Artificial Intelligence: Intellectual Property Rights

The debate can technically run until 6.04 pm.

I beg to move,

That this House has considered the potential impact of artificial intelligence on intellectual property rights for creative workers.

It is a pleasure to serve under your chairmanship, Mr Robertson. I am delighted to have secured a debate on such an important and dynamic topic.

The rapid rise of artificial intelligence seemingly knows no bounds. Each week, a new AI tool is launched that drives further change across business, science, the arts and everyday life. When I applied for the debate, no one had heard of ChatGPT, but now it is writing speeches for the Chancellor. AI can undoubtedly bring significant advancements across a variety of fields, from aiding medical diagnoses to predicting environmental disasters. AI is transformative. It goes further and faster than humanly possible. Quite rightly, it has been identified as one of the UK’s key growth industries, and it is vital that Government policy supports digital innovation to position the UK as a world leader in this field.

But just as AI brings many benefits, it also carries significant risk. AI is rapidly permeating the creative sector, creating visual art, prose, music and film at a pace and cost that humans are unable to match. For creatives, the risk of AI-generated material flooding the market gives rise to significant regulatory and ethical challenges, but these can be overcome, or at least mitigated, with well thought out and considered policy that balances the legitimate concerns of creatives with the need to foster digital innovation. I am therefore pleased to bring this debate to Parliament to discuss those challenges on the record and to give a voice to the millions of creative workers across the UK whose careers will be impacted by AI.

We have all seen how quickly AI can redefine industry norms. We must start exploring how we balance our digital and creative future. What is the outlook for our musicians, journalists, visual artists, publishers and performers in an increasingly computer-powered world? With the help of the Chamber Engagement Team, I conducted a survey of over 200 creative workers to hear how AI was impacting their work. Many said that their work, which they own the copyright for, had been used without their consent by AI companies. One respondent, Richard, noted that, in recent weeks, almost 600 of his copyrighted images had been scraped off the internet to train AI platforms, for which he has not received a single penny. Another survey respondent, Henry, said:

It is pleasure to serve under your chairmanship, Mr Robertson. I do not wish to speak for a long time. I congratulate the hon. Member for Richmond Park (Sarah Olney) on her excellent opening speech. She made some powerful and important points.

Last year, I was briefly the Minister for tech and the digital economy, and this issue came within my remit. It sits between the Department for Digital, Culture, Media and Sport and the Minister’s Department, the Department for Business, Energy and Industrial Strategy. I was surprised then, and I am surprised now, by the result of the Government’s consultation. The recommendation that was made is the most extreme of the options considered. It is unsurprising when we read the responses that, on the whole, rights holders complained that the general exemption was a bad thing, and researchers and developers who wanted to do it thought it was a good thing. However, the Government’s response seems to completely dismiss the concerns raised by rights holders and entirely favour the people who wish to exploit this data for their own benefit.

It is quite clear that people are seeking to extract value from data that other people have created in order to create products and tools from which they themselves will benefit commercially. There are already lawsuits in the music industry between musicians who claim someone else has listened to and copied their work and sought to benefit from it commercially. For example, someone could take the back catalogue of every track ever written by the Beatles to learn the techniques and methods. From that, they could create new music composed in the same style, as if the group was at its peak of writing and recording today. They would do so without the consent of the rights holders of that content, and they would make money out of it for themselves.

We can easily see how that kind of passing off could occur at scale, without any licence or exemption, or any benefit for the original creators. We should be concerned about the impact that will have on the creative economy. Many experts believe we are already very close to the day when AI will be capable of creating a new No. 1 download track or even a hit movie.

The example of the Beatles is an excellent one that we can all relate to. However, the Beatles have already generated a great deal of wealth from that back catalogue. Does the hon. Gentleman not think it would be a greater threat to new and emerging artists, who perhaps have not yet achieved the reach of the Beatles, that their copyright could be breached and their music replicated before they have even had a chance to establish themselves as an artist and as the correct owner of that work?

The hon. Lady is completely right. It has an impact on new artists in two ways. First, they are competing against AI-generated generic music from legendary artists. Secondly, the technology could be used to spot new and emerging artists who may be gaining in reputation and popularity, to quickly copy their style and techniques by analysing the data and text from their works, and creating new works from that. It opens the door to the machines really taking control of the creative process, to the detriment of original artists.

The important point of principle is that when people have created works, they should have the say on how those works are exploited. It is detrimental for another organisation that sees value in that work to take it, mine it, create something from it and claim it as its own. It would be rather like saying, when radio launched, “Well, we don’t really think that we should pay artists any money for playing their music on the radio because the radio creates a new audience for their work; more people are likely to buy records as a consequence, and charging for music would inhibit the growth of radio and radio stations, which have a huge benefit to the country.”

As technology has developed, we have decided to recognise that, with technological advances, we must reward the creators as well. Their work is exploited through those technologies to entertain and engage people, and it has a value too. If we deny them access to that value, we will restrict their work and the future work that will come from it.

I think that it is very important that there is at least an opt-in or an opt-out. The Intellectual Property Office cites other jurisdictions in the world where exemptions exist. In its preamble, it cites the EU as one of them, but what it does not say is that there are pretty fundamental differences between the way that it works in the EU and the proposals for the UK. The IPO has also taken the most extreme option of having very general exemptions.

I thank the hon. Member for Richmond Park (Sarah Olney) for setting the scene so well, and the hon. Member for Folkestone and Hythe (Damian Collins) for contributing so well. When I listen to them, I am very aware that their knowledge of this subject is much greater than mine. However, I wanted, as I always do, to try to give a Northern Ireland perspective on it, because of its importance to creative workers and the creative sector.

The lockdowns were incredibly hard for so many businesses, but the creative arts were the forgotten business. I am pleased and proud to have been a member of Ards Borough Council for some 26 years prior to coming here. We had a massive focus on the creative arts. We promoted them greatly and got much out of them, as did our communities. During the covid crisis, for some three years, our musicians, actors, playwrights and theatre workers were unable to go to work, and the only way of keeping things going was to put those things online for people to enjoy and get a taster of.

Prior to the lockdowns, it was estimated that the creative industries—which are not quite the same as, but strongly overlap, the culture and heritage sectors—made up around 5% of businesses in Northern Ireland, employed around 25,000 people and accounted for 2.7% of Northern Ireland’s total gross value added, contributing some £1,088 million. That is no longer the case, as the lockdowns have decimated the sector. The hon. Member for Richmond Park put forward the case for the sector and the hon. Member for Folkestone and Hythe reiterated its importance, as will others who speak. I very much look forward to hearing what the Minister will say.

Thankfully, the lockdowns have ended, yet the threat to the creative industry has not lessened. Indeed, the proposals have escalated the threat. As the hon. Member for Richmond Park has put it so well:

“These proposals would be damaging to creative workers, such as in the music and publishing industries, as AI companies would be able to use their works without permission or payment. This would lead to a huge transfer of value from the creative industries to AI companies and also potentially damage the competitiveness of our world-leading creative industries”

It is a pleasure to speak under your chairmanship, Mr Robertson. I am mindful of the need for the wind-ups to take place, so I will try to be brief.

I congratulate the hon. Member for Richmond Park (Sarah Olney) on introducing the debate and rightly stressing that there is a balance to be struck. AI will bring huge benefits to our society and to the cultural sector—indeed, the sector has been using it for many years—but it needs to have rules. We cannot have an ideological move towards tearing up rules with a deregulation agenda. Every industry needs regulations, whether they are electricity regulations or financial regulations. They benefit not only consumers and, obviously, the workforce, but companies, which get a degree of certainty about the areas in which they operate.

Colleagues have looked at some of the technical aspects and some of the specific effects on the industry. I want to put the issue in a slightly broader context. The music industry, which has rightly drawn attention to a number of the difficulties here, is one of the wider cultural industries in this country. It forms an enormously powerful ecosystem that is important not just in and of itself, and not just because of its economic benefits, but because of its wider societal benefits. It is one of the things—it is certainly not our weather—that makes the UK an attractive place to visit and work, not necessarily just in the cultural industries, but particularly in industries with more mobile international talent. Where are those people going to work? Would they rather work in Frankfurt or in London, Manchester or Edinburgh? These are very important considerations for the UK more widely.

This is not just about the technical side; the creatives are the key. Why did Disney recently change its chief executive? Because it felt that it was getting out of touch with its creative talent. Rupert Murdoch, a practitioner of realpolitik if ever there was one, famously said that “content is king”. By bringing those things together, we form a creative ecosystem that feeds on itself. That is why so many film companies are coming to the UK— because they are able to call on such a wide range of talent. It would be extremely unwise of us to create a deregulated sector, causing those considering where they should locate to ask, “Is my content safe there? Are there other jurisdictions where it would be better protected?” Those are the sorts of issues that we need to be discussing and focusing on.

We now come to the Front-Bench speeches. I call John Nicolson, who has five minutes.

Thank you, Mr Robertson. I congratulate the hon. Member for Richmond Park (Sarah Olney) on securing the debate.

As I was preparing for the debate, I was thinking about the pace at which artificial intelligence is advancing. All of us, I am sure, have seen news reports these last few weeks of free-to-use artificial intelligence sites being able to muster, at inhuman speeds, reams of error-free text or digital images in response to a simple command from a user. Vain social media users—some of them politicians, perhaps—were asking bots to touch up their profile photos. Students had been asking AIs to write their university essays. So I thought, “Why not?” I asked an AI to write me a speech about the impact of AI on the creative industries.

I discovered that I could tell the AI what tone I wanted for the speech. I was offered a choice of “poet” or “philosopher”. I went for philosopher. The AI got into its stride. “In the past,” it wrote,

“creative tasks, such as writing, editing, and design, were completed by humans, often with the help of specialised software and tools.”

“Humans.” “In the past.” It is almost chilling, Mr Robertson.

My automated pal continued. It was on a creative roll and it wanted to talk about creation. I quote:

“One of the most significant impacts of AI on the creative industry is the potential to automate”

—a split infinitive, you will notice—

“many of the creative tasks that were previously done by humans.”

Back to me again. I am not sure about other hon. Members, but I think creativity without the creative process—without the humans—just seems so soulless. On the upside—this must be music to the ears of some free-market zealots—my AI speechwriter continued:

It is a pleasure to serve under your chairmanship, Mr Robertson. I congratulate the hon. Member for Richmond Park (Sarah Olney) on securing this vital debate on the potential impact of artificial intelligence on intellectual property rights for creative workers. I thank all the Members who took part and observe that although each Member who spoke before the Front-Bench speeches was from a different political party, they were united in condemning the proposals, and for very good reasons.

From the Brontë sisters to the Beatles, from Jane Austen to Arlo Parks, from David Bowie to Sam Fender, we are and have always been a country of creators. More than 3.2 million people in the UK are employed in creative sectors, and Government figures estimate that our creative industries contributed £115 billion to our economy before the pandemic. It is a great pity, then, that the Government’s creativity seems to be limited to finding excuses for their misbehaviour and their lack of active engagement in our great industries. To the Conservatives, it appears that regulation is a dirty word, but as my right hon. Friend the Member for Warley (John Spellar) pointed out, the right regulation can support and enhance our great industries. The digital may present a new technological frontier, but our creative industries and the AI sector do not need to be in conflict with each another. Indeed, as the hon. Member for Folkestone and Hythe (Damian Collins) emphasised, AI can support and has huge potential for the creative industries, but creators need the ability to enforce their rights over their work.

The IPO’s proposals include the introduction of a new copyright exception in order to promote AI, as we heard. That would remove the need for a licence and cut the opportunity for performers or creators to be remunerated for their work and talent. The House of Lords Communications and Digital Committee’s report on the future of the creative industries called that proposal “misguided” and asked the Government to halt the proposals. Not only would they undermine the basic principles on which our creative industries are based, but they could enable international businesses to scrape content created by others and users for commercial gain without payment to the original creators here in the UK. As the hon. Member for Strangford (Jim Shannon) said, it could very much undermine our competitiveness in this key area. Last week, the singer, Rick Astley, filed a lawsuit against another musician for the impersonation of the classic hit, “Never Gonna Give You Up”. We are talking about a charter for the automation and industrialisation of such impersonations. I fail to understand why the income of our artists, musicians and creators is being risked in that way.

It is a great pleasure to serve under your chairmanship, Mr Robertson, and to have the chance to put the record straight in answer to the sensible points and questions made in the debate.

I congratulate and thank the hon. Member for Richmond Park (Sarah Olney). Had the debate not been scheduled, I would have hoped for someone to secure such a debate in order to give me a chance to explain the situation. I also thank all colleagues from across the House, from all parties, who have spoken this afternoon. I think we have covered most of the points.

It is a particular pleasure for me not only to be back in this role as the Minister responsible for AI, the Office for AI and the Intellectual Property Office, as part of my wider role as Minister for science, research, technology and innovation, but as someone who years ago ran a very basic AI drug discovery business. I mean, it was very basic: it was an algorithm with an elastic band connected to it compared with the technologies of today. It deployed basic early AI to look in the pharmacopoeia of “failed medicines” to find those that are actually dream medicines for certain segments of the population, trying to reprofile them.

I have therefore seen for myself how AI, properly deployed in an ethical framework, can be a huge driver for not only drug discovery, but better medicine and public services. I am also from a family with a lot of interest in the creative industries—my wife is a musician, artist and writer, my brother works in film and I have published a book—so I am very aware of the balance that has to be struck and that colleagues across the House have spoken about this afternoon.

I think it is fair to say, as a number of colleagues have, that AI is coming at us as a transformational technology at a pace that we have not had to deal with before in Government. The pace, the halving of technology cycles, and the speed at which it is maturing and reinventing itself are creating some big and interesting challenges for established industries, new industries that are taking shape and creators across all the different spheres of the creative industries. We need to get the balance right.

I thank the Minister for that welcome announcement—I presume it was an announcement? I understand that this has to go through a number of stages of inter-departmental consultation, but could he give any idea of when a definitive policy will be produced?