Showing posts with label ownership. Show all posts
Showing posts with label ownership. Show all posts

Saturday, December 13, 2025

Omnipotent Pervasive Malevolence


It's like the olympics of intellectual property law out here, and it's hard to keep up. Not to mention, the US economy has been swallowed whole by the tech sector, who has in turn managed to convince everyone that 1. all your base are belong to us, and 2. resistance is futile. 

They created a robot that steals the output we use as evidence of human agency (art, literature, etc.), and uses that to pretend it's a human (therapy bot, companion bot, etc.), and then it lies to, cheats on, and steals from other people, just like a real person! At this point it's hard to tell the difference, and soon, it won't matter.  

Here's a taste of how crazy things have gotten - it's possible that if you let an AI-agent (aigent?) take over your computer and use your browser, then you may be attacked by a person who doped online forum (reddit) posts with invisible but malicious prompt instructions to reset email passwords. 


Researchers suggest OpenAI trained AI models on paywalled O'Reilly books
Apr 2025, TechCrunch

It isn’t a smoking gun, the co-authors are careful to note. They acknowledge that their experimental method isn’t foolproof and that OpenAI might’ve collected the paywalled book excerpts from users copying and pasting it into ChatGPT.

Totally unrelated above image credit: AI Art - Uterus 1 - 2025


Prominent chatbots routinely exaggerate science findings, study shows
May 2025, phys.org

When summarizing scientific studies, large language models like ChatGPT and DeepSeek produce inaccurate conclusions in up to 73% of cases.

Surprisingly, prompts for accuracy increased the problem and newer LLMs performed worse than older ones.

Six of ten models systematically exaggerated claims found in the original texts, often in subtle but impactful ways; for instance, changing cautious, past-tense claims like "The treatment was effective in this study" to a more sweeping, present-tense version like "The treatment is effective." These changes can mislead readers into believing that findings apply much more broadly than they actually do.

Strikingly, when the models were explicitly prompted to avoid inaccuracies, they were nearly twice as likely to produce overgeneralized conclusions than when given a simple summary request.

"This effect is concerning"
 
via Utrecht University: Uwe Peters et al, Generalization bias in large language model summarization of scientific research, Royal Society Open Science (2025). DOI: 10.1098/rsos.241776


Anthropic's new AI model turns to blackmail when engineers try to take it offline
May 2025, TechCrunch

During pre-release testing, Anthropic asked Claude Opus 4 to act as an assistant for a fictional company and consider the long-term consequences of its actions. Safety testers then gave Claude Opus 4 access to fictional company emails implying the AI model would soon be replaced by another system, and that the engineer behind the change was cheating on their spouse.

This was found a while back as well: "When asked if it used the insider information, the bot denies it" (BBC News 2023). 



It turns out you can train AI models without copyrighted material
Jun 2025, Engadget

Ethically-Sourced Dataset - you know like 130,000 books in the Library of Congress


Why Was Nvidia Hosting Blogs About 'Brazilian Facesitting Fart Games'?
Jun 2025, 404 Media

Long story short, somebody found an abandoned Nvidia website, and filled it with AI-generated websites, all with crazy ads. Same with vaccines.gov, the American Council on Education, Stanford, and NPR, all on subdomains in varying states of useability. 

But this summary comes from user msmash on slashdot, "The operation exploits search engines' trust in institutional domains, with Google's AI Overview already serving the fabricated content as factual information to users searching for local businesses."


Maine police department apologizes for AI-altered evidence photo
Jul 2025, phys.org

"AI-enhanced" should mean "unusable", but in this case, they're just trying to do really basic photo editing, cropping a photo, and then all of the sudden it changes that actual contents of the photo.

The image from the Police Department showed a collection of drug paraphernalia purportedly seized during a recent drug bust, including a scale and white powder in plastic bags. According to police, an officer involved in the arrests snapped the evidence photo and used a photo editing app to insert the department’s patch. 

“It was never our intent to alter the image of the evidence. We never realized that using a photoshop app to add our logo would alter a photograph so substantially.”

"photoshop app"


Topological approach detects adversarial attacks in multimodal AI systems
Aug 2025, phys.org

I do not recall having seen the word topological in the context of AI, but this is about multimodal: 

When an attack disrupts the geometric alignment of text and image embeddings, it creates a measurable distortion. The researchers developed two pioneering techniques, dubbed "topological-contrastive losses," to quantify these topological differences with precision, effectively pinpointing the presence of adversarial inputs.

via Los Alamos National Laboratory: Minh Vu et al, Topological Signatures of Adversaries in Multimodal Alignments, arXiv (2025). DOI: 10.48550/arxiv.2501.18006


Is AI really trying to escape human control and blackmail people?
Aug 2025, Ars Technica

On agency; let's clear this up with a good explanation by Ars writer Benj Edwards:

Consider a self-propelled lawnmower that follows its programming: If it fails to detect an obstacle and runs over someone's foot, we don't say the lawnmower "decided" to cause injury or "refused" to stop. We recognize it as faulty engineering or defective sensors. The same principle applies to AI models - which are software tools - but their internal complexity and use of language make it tempting to assign human-like intentions where none actually exist.

In a way, AI models launder human responsibility and human agency through their complexity. When outputs emerge from layers of neural networks processing billions of parameters, researchers can claim they're investigating a mysterious "black box" as if it were an alien entity.

But the truth is simpler: These systems take inputs and process them through statistical tendencies derived from training data. The seeming randomness in their outputs - which makes each response slightly different - creates an illusion of unpredictability that resembles agency. Yet underneath, it's still deterministic software following mathematical operations. No consciousness required, just complex engineering that makes it easy to forget humans built every part of it. (Thanks Benj)
Anthropic’s auto-clicking AI Chrome extension raises browser-hijacking concerns
Aug 2025, Ars Technica

Last week, Brave's security team discovered that Perplexity's Comet browser could be tricked into accessing users' Gmail accounts and triggering password recovery flows through malicious instructions hidden in Reddit posts. When users asked Comet to summarize a Reddit thread, attackers could embed invisible commands that instructed the AI to open Gmail in another tab, extract the user's email address, and perform unauthorized actions. Although Perplexity attempted to fix the vulnerability, Brave later confirmed that its mitigations were defeated and the security hole remained.



AI startup Anthropic agrees to pay $1.5bn to settle book piracy lawsuit
Sep 2025, The Guardian

The artificial intelligence company Anthropic has agreed to pay $1.5bn to settle a class-action lawsuit by book authors who say the company took pirated copies of their works to train its chatbot.

The company has agreed to pay authors about $3,000 for each of an estimated 500,000 books covered by the settlement.

“As best as we can tell, it’s the largest copyright recovery ever. It is the first of its kind in the AI era.”

(Congrats to the Author's Guild on this one, and note they have a Human Authored Certification system for all guild members to prove they used no AI in their work.) https://authorsguild.org/human-authored/


AI chatbots routinely use user conversations for training, raising privacy concerns
Oct 2025, phys.org

Is this the second or third law of data collection? (answer below!)

In the case of multiproduct companies, such as Google, Meta, Microsoft, and Amazon, user interactions also routinely get merged with information gleaned from other products consumers use on those platforms—search queries, sales/purchases, social media engagement, and the like.

In other words, your public comments on the neighborhood surveillance app, your face from the biodata verification app, the items left in your online shopping cart, the locations you visit taken from the municipal FLOC network, and every query you ever typed into a searchbox, are all getting smashed together.

via Stanford: Jennifer King et al, User Privacy and Large Language Models: An Analysis of Frontier Developers' Privacy Policies, arXiv (2025). DOI: 10.48550/arxiv.2509.05382


The 4 Laws of Data Dynamics
1. Data must seek and merge with complementary data.
2. Data always will be used for purposes other than originally intended. 
3. Data collected about individuals will be used to cause harm.
4. Confidential information is confidential only until someone decides it's not. (p14)

--The Naked Consumer: How Our Lives Become Public Commodities, Erik Larson, Henry Holt Publishers, 1992 (read the full post: https://networkaddress.blogspot.com/2022/05/the-naked-consumer.html)

So the incident above would be an example of both the first and second laws of data collection. The third law, harm, comes next (because that's what happens after the bubble pops, of course).


Thursday, April 14, 2022

The Art Cop


I wanted to talk about Robert Volpe, the New York City Police Department's art theft sleuth, but the page I had saved is apparently no longer active. Luckily, the very helpful web browser Brave automatically asks me if I'd like to check the Wayback Machine for an archive, which I do, and which it has, and which I will re-paste right here just for furthering the sake of posterity. Although I should note that the main reference here is a New York Times article from 2006 titled Robert Volpe, Art Theft Expert, Dies at 63. You can read more in a book titled Art Cop from 1974 (see below).

Robert Volpe (December 13, 1942 – November 28, 2006), was a painter and New York City police officer and detective, specializing in art theft.

Born in Bay Ridge, Brooklyn, Volpe studied art at the High School of Art and Design, Parsons School for Design and the Art Students League of New York. His art career began with paintings of tugboats during his teenage years, and later, in the 1970s, his abstract work sold for as much as $1500. After a stint in the army, he joined the New York City police force and initially worked undercover on organized crime cases, including narcotics work related to the French Connection. After making several art crime arrests, in 1971 he was appointed the sole member of the New York City Police Department's bureau for art crime, the only bureau of its kind in the nation.

His work was varied, including art theft, vandalism, and forgeries, and he took as many as 40–50 calls per day from around the world. In 1981, he recovered an 1858 candelabrum once owned by the king of Egypt only 11 days after being notified of the theft by British authorities. Over his desk hung a congratulatory photograph from the foreign minister of Italy for recovering two ivories worth $1.5 million stolen from a museum in Pesaro. After Volpe's retirement in 1983, art crimes began to be handled by the burglary division.

Here's an even older article from which I've copied a few portions:
Art People: City's art policeman. By Michael Brenson, New York Times, May 20, 1983. 

Mr. Volpe is the art squad of the New York City Police Department. For almost 11 years, he has worked this beat alone in a city he describes as the ''clearing house internationally for art.'' Not only is he the one-man art squad in New York, but he is also the only detective in the United States ''designated to investigate artrelated crimes,'' he said. Internationally, he added, there are about a dozen art detectives, including four-man units in Britain and Italy.

The 40-year-old, Brooklyn-born son of a banker, whose formative years with the Police Department were spent as an undercover agent for the narcotics squad, knows the New York art world as well as many artists and dealers know it. In his boots, dungarees and sweater, with his thick mustache, he is a familiar figure in galleries. ''I guess you could say some of my best friends are dealers,'' he said.

Mr. Volpe also keeps abreast of what goes on at the auction houses. He was at the Sotheby Parke Bernet galleries on April 18, the day before the theft of a diamond valued at $500,000 to $600,000 was discovered. He has been called in to work on the case with detectives of the 19th Precinct, who have jurisdiction over it. ''I know all the players in the game,'' he said. ... collectors, curators, dealers, framers, restorers and packers. 

...
Before Mr. Volpe began the job in 1972, a police art squad did not exist. ''I was brought in to make a survey and see if there was something in this area,'' he said. ''Instead of coming back with a report, I started coming back with arrests and recoveries. So, obviously, there was a need.''

In the last few years, he has been deluged. He said he received up to 50 telephone calls a day, ''anything from reports of theft, to requests from private dealers and from police departments here and around the world, to someone asking me what kind of acrylic brush to use.''

...
[One of his most memorable cases] "of little significance," he said. It involved a Brooklyn artist, now dead, whose sculpture tools, along with seven statues of rabbis he had made, were stolen. The artist was so distressed by the robbery, Mr. Volpe said, that he wound up in an intensive-care ward.

"I did something unprofessional," the detective recalled. "I promised him I'd get them back. I dropped everything I was doing and went out on the street. I talked to hookers and junkies. I found out that a couple of pieces were being sold at subway stops for $5 each. Eventually, the information started fitting together. I got all the pieces back. A week and a half later, he got out of the hospital, and I presented him the pieces and helped him find a new studio."

And another good story about him here:
Robert Volpe; World-Renowned 'Art Cop', By Adam Bernstein, Washington Post, December 1, 2006.

Once, he portrayed a gay Rhode Island art dealer named Damien Renar. When he arranged to meet the thieves, he was dressed in a white linen suit, and he relished the dramatic showdown, he said, when he could pull his police revolver from its holster and shout, "Freeze, you [expletive]!"

"Grade B movie stuff," he told the Times. "You find you have to behave that way. You don't come off with authority, you're done."

When he retired in 1985, he estimated that he had recovered tens of millions of dollars worth of Byzantine ivories, Oriental rugs, Greek marble heads, Tiffany glass, Matisses, Raphaels and other treasures. For a period, he noted a particularly high trade in faux antique French furniture.

"If all the old French furniture was real," he told the Christian Science Monitor, "there would never have been a French Revolution. Everybody in the country would have been too busy making furniture."

And ^THAT is a good lesson to remember when thinking about the world of fakes, frauds and forgeries. 


Post Script, On the Charm of an Art Thief:
Overall, he said, the recovery rate for stolen fine art was at best 10 percent. He lamented to Time magazine that judges rarely gave harsh sentences to art thieves.

"An art thief is entertaining, romantic," he said. "I've seen cases where the thief has pleaded guilty and gotten no sentence at all."

Notes:
Art Cop: Robert Volpe, Art Crime Detective, by Laurie Schneider Adams on Dodd, Mead & Co. in 1974. ISBN13: 9780396070207. [goodreads]

Tuesday, July 17, 2018

On Ownership


NASA doesn't get sued, but when it does, it's over property rights.

Tl;dr - 50 years ago, Neil Armstrong gives a 10-yr old a vial of moon dust. Today, 60-yr old 10-yr old girl pre-emptively sues NASA in case she gets charged by NASA for ownership of said dust.

Hmmm, you wonder. Where was I when Neil Armstrong was handing out moon dust? Then you ask, wait a minute, who owns the moon?

NASA owns the moon. Actually not NASA, but the USA owns the moon.

Apparently there's a little black market for space paraphernalia (10's of millions at least), and the SWAT team have been known to work real hard to bust up that market and return such otherworldly items to their rightful owners.

There's a grey area in that little black market, however, which says that 1. Astronauts should be able to do whatever they want with the stuff they bring home, and that 2. There isn't a specific law saying that private persons can't own moon dust.

I don't know enough about property rights to keep this conversation going. But I do harken back to the distant Native Americans' puzzlement about fences and property, and wonder what they would think about this.

Notes:
Woman sues Nasa over ownership of moon dust vial
June 2018, BBC News

Sunday, February 18, 2018

Property Rights


Getty Images complained enough about their right to intellectual property that Google basically disabled their image search engine.

That's right, go search for an image, and then try to view or save that image. And then wind your clocks back to the year 2005ish.

We now have to revert to searching through an entire website in order to find the image we've already "searched". Not ideal; in fact, it ultimately defeats the purpose of an image search function in the first place.

Not sure which part is more upsetting, that image searching just took a step back ten years, or that such a large entity as Getty is so clueless about how the modern world works. (Then again, there seems to be a lot of that going on these days.) And by clueless, I mean not recognizing the existence of a thing called the right-click.

In case you're having the same facepalm moment as myself, yes, right-clicking on the image and "open in new tab" completely defeats the purpose of the new changes, and erodes our confidence in large cultural institutions such as Getty, both at the same time.

Also, trademarks and logos are excluded from this new change.

Anger at Google image search 'peace deal'
Feb 2016, BBC


Post Script

But wait, because it doesn't end there. I like to provide proper source references for the imagery used on my page, just because. The problem I run into lately is this - many of the images I want to use have been populated to my search results from Pinterest (because they are owned by Google, let's not forget, it's no coincidence they run the image-search game). And people who post on Pinterest are very unlikely to leave source credits. And yet Pinterest is owned by Google, and so they dominate the image search results. So the chances of my finding the image on a site that gives its source due credit are close to zero. Soo, as a person who wants to do the right thing - the thing that Getty wants me to do, and the thing that Google ostensibly wants me to do - I cannot, because of the very entity that has made these changes in the interest of 'doing the right thing'. That's enough for today.


Post Post Script

Now we've covered that, it seems an appropriate moment to remind ourselves about the specifics of intellectual property. As a creator, all you have to do to gain the right to your own intellectual property is to make the thing.

You're a musician? Make a recording. Artist? Make a painting. Writer? Write it down. Once you have fixed that intellectual product into some physical form - be it a recording, painting, or even a poem scratched into the dirt and then photographed - you own it.

So that sounds great. Until you think about how some cultures, like the people who lived in America before Europeans, do not fix much of their cultural products into physical forms. Sand paintings? Not fixed. Tribal songs? No recording equipment, not fixed.

If you get upset because you can't find that Getty image, just take some cultural products from a culture that has no property rights (intellectual or physical). Public domain forever!

Grimm's fairy tales, that's another one. They were spoken, not written down. So when Disney went and took them all and made cartoons out of them...

Sunday, April 9, 2017

I Got Your Back

Topless. Now that I have your attention.


This is just nuts. The guy is renting out his back - no - he sold his back, like the back of his body, to an artist who tattooed it and now showcases the guy like an objectified piece of art, and the artist will eventually own his body long after he dies.

Dinner party conversation, discuss amongst yourselves.

The man who sold his back to an art dealer
BBC, 2016

The work, entitled TIM, sold for 150,000 euros (£130,000) to German art collector Rik Reinking in 2008, with Steiner receiving one third of the sum.
"My skin belongs to Rik Reinking now," he says. "My back is the canvas, I am the temporary frame."

As part of the deal, when Steiner dies his back is to be skinned, and the skin framed permanently, taking up a place in Reinking's personal art collection.

This practice is common in Japanese art history(?)

"As part of his contract, Steiner must exhibit the tattoo by sitting topless in a gallery at least three times a year.

His first exhibition took place in Zurich in June 2006 - when the tattoo was still a work-in-progress. When the 10th anniversary fell last year, he was in the middle of his longest-ever exhibition, a whole year at the Museum of Old and New Art (Mona) in Hobart, Tasmania, working five hours a day, six days a week.

...
"I've been touched, blown on, screamed at, pushed and spat on, it's often been quite a circus," he says. "But I wasn't touched a single time on this trip, it's a miracle."
...
But he rejects the idea that this is performance art. "If the name Wim Delvoye was not attached to this tattoo, it would have no artistic relevance," he insists.
It is part of Delvoye's intention, though, to show the difference between a picture on the wall and a "living canvas" that changes over time.
"I can get fat, scarred, burned, anything," Steiner says. "It's the process of living. I've had two lower back operations."
...
"And one day TIM will just hang there. Beautiful."

Sunday, September 14, 2014

On Irony Ad Infinitum




Curtis Kullig, LoveMe, on the subject of intellectual property and consumerism:

…all literally my exact Love Me lifted. No permission, no compensation, no deviation from what I had made. … the only real way to perfect what I created is to launch it in larger platforms. … I had to start putting out product in different categories in order to prevent someone from taking it. The irony is that there are critics who will tell you I’m a sellout, or that I came up too quick, but really, am I just supposed to bend over and let massive brands co-opt what I created without even asking or paying?

“No way”, he says….

Juxtapoz, March 2013