Issues and developments related to IP, AI, and OM, examined in the IP and tech ethics graduate courses I teach at the University of Pittsburgh School of Computing and Information. My Bloomsbury book "Ethics, Information, and Technology", coming in Summer 2025, includes major chapters on IP, AI, OM, and other emerging technologies (IoT, drones, robots, autonomous vehicles, VR/AR). Kip Currier, PhD, JD
Thursday, January 16, 2025
In AI copyright case, Zuckerberg turns to YouTube for his defense; TechCrunch, January 15, 2025
Wednesday, January 15, 2025
'The New York Times' takes OpenAI to court. ChatGPT's future could be on the line; NPR, January 14, 2025
Bobby Allyn, NPR; 'The New York Times' takes OpenAI to court. ChatGPT's future could be on the line
"A group of news organizations, led by The New York Times, took ChatGPT maker OpenAI to federal court on Tuesday in a hearing that could determine whether the tech company has to face the publishers in a high-profile copyright infringement trial.
Three publishers' lawsuits against OpenAI and its financial backer Microsoft have been merged into one case. Leading each of the three combined cases are the Times, The New York Daily News and the Center for Investigative Reporting.
Other publishers, like the Associated Press, News Corp. and Vox Media, have reached content-sharing deals with OpenAI, but the three litigants in this case are taking the opposite path: going on the offensive."
Meta Lawyer Lemley Quits AI Case Citing Zuckerberg 'Descent'; Bloomberg Law, January 14, 2026
"California attorney Mark Lemley dropped
Wednesday, January 8, 2025
Nosferatu (1922) Dracula Copyright Infringement Story Explained; Screen Rant, January 8, 2025
"Copyright was a big thing even back in 1922 when Nosferatu came out."
3Blue1Brown copyright takedown blunder by AI biz blamed on human error; The Register, January 7, 2025
Thomas Claburn , The Register;
3Blue1Brown copyright takedown blunder by AI biz blamed on human error
"The errant copyright takedown of a popular video explaining Bitcoin, from Grant Sanderson's smash-hit YouTube channel 3Blue1Brown, has been reversed, with human error blamed.
The brand protection company responsible for the unwarranted takedown, ChainPatrol.io, also acknowledged that the legal demand was a mistake, and has been in communication with Sanderson about its efforts to return the video to YouTube. Sanderson – who has 6.8 million subscribers on YouTube, and whose in-depth videos mainly on mathematics and science have been viewed more than 600 million times – raised the alarm in a social media post on Monday.
He said he had just learned that YouTube had removed a 2017-era video he had made and applied a copyright strike – three of which will get an account terminated – despite the fact that he had only used his own content in his video."
The Internet Archive is in danger; WBUR, January 7, 2025
The Internet Archive is in danger
Guests
Brewster Kahle, founder and director of the Internet Archive. Digital librarian and computer engineer.
James Grimmelmann, professor of digital and information law at Cornell Tech and Cornell Law School. Studies how laws regulating software affect freedom, wealth, and power."
HOW SHERLOCK HOLMES BROKE COPYRIGHT LAW; The Atlantic, January 7, 2025
Alec Nevala-Lee , The Atlantic; HOW SHERLOCK HOLMES BROKE COPYRIGHT LAW
"The estate based its argument on a distinction between “flat” and “round” fictional characters first proposed by E. M. Forster in his 1927 book, Aspects of the Novel, a concept frequently invoked in high-school literature classes but never previously tested in court.
In its legal filings, the estate drew a contrast between “flat” characters without depth—such as Superman and Amos and Andy—and “round” characters such as Holmes, who were capable of complexity and change. Doyle, it said, continued to develop Holmes to the very end, gradually transforming him from a reasoning machine into an empathetic figure who displays affection for women, dogs, and even his long-suffering partner. And it soon became clear that this argument would have enormous implications for copyright holders, who would be motivated to retain control over their characters by changing them incrementally for as long as possible."
Monday, January 6, 2025
OpenAI holds off on promise to creators, fails to protect intellectual property; The American Bazaar, January 3, 2025
Vishnu Kamal, The American Bazaar; OpenAI holds off on promise to creators, fails to protect intellectual property
"OpenAI may yet again be in hot water as it seems that the tech giant may be reneging on its earlier assurances. Reportedly, in May, OpenAI said it was developing a tool to let creators specify how they want their works to be included in—or excluded from—its AI training data. But seven months later, this feature has yet to see the light of day.
Called Media Manager, the tool would “identify copyrighted text, images, audio, and video,” OpenAI said at the time, to reflect creators’ preferences “across multiple sources.” It was intended to stave off some of the company’s fiercest critics, and potentially shield OpenAI from IP-related legal challenges...
OpenAI has faced various legal challenges related to its AI technologies and operations. One major issue involves the privacy and data usage of its language models, which are trained on large datasets that may include publicly available or copyrighted material. This raises concerns over privacy violations and intellectual property rights, especially regarding whether the data used for training was obtained with proper consent.
Additionally, there are questions about the ownership of content generated by OpenAI’s models. If an AI produces a work based on copyrighted data, it is tricky to determine who owns the rights—whether it’s OpenAI, the user who prompted the AI, or the creators of the original data.
Another concern is the liability for harmful content produced by AI. If an AI generates misleading or defamatory information, legal responsibility could fall on OpenAI."
Saturday, January 4, 2025
Wicked and the Importance of the Public Domain; Reason, January 1, 2025
JOE LANCASTER , Reason; Wicked and the Importance of the Public Domain
"But at the moment there is perhaps no better testament to the importance of the public domain than Wicked."
Friday, January 3, 2025
Florida Sports Blog Hit With Copyright Case; Law360, January 3, 2025
Andrew Karen, Law360; Florida Sports Blog Hit With Copyright Case
"A Boca Raton, Florida-based sports blog is facing a copyright case from a New York photographer after including an image in a post about the history of the Sports Illustrated brand..."
U.S. Copyright Office to Begin Issuing Further AI Guidance in January 2025; The National Law Review, January 2, 2025
John Hines of The Sedona Conference , The National Law Review; U.S. Copyright Office to Begin Issuing Further AI Guidance in January 2025
"Parts 2 and 3, which have not yet been released, will be of heightened interest to content creators and to individuals and businesses involved in developing and deploying AI technologies. Ultimate regulatory and legislative determinations could materially recalibrate the scope of ownership and protection afforded to works of authorship, and the stakes are extremely high...
Part 2 of the report, which the Copyright Office expects to publish “after the New Year Holiday,” will address the copyrightability of AI-generated works, and more specifically, how the nature and degree of such use affects copyrightability and registrability. Current law is clear that to be copyrightable, a work must be created by a human. E.g., Thaler v. Perlmutter, 678 F.Supp. 140 (D.DC 2023), on appeal. However assistive tools are used in virtually all creation, from pencils to cameras to photo-editing software programs. In the context of registrability, the Copyright Office offered the following distinction in its March 2023 guidance: “[W]hether the ‘work’ is basically one of human authorship, with the computer [or other device] merely being an assisting instrument, or whether the traditional elements of authorship in the work (literary, artistic, or musical expression or elements of selection, arrangement, etc.) were actually conceived and executed not by man but by a machine.” In Part 2, the Copyright Office will have an additional opportunity to explore these and related issues – this time with the advantage of the many comments offered through the Notice of Inquiry process.
Part 3 of the report, which the Copyright Office anticipates releasing “in the first quarter of 2025,” will focus on issues associated with training data. AI models, depending on their size and scope, may train on millions of documents—many of which are copyrighted or copyrightable— acquired from the Internet or through acquisition of various robust databases. Users of “trained” AI technologies will typically input written prompts to generate written content or images, depending on the model (Sora is now available to generate video). The output is essentially a prediction based on a correlation of values in the model (extracted from the training data) and values that are derived from the user prompts.
Numerous lawsuits, perhaps most notably the case that The New York Times filed against Microsoft and OpenAI, have alleged that the use of data to train AI models constitutes copyright infringement. In many cases there may be little question of copying in the course of uploading data to train the models. Among a variety of issues, a core common issue will be whether the use of the data for training purposes is fair use. Content creators, of course, point to the fact that they have built their livelihoods and/or businesses around their creations and that they should be compensated for what is a violation of their exclusive rights."
Wednesday, January 1, 2025
POPEYE, ‘THE SKELETON DANCE,’ AND ‘SINGIN’ IN THE RAIN’ ENTER THE PUBLIC DOMAIN; Rolling Stone, January 1, 2025
DANIEL KREPS, Rolling Stone ; POPEYE, ‘THE SKELETON DANCE,’ AND ‘SINGIN’ IN THE RAIN’ ENTER THE PUBLIC DOMAIN
"The first iteration of Popeye the Sailor, literary classics by Dashiell Hammett and William Faulkner, Alfred Hitchcock’s first sound film, and songs like “Singin’ in the Rain” and “Tiptoe Through the Tulips” are among the copyrighted works that will enter the public domain on Jan. 1.
As the calendar turns on New Year’s Day, thousands of copyrighted works across literature, film, and music from 1929 become open to fair use. This year’s slate also includes the French comic icon Tintin, Disney’s still-iconic The Skeleton Dance short (38 million views on YouTube!), Ernest Hemingway’s A Farewell to Arms, and the first English translation of All Quiet on the Western Front (the original German text became public domain last year).
Jennifer Jenkins, the director of Duke Law School’s Center for the Study of the Public Domain, documents each year’s Public Domain Day highlights on the center’s website.
“For copyrighted culture, the public domain arrives only after a long wait,” Jenkins wrote of the 2025 entrants. “Works from 1929 were first set to go into the public domain after a 56-year term in 1985, but a term extension pushed that date to 2005. They were then supposed to go into the public domain in 2005 after being copyrighted for 75 years. But before this could happen, Congress hit another 20-year pause button and extended their copyright term to 95 years. Now the wait is over.” (For sound recordings, the copyright term is 100 years.)
Public Domain Day in 2024 was highlighted by the arrival of Mickey Mouse and Minnie Mouse, as the first iteration of those characters — as featured in the 1928 short Steamboat Willie — became free to use."
Tuesday, December 31, 2024
Column: A Faulkner classic and Popeye enter the public domain while copyright only gets more confusing; Los Angeles Times, December 31, 2024
Michael Hiltzik , Los Angeles Times; Column: A Faulkner classic and Popeye enter the public domain while copyright only gets more confusing
"The annual flow of copyrighted works into the public domain underscores how the progressive lengthening of copyright protection is counter to the public interest—indeed, to the interests of creative artists. The initial U.S. copyright act, passed in 1790, provided for a term of 28 years including a 14-year renewal. In 1909, that was extended to 56 years including a 28-year renewal.
In 1976, the term was changed to the creator’s life plus 50 years. In 1998, Congress passed the Copyright Term Extension Act, which is known as the Sonny Bono Act after its chief promoter on Capitol Hill. That law extended the basic term to life plus 70 years; works for hire (in which a third party owns the rights to a creative work), pseudonymous and anonymous works were protected for 95 years from first publication or 120 years from creation, whichever is shorter.
Along the way, Congress extended copyright protection from written works to movies, recordings, performances and ultimately to almost all works, both published and unpublished.
Once a work enters the public domain, Jenkins observes, “community theaters can screen the films. Youth orchestras can perform the music publicly, without paying licensing fees. Online repositories such as the Internet Archive, HathiTrust, Google Books and the New York Public Library can make works fully available online. This helps enable both access to and preservation of cultural materials that might otherwise be lost to history.”"
AI Developments at the U.S. Copyright Office in 2024; IP Watchdog, December 30, 2024
BARRY WERBIN , IP Watchdog; AI Developments at the U.S. Copyright Office in 2024
"“The art challenges the technology, and the technology inspires the art.” Such is the conundrum facing the U.S Copyright Office in this era of rapidly expanding generative artificial intelligence technology. Human creativity has been the cornerstone of copyright protection for original works of authorship ever since the U.S. Constitution recognized copyright as a fundamental right to be protected for limited times. But the tenet that originality exists only when a human is primarily responsible for creating works of authorship is currently in flux and subject to extensive debate. Nowhere is this tension more visible than within the Copyright Office itself, which has been grappling with the core issue of what defines human creation when sophisticated technology like generative AI plays a significant role in creating works of authorship under the direction of a human creator."
Anthropic Agrees to Enforce Copyright Guardrails on New AI Tools; Bloomberg Law, December 30, 2024
Annelise Levy, Bloomberg Law; Anthropic Agrees to Enforce Copyright Guardrails on New AI Tools
"Anthropic PBC must apply guardrails to prevent its future AI tools from producing infringing copyrighted content, according to a Monday agreement reached with music publishers suing the company for infringing protected song lyrics.
Eight music publishers—including
Monday, December 30, 2024
Happy Public Domain Day! Popeye, ‘Rhapsody in Blue,’ ‘The Sound and the Fury’ and Thousands of Other Captivating Creations Are Finally Free for Everyone to Use; Smithsonian Magazine, December 30, 2024
Ellen Wexler, Smithsonian Magazine ; Happy Public Domain Day! Popeye, ‘Rhapsody in Blue,’ ‘The Sound and the Fury’ and Thousands of Other Captivating Creations Are Finally Free for Everyone to Use
"On January 1, 2025, Popeye—along with thousands of other copyrighted creations—will enter the public domain in the United States.
Every year, Jennifer Jenkins, director of Duke University School of Law’s Center for the Study of the Public Domain, publishes an exhaustive analysis of some of the most important works entering the public domain. This year, the list includes copyrighted titles from 1929 and sound recordings from 1924.
Works enter the public domain when their copyrights expire, typically 95 years after publication. At that point, they become free for anyone to adapt or build upon without permission—with a few caveats. Copyrights to audio recordings, meanwhile, expire 100 years after they were first put to wax...
As Jenkins points out, many of the celebrated classics entering the public domain this year were themselves built atop other public domain works. Disney featured more than a dozen copyright-free songs in its 1929 Mickey cartoons. William Faulkner’s The Sound and the Fury, which enters public domain on January 1, gets its name from Shakespeare’s Macbeth: “[Life] is a tale / Told by an idiot, full of sound and fury, / Signifying nothing.” Faulkner, Jenkins writes, is an “author of a timeless work that took from the public domain and now gives back to it.”"
Trademark Tussle: When Elves Land on the Naughty List; Holland & Knight IP/Decode Blog, December 23, 2024
Holland & Knight IP/Decode Blog ; Trademark Tussle: When Elves Land on the Naughty List
"CCA and B LLC, the company behind the "Elf on the Shelf" book, merchandise and the joy (or angst) of children everywhere, has found itself in a legal kerfuffle with Elena Jenkins (aka Elena Popova). The complaint, filed in the U.S. District Court for the Northern District of Ohio, accuses Ms. Jenkins of willfully infringing CCA and B's ELF ON THE SHELF® trademarks and the copyrighted images of those mischievous elves without permission. On its wish list, CCA and B is asking for an injunction, monetary damages and destruction of all of Ms. Jenkins' rogue elves."
Sunday, December 29, 2024
Copyright on the Calendar: Top Cases of 2024 and What to Watch in 2025; IP Watchdog, December 20, 2024
YAN SUN & JEFFREY HAJDIN & JOHANNA SCHMITT , IP Watchdog; Copyright on the Calendar: Top Cases of 2024 and What to Watch in 2025
"Copyright law provided an arena for some of the most interesting legal battles in 2024. We review some highlights from 2024 below, as well as some cases to watch in 2025."
We Stood Up for Access to the Law and Congress Listened: 2024 in Review; Electronic Frontier Foundation (EFF), December 25, 2024
KATHARINE TRENDACOSTA , Electronic Frontier Foundation (EFF); We Stood Up for Access to the Law and Congress Listened: 2024 in Review
"Because you wrote in, because experts sent letters explaining the problems, enough members of Congress recognized that Pro Codes is not uncontroversial. It is not a small deal to allow industry giants to own parts of the law."
A Farewell to Copyright: International Public Domain Day 2025; Denver Public Library Special Collections and Archives, December 23, 2024
Eden I., Denver Public Library Special Collections and Archives; A Farewell to Copyright: International Public Domain Day 2025
"On January 1, 2025, any work published with a copyright notice in the United States in 1929 enters the public domain. Many notable works have been entering the public domain after a 20-year pause beginning in 1999. In recent years, works like The Great Gatsby by F. Scott Fitzgerald and Disney’s Steamboat Willie have famously entered the public domain.
What is public domain, and why is it important? Public domain simply means that a work is no longer subject to copyright and is available to the public as a whole. The work is free to be copied in its entirety, reused, adapted, or distributed. The public domain is like a sandbox of works the public can use to play and create. ...
Here in Special Collections and Archives, we are concerned with the copyright surrounding both published and unpublished works. Unpublished works in which the creator died before 1955 will be in the public domain at the beginning of 2025. For unpublished works created by a company, the copyright does not expire until 120 years after the work was created. For many of these unpublished works though, the copyright was transferred to Special Collections and Archives when the physical collection was donated."