Contemporary Artificial Art And The Law

AI as an “autonomous author” urges the law to rethink authorship. Policy makers should consider a reformative conception of AI in copyright law looking at innovative theories in robot law, where new frames for a legal personhood of artificial agents are proposed.

A contemporary snapshot of intellectual and practical engagements with legal and artistic practices in countering power.

In Artificial Intelligence: Robot Law, Policy and Ethics, Dr. Nathalie Rébé discusses the legal and contemporary issues in relation to creating conscious robots. This book provides an in-depth analysis of the existing regulatory tools, as well as a new comprehensive framework for regulating Strong AI.

The field of artificial intelligence (AI) has made tremendous advances in the last two decades, but as smart as AI is now, it is getting smarter and becoming more autonomous. This raises a host of challenges to current legal doctrine, including whether AI/algorithms should count as ‘speech’, whether AI should be regulated under antitrust and criminal law statutes, and whether AI should be considered as an agent under agency law or be held responsible for injuries under tort law. This book contains chapters from US and international law scholars on the role of law in an age of increasingly smart AI, addressing these and other issues that are critical to the evolution of the field.

How will law, regulation and ethics govern a future of fast-changing technologies? Bringing together cutting-edge authors from academia, legal practice and the technology industry, Future Law explores and leverages the power of human imagination in understanding, critiquing and improving the legal responses to technological change. It focuses on the practical difficulties of applying law, policy and ethical structures to emergent technologies both now and in the future. It covers crucial current issues such as big data ethics, ubiquitous surveillance and the Internet of Things, and disruptive technologies such as autonomous vehicles, DIY genetics and robot agents. By using examples from popular culture such as books, films, TV and Instagram - including 'Black Mirror', 'Disney Princesses', 'Star Wars', 'Doctor Who' and 'Rick and Morty' - it brings hypothetical examples to life. And it asks where law might go next and to regulate new-phase technology such as artificial intelligence, 'smart homes' and automated emotion recognition.

Intellectual property law is not prepared for a world where non-humans create significant inventions, music, literature, and art. Generative artificial intelligence's ability to produce valuable properties without attributable authorship defies the theories of ownership that underlie modern intellectual property law. These authorless properties can be readily assigned ownership, however, under the more ancient rules of real and personal property. Lawmakers should rely on these common law rules in developing a new branch of intellectual property law that accommodates exclusive human ownership of AI-generated properties.This Article demonstrates how, under the contemporary American intellectual property regime, the ownership of AI-generated properties is troublingly uncertain. Because neither the artificial intelligence nor the person who entered the prompt can readily claim authorship, these properties could arguably be owned by the state, the developer of the artificial intelligence, the authors of the material on which the artificial intelligence was trained, or nobody at all. This Article shows how principles like the law of capture and the doctrine of accession can easily resolve this problem of authorship, vesting ownership in the place where it makes the most sense, promoting efficiency, fairness, and innovation. The Article addresses and rebuts the arguments against applying the rules of personal property to intellectual property. It concludes that the certain past, rather than the speculative future, offers the best foundation for assigning ownership over this new and important branch of property law.

This timely book presents a detailed analysis of the role of law and regulation in the utilisation of Artificial Intelligence (AI) in the media sector. As well as contributing to the wider discussion on law and AI, the book also digs deeper by exploring pressing issues at the intersections of AI, media, and the law. Chapters critically re-examine various rights and responsibilities from the perspectives of incentives for accountable utilisation of AI in the industry.

Artificial intelligence (AI) now infiltrates our culture. After a couple of difficult winters, AI today is a word on everybody’s lips, and it attracts everyone’s attention regardless of whether they are experts or not. From Apple’s Siri to Amazon’s Alexa, Tesla’s auto-driving cars to facial recognition systems in CCTV cameras, Netflix’s film offering services to Google’s search engine, we live in a world of AI goods. The advent of AI-powered technologies increasingly affects people’s lives across the globe. As a tool for productivity and cost-efficiency, AI also shapes our economy and welfare. AI-generated designs and works are becoming more popular. Today, AI technologies can generate several intellectual creations. Fashion is one of the industries that AI can profoundly impact. AI tools and devices are currently being used in the fashion industry to create fashion models, fabric and jewellery designs, and clothing. When we talk about AI-generated designs, we instead focus on the fruits of innovation – more best-selling apparels, more fashionable designs and more fulfilment of customer expectations – without paying heed to who the designer is. Designers invest a lot of talent, time and finances into designing and creating each article of clothing and accessory before they release their work to the public. Pattern drafting is the first and most important step in dressmaking. Designers typically start with a general sketch on paper; add styles, elements and colours; revise and refine everything; and finally deliver their design to dressmakers. AI accelerates this time-consuming and labour-intensive process. Yet the full legal consequences of AI in fashion industry are often forgotten. An AI device’s ability to generate fashion designs raises the question of who will own intellectual property rights over the fashion designs. Will it be the fashion designer who hires or contracts with the AI programmer? Will it be the programmer? Will it be the AI itself? Or will it be a joint work of humans and computers? And who will be liable for infringement deriving from use of third-party material in AI-generated fashion designs? This book explores answers to these questions within the framework of EU design and copyright laws. It also crafts a solution proposal based on a three-step test and model norms, which could be used to unleash the authors, rights holders and infringers around AI-generated fashion designs.

AI for Arts is a book for anyone fascinated by the man–machine connection, an unstoppable evolution that is intertwining us with technology in an ever-greater degree, and where there is an increasing concern that it will be technology that comes out on top. Thus, presented here through perhaps its most esoteric form, namely art, this unfolding conundrum is brought to its apex. What is left of us humans if artificial intelligence also surpasses us when it comes to art? The articulation of an artificial intelligence art manifesto is long overdue, so hopefully this book can fill a gap that will have repercussions not only for aesthetic and philosophical considerations but possibly more so for the development of artificial intelligence.

An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature.