Intellectual property rights

AI site faces backlash for copying Southern Oregon news

A major publishing organisation has issued a formal warning to Good Daily News, an AI-powered news aggregator, demanding it cease the unauthorised scraping of content from local news outlets across Southern Oregon and beyond. The News Media Alliance, which represents 2,200 publishers, sent the letter on 25 March, urging the national operator to respect publishers’ rights and stop reproducing material without permission.

Good Daily runs over 350 online ‘local’ news websites across 47 US states, including Daily Medford and Daily Salem in Oregon. Though the platforms appear locally based, they are developed using AI and managed by one individual, Matt Henderson, who has registered mailing addresses in both Ashland, Oregon and Austin, Texas. Content is reportedly scraped from legitimate local news sites, rewritten by AI, and shared in newsletters, sometimes with source links, but often without permission.

News Media Alliance president Danielle Coffey said such practices undermine the time, resources, and revenue of local journalism. Many publishers use digital tools to block automated scrapers, though this comes at a financial cost. The organisation is working with the Oregon Newspaper Publishers Association and exploring legal options. Others in the industry, including Heidi Wright of the Fund for Oregon Rural Journalism, have voiced strong support for the warning, calling for greater action to defend the integrity of local news.

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Gerry Adams targets Meta over use of his books

Gerry Adams, the former president of Sinn Féin, is considering legal action against Meta for allegedly using his books to train AI. Adams claims that at least seven of his books were included in a large collection of copyrighted material Meta used to develop its AI systems.

He has handed the matter over to his solicitor. The books in question include his autobiography Before the Dawn, prison memoir Cage Eleven, and reflections on Northern Ireland’s peace process Hope and History, among others.

Adams is not the only author voicing concerns about Meta’s use of copyrighted works. A group of writers filed a US court case in January, accusing Meta of using the controversial Library Genesis (LibGen) database, which hosts over 7.5 million books, many believed to be pirated.

The discovery followed a searchable database of titles from LibGen being published by The Atlantic, which led several authors to identify their works being used to train Meta’s Llama AI model.

The Society of Authors has condemned Meta’s actions, with chair Vanessa Fox O’Loughlin calling the move ‘shocking and devastating’ for authors.

Many authors are concerned that AI models like Llama, which power tools such as chatbots, could undermine their work by reproducing creative content without permission. Meta has defended its actions, claiming that its use of information to train AI models is in line with existing laws.

Adams, a prolific author and former MP, joins other Northern Irish writers, including Booker Prize winner Anna Burns, in opposing the use of their work for AI training without consent.

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EU refuses to soften tech laws for Trump trade deal

The European Union has firmly ruled out dismantling its strict digital regulations in a bid to secure a trade deal with Donald Trump. Henna Virkkunen, the EU’s top official for digital policy, said the bloc remained fully committed to its digital rulebook instead of relaxing its standards to satisfy American demands.

While she welcomed a temporary pause in US tariffs, she made clear that the EU’s regulations were designed to ensure fairness and safety for all companies, regardless of origin, and were not intended as a direct attack on US tech giants.

Tensions have mounted in recent weeks, with Trump officials accusing the EU of unfairly targeting American firms through regulatory means. Executives like Mark Zuckerberg have criticised the EU’s approach, calling it a form of censorship, while the US has continued imposing tariffs on European goods.

Virkkunen defended the tougher obligations placed on large firms like Meta, Apple and Alphabet, explaining that greater influence came with greater responsibility.

She also noted that enforcement actions under the Digital Markets Act and Digital Services Act aim to ensure compliance instead of simply imposing large fines.

Although France has pushed for stronger retaliation, the European Commission has held back from launching direct countermeasures against US tech firms, instead preparing a range of options in case talks fail.

Virkkunen avoided speculation on such moves, saying the EU preferred cooperation to conflict. At the same time, she is advancing a broader tech strategy, including plans for five AI gigafactories, while also considering adjustments to the EU’s AI Act to better support small businesses and innovation.

Acknowledging creative industries’ concerns over generative AI, Virkkunen said new measures were needed to ensure fair compensation for copyrighted material used in AI training instead of leaving European creators unprotected.

The Commission is now exploring licensing models that could strike a balance between enabling innovation and safeguarding rights, reflecting the bloc’s intent to lead in tech policy without sacrificing democratic values or artistic contributions.

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Blockchain app ARK fights to keep human creativity ahead of AI

Nearly 20 years after his AI career scare, screenwriter Ed Bennett-Coles and songwriter Jamie Hartman have developed ARK, a blockchain app designed to safeguard creative work from AI exploitation.

The platform lets artists register ownership of their ideas at every stage, from initial concept to final product, using biometric security and blockchain verification instead of traditional copyright systems.

ARK aims to protect human creativity in an AI-dominated world. ‘It’s about ring-fencing the creative process so artists can still earn a living,’ Hartman told AFP.

The app, backed by Claritas Capital and BMI, uses decentralised blockchain technology instead of centralised systems to give creators full control over their intellectual property.

Launching summer 2025, ARK challenges AI’s ‘growth at all costs’ mentality by emphasising creative journeys over end products.

Bennett-Coles compares AI content to online meat delivery, efficient but soulless, while human artistry resembles a grandfather’s butcher trip, where the experience matters as much as the result.

The duo hopes their solution will inspire industries to modernise copyright protections before AI erodes them completely.

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OpenAI’s Sam Altman responds to Miyazaki’s AI animation concerns

The recent viral trend of AI-generated Ghibli-style images has taken the internet by storm. Using OpenAI’s GPT-4o image generator, users have been transforming photos, from historic moments to everyday scenes, into Studio Ghibli-style renditions.

A trend like this has caught the attention of notable figures, including celebrities and political personalities, sparking both excitement and controversy.

While some praise the trend for democratising art, others argue that it infringes on copyright and undermines the efforts of traditional artists. The debate intensified when Hayao Miyazaki, the co-founder of Studio Ghibli, became a focal point.

In a 2016 documentary, Miyazaki expressed his disdain for AI in animation, calling it ‘an insult to life itself’ and warning that humanity is losing faith in its creativity.

OpenAI’s CEO, Sam Altman, recently addressed these concerns, acknowledging the challenges posed by AI in art but defending its role in broadening access to creative tools. Altman believes that technology empowers more people to contribute, benefiting society as a whole, even if it complicates the art world.

Miyazaki’s comments and Altman’s response highlight a growing divide in the conversation about AI and creativity. As the debate continues, the future of AI in art remains a contentious issue, balancing innovation with respect for traditional artistic practices.

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Copyright lawsuits against OpenAI and Microsoft combined in AI showdown

Twelve copyright lawsuits filed against OpenAI and Microsoft have been merged into a single case in the Southern District of New York.

The US judicial panel on multidistrict litigation decided to consolidate, despite objections from many plaintiffs who argued their cases were too distinct.

The lawsuits claim that OpenAI and Microsoft used copyrighted books and journalistic works without consent to train AI tools like ChatGPT and Copilot.

The plaintiffs include high-profile authors—Ta-Nehisi Coates, Sarah Silverman, Junot Díaz—and major media outlets such as The New York Times and Daily News.

The panel justified the centralisation by citing shared factual questions and the benefits of unified pretrial proceedings, including streamlined discovery and avoidance of conflicting rulings.

OpenAI has defended its use of publicly available data under the legal doctrine of ‘fair use.’

A spokesperson stated the company welcomed the consolidation and looked forward to proving that its practices are lawful and support innovation. Microsoft has not yet issued a comment on the ruling.

The authors’ attorney, Steven Lieberman, countered that this is about large-scale theft. He emphasised that both Microsoft and OpenAI have, in their view, infringed on millions of protected works.

Some of the same authors are also suing Meta, alleging the company trained its models using books from the shadow library LibGen, which houses over 7.5 million titles.

Simultaneously, Meta faced backlash in the UK, where authors protested outside the company’s London office. The demonstration focused on Meta’s alleged use of pirated literature in its AI training datasets.

The Society of Authors has called the actions illegal and harmful to writers’ livelihoods.

Amazon also entered the copyright discussion this week, confirming its new Kindle ‘Recaps’ feature uses generative AI to summarise book plots.

While Amazon claims accuracy, concerns have emerged online about the reliability of AI-generated summaries.

In the UK, lawmakers are also reconsidering copyright exemptions for AI companies, facing growing pressure from creative industry advocates.

The debate over how AI models access and use copyrighted material is intensifying, and the decisions made in courtrooms and parliaments could radically change the digital publishing landscape.

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Tech giants face pushback over AI and book piracy

Meta and Anthropic’s recent attempts to defend their use of copyrighted books in training AI tools under the US legal concept of ‘fair use’ are unlikely to succeed in UK courts, according to the Publishers Association and the Society of Authors.

Legal experts argue that ‘fair use’ is far broader than the UK’s stricter ‘fair dealing’ rules, which limit the unauthorised use of copyrighted works.

The controversy follows revelations that Meta may have used pirated books from LibraryGenesis to train its AI model, Llama 3. Legal filings in the US claim the use of these books was transformative and formed only a small part of the training data.

However, UK organisations and authors insist that such use amounts to large-scale copyright infringement and would not be justified under UK law.

Calls for transparency and licensing reform are growing, with more than 8,000 writers signing a petition and protests planned outside Meta’s London headquarters.

Critics, including Baroness Beeban Kidron, argue that AI models rely on the creativity and quality of copyrighted content—making it all the more important for authors to retain control and receive proper compensation.

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AI technology sparks debate in Hollywood

Hollywood is grappling with AI’s increasing role in filmmaking, with executives, actors, and developers exploring the technology’s potential. At a recent event, industry leaders discussed AI-generated video, heralded as the biggest breakthrough since the advent of sound in cinema.

Despite its growing presence, AI’s impact remains controversial, especially after recent strikes from actors and writers seeking protection from AI exploitation.

AI technology is making its way into movies and TV shows, with Oscar-nominated films like Emilia Perez and The Brutalist using AI for voice alterations and actor de-aging. AI’s capacity to generate scripts, animation, and even actors has led to fears of job displacement, particularly for background actors.

However, proponents like Bryn Mooser of Moonvalley argue that AI can empower filmmakers, especially independent creators, to produce high-quality content at a fraction of traditional costs.

While Hollywood is still divided on AI’s potential, several tech companies, including OpenAI and Google, are lobbying for AI models to access copyrighted art to fuel their development, claiming it’s vital for national security.

The push has met resistance from filmmakers who fear it could undermine the creative industry, which provides millions of jobs. Despite the opposition, AI’s role in filmmaking is rapidly expanding, and its future remains uncertain.

Some in the industry believe AI, if used correctly, can enhance creativity by allowing filmmakers to create worlds and narratives beyond their imagination. However, there is a push to ensure that artists remain central to this transformation, and that AI’s role in cinema respects creators’ rights and protections.

As AI technology evolves, Hollywood faces a critical choice: embrace it responsibly instead of the risk of being overtaken by powerful tech companies.

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Runway expands AI video capabilities with Gen-4

Runway has unveiled Gen-4, its most advanced AI-powered video generator yet, promising superior character consistency, realistic motion, and world understanding.

The model is now available to individual and enterprise users, allowing them to generate dynamic videos using visual references and text-based instructions.

Backed by investors such as Google and Nvidia, Runway faces fierce competition from OpenAI and Google in the AI video space. The company has differentiated itself by securing Hollywood partnerships and investing heavily in AI-generated filmmaking.

However, it remains tight-lipped about its training data, raising concerns over copyright issues.

Runway is currently embroiled in a lawsuit from artists accusing the company of training its models on copyrighted works instead of getting permission. The company claims fair use as a defence.

Meanwhile, it is reportedly seeking new funding at a $4 billion valuation, with hopes of reaching $300 million in annual revenue. As AI video tools advance, concerns grow over their impact on jobs in the entertainment industry, with thousands of positions at risk.

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OpenAI expands image generator access to all users

OpenAI has made its image generator, powered by the GPT-4o model, accessible to all users, CEO Sam Altman announced on X. Previously, this feature was available only to paying ChatGPT subscribers.

While there is no clear indication of how many images free-tier users can create, Altman previously mentioned a possible limit of three per day.

The tool has seen massive demand since its launch, with Altman joking that OpenAI’s GPUs were ‘melting’ under the pressure. However, it has also sparked controversy, particularly after users began generating images in the style of Studio Ghibli, raising copyright concerns.

Others have used the generator to create fake receipts, such as restaurant bills. OpenAI has responded by stating that all AI-generated images contain metadata identifying them and that the company takes action when violations occur.

In a major financial development, OpenAI has secured $40 billion in funding from SoftBank, valuing the company at $300 billion. The company also revealed that ChatGPT now boasts 500 million weekly active users and 700 million monthly active users, marking a significant milestone in its growth.

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