Presented at REDA 2017, Cyprus.

1. D O A N D R O I D S D R E A M
O F E L E C T R I C
C O P Y R I G H T ?
D R A N D R E S G U A D A M U Z , U N I V E R S I T Y O F S U S S E X

2. D O S H E E P D R E A M O F E L E C T R I C
C O P Y R I G H T ?

3. S P I R I T U A L M A C H I N E S

4. S P I R I T U A L M A C H I N E S
2 0 4 9

5. T H E M A C H I N E S A R E
C O M I N G !

6. I M P O S S I B L E P E O P L E

7. M A C H I N E M U S I C

8. N E W A R T , N E W
I N S T R U M E N T S

9. M E C H
P O E T R Y
he was silent for a moment.
it was quiet for a moment.
it was dark and cold.
there was a pause.
it was my turn.

10. W E L L , N O N E E D T O W O R R Y
Y E T

11. W H A T I S
G O I N G O N ?
• Is it really AI?
• Filters.
• Application of learning
algorithms and machine
learning.
• Pre-selected levels of
abstraction dependent on
parameters.

12. D E E P D R E A M

13. D E E P D R E A M
E X P L A N A T I O
N
“Instead of exactly prescribing which
feature we want the network to amplify, we
can also let the network make that
decision. In this case we simply feed the
network an arbitrary image or photo and let
the network analyze the picture. We then
pick a layer and ask the network to
enhance whatever it detected. Each layer
of the network deals with features at a
different level of abstraction, so the
complexity of features we generate
depends on which layer we choose to
enhance. For example, lower layers tend to
produce strokes or simple ornament-like
patterns, because those layers are
sensitive to basic features such as edges
and their orientations.”

14. W H Y I S I T I M P O R T A N T ?
Y O U M A Y B E A S K I N G “ S O W H A T ? ”

15. C R E A T I V E
I N D U S T R I E S
• Procedurally-generated
games.
• Journalistic pieces.
• Art.
• Music.
• Literature.

16. R O B O T I C
W O R K F O R C E
“In the creative economy, advances in
the area of Mobile Robotics may have
implications for making and craft
activities (as industrial robots with
machine vision and high–precision
dexterity become cheaper and
cheaper). Data Mining and
Computational Statistics where
algorithms are developed which allow
cognitive tasks to be automated – or
become data–driven – may
conceivably have significant
implications for non–routine tasks in
jobs as wide–ranging as content.”
NESTA.

17. T H E L A W

18. R I G H T S A N D
R E S P O N S I B I L I T I
E S
• This is not a new argument
in law, dates back to
Roman laws dealing with
slavery.
• Rights and responsibilities
of subjects that cannot
exercise rights.
• Negligence, contract, tort,
we have ways of dealing
with liability.

19. ! M E D I E N G R U P P
E B I T N I K
• Random Darknet Shopper
• Botnet buying random items
from the Darknet using Bitcoins.
• It purchased drugs.
• Police confiscated the bot, then
released.
• Public prosecutor deemed the
artistic work outweighed any
possible damage of purchasing
drugs.

20. U K L A W
S 9(3) “In the case of a
literary, dramatic, musical
or artistic work which is
computer-generated, the
author shall be taken to
be the person by whom
the arrangements
necessary for the creation
of the work are
undertaken.”

21. U S
C O P Y R I G H T
O F F I C E
“In order to be entitled to copyright
registration, a work must be the
product of human authorship. Works
produced by mechanical processes
or random selection without any
contribution by a human author are
not registrable. Thus, a linoleum
floor covering featuring a
multicolored pebble design which
was produced by a mechanical
process in unrepeatable, random
patterns, is not registrable.”

22. E U R O P E A N
L A W
• In Europe a work is original if
it is “author’s own intellectual
creation reflecting his
personality”.
• Choice, selection of
elements, composition, all
may prove originality.
(Infopaq, Painer cases).
• Unclear if setting parameters
and algorithms would be
enough.

23. A U S T R A L I A
• Acohs Pty Ltd v Ucorp Pty Ltd [2012]
FCAFC 16.
• HTML source code for some data
sheets were generated by a
computer program. Question arose
whether the code can be protected
by copyright as original work.
• In first instance judge found that the
code was “not the work of any one
human author”.
• Federal Court agrees that there’s no
copyright as there’s no human
author.

24. O P T I O N S F O R
A I
C O P Y R I G H T
• No copyright due to no
originality/creativity.
• No registration.
• Make UK’s approach more widely
used, programmer gets copyright.
• Take a wider approach: “copyright
laws . . . do not expressly require
‘human’ authorship.” Urantia
Foundation v. Maaherra (1997).
• Artificial Intelligence rights?

25. @ T E C H N O L L A M A
A . G U A D A M M U Z @ S U S S E X . A C . U K
The mech shall inherit the Earth