The battle between big media and AI is heating up, but it's not the underdog story they want you to believe.
The music industry's power players are now in the AI game. Universal Music Group (UMG) and other major labels recently sued AI music startups for allegedly using their recordings to train AI models without permission. But in a surprising twist, UMG partnered with one of the accused, Udio, to develop an AI music platform. Despite assurances of doing right by artists, advocacy groups are skeptical, recalling past instances where artists were sidelined in similar partnerships.
The legal landscape is a mess. Artists, publishers, and studios are fighting back against AI training as copyright infringement. Judges are grappling with reconciling copyright law and AI technology, which challenges the very idea of authorship. The Andersen v Stability AI case highlights artists' concerns about their rights being violated by AI image generators.
Creative workers are feeling the pinch. Generative AI is displacing human labor, with illustrators and audiovisual creators already experiencing income loss. The Human Artistry Campaign, a coalition of industry and artists, advocates for legislation to protect artists from AI and big tech. However, some artists and civil liberties groups warn of the dangers of aligning with big media conglomerates, which have a history of exploiting labor and expanding copyrights against public interest.
Copyright lawsuits may not be the solution. Dave Hansen, a copyright lawyer, argues that these lawsuits will lead to exclusive licensing deals between media and tech giants, leaving independent artists out in the cold. Past licensing negotiations during the rise of streaming resulted in profits for labels and studios, while artists were left behind. AI licensing deals may follow a similar pattern, with artists potentially being compensated unfairly or not at all.
The proposed solutions may hurt more than help. The NO FAKES Act, supported by entertainment coalitions, aims to regulate deepfakes but has been criticized for vague language and potential abuse. It would allow individuals to license their digital replica rights, including children, raising concerns about exploitation. These solutions often favor big media companies, who use copyright as a Trojan horse to further their interests.
Organized labor is the real threat to big content. Unionized creative workers have secured protections against AI through strikes and collective bargaining. The entertainment industry needs artists' labor and support, but organized labor empowers artists to challenge the status quo. If big media truly wants to protect artists, they should listen to them instead of selling their voices as training data.
