers to graphic designers, actors, writers, and musicians, with an existential crisis.

As the debate rages, artists like Dobie are beginning to use these very tools to explore the possibilities and precarity of technology itself.

“The technology itself is spreading at a faster rate than the law can keep up with, which creates ethical grey areas,” says Dobie, who uses celebrity internet culture to explore questions of technology and power.

“We see replicas of celebrities all the time, but data on us, the little people of the world, is collected at exactly the same rate… It’s not a question of technology capabilities. [that’s bad]That’s how flawed, stupid, evil people choose to use it.”

Choreographer Alisdair McIndoe is another artist working at the intersection of technology and art: His new work, Plagiary, premieres this week at Melbourne’s Now or Never festival before running in a season at the Sydney Opera House, and uses custom algorithms to generate new choreography for dancers to receive for the first time each night.

Although the AI-generated instructions are specific, each dancer is able to interpret them in their own way, making the resulting performance more like a human-machine collaboration.

In Alisdair McIndoe’s Plagiary at Now or Never festival, dancers respond to AI-generated instructions. Photo: Now or never

Not all artists are fans of technology. Nick Cave, January 2023 Posted a scathing review He called the song ChatGPT generated by imitating his work “nonsense” and a “grotesque mockery of humanity.”

“Songs come from suffering,” he says, “which means they’re based on complex, inner human conflicts of creation. And as far as I know, algorithms don’t have emotions.”

Painter Sam Leach doesn’t agree with Cave’s idea that “creative genius” is an exclusively human trait, but he encounters this kind of “total rejection of technology and everything related to it” frequently.

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Fruit Preservation (2023), directed by Sam Leach. Photo: Albert Zimmermann/Sam Leach

He justifies his use of sources by emphasizing that he spends hours “editing” with a paintbrush to refine the software’s suggestions. He also uses an art critic chatbot to question his ideas.

For Leach, the biggest concern about AI isn’t the technology itself or how it’s being used, but who owns it: “There are very few giant companies that own the biggest models and have incredible power.”

One of the most common concerns about AI is copyright. This is an especially complicated issue for people working in the artistic sector, whose intellectual property is being used to train multi-million dollar models, often without their consent or compensation. For example, last year, it was revealed that 18,000 Australian books had been used in the Book3 dataset without permission or compensation. Booker Prize-winning author Richard Flanagan described this as “the biggest act of copyright theft in history.”

And last week, Australian music rights organization APRA AMCOS Presenting the survey results They found that 82% of members are concerned that AI will reduce their ability to make a living from music.

Source: www.theguardian.com

‘UK Artists Unite to Combat AI Image Generation Software’

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Since the advent of Midjourney and other image generators, artists have been observing and wondering whether AI represents a major opportunity or an existential threat. Midjourney names 16,000 artists whose work is said to have been used to train its AI, including Bridget Riley, Damien Hirst, Rachel Whiteread, Tracey Emin, David Hockney, and Anish Kapoor. Now that the list has been revealed, the art world is calling to arms. For engineers.

British artists have contacted U.S. lawyers to discuss joining a class action lawsuit against Midjourney and other AI companies, other artists told a U.S. newspaper. observer They argued that they could bring legal action themselves in the UK.

“What we need to do is come together,” said Tim Flack, president of the Society of Photographers and an internationally acclaimed photographer whose name also appears on the list.

“Releasing this list of names to the public is a great opportunity for artists to come together and take on this issue. Personally, I am in favor of doing so.”

The 24-page list of names constitutes Exhibit J in a class action lawsuit filed by 10 American artists in California against Midjourney, Stability AI, Runway AI, and DeviantArt. “We’re seeing interest from artists around the world, including in the UK,” said Matthew Butterick, one of the artists’ lawyers.

Tech companies have until February 8 to respond to the complaint. Midjourney did not respond to requests for comment.




Bridget Riley and her painting Rajasthan (2012)
Photo: Nils Jorgensen/Rex Shutterstock

Source: www.theguardian.com

Medallion Platform Raises $13.7 Million to Connect Artists Directly with Fans

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medallion is a platform for artists to have a dedicated digital hub to promote album releases, tour dates and merch drops, as well as sell digital collectibles and share exclusive content to connect deeper with fans. You can also foster connections. The company announced today that it has closed $13.7 million in Series A funding, co-led by Dragonfly and Lightspeed Faction.

Musicians are increasingly seeking direct ownership in their communities and avoiding third-party platforms that can complicate managing interactions with fans. From a fan perspective, there are many ways to follow and connect with artists, but with minimal online interaction.

Matt Jones, co-founder and CEO of Medallion, said: “Streaming has opened up access to music and social media, creating new channels for direct distribution, but artists and fans “The full potential of direct connections has not been exploited.” “Medallion’s artist-centric approach and focus on digitally native fan experiences are helping usher in a new era of transformation for artists.”

Medallion hopes to use this significant funding to address what many artists consider to be a major gap in the music industry: the lack of control and lack of direct connection when it comes to online relationships with fans. I am. The company plans to use this new capital to introduce new early access opportunities such as listening to previously released music and offering advance tickets, among other member benefits such as “video premieres and new updates.” He explained. Artists will soon be able to sell new exclusive and limited edition digital collectibles/NFTs such as poster bundles and trading cards.

Medallion recently introduced a new earning opportunity for artists in the UK, Australia and Germany: ‘Digital Deluxe’. This allows artists to sell digital versions of their music albums with built-in music players and downloadable audio, images, and videos. Artists can also sell physical items through an integration with Shopify.

Medallions are free for artists to use, but will account for a portion of all sales on the platform, an amount that was not disclosed. It is built on blockchain and allows users to sign in using email or their wallet provider (Rainbow, Coinbase, WalletConnect).

Additionally, Medallion is a white-label platform, meaning artists can customize their digital spaces with their own color themes, backgrounds, and more. When fans set up an account, they claim something like a unique digital collectible or membership card called a “medallion” that grants free access to the community. For example, Greta Van Fleet’s symbol is her spinning 3D gold ring.

Artists communicate with fans through social media posts, and fans can respond with comments. Some artists may also request that the community submit concert footage, photos, etc. to share with the community and further encourage fan engagement.

There are currently 20 artists using Medallion to power their fan communities. jungle, Greta Van Fleet, Illenium, disclosure, Tiga, mount joy, Tycho, my morning jacket, girl in red clothesand Sigur Ros,especially

“We have partnered very closely with a small number of select artists over the past year to help us test and refine core product features. This platform is not yet open to all artists. However, we continue to invest in technology and platforms that will ultimately allow us to expand across the industry. At the moment, we are primarily focused on being among the top 10,000 artists on streaming platforms and being highly engaged. I work with independent-minded artists who have huge fan bases,” Jones said.

The company plans to expand the platform’s availability to hundreds more artists in 2024, but it won’t be widely available until 2025 or later.

The medallions are presented by Jones, Mark McIntyre (CTO), Josephine Yu (CPO), Jesse Belin (VP of Operations), Adam Ray (CFO and General Counsel), Ash Pampati (VP of GTM), Co-founded by Tom Milway (Vice President). Design) are all technology, e-commerce, and music industry veterans with experience at Songkick, Instagram, YouTube, Spotify, Grailed, Warner Music Group, and Live Nation.

Other investors in the round include Coinbase Ventures, Infinite Capital, J17, The Chernin Group, Third Prime, and Zeal Capital, as well as music industry investors Bill Silva Entertainment, Black Squirrel, Foundations Artist Management, Method; Includes TAG Music. Medallion also has support from top artists such as Jungle, Mount Joy, Guy Lawrence (Disclosure), and Tiga.

The company has raised $22 million to date.

“Artists are beginning to understand that they are brands, not just content creators, and as a result, they are building multimodal businesses that go beyond just music and content,” said Dragonfly General Manager Partner Rob Haddick said in a statement.

Source: techcrunch.com