The Pareto Principle and AI Copyright Laws
The Pareto Principle, often observed in the realm of creative professions, posits that a small percentage of professionals (about 20%) typically earn the majority (around 80%) of the total income. This phenomenon is particularly evident in fields like music, writing, and art. Within this context, the advent of AI in creative fields has stirred concerns among the larger group of creatives (the 80%) who fear that AI might exacerbate their challenges or raise the bar for making a living creatively.
Addressing the Pareto Principle requires nuanced solutions. The key question is whether proposed strategies merely assist individual creatives in moving closer to the more prosperous 20% or fundamentally alter the principle's dynamics. For instance, calls to "strengthen" copyright laws, often touted as protective measures for the majority of creatives, need careful consideration. The debate around training Deep Neural Networks on copyrighted material oscillates between arguments of fair use and copyright infringement. The truth, as it stands, is not a straightforward infringement but hovers in a gray area between these two legal concepts.
A potentially transformative approach, rather than a mere reinforcement of existing laws, could be promoting Fair Use and Accessibility. By amending copyright laws to bolster fair use provisions, a broader spectrum of creatives might gain the ability to access, remix, and build upon existing works. This approach can spur innovation and creativity, especially among those with limited resources.
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However, it's crucial to recognize that strengthening copyright laws under the pretext of protecting the broader group of creatives might unintentionally intensify the Pareto Principle's effects. Such measures could inadvertently fortify the position of the already successful 20%, leaving the rest further marginalized.
These considerations highlight the complexity of addressing the Pareto Principle in creative fields. The solution lies not just in legal adjustments but in a holistic approach that includes policy changes, cultural shifts, and perhaps, a redefinition of success and value in the creative world.
These are some early morning thoughts on Tuesday, January 2nd, 2024. I still have to do more thinking.
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11moDr Reji Kurien Thomas
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11moI personally believe it is a lie that copyright protects smaller artists. Copyright protects the powerful and feeds their lawyers and the GEMA. I assume there must be something totally off if musicians in Munich struggle to pay their rent, while the GEMA cantine is giving out beef tenderloin. Especially my artistic practice in the crypto space totally changed my view on copyright. Since I added crypto to my linkedin profile, dozens of lawyers have started following me. They even contacted me and wanted to discuss, how THEY could help ME if others stole my IP. I told them I would actually be happy if anyone copied me. In contrast I am much more afraid of big artists entering the space and threatening everyone with their lawyers like Damian Hir$t tried it with me. Copyright is a weapon which not everyone can afford.
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11moI‘m probably a naive mind, but for me violating copy rights begins where other people‘s property is used without asking for that and/or permission. And in my view flippantly using all kind of available data for AI training is the big pain point in AI. So, as easy as a kid would approach that issue: ASK before you use other people‘s stuff! I‘m sure, it‘s no rocket science to develop routines or automation processes to provide and ensure consent capture in advance. Too naive? I‘m sorry for that, but from psychology we know, that asking novices can provide valuable insights beyond the ideas of experts :)
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11moI would like to add a dimension to this discussion. As you left out those who receive 90% of the profits.
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11moYour insights and opinions would be welcome! Bruno Kramm Rania Kim Prof. Dr. Patrick Glauner Joerg Bienert Joerg Heidrich Marc Engenhart Werner Bogula Sina Rampe Bart De Witte