But while the UK was the first to implement this, with other countries following suit, he adds that there is a lack of case law on this issue. Under the Copyright Design and Patents Act 1988 (CDPA), the person who made the arrangements necessary for a computer-generated work to come into being holds copyright of the work. Regarding intellectual property (IP), Dr Guadamuz explains that UK IP law is unique in several ways. “Those areas of work which sustain through periods of low pay are about to be removed entirely from the market because of the speed of AI intervention”, Fleming says. He highlights how this is of importance to the creative sector, which, despite being “worth more to the British economy than banking”, remains low paying. The high speed of improvements in AI technology was at the centre of the session, so discussion looked to ways in which policy could mitigate against harms without stymying potential growth.Ĭonway suggested that in many cases AI “ the human creator from the jobs they don’t want to do”, such as an academic researcher using AI to collect all available information on a subject.įleming countered this with the example of radio jingles, which are increasingly synthesised, but used to pay human creators well: “it’s quite repetitive work so you have to pay quite a lot to incentivise an artist to do it”. The committee sought to explore current uses of AI in the creative industries, and to hear from industry leaders on its potential and risks for the future.įleming mentioned the use of AI in video game design, while Dan Conway of the Publisher’s Association discussed how it was being used “across the value chain”, including stock management and customer demand prediction. Baroness Harding, meanwhile, took the committee back to 1436 and the advent of the printing press, saying that history shows us “that you can’t actually stop the new technology coming, but what you can do is either choose to embrace it or not”. While AI was presented as a new technology which could be better-understood historical precedent was also mentioned: Paul Fleming referred to the 1930s and the rise of Hollywood, but also to the Luddites’ concerns about the ‘deceitful use of new technology’ to undermine conditions and pay in the 19th century. The second part of the session, which received much press attention, saw the robot artist Ai-Da, and creator Aidan Meller present, allowing technology to “speak for itself”. The House of Lords Communications and Digital Committee met this week to hear from cross-sector leaders as part of the Creative Futures inquiry.Ĭhaired by Baroness Stowell of Beeston, the invited witnesses were Paul Fleming, General Secretary, Equity, the trade union for the performing arts and entertainment industries Dan Conway, chief executive officer, Publishers Association and Dr Andres Guadamuz, reader in Intellectual Property law, University of Sussex. By Sophie Tolhurst Octo10:04 am Octo10:10 amĪ debate around Artificial Intelligence (AI) and the role it will play in the future of the creative industries has left some experts suggesting that its role will be to sweep up “uninteresting” repetitive work while others see it as an existential threat to the industry.
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