Artificial intelligence and copyright

In the 2020s, the rapid advancement of deep learning-based generative artificial intelligence models raised questions about the copyright status of AI-generated works, and about whether copyright infringement occurs when such are trained or used. This includes text-to-image models such as Stable Diffusion and large language models such as ChatGPT. As of 2023, there were several pending U.S. lawsuits challenging the use of copyrighted data to train AI models, with defendants arguing that this falls under fair use.

Popular deep learning models are trained on mass amounts of media scraped from the Internet, often utilizing copyrighted material. When assembling training data, the sourcing of copyrighted works may infringe on the copyright holder's exclusive right to control reproduction, unless covered by exceptions in relevant copyright laws. Additionally, using a model's outputs might violate copyright, and the model creator could be accused of vicarious liability and held responsible for that copyright infringement.

Since most legal jurisdictions only grant copyright to original works of authorship by human authors, the definition of originality is central to the copyright status of AI-generated works.

The Copyright Clause states:

The US Congress and Federal Courts have interpreted this clause as being limited to works "created by a human being", declining to grant copyright to works generated without human intervention. Some legal professionals have suggested that Naruto v. Slater (2018), in which the U.S. 9th Circuit Court of Appeals held that non-humans cannot be copyright holders of artistic works, could be a potential precedent in copyright litigation over works created by generative AI. Some have suggested that certain AI generations might be copyrightable in the U.S. and similar jurisdictions if it can be shown that the human who ran the AI program exercised sufficient originality in selecting the inputs to the AI or editing the AI's output.

Proponents of this view suggest that an AI model may be viewed as merely a tool (akin to a pen or a camera) used by its human operator to express their creative vision. For example, proponents argue that if the standard of originality can be satisfied by an artist clicking the shutter button on a camera, then perhaps artists using generative AI should get similar deference, especially if they go through multiple rounds of revision to refine their prompts to the AI. Other proponents argue that the Copyright Office is not taking a technology neutral approach to the use of AI or algorithmic tools. For other creative expressions (music, photography, writing) the test is effectively whether there is de minimis, or limited human creativity. For works using AI tools, the Copyright Office has made the test a different one i.e. whether there is no more than de minimis technological involvement.

This difference in approach can be seen in the recent decision in respect of a registration claim by Jason Matthew Allen for his work Théâtre D'opéra Spatial created using Midjourney and an upscaling tool. The Copyright Office stated:

The Board finds that the Work contains more than a de minimis amount of content generated by artificial intelligence ("AI"), and this content must therefore be disclaimed in an application for registration. Because Mr. Allen is unwilling to disclaim the AI-generated material, the Work cannot be registered as submitted.