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MSP_POD_NLP

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we've been thinking about that scenario in particular as a really interesting case, a sort of [inaudible 00:05:13] case in many ways.
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answers to that. and so it's really interesting to think about in what ways copyright law was designed around this conclusion that the human brain-
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and the human creator is a black box and to what degree we've actually romanticized that notion. and...
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to what degree it even forms part of the foundation for what is creative, right?
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whether the fact that an ai could output. so i used 13-
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that make that fuzziness extremely, extremely clear-
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pulls into some of the basic presumptions about why we have the copyright doctrine at all.
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the underlying work was copyrighted. that would be a violat-
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to answer that question asked in 1965, what do we do about-
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and copyright production. but then i think your second question was sort of like-
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or complicate matters of the...
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and maybe a band plays that. you have...
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you have an ai that maybe is a kind of contributory infringe...
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pen and certainly no willfulness maybe on the human...
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could have seen that this was trained on a single, drew was trained all on the beatles is that-
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google is crawling a web all the time, right?
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imagine i'm just interested in the reproductive-
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an example like the first example you share.
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in which programmatically what's going on in terms of the training data is really very similar computationally...
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so this is something that has happened with a lot of computationally created compilations of information is that court-
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and where all the inputs are one artist. and really the goal is to create an output that is essentially not that transformative. you want...
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a sort of massively multiple artist input where the goal is to teach it every-
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then it doesn't reproduce any particular cityscape. there-
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and then somebody does something and copyrights it.
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one is that if you can prove that something-
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there are certain themes, and this can be in literature, in painting, in music that are foundational elements of a genre, and can't be copyrighted. i-
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look like. and so now what it can do is it can do automatic scene generation in that not only does it generate the style to transfer onto the scene-
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it's very hard now to trace that back to an individual human spark-
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is romanticized. and i think we're also seeing here another kind of romanticism for the idea that we could, if only we were able to measure-
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a high enough precision. the world that we would be able to predict the future or...
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if it detective that people were sad. now that of course is an algorithm that was told-
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bots don't have emotions.
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photographed other photographers photographs and then put them in a museum...
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i know, i haven't seen a project like this, that sort of takes the posture of appropriation art and intending to very closely approach-
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though, where for example, the intent might be to, for instance,
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... both who are no longer alive. i think it-
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the last thing i wanted to add is that i think there's a real gap in digital literacy-
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and most of my students are just trying to hack the system anyway. so it's sort of interesting to see what
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be so i think it's a sort of open question as to whether, and i think the question...
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and what you have is a forgery engine.maybe
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we've seen. and i think the painting fool gets into this a bit, and certainly this-
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about the relationship of art and
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use, what is there a kind of smaller degree of creativity that is-
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what do we be about that?
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essentially i'm going to talk a little bit at a fairly general level about something i'm very interested in and something that i'm...
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as we all know, i think copyright and the other intellectual property rights or iprs are exclusive rights in the form of private property.
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that end? and here's where the rhetoric comes in. we've got a-
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bunch of labels behind, which there's quite a lot of substantive discourse and a lot of...
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of this interplay between existing property rights and rhetoric-
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what is the future? if we've got rights battling rhetoric-
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at rock of copyright law derive from that particular background and from those partic-
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despite i think the possibilities that throws up for us to reexamine this notion of all-
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that much or the underlying assumptions about how copyright law works is really going to change that...
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not all of which i can go through here that have tried to achieve that sort of balance or that have tried to point to either...
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context on the internet and for cyber law, the information commons, and within that, there're obviously subsets within the commons that-
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on the law making and judicial front that it may be possible...
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pick two, the public domain and the commons. and there are two reasons why i've picked these two concepts. one is that they have-
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come buzzwords, which to my mind leads to point number two, the risk that they might either be misunderstood or-
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economically culturally and socially, and for progress towards a greater democrat-
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and one of the shorthand summations of this entire discourse might be that the public domain is defined more in terms of what it is not.
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that's useful, but i'm not quite sure how far it gets us in trying to determine whether copyright has overreached too far-
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common understanding, a consensus even amongst lawyers and academics as to what the commons means...
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a third alternative that someone might offer is-
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you find all of those usages used at one point or another-
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debate, or this discourse about where copyright is going. has it over expanded-
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uses the same kind of model and applies it to non-software-
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continuing discussion over all of these possibilities has led to increasing involvement by-
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groups other than lawyers, groups other than entrenched interests and...
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and that conception started influencing copyright law couple hundred years ago and continues to be a...
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object to certain limitations and exceptions, that doesn't...
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is that this means that by default we cling on to this notion of the individual author...
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and other forms of knowledge creation and knowledge sharing that are more communal or community based.
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the human rights framework. and i started discovering that in something like the past two or three years, that's been a small-
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court in considering a copyright case. also had to consider...
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so i think there is some glimmer that is a possibility and-
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to more clearly and fully integrate the development dimension into its norm setting and technical assistance...
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but also its stability and going for the question, what can we actually do.
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pull a thread and change the structure. and so i'm thinking-
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to go back to what i think we're both saying is we need to change the way it's done.
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change on that front. and...
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not unrestricting the users, but restricting for the end users that-
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the rethinking of who the author is, could help-
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is in fact the primary art form and the role of the author changes, somehow i...
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the political stuff.
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that we're turning our children in the criminals because the way that they behave is so far from what's legally possible.
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and the assumptions. and then from that, you get new ideas as to real world solutions. and from that, you get a willingness to move away from the opacity.
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conversion experience that could take you from one way of looking at the world to another, which would include or disinclude...
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and never the two should meet...
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the 1940s and beyond
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presentation in both its-
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and finally the physicist had to go to the engineers and say-
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in effect. if you think about ibm coming into some company to tell them how to automate their process.
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engineers had a very good engineering's toolkit.
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putting a very complex and [inaudible 00:08:23] around that so that you feel like you've achieved something new and...
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and it's a competition in the world of information dominance.
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clarification question. so-
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judge, jury, and senior partner wonder if that's anything-sorry, i didn't understand the direct-
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as if we're talking to stupid people and even people who are not in technical fields-
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it's written for children and
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bad idea and it's a bad idea because there are a bunch of conversations that might...
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