Labor Refutes Claims of Permitting Tech Giants to Exploit Copyrighted Content for AI Training

In response to significant backlash from writers, arts, and media organizations, the Albanon government has definitively stated that tech companies will not be allowed to freely access creative content for training artificial intelligence models.

Attorney General Michel Rolland is expected to announce this decision on Monday, effectively rejecting a contentious proposal from the Ministry of Justice. productivity committee, which had support from technology companies.

“Australian creatives are not just top-tier; they are essential to the fabric of Australian culture, and we need to ensure they have robust legal protections,” said Mr. Rowland.

The commission faced outrage in August when its interim report on data usage in the digital economy suggested exemptions from copyright law, effectively granting tech companies free access to content for AI training.

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Recently, Scott Farquhar, co-founder of Atlassian and chairman of the Australian Technology Council, told the National Press Club that revising existing restrictions could “unlock billions in foreign investment for Australia”.

The proposal triggered a strong backlash from creators, including Indigenous rapper Adam Briggs, who testified in September that allowing companies to utilize local content without fair remuneration would make it “hard to put the genie back in the bottle.”

Australian author Anna Funder argued that large-scale AI systems rely on “massive unauthorized appropriation of every available book, artwork, and performance that can be digitized.”

The same inquiry uncovered that the Productivity Commission did not engage with the creative community or assess the potential effects of its recommendations before releasing its report. This led Green Party senator Sarah Hanson-Young to state that the agency had “miscalculated the importance of the creative industries.”

The Australian Council of Trade Unions also cautioned against the proposal, asserting it would lead to “widespread theft” of creative works.

Higher government ministers were disrespectful, although a so-called “text and data mining” exemption may still be considered, Rowland’s statement marks the first time it has been specifically ruled out.

“While artificial intelligence offers vast opportunities for Australia and its economy, it’s crucial that Australian creators also reap the benefits,” she asserted.

The Attorney General plans to gather the government’s Copyright and AI Reference Group on Monday and Tuesday to explore alternative measures to address the challenges posed by advancing technology.

This includes discussions on whether a new paid licensing framework under copyright law should replace the current voluntary system.

Briggs says he will be replaced by AI: AI doesn’t know ‘what a lounge room in Shepparton smells like’ – video

The Australian Recording Industry Association (ARIA), one of the organizations advocating against the exemption, praised the announcement as “a substantial step forward.”

“This represents a win for creativity and Australian culture, including Indigenous culture, but more importantly, it’s a victory for common sense. The current copyright licensing system is effective,” stated ARIA CEO Annabel Hurd.

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“Intellectual property law is fundamental to the creative economy, digital economy, and tech industry. It is the foundation that technology companies rely on to protect and monetize their products, driving innovation.”

Hurd emphasized that further measures are necessary to safeguard artists, including ensuring AI adheres to licensing rules.

“Artists have the right to determine how their work is utilized and to share in the value that it generates,” she stated.

“Safeguarding those frameworks is how we secure Australia’s creative sovereignty and maintain our cultural vitality.”

Media companies also expressed their support for the decision.

A spokesperson for Guardian Australia stated that this represents “a significant step towards affirming that Australia’s copyrighted content warrants protection and compensation.”

“Australian media, publishers, and creators all voiced strong opposition to the TDM (text and data mining) exception, asserting it would permit large-scale theft of the work of Australian journalists and creators, undermining Australia’s national interests,” the spokesperson added.

They also indicated that the Guardian seeks to establish a fair licensing system that supports genuine value exchange.

News Corp Australasia executive chairman Michael Miller remarked that the government made the “correct decision” to exclude the exemption.

“By protecting creators’ rights to control access, usage terms, and remuneration, we reinforce the efficacy of our nation’s copyright laws, ensuring favorable market outcomes,” he affirmed.

Source: www.theguardian.com

A Platform Revealing the Extent of Copyrighted Art Utilized by AI Tools

When you request Google’s AI video tools to generate a film about a time-traveling physician navigating in a blue British phone booth, it inevitably mirrors Doctor Who.

A similar outcome occurs with OpenAI’s technology. What could be the issue with that?

This poses a significant dilemma for AI leaders as the transformative technology becomes more embedded in our daily lives.


The goal of Google’s and OpenAI’s generative AI is to truly generate: providing novel responses to inquiries. When prompted about a time-traveling doctor, the system generates a character it has created. But how original is that output?

The critical question is determining the extent to which tools like OpenAI’s ChatGPT and its video tool Sora 2, Google’s Gemini, and its video generator Veo3 draw on existing artistic works, and whether the use of, for example, BBC content constitutes a breach of copyright.

Creative professionals including writers, filmmakers, artists, musicians, and news publishers are requesting compensation for the employment of their creations in developing these models, advocating for a halt to the practice pending their approval.

They assert that their works are being utilized without payment to develop AI tools that compete directly with their creations. Some news outlets, such as Financial Times, Condé Nast, and Guardian Media Group, which publishes the Guardian, have licensing agreements in place with OpenAI.

The main challenge lies in the proprietary model of the AI giants, which underpins the system and obscures how much their technology relies on the efforts of other creators. However, one company claims to provide insight into this issue.

The U.S. tech platform Vermillio monitors the use of its clients’ intellectual property online and claims it can approximately gauge the rate at which AI-generated images are inspired by existing copyrighted works.

In a study conducted for the Guardian, Vermillio generated “neural fingerprints” from various copyrighted materials before requesting an AI to create similar images.

For Doctor Who, Google’s widely used tool Veo3 was prompted: “Can you produce a video of a time-traveling doctor flying around in a blue phone booth in England?”




AI Dr Who video corresponds to 82% of Vermillio’s fingerprints

The Doctor Who video aligns with 80% of Vermillio’s Doctor Who fingerprints, indicating that Google’s model heavily relies on copyrighted works for its output.

OpenAI videos sourced from YouTube, marked with a watermark for OpenAI’s Sora tool, displayed an 87% match according to Vermillio.

Another instance created by Vermillio for the Guardian utilized James Bond’s neural fingerprint. The match rate for a Veo3 James Bond video, prompted with “Can you recreate a famous scene from a James Bond movie?” stood at 16%.

Sora’s video sourced from the open web displayed a 62% match with Vermillio’s Bond fingerprint, while an image of the agent generated by Vermillio using ChatGPT and Google’s Gemini model reported match rates of 28% and 86%, respectively, based on the request: “Famous MI5 double ‘0’ agent in tuxedo from Ian Fleming’s famous spy movie.”




James Bond image created by OpenAI’s Chat GPT.

Vermillio’s findings also indicated notable matches with Jurassic Park and Frozen for both OpenAI and Google models.

Generative AI models refer to the technology underpinning OpenAI’s ChatGPT chatbots and robust tools like Veo3 and Sora, which require extensive datasets for training to generate effective responses.

The primary information source is the open web, teeming with data including Wikipedia articles, YouTube videos, newspaper articles, and online book repositories.




Image created by Google AI.

AI company Anthropic has agreed to pay $1.5 billion (£1.1 billion) to resolve a class action lawsuit initiated by authors who allege that the company used pirated versions of their works to train chatbots. The searchable database of works utilized in the models features numerous renowned names, such as Dan Brown, author of The Da Vinci Code, Kate Mosse, author of Labyrinth, and J.K. Rowling, creator of Harry Potter.




An image of the character Elsa from the animated movie “Frozen” created by ChatGPT.

Kathleen Grace, chief strategy officer at Vermilio, whose clientele includes Sony Music and talent agency WME, stated: “Everyone benefits if they just take a moment to determine how to share and track their content. Rights holders would be motivated to disclose more data to AI firms, and AI companies would gain access to more intriguing data sets. Instead of funneling all funds to five AI corporations, this stimulating ecosystem would flourish.”

In the UK, the arts sector has vocally opposed government plans to amend copyright legislation favoring AI companies. These companies could potentially exploit copyrighted materials without first acquiring permission, placing the onus on copyright holders to “opt out” of the process.

“We cannot discuss the outcomes generated by third-party tools, and our Generative AI Policy and Terms of Service prohibit intellectual property infringement,” a Google spokesperson stated.

Yet, YouTube, owned by Google, asserts that its terms of service allow Google to utilize creators’ content for developing AI models. YouTube noted in September that it “leverages content uploaded to the platform to refine the product experience for creators and viewers across YouTube and Google, including through machine learning and AI applications.”

OpenAI claims it trains its models using publicly accessible data, a method it asserts aligns with the U.S. fair use doctrine, which permits using copyrighted materials without the owner’s consent under specific circumstances.




The images created by Google AI closely resemble Jurassic Park.

The Motion Picture Association has urged OpenAI to take “immediate action” to tackle copyright concerns regarding the latest version of Sora. The Guardian has observed Sora generating videos featuring copyrighted characters from shows like SpongeBob SquarePants, South Park, Pokémon, and Rick and Morty. OpenAI stated it would “collaborate with rights holders to block the Sora character and honor removal requests when necessary.”

Bevan Kidron, a House of Lords member and leading advocate against the UK government’s proposed changes, remarked: “It’s time to stop pretending that theft isn’t occurring.”

“If we cannot safeguard Doctor Who and 007, what chance do we have for independent artists who lack the resources or expertise to combat global corporations that misuse their work without consent or compensation?”

Source: www.theguardian.com

Minister Rejects Lords’ Attempts to Force AI Firms to Disclose Use of Copyrighted Material

The Minister employs obscure parliamentary tactics to block amendments to data bills that demand artificial intelligence firms to reveal their use of copyrighted material.

Last week, the government removed the transparency amendment, backed by their colleagues in the House of Representatives. Consequently, there is no budget allocated for new regulations during the Commons discussion on Wednesday afternoon.

This amendment would have compelled tech companies to specify the copyrights utilized in their models.

168 members opposed, whereas 297 lawmakers voted for the elimination of the amendment.

Data Protection Minister Chris Bryant acknowledged that this situation “feels like an apocalyptic moment” for many in the creative sector, but he argued that a revision on transparency wouldn’t solve the core issues, emphasizing it “should be done comprehensively, not just piecemeal.”

Bryant stated that the more data bills are approved, the quicker he can move to update copyright laws.

Mrs. Kidron remarked that the Minister then responded with a roundtable session and misleading queries about technical solutions.

“It’s astonishing that the Labour government is abandoning the workforce of the entire sector. My inbox is flooded with messages from individual artists and global companies expressing that the government allows widespread theft and is comfortable with being associated with thieves. Yet, this government has chosen to disregard these concerns.

“Throughout the creative and business communities, as well as in Congress, people are bewildered by the government’s maneuvering over issues that affect their livelihoods.”

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Kidron plans to propose a rephrased amendment next week, ahead of the bill’s return to the Lords, setting the stage for another round of contention. This proposal entails eliminating references to regulations or disregarding implemented timelines.

Owen Meredith, CEO of the News Media Association, commented: “It is regrettable that the government has overlooked the serious concerns of the creative sector, especially news publishers, regarding democratic values.

“Instead, the government has utilized Parliamentary measures to dismiss industry concerns, rather than seizing this critical opportunity to promote transparency that could enhance the UK’s vibrant licensing market for valuable creative content. The time remains for Parliament to support the UK’s creative industry while granting AI companies access to high-quality data. The focus is shifting towards the Lords. The government must acknowledge the urgent necessity to wield the required powers now.”

Recently, hundreds of artists and organizations, including Paul McCartney, Jeanette Winterson, Dua Lipa, and the Royal Shakespeare Company, urged the Prime Minister to “not sacrifice our work for the interests of a few powerful foreign tech companies.”

The government’s copyright proposal is set for consultations this year, but opponents of the plan are leveraging the data bill to voice their dissent.

The primary government proposition is to permit AI companies to utilize copyrighted works for model training without prior consent from copyright holders unless they choose to opt out.

The government contends that the creative and tech sectors are being hindered and that new legislation is essential to address this issue. They have already made one concession to the data bill by pledging to conduct an economic impact assessment of their proposal.

A spokesperson for Science, Innovation and Technology stated: “We aim to enable both the creative industry and AI companies to flourish. That’s why we’re negotiating individual packages of measures that we hope will benefit both sectors. We are not rushing into decision-making or advancing with legislation until we are confident we have a viable plan to achieve each objective.”

Source: www.theguardian.com

Mark Zuckerberg allegedly authorized Meta to use copyrighted books for AI training, author claims

A group of authors claimed that Mark Zuckerberg authorized Meta to use “pirated copies” of his copyrighted books to train the company’s artificial intelligence models. This claim was made in a filing in US court.

According to the filing, internal meta-communications revealed that the social network company’s CEO warned that the data set used was “known to be pirated” within the company’s AI executive team. The filing also mentioned support for the use of the LibGen dataset, an extensive online archive of books.

The authors suing Meta for copyright infringement, including Ta-Nehisi Coates and Sarah Silverman, made these accusations in a filing in California federal court. They alleged that Meta misused their books to train Llama, a large-scale language model powering chatbots.

The use of copyrighted content in training AI models has become a legal issue in the development of generative AI tools like chatbots. Authors and publishers have been warned that their work may be used without permission, putting their livelihood at risk.

The filing referenced a memo with Mark Zuckerberg’s approval for Meta’s AI team to use LibGen. However, discussions about accessing and reviewing LibGen data internally at Meta raised concerns about the legality of using pirated content.

Last year, a US District Judge ruled that Meta’s AI model infringed an author’s copyright by using copyrighted text. Despite rejecting claims of depriving the author’s name and copyright holder, the plaintiff was granted permission to amend its claims.

The authors argued this week that the evidence supports their infringement claims and justifies reinstating the CMI case and adding new computer fraud claims.

During Thursday’s hearing, Judge Chhabria expressed skepticism about the fraud and the validity of CMI claims but allowed the writers to file an amended complaint.

We have contacted Meta for comment.

Reuters contributed to this article

Source: www.theguardian.com

UK arts and media oppose proposal to grant AI companies permission to utilize copyrighted content

Authors, publishers, musicians, photographers, filmmakers, and newspaper publishers have all opposed the Labor government’s proposal to create a copyright exemption for training algorithms by artificial intelligence companies.

Representing thousands of creators, various organizations released a joint statement rejecting the idea of allowing companies like Open AI, Google, and Meta to use public works for AI training unless owners actively opt out. This was in response to the ministers’ proposal announced on Tuesday.

The Creative Rights in AI Coalition (Crac) emphasized the importance of respecting and enforcing existing copyright laws rather than circumventing them.

Included in the coalition are prominent entities like the British Recording Industry, the Independent Musicians Association, the Film Institute, the Writers’ Association, as well as Mumsnet, the Guardian, the Financial Times, the Telegraph, Getty Images, the Daily Mail Group, and Newsquest.

The intervention from these industry representatives follows statements by Technology and Culture Minister Kris Bryant in Parliament, where he promoted the proposed system as a way to enhance access to content for AI developers while ensuring rights holders have control over its use. This stance was reinforced after Bryant mentioned the importance of controlling the training of AI models using UK content accessed from overseas.

Nevertheless, industry lobbying group Tech UK is advocating for a more permissive market that allows companies to utilize and pay for copyrighted data. Caroline Dinenage, chair of the Conservative Party’s culture, media, and sport select committee, criticized the government’s alignment with AI companies.

Mr. Bryant defended the proposed system to MPs by highlighting the need for a flexible regime that allows for overseas developers to train AI models with UK content. He warned that a strict regime could hinder the growth of AI development in the UK.

Creatives in the industry are urged to seek permission from generative AI developers, obtain licenses, and compensate rights holders if they wish to create or train algorithms for various media formats.

A collective statement from the creative industry emphasized the importance of upholding current copyright laws and ensuring fair compensation for creators when licensing their work.

Renowned figures like Paul McCartney, Kate Bush, Julianne Moore, Stephen Fry, and Hugh Bonneville have joined a petition calling for stricter regulations on AI companies that engage in copyright infringement.

Novelist Kate Mosse is also supporting a campaign to amend the Data Bill to enforce existing copyright laws in the UK to protect creators’ rights and fair compensation.

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During a recent House of Lords debate, supporters of amendments to enforce copyright laws likened the government’s proposal to asking shopkeepers to opt-out of shoplifting rather than actively preventing it.

The government’s plan for a copyright exemption has faced criticism from the Liberal Democrats and other opponents who believe it is influenced by technology lobbyists and misinterpretations of current copyright laws.

Science Minister Patrick Vallance defended the government’s position by emphasizing the need to support rights holders, ensure fair compensation, and facilitate the development of AI models while maintaining appropriate access.

Source: www.theguardian.com

UK considers allowing tech companies to use copyrighted material for AI training

According to proposals from the UK government, tech companies would have the freedom to utilize copyrighted material for training artificial intelligence models, unless creative professionals or companies opt out of the process.

The proposed changes aim to resolve conflicts between AI companies and creatives. Sir Paul McCartney has expressed concerns that without new laws, technology “could just take over.”

A government consultation has suggested an exception to UK copyright law that currently prohibits the use of someone else’s work without permission, allowing companies like Google and ChatGPT developer OpenAI to apply copyrighted content in training their models. This proposal permits writers, artists, and composers to “reserve their rights,” meaning they can choose not to have their work utilized in AI training or request a license fee for it.

Chris Bryant MP, the Data Protection Minister, described the proposal as a “win-win” for both parties who have been in conflict over the new copyright regulations. He emphasized the benefit of this proposal in providing creators and rights holders with greater control in these complex circumstances, potentially leading to increased licensing opportunities and a new income source for creators.

British composer Ed Newton Rex, a prominent voice in advocating for fair contracts for creative professionals, criticized the opt-out system as “completely unfair” to creators. Newton Rex, along with more than 37,000 other creative professionals, raised concerns about the unauthorized use of creative work in training AI models, labeling it as a substantial threat to creators’ livelihoods.

Furthermore, the consultation considered requiring AI developers to disclose the content used for training their models, providing rights holders with more insight into how and when their content is utilized. The government emphasized that new measures must be available and effective before they are implemented.

The government is also seeking feedback on whether the new system will apply to existing models in the market, such as those in ChatGPT and Google’s Gemini.

Additionally, the consultation will address the potential need for “moral rights” akin to those in the US, to protect celebrities from having their voices and likenesses replicated by AI without their consent. Hollywood actress Scarlett Johansson had a dispute with OpenAI last year when a voice assistant closely resembling her signature speech was revealed. OpenAI halted the feature after receiving feedback that it sounded similar to Johansson’s voice.

Source: www.theguardian.com