Pueblo artist seeking copyright protection for AI-generated work; The Gazette, August 8, 2024

O'Dell Isaac , The Gazette; Pueblo artist seeking copyright protection for AI-generated work

"“We’re done with the Copyright Office,” he said. “Now we’re going into the court system.”

Allen said he believes his case raises two essential questions: What is art? And if a piece doesn’t belong to the artist, whom does it belong to?

Tara Thomas, director of the Bemis School of Arts at Colorado College, said the answers may not be clear-cut.

“There was a similar debate at the beginning of photography,” Thomas said. "Was it the camera, or was it the person taking the photos? Is the camera the artmaker, or is it a tool?”

Allen said it took more than two decades for photography to gain acceptance as an art form.

“We’re at a similar place in AI art,” he said. 

“Right now, there is a massive stigma surrounding AI, far more so than there was with photography, so the challenge is much steeper. It is that very stigma that is contributing to the stifling of innovation. Why would anybody want to incorporate AI art into their workflow if they knew they couldn’t protect their work?”"

AI Copyright Issues ‘on Shifting Sands’ but Legal Protections Are Coming, Experts Tell PGA Produced By Conference; The Wrap, June 9, 2024

 Sharon Knolle, The Wrap; AI Copyright Issues ‘on Shifting Sands’ but Legal Protections Are Coming, Experts Tell PGA Produced By Conference

"Renard T. Jenkins — a former Warner Bros. Discovery exec who’s now president and CEO of I2A2 Technologies, Labs and Studios — said his company is working to help create an infrastructure to help with authenticating content.

“Back in the old days, you had watermarks,” he said, noting that file-based content can be altered to remove information about the original creator. “What we are attempting to do is create an infrastructure and ecosystem that would allow us to track every single iteration of a piece of content from its origins all the way through the distribution.” 

For that to happen, the PGA and other organizations would have to agree to a new standard. “It’s a very heavy lift,” he said, comparing the necessary level of cooperation to a cross-mafia agreement, describing it as the “five families of Hollywood coming together.”

He also suggested that blockchain technology could be used to “audit and track” every change to a piece of content. It’s the same tech used for Bitcoin and the much-maligned NFT digital assets." 

You Can Create Award-Winning Art With AI. Can You Copyright It?; Bloomberg Law, June 5, 2024

 Matthew S. Schwartz, Bloomberg Law; You Can Create Award-Winning Art With AI. Can You Copyright It?

"We delved into the controversy surrounding the use of copyrighted material in training AI systems in our first two episodes of this season. Now we shift our focus to the output. Who owns artwork created using artificial intelligence? Should our legal system redefine what constitutes authorship? Or, as AI promises to redefine how we create, will the government cling to historical notions of authorship?

Guests:

• Jason M. Allen, founder of Art Incarnate
• Sy Damle, partner in the copyright litigation group at Latham & Watkins
• Shira Perlmutter, Register of Copyrights and director of the US Copyright Office"

Public Symposium on AI and IP; United States Patent and Trademark Office (USPTO), Wednesday, March 27, 2024 10 AM - 3 PM PT/1 PM - 6 PM ET

 United States Patent and Trademark Office (USPTO); Public Symposium on AI and IP

"The United States Patent and Trademark Office (USPTO) Artificial Intelligence (AI) and Emerging Technologies (ET) Partnership will hold a public symposium on intellectual property (IP) and AI. The event will take place virtually and in-person at Loyola Law School, Loyola Marymount University, in Los Angeles, California, on March 27, from 10 a.m. to 3 p.m. PT. 

The symposium will facilitate the USPTO’s efforts to implement its obligations under the President’s Executive Order (E.O.) 14110 “Safe, Secure, and Trustworthy Development and Use of Artificial Intelligence.” The event will include representation from the Copyright Office, build on previous AI/Emerging Technologies (ET) partnership events, and feature panel discussions by experts in the field of patent, trademark, and copyright law that focus on:

1. A comparison of copyright and patent law approaches to the type and level of human contribution needed to satisfy authorship and inventorship requirements;
2. Ongoing copyright litigation involving generative AI; and 
3. A discussion of laws and policy considerations surrounding name, image, and likeness (NIL) issues, including the intersection of NIL and generative AI.

This event is free and open to the public, but in-person attendance is limited, so register early"

21st-century editors should keep their hands off of 20th-century books; The Washington Post, June 12, 2023

 Editorial Board, The Washington Post; 21st-century editors should keep their hands off of 20th-century books

"A number of beloved novels, for both children and adults, are being “retouched” — updated to remove overtly racist, sexist or otherwise offensive language. Publishers and literary estates — including those of best-selling mystery writer Agatha Christie, children’s author Roald Dahl and James Bond creator Ian Fleming — argue these changes will ensure, in the words of the Dahl estate, that “wonderful stories and characters continue to be enjoyed by all children today.”

But it’s a threat to free expression, to historical honesty and, indeed, to readers themselves for contemporary editors to comb through works of fiction written at different moments and rewrite them for today’s mind-set, particularly with little explanation of process or limiting principles. The trend raises uncomfortable questions about authorship and authenticity, and it ignores the reality that texts are more than consumer goods or sources of entertainment in the present. They are also cultural artifacts that attest to the moment in which they were written — the good and the bad...

Literature is often meant to be provocative. Stripping it of any potential to offend dilutes its strength, especially in a moment when there is a concerted effort in this country to limit what can be read and taught. Publishers need not reprint books with no acknowledgment of potentially offensive contents. They can treat the publication of such texts as opportunities to explain why they read the way they do, in introductions and in footnotes. And, if publishers see little option but to change wording, they should at least explain to readers what they are changing and why."