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This post is the second instalment of an analysis of a recent report , a part of the reCreating Europe project, on the application of EU copyright and relatedrightslaw to outputs generated by or with the assistance of artificial intelligence (AI) systems, tools or techniques (AI outputs), with a focus on outputs in the musical domain.
Yet, the very same automation poses challenges for the application of copyright law, increasing legal uncertainty, as demonstrated in this report vis-à-vis AI music outputs. This begs the question of how EU law can and should meet this challenge. Copyright protection and authorship of AI music outputs.
Nor would ingesting, say, all the music written by Taylor Swift for the purpose of producing more (but free) music like her in a way that infringes on her rights in the ingested musical works be transformative in our view, especially in light of Warhol. Menell & B.
Having excluded copyright protection, the only question which remained was to establish whether the broadcasts could be protected by relatedrights of the broadcasters. So, more evolutions are expected, since digital revolutions will continue to shake the world of copyright law. More from our authors: Law of Raw Data.
A digital asset that is held on a blockchain, such as music, art, in-game items, or films, is referred to as an NFT. Under the Indonesian regulatory regime, ESPs are subject to various requirements and obligations related to, among other things, the. Provisions of intellectualpropertylaw will be applicable to NFTs.
The second part concentrates on the copyright-related challenges raised by the use of artificial intelligence. reCreating Europe, Study on “ AI Music Outputs: Challenges to the Copyright Legal Framework ”. The Report examines the question: How can and should EU copyright and relatedrightslaw protect AI musical outputs?
This seems to have pushed EU Member States towards compliance – the latest examples here are the Irish European Union (Copyright and RelatedRights in the Digital Single Market) Regulations 2021 (19 November), the Italian Decree (published on 27 November), and the Estonian Act implementing the Directive (8 December). Stay tuned!
In order to bring readers up to date on earlier developments, over the next few days we will be republishing in four parts an article (originally published in “Auteurs & Media”) summarising case law from 2015 to 2019 organised by topic. This first part covers the definition of a work, authorship and moral rights.
The first issue raised in the consultation was whether the copyright protection for computer-generated works (CGWs)without a human author, in the UK Copyright, Designs and Patents Act 1988 (CDPA), strikes the right balance between incentivising and rewarding investment in AI creativity. A third alternative: the relatedrights approach.
When you enforce your copyright, you enforce your copyright-relatedrights, which fall under IntellectualPropertyRights (IPRs). Copyright is the legal and exclusive right of the owner of some creative work, be it in an artistic, literary, musical, or educational form.
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