Okay, let's go, and that makes you happy. Good morning, everybody. Good morning! So my name is Chris Morrison. My name's Jane Secker. And we are the co-chairs of the Association for Learning Technologies, Copyright and Online Learning Special Interest Group. And this is our 58th webinar. 58th webinar that we've run since March 2020. About copyright and online learning at a time of uncertainty. And just general great conversations about copyright and keeping everybody up to date. So we're delighted to be back here again to have many regulars joining us. And to have our guest with us. And a great guest. He's going to be talking about copyright and artificial intelligence. So we're really looking forward to it. We'll come on to that in a moment. So this is just the overview of what we've got. We've got quite a few bits of copyright news, some news items, many events coming up, many exciting events. But as you say, we have Margarita Vindesh here joining us from Zurich to talk about copyright, AI and artistic works. A very hot topic. Absolutely. And we're going to dig into some of that. Yep. So what's happened since we've last met? We've got a couple of points here. These are, I think these are health and well-being related, aren't they? Yeah, we're definitely. Yeah, it's not January anymore, but it's February. So, but we still try to keep ourselves happy and healthy. And we should say, this webinar is not sponsored. So these products that we've been, we're entirely our choice, but I mean, many people are horrified by my choice of footwear here, which are the vibrant five fingers in a way to... I think we need some comments appearing in the chat that of what people think actually. I think it's one of those things. Don't let them see them in real life.  Right. If you're not in the club, then you might find them horrific. But actually they are up in it, right? Right. Excellent. But you've been, you've also been doing something to improve your... I have, yeah, yeah. I've discovered, I'm telling everybody about the benefits of taking turmeric or turmeric or whatever you want to call it. So this is something that I started taking about three weeks ago. I felt like a new woman. You do, indeed. Yes. So just recommending a couple of things there. And we've got some... Maybe not the shoes. Lisa says, better foot shoes all the way. She's in the know. Okay. Okay, right. So we just to say, we have an archive of all the previous webinars and blogs on the copyright literacy.org website also on Alts YouTube channel. Yep. And we've got some links going in there. Thank you very much, Greg. Oh, yes, thank you. And here we go. It's time for... Copyright News. Copyright News. So news item number one, the UK government has axed its plans to broaden the text and data mining exceptions. So this was news we brought you a while back that there were plans to broaden this out to allow commercial text and data mining under copyright exceptions. And they have chosen not to do that. Interesting process. They had a consultation. Yes. And then they just made their decision and then they reversed their decision. Yes. So I mean, that's a whole other conversation really about the process of lawmaking, advocacy and lobbying. But certainly I think something that we will likely be returning to in our conversation later on today because text and data mining computational analysis is so central fundamental to the area of artificial intelligence. Yeah. But that's hot off the press. This is also hot off the press. It is. It's up on the copyright literacy blog. It's the annual report of the activities that we've been doing under the all species of the Alts Copyright and Online Earnings Special Interest Group for 2022. So if you want to know what we've been up to in addition to running these webinars, which obviously feature, then that's the place to go. Have a check out our annual report. Absolutely. The next news item is an event, the Knowledge Rights 21 program. We've been featuring quite a lot of the work they've been doing. They are holding an event on flexible copyright exceptions next week. Yeah, Thursday. And that is on the 13th, which is Monday. It is, yeah. So that, again, is going to be a really useful and interesting discussion there about flexible copyright exceptions in different jurisdictions around the world. Now, copyright. I think we've got Emily Hudson talking, haven't they, as well? I think. I believe so. Today, hello, Emily. So looking forward to that one. Next news story. Yeah, next up. So last year, for the first time in the UK, we ran a number of events during what's called Fair Dealing or Fair Use Week. It started in the US. And we're really excited to be running an event in conjunction with the Institute of Advanced Legal Studies. It's going to be on the 20th of February. And we've got a fantastic speaker, Amanda Wackerook, who is the Scholarly Communications University of Alberta. And we're also going to be joined by Carl Cagel, Courtney, who will be coming on. Ile himself. Yeah. So that is now available for booking. We've put a link in on the ILAS website. If you want to join it, it's a webinar, so open to all. And it'll be five o'clock in the evening.  Absolutely. Amanda's a fantastic speaker. Some of you will have the work that we've been doing with her. We're looking forward to this session. But that's not the only Fair Dealing week session coming up. So the Scurl Copyright Group, it's Copyright and Legal Group. So that's the Scottish, it reminds us what Scurl stands for. It's your university and research libraries group, isn't it? And I've put together yet again, another fantastic program here with some really great speakers. We've got Zoe Crochita, who spoke to us about filter, upload filters and the relationship to the digital single market. We've got Emily Hudson talking about the work she's doing, looking into scholarly monographs and open access. Open access, absolutely. So really looking forward to that one. Yeah, yeah. So lots of things to put in your diary if you want to go along. And another event. Another event. So this is one. What is Oxfords? The Oxford Festival of Open Scholarship. This is one of the key events that the team I'm part of, the Open Scholarship Support Team at the University of Oxford based in the Bodleian Libraries does a two week event where we primarily promote things to Oxford researchers and students and everyone who works there and is part of the Oxford family. But this is an external event that will be happening in real life, in person at the Western Library at the Bodleian Libraries. But the reason why it's quite short notice is because we've actually been working on the feasibility of running it as a hybrid event where people can remote in. And I'm delighted to say that we are running it as a remote event. Haven't you got the bookings up there? So what Greg has posted into the chat is an expression of wish interest or expression of interest for and we'll send out the invitations. But we'll also do it on all the mailing lists, copy, copy, so. But it's a discussion about where the copyright form is necessary to achieve an open access future. We have Professor John Wilinski from Stanford talking about that. I saw an Estefe who some of you will have heard on this webinar. She's a friend of this webinar and did a great copyright waffle. She did. We've got Chris Banks from Imperial and Andy Redmond from OUP. How do you go in to perform the song as well? The song about Asun coming to the UK. Yeah. I think you should be there taking your guitar. We will see. We'll see whether that fits into the Bodleian context or not. Yeah, I think that's Western Library that we go down well. Bit more rock and roll. I'll make those notes. But that one's really exciting. Excellent. At the end of all the exciting things, is it? No, it's not. It's not. We're going to be speaking at the end of March at the University of London's RIDE conference, which is Research in Distance Education. So it's run by their Centre for Online and Distance Education. And there is going to be a panel at the end of the Tuesday, which I think is the 28th of March, where we're going to be looking at open education and kind of how we can kind of turn that into sort of from theory and to practice. And there'll be a line up of speakers that Chris and I are just two of the members of. But the conference programme is now up on the website and it's available for bookings. And I believe it's being run as a hybrid event as well. I believe there isn't a registration fee if anyone's in London and they want to come along to that conference. Yeah. But even that's not the end of the exciting news, is it? If it couldn't get anywhere, it's like, at this point, I needed party poppers. Oh, right. OK, we don't have any party poppers. Can you play the theme tune? Many... The ice pops theme tune. I think we might need to get this together. We don't actually have ice pops theme tune, do we? Don't know. But the International Copyright Literacy Event with playful opportunities for practitioners and scholars. Many people here are aware of it. It is back. It's coming back. It's coming back with a vengeance. It's going to be brilliant. It's happening in Glasgow. At the end of July, we are partnering with Create, the research centre for copyright and the creative economy, whose work is... It's going to be a bit like a festival, isn't it? We're thinking about it as a festival... Festival of Copyright Literacy. It's like a camping, on-site camping as well. Glasgow in July? Yeah. I mean, maybe not in the middle of the city. OK, OK. I'm just thinking of, you know, the pyramid stage and all, you know, it's sort of, if you haven't got a ticket for Glastonbury, this is the next best thing. I would say it probably is, yeah. I mean, we've got one keynote confirmed, who is Professor Nick Whitton from the University of Durham. Nick is one of the leading experts in playful learning. So we're returning to the concept of playfulness and games and gaming industry. We know Create have a lot ties in Glasgow and Scotland. There's an awful lot of creative stuff in the game industry space. So we're delighted to be doing that. More details coming, but please put the all we want call for contributions is open. We want your contributions to share your creative ideas about copyright education. The booking is not yet quite open. The book is not quite open. Save the date and think about if you want to come and speak at the event and also kind of watch this space for more. We will get the bookings up in the next couple of weeks. So before we move on, I just want to acknowledge James, James Bennett, your comment about ride and shoe gazing. Yes, noted. I don't think there'll be lots of sort of swirly, psychedelic indie guitar noise at that particular event. But maybe we could we could introduce it. I don't know. Another festival. Another festival. A lot of time. Let's turn all academic conferences into festivals. Now, it's quarter past. It is. It's time to move on. Yes. And we are absolutely delighted to be welcoming guest today, Margarita Vindesh, who is a PhD candidate at the Centre for Law and Economics at ETH Zurich. We met Margarita actually when we were in. Yeah, great. At the Advanced Research Centre. We had a really great conversation with her. Now, Margarita's area of specialism is artificial intelligence and copyright, particularly as it relates to art and artists. So we won't say too much more to steal Margarita's thunder. We we've spoken to her about the links between copyright and online learning, which is what we're covering and the artwork and an art world that the Margarita looks at. So there are some links there, but we're really going to hand over to Margarita to share with us what she's been working on and give us some insight into what is clearly a very hot topic. A lot of people talking a lot of stuff about AI and we're really glad to have her putting it into some kind of sense and make it happen. Absolutely, yeah. So Margarita, are you are you receiving us? Can we hear you? Yes, I'm here. Excellent, right. I'm going to going to stop the sharing house lights.  The floor is yours. So also, so thank you, Jane and Chris, first for the very nice introduction and hello to everyone. I'm very happy to be here and to talk a bit about the pressing question regarding copyright law and AI and also about my background and my research in this topic as a PhD candidate. And to give you a bit of a background for myself, so I have a classical legal background where I was already like fascinated by copyright law and intellectual property law in general. But what many of the people don't know is that I also have a creative background. So I went to a fashion school before my legal studies. I come from a very artistic family. And so now the PhD allows me to combine the creative part with the legal aspect and doing research on that and also to connect the different stakeholders, such as artists, AI developers, and legal scholars as myself, which is amazing. So I love what I do. And everyone hears about AI in different contexts are almost every day in the news and how it is disrupting the creative industries and the work of artists, but also what positive impacts AI has on their work and the future of creation. And then there are also some questions regarding copyright infringement and the future of creators in general. So it is a very exciting topic to research on and to dive deeper. And for today's webinar, we will first briefly get into the basics of copyright law, especially in the digital age, and then dive deeper into copyright law in the context of AI and discuss the questions of copyright authorship and copyright infringement, and then also what are the possible remedies and how to continue in the future. To get everyone in the same page, copyright law provides creators of original work with a bundle of exclusive rights, be it for literal, musical, artistic works that are fixed in any tangible medium. And in most countries, the duration is the life of the author plus 70 years. And it is limited to the expression of ideas and facts, but not the ideas itself or functions or facts are not protected and default automatically into the public domain. And next to the economic rights, as copyrights there are the moral rights, which give the creators also personal rights, like the right to be attributed or the right to object to any alteration of their original work. And we already saw in the last decade that technology significantly shaped the way creative works are produced, distributed, and used. We have seen an increase in created works that are also then made available to consumers, and we haven't seen a decrease of costs such as in production, distribution, and advertising. And already back then or until now, one of the most pressing question was how do we identify and prosecute copyright infringement online? And this got now even more difficult in the context of AI, where the first question is, can the output of generative AI models, can it be copyrighted? And if yes, who owns the copyrights or who's the author of the output? And also regarding the question of copyright infringement, is there any infringement happening? Do copyright owners, where their work is being used to train the AI, have any legal claims over the model or over the content that it creates? And based on those questions, we can then also look at, how should we deal with the consequences of AI in the creative industries? What kind of legal constraints or restraints should or could be put in place? And also, how could the relationship between AI developers and copyright owners but also the users of the AI could look like? And what makes it even more complex is there are different stakeholders involved with different interests. So we have the creators whose work is being used to train the model. Then we have the AI developers who develop the model. Often it is an AI company. And then we have the user of the AI, which are also often creators that use AI as a mere tool. And then we have society as a whole. And to tackle the first question I mentioned regarding copyright authorship, we so far have human authorship as a guiding principle. And there are three examples you see in the US context of copyright law, where you might remember the monkey selfie case where a photographer gave a camera to a monkey and the monkey took all the pictures in the jungle. And there the Court of Appeal of the Ninth Circuit said that those pictures are not copyrightable because there is no human as an author. And also, in case of registering a work, the US Copyright Office so far said in one case that there is no registration possible for a work that is created with an AI. In the case of Tala and in the case of Kastanova, which you see on the right side, there has been a registration of a novel where after the registration it has been revealed that the images were generated with an AI. And so with the urge to question now, should the Copyright Office remove the registration or leave it? And so this is not clear yet, but very interesting to see how they will pursue. And we can assume that also computer-generated works have human authors so far, which us don't know who it might be. And the UK, for example, is one of the very few countries that already protect AI-generated works where the UK Copyright Act states that the author is the person by whom the arrangement necessary for the creation of the work are undertaken. However, it is not clear what are the arrangements that needs to happen, what is necessary. So this is still up for discussion. And there's also a shorter protection period for the works. So it's the life of the author plus 50 years, such as for photographs or databases, and also more rights are denied for those works. And so the general question is, what does it mean to be an author? And when should creative works be protected? And here you see two pictures of images where one is created with an AI, and one is created solely by a human being with maybe other technology or more traditional tools. But it is not clear from just looking at the pictures or the images which tools were being used. And if AI was involved or not. But in both cases, and I can reveal the question of the AI-generated work afterwards. But in most cases, also when work is generated within AI, a lot of effort goes into creating also the output, not only the model, but then also working with the AI to generate something. And you have many creative decisions along the way which are important for the originality of the work so that it is protected by copyright. And there also my current research project focuses on where I look at the question of whether the attachment between artists and the work depend on the involvement of AI. And I focus on text-to-image models in the context of visual arts. And in order to measure relevant factors or measure the input by human being, there are several relevant factors, such as the initiative to create the work, the investment that goes into creating the work, and then also the extent to which the arrangement shape the work, the form and how they are responsible for the materialization of the work. And also one factor is the proximity to the act of the final creation, which is also interesting because often, so copyright law has different theories underlying such as the utilitarian approach, which is more incentive-based, but then also in Europe you have the approach of the labor theory, which states that it is about the investment that goes into creating the work and one should own the fruits of their own labor, their intellectual labor in this case, and also the personality of the artist that is being expressed is much more relevant in continental Europe. And so there are different implications of a weaker or stronger bond to works that are created with AI compared to works that are created with other technology, but also more traditional tools like brushes on a canvas, for example. And there I'm working on an experiment at the moment to answer this question and work together with different artists, which brings us also to another important question in the context of AI and copyright law, the question of copyright infringement, where it is not clear at the moment if there is a copyright infringement, for example, when the AI is trained on databases that consists of original works that are copyrighted, but without the permission of the rights holders, and then also if there is a copyright infringement, who infringes the copyright? Is it the person or the group that puts together the database? Is it the group that uses the database or maybe even the user that uses the AI model? So it is not clear if there's an infringement and then also at what point does the infringement happen? Importantly, copyright infringement is the actual copying of the copyrighted work without permission. And at the moment, lawsuits are already flying in, so we have Getty Images suing Stability AI and Getty Images is one of the huge stock image platforms where they state that Stability AI used their work, like millions of works, to train their model, but also artists are coming together to sue different AI companies. And so it's very interesting to see how this will involve in the future because there's a lot of uncertainty and that's also why so far people are also a bit more on the safe side when it comes to suing different AI companies because it is very costly and you just don't know the outcome. And often, so for example, in the case of Getty Images, they stated that they're not interested in any financial damages or stopping the development of AI art tools, but they find it important to create like a new legal status quo because of all this uncertainty. And what is also interesting to do also for you is to use Have I Been Trained, that's a website where you can insert an image and see if it is part of the LION database, which is also the one Stability AI created or used for their model. So this is or might be also very relevant in the future and it's also fun to play already with it now or very relevant already for the creators. And to tackle the question of copyright infringement, it is also important to notice that there are exceptions to copyright. For example, in the US, you have the Fair Use Doctrine, where section 107 of the copyright act lists some of the fair use cases but then also that four factors need to be in place in order to have a fair use case as it defends to copyright infringement such as the second work is transformative. So the purpose and character of the use has somehow changed then also the nature of the copyrighted work compared to the second work. And the degree of substantial similarity is also an important factor and the effect they use upon the potential market for the value of the copyrighted work. And in the European Union, but also in Europe in general, most countries have only an exhaustive list of what is considered an exception to copyright, which includes also text and data mining, which is the key to the question more or less because AI companies or the developers or the people who create the databases they scrape the internet and get all the images, in the case of text to image models, but also all the information in general when it comes to JetGPT for example. So they scrape the internet and extract the data and this then creates the database that is used to train the model in order to create the output. And there the European Union has three or two articles related to text and data mining in the DSM directive and the copyright directive, where Article 3 for example states that text and data mining is allowed for purposes of scientific research without any permission of the rights holders and Article 4 states that it is possible for any purpose, but there needs to be an opt-out provision for rights holders and there it is now again like there is uncertainty because we see also some gray areas where AI companies, stability, AI funded a research group to undertake the model and the model training and also a small nonprofit organization which was then a lion for the database to create their data sets for training the model, which now contains about 5.8 billion images. So it's huge and importantly also most of the research that is going on in AI models and the generation of AI art for example is open source. So it is very easy also for other researchers to then generate new models and train them with the data sets that are existing. And so there's the question of balancing the rights between rights holders and also the freedom for people to innovate. And potential remedies can or are very complex at the moment to tackle because we have to consider first that there is like a complex interplay between the different stakeholders that are involved with often different interests and on top of that we have huge differences already within the or between the creative industries on a national and an international level for the music industries already really complex. And the software industry works again very different and the industry of visual arts is now very challenged in this context with AI models. And so to allow AI to develop further and to promote the innovation but also giving credit or compensation to the creators whose works make the field possible there are different solutions for example fair learning which is based on the fair use case where depending then on is it fair to use the data or not in the US with the fair use doctrine but also then in Europe with the different exceptions to copyright. But we could also think of a market-based licensing solution where for example again in the music industry after the Napster case where it was a huge case regarding copyright infringement from peer to peer services and the download of music illegally. But there's Spotify for example found a way of bringing together the rights holders of the original music then also the users of the tool and negotiating something that works for everyone. But we could also think of funds to compensate individuals whose work is used by AI companies to train their models where this is already happening a bit in the case of digital devices for example where there is a certain fee that is put on the device when you buy it that goes then to the collective society and then distributed among the creators which could also be a solution for the AI tools in the future. But there's still very open questions and it's also the question of should we regulate it now already or to what extent or should we still lean back a bit and observe what is developing and how much AI really influences the creative industry and the creators for example in case of their creation processes. So yeah a lot to look forward to and to discuss also not only today in the webinar but also in the future. And with this I thank you for your attention and looking forward to your questions now and also if you want to contact me after the webinar feel free to write me an email. Yes. Thank you Margarita, that was absolutely brilliant. Yeah, I really enjoyed it, thank you. I'll put your email there in the chat so people can grab it. So many things to pick up on so many thoughts that come and I think when anyone starts thinking about artificial intelligence, relationship to creativity and regulation of that, your head starts spinning. So I mean the work that you're doing must be fascinating and to dig into all of that. So I think I'm going to pick up on some of the questions. I think the first thing I wanted to cover though actually is you mentioned for example the United Kingdom here in the UK we have provisions around ownership of computer generated works and we've had that in our legislation for some time. And I guess we had you say it's an assumption there but there are human owners of computer generated works because it is the humans or the organisations that are behind creating that computer software the model whatever it is that's creating the work of the output of it. And what's the difference between where we were there? I mean were people fairly comfortable and confident in understanding how that worked from a legal perspective back when that computer generated works legislation was first interpreted? And what's the difference to where we are now? Is it simply that the technology is so sophisticated that it's possible to create works that are indistinguishable from human created works? So as you said it's very complex because there are different stakeholders involved and also AI is used not only by users that don't consider themselves maybe creative or an artist but it is also used by artists as a tool. And so there I think coming back to the labour theory and the investment that goes into creating a work there are differences in the advancement of technologies but I think you can still, even though if it's not distinguishable if it's like a human being or a machine that is somehow the tool or the one that moves and creates the work it is there are still many creative steps and creative decisions along the way where you can see AI as a tool which most of the artists do I think and there it should then not make a difference. What is difficult is that when you just play around with it or there has been also now a case in competition with photographs for example where the winner of the competition revealed afterwards that the work was created within AI and so there all the other artists then said okay no this is not okay this should not be allowed because every other artist put a lot of effort in creating the image with camera which is also technology which simplified the paintings for example and already back then everyone said that no we should not protect images created by cameras which is now long ago and today it's totally normal that photographs are also copyrighted and I think there even if the first prize went to an image that was created within AI it doesn't mean automatically that there was not also a human being. So I think the point you make about photography is fascinating as well because we and then we spoke to Lionel Bentley Professor Lionel Bentley on our podcast a while back and he talked about the moral panic and the so a conceptual idea of people capturing light itself and the back in the end of the 19th century. I think following on from the idea of competition and whether or not it's regarded as cheating clearly there's been a lot going on in the online learning space around using AI tools as a way of students taking a shortcut just doing a quick thing and then the computer does all the work for them. To what extent is this are you aware that this being discussed in art schools? What kind of link is there should there be between legal scholars like yourself and with an artistic interest and talking about this in a critical way within our educational institutions? I think in general it's especially now also with chat GPT for example but also in art schools with AI art generator tools it is really important to not only or not just banning those tools from the education system but to find a way to bring them into the education system and make critical thinking more important and finding also ways to integrate tools that are available not only with AI but also with digital technology in general to make people understand what does it mean to use technology as a working tool to also learn how to integrate the tools in the work where it is maybe also relevant or much more informative but I think for this especially the education system has to evolve much more to find a way that you use the tools that are available in a way where it makes sense and to also critically question the tools where do we want to use it, why do we want to use it and how do we want to use it and I also like during my or between my bachelor and my master's I worked in digital education where we provided Austrian schools with the devices but also with workshops on how they could integrate the digital technology that is available because we are surrounded by it already in the daily life so it only makes sense to use and to learn to learn how to use them in the education system where it is a safe space and where the knowledge and the connection can be created much more easily that's really interesting I think it's absolutely I mean I've tuned into a couple of talks that have been happening this week in higher education of our chat GPT I've got the link to share from the Oxford teaching and learning I'll find that yeah but I think that's absolutely we've kind of got to accept that these tools exist and teach people how to use them haven't we for kind of learning but also to reward the kind of the critical thinking which is what we want our students to do there's a question from Deborah Fern so we've actually got lots of questions in the chat so we're going to try and get to some of them but I'm kind of going back one of the first questions Deborah asked was about can you still hear me because you're okay they're gone but Deborah you can ask the questions just like this if you want to yeah I can't hear Jane at the moment but I guess my yeah my question was really about how relevant are the terms and conditions of the providers of the AI software when it comes to who owns copyright between the software provider and the user of that software I guess for context we are running on images and research competition at the university and we're really kind of trying we're trying to determine whether the creators who are submitting their images and telling us upfront they're created by AI whether we should be attributing them and they own them or we should be concerned about what rights the the model creators have and we have looked at various terms and conditions in that respect so so far every AI company is doing more or less what they want and like they try to be as safe as possible with incorporating in their terms of conditions often that the user has all the right to to use the images that were created but some rights also then remain with the AI company but at the moment it is just not clear so I would say that what is in the what is stated in the terms and conditions of each company for example stable diffusion where it might change in the future depending on those lawsuits for example but at the moment it is just unclear so take them into account or not but yeah I think I think most of the examples we've seen there there the user is the rights are assigned to the user in what their output is I think the only example I saw really that was different was the shutter stock AI often it's it is only licensed to the user so ownership or the AI company then states that they have ownership licenses all the rights to to the user of the tool but this is the question I'm also very interested at the moment to research because it is not clear who is the person necessary for all the arrangements made thank you Margaret and thanks Deborah for stepping in there that was very helpful sorry we lost a bit of connectivity here we're not quite sure what happened if it happens again we'll switch to a different device yes yeah yeah more questions I think they might be in the in the chat as well aren't there do you want to pick up the next one Chris I just a comment here from Jess about encouraging them at Manchester thinking about art and authenticity in a in a philosophical way I think that's one of the things I find we do go this is a strong ethical element and philosophical one that again makes us it's all those kind of age old questions what it is to be human and what art is and what it's about and what it's for so I imagine you spend quite a lot of time thinking about that sort of thing Margaret or do you spend your time thinking really focusing on a kind of legal and economic question yeah I think it is an interesting question and I'm also doing interviews with artists at the moment to also get some more background and there are artists who work with technology in general or more and more and to not only use it as a tool but also to showcase or like to have again like a critical view on the technology because I think that's also what art is about to some extent that we take what is happening in in the real world in society at the moment and then somehow transform it into art and so there are artists who already use technology in different ways and now this is just like another tool to create to express their ideas and they still sit 20 hours or more on that specific work to create but then there are also artists who yeah who have like a more negative view maybe on the technology and maybe also on how society is changing and evolving with the technology but also there I think art is a very good tool to showcase the issues of society and of digital technology absolutely yeah and it's just an interesting question I've spotted from from Evelyn Webster have AI companies violated the terms and conditions of social media or image hosting companies if they scrape the users uploaded content we were just having a conversation as well about music weren't we a few sort of we use a lot of music whether that's done under license or you know because I've heard of somebody who went through all the work through the Beatles to write new songs and I think related to that there's also a question from Becky about would artists have the opportunity to remove their works from the database so can we cover those at the same time to what extent is it is it a breach of the license terms and then what can you do about it if you do find something is incorporated so there comes the exception to cooperate with text data mining into place because so it is legal to scrape and to collect data in the case of research activities where you don't need the permission so if a research company or if a research group of the university scrapes and scrapes the internet collect the data trains an AI model where Dali also started as this there should not be any copyright violation but then it gets difficult if the pool is then also commercialized and being used by a company for example to make money from it and there another exception in the European Union in the copyright directive at least is that you can scrape and do text and data mining for any purpose but you need to provide an opt out possibility for right holders or you license or you get like data that is licensed where you have the license from it which is difficult to or at the moment at least it is difficult to do that on a large scale but with the opt out version this might be possible in the future then the question is also is this really enough for the right holders that where their works are being used to train the model open question open question and an area that is moving very very quickly Marguerite we've run out of time and what I'd like to say is I mean will you share with us the outcome of your research how long have you got left on your PhD studies when are you future complete I still have about two years so excellent well okay well we'll stay in touch and absolutely and that was an absolutely fascinating overview of where we are with things everybody is thinking about this and talking about it all the time so thanks for yeah thank you so much for joining us really thank you for having me yeah we hope maybe you'll come back to Glasgow who knows yeah yeah lovely thank you thank you so much right in the remaining one minute we will just finish up we've got a couple of things to share with you before and it's time to go yeah I've got lots and lots of thank you coming in in the chat I don't know if you had a chance to look at it Marguerite I think everyone found that really I'm looking at it now yeah yeah yeah lots and lots of chat so so all revealed for the one last thing too right okay so we have our next webinar is going to be a closed discussion about the CLA license and what we're looking for within the UK higher education sector because we are about to start negotiations for the license which starts out of first of august 2024 yeah we've got our first meeting next week we do so looking forward to get back into the swing of that after that we've got our becoming a copyright specialist theme coming around again we have two speakers lined up we are looking for a third if anybody is interested in giving their story about how they got dragged into the world of copyright and how what it is that keeps them within the world and to stop them running away then please let us know and then we're delighted that in May Matt Voitz from IFLA the international federation of library associations who's creating what is turning into a real blockbuster copyright news newsletter that he does for their copyright and legal matters group he's going to be sharing the highlights recent topical things things that he's really found interesting over the last few months that's going to be a fantastic and we haven't yet scheduled anything for june we haven't july is going to be busy july is going to be quite busy we'll probably take that off yeah taking it off are we we're doing ice pops no but if there are any topics thoughts yeah okay so one last thing play that jingle chris no don't play the jingle that takes too long yeah the jingle goes on forever one last thing so um i'm part of the move towards this kind of hybrid working um in my office at city i'm kind of clearing out my desk because we're looking to have a we've got a hot desk in system in place and one of the things i found in there was um some sort of six seven year olds rather stale copyright fortune cookies shall we see what they actually say on them yeah let's have a look yeah looking for more help about copyright visit copyright user dot org for advice videos and many useful resources copyright user brilliant website still around Bart Milletti yeah creative director at create and all the great people that have done that and also there is a new version of it come in there is yes yes so that's very exciting and then the other one the second one was about taking images from google may infringe copyright and it was telling you to use i think that creative common search doesn't actually exist anymore but obviously the principle still applies yes so the moral of the story is that fortune cookies might go stale but copyright does never does why would you encapsulate copyright AI and art into one snappy fortune cookie statement probably quite i'll have a bit of a think about that one yeah i tell you what just get chat gpt to do it oh that's a good yeah write me some copyright i'm sure we get it to do it this afternoon right some copyright um fortune cookie motto is to see what it comes up with shawn as pointed out it's openverse.org there's given us excellent yes thank you brilliant okay well i think we will leave things there thank you again for everyone for turning up again thanks again to margarita for such an excellent presentation and we wish you a lovely weekend yeah bye everyone


With touch on a display, we can choose which location we are touching. Also with touch, we can send fingerprints. However, to make things more secure, there is an intent to communicate a password while you are touching it. Today, we can do it with Bluetooth, for example. But now, when you are touching, if you are sending the Bluetooth signal, it radiates all around you. And somebody in the same physical space can hack into it. So what you really want is to make this same touch action carry that digital information through your body. We have designed a device to utilize the science of electrocosa study human body communication to increase the specificity and selectivity of human touch. The device on my wrist is a watch that is a human body communication transmitter. It takes data and sends it through my body and amplifies my power of touch to communicate with electronic devices by touching them. We have been able to localize these digital signals with less than a centimeter off of the fingertip. By doing that, we have made this communication through touch very specific. This technology enables the body to be the link or the wire between a device on your body and devices around you. Your phone can now talk with the payment terminal just through your touch. Or you can enter a building just by touching the door knob where your fob communicates the signal through your body. I believe technology should become invisible in future. Wouldn't it be nice if by me touching some surface, it knows that it is me? You might think that, okay, that is biometric fingerprint. But fingerprint is one time and you cannot change it if it's compromised. What we are talking about is through the touch, you can still have the fingerprint, but you are combining additional layer of digital password data that is going through the touch. And that data could be a separate password or could be even some other biometric like your heart rate. The ultimate goal is to amplify touch with more information. So you can think of going through your day to day life and you grabbing your electronics and it being able to identify you as well as use information specific to you to maybe customize certain aspects of it. So that's really the power of this is just making your touch more meaningful.


The Nuzlocke Challenge is a set of self-imposed rules to make Pokémon more challenging. Generally, there are two rules. One, you're only allowed to catch the first Pokémon you encounter in each area. Two, if a Pokémon faints, it's considered dead and either has to be stored in the PC box forever or released. And here are some additional rules I'm using. Let's see how it goes. I fix the slowdown, everybody. Look at this, I can run around. And it's not lagging. Wow! I usually don't stream multiple times a day, but I'm just having too much fun playing this. Hopefully, we don't lose anybody else. This lady will give us a berry every single day. That is a Chesto Berry. I think that peels sleep. Yeah, still got it. Still got it memorized. Hey, that kid is a witness. What do we do? We don't need a brat running off to get help? The solution's simple. We'll kill him. Okay. This is a dark type, isn't it? So, it's... Please no. Oh, please no! Oh, please no! Oh! There we go. What, already? Okay. Alright. And then he learns confusion. Looks like Doorknob's going to be a special attacker. So, how we're going to do this is... Each tree we get one encounter. And that's it. That's how we're going to do the trees. Because people wouldn't just accept, it was too much work for our employees and we don't want to overwork them giving us. Yeah. But then you could also say, Devil's Advocate, you could also say they have so much money, they could step up. I should have swapped out. I was like, I want all this XP for crowbar. And I got greedy. God, I'm a... I'm mad at myself. I'm mad at myself. I'm mad at this Stunky. I can't catch another. Alright, well, on the bright side, Fork is evolving. Yeah, it just wouldn't feel right. You know? Evolved, I guess. So that's nice. So, let's have a battle to decide what we should do next. If I win, you leave. If you win, we Team Galactic will leave. Ah, yes. People wanting to change the world by force are clearly in the right mindset. Absolutely. What do you think you're doing to my Pokemon? I'm battling. What do you think I'm doing? I could probably take them. Don't crit, don't crit, don't crit, don't crit. Okay. This is a Nuzloc Ender? Oh, geez. I can see why. Maybe I should do a few withdrawals. I don't like this. I don't like this at all. I don't like this one bit, chat. Alright. I think I'm going to have to cheese this. I do have more potions. Withdrawal and defense curls. Yeah, that's a good idea. Thing is, crit doesn't care about withdrawals. I don't like that at all. Yeah, we're cheesing this.  Okay, if anyone can beat it, it's shield. I believe in you, shield. You've never left me astray. You've always been reliable. It's just a flat 40. Don't hear the lawnmower? Okay, good. Oh, it's 666p. That's evil. That perugally is confirmed evil. Ooh. Curse, that's a good move. That is a fantastic move. Avenge Crollbar. I will. I will. I will Avenge Crollbar.   It gave me curse and it gave me 666p. That is not a coincidence. Thank you, trainer. Sorry, your crowbat died.   You're a trainer, but very well. I shall go investigate inside. Goddammit, looker. Magnificent. Yes, it is.   There he goes. Our hero. Let's see what we gonna get. Oh, a shallows, okay. The shallows is nice and tanky. Oh, here's the... There's a lawnmower. Sorry about that. Sorry, sorry. Sorry, everybody. Here it comes again. It's right outside my door. There it is. That's my mom. Waterpulse is a solid move to have. There we go. All right. We got ourselves a shallows. What do we name it? Gum. Oh, like gum from Jet Set Radio? I like that. That's cute. I like gum. Because she's pink. Like gum. Oh, look at her. She's cute. I like her. Let's do a little bit of grinding, shall we? Hey, potatoes, getting strong. Getting big and strong. He learned rock polish. Did you imagine how terrifying it would be to see a geodude just whizzing around, levitating through the air? Just... Here we go. Here we go. Here we go. Shield is evolving. He's going to be so big and strong now. He's going to be so big and strong. Look at his stats. He's so big. He's almost got 50 attack. He's great. I love him. Still missing sword. We got to find a really offensive Pokemon to be our sword. Oh boy, it knows Ember. Okay. This is really bad. Okay. Swapping you out, potato. You are... All right. Oh God. It's okay. You like whatever you like.  I don't like this. I don't like this at all, Chat. I should have sent out gum. That's what I should have done. God, I'm a fart. Yeah, because she knows... Why didn't I swap to her the first time?  No, this is a trainer battle, Chat. Silly goose. Silly geese. You goobers. Yeah, absolute pop tarts. Sorry, I called you pop tarts. You know, gum's actually pretty high level when we caught her. So that's a decent level to be at. I want to level up potato, but gum's just like much better right now. Oh, so this is a new area. Yeah, this is not Valley Windwork, so we can catch something here. Okay. All right. Okay. Okay. Please. Shallows, please. I know. This shallows is a monster. Fork is absolutely fine. We're going to go help Fork. Fork is going to be okay.   Die, staravia.  I am the shallows destroyer and consumer of the world. It's the same shallows. We didn't kill it. It just came back. It's the exact same one. We are the cast. Kill all shallows. No, not gum though. Gum is a sweet baby. Yes, finally. A rock type move. Thank you. Mud sport.  Get out of here. It's time for gum to shine. I think gum is just like a sweetheart. Do you think gum, she's just like really soft-spoken and nice, but then as soon as like you say the wrong thing, she just like goes full berserk on you, like you say something mean about her friends. I'm developing headcanon personality traits for these Pokemon. Gum is going to be the sweetheart. She's going to be, she's going to be like the mom friend. She takes care of everyone. Very pleasant to be around. I mean, she's wrecking all of these geo dudes. And it's definitely not because of quad weakness or anything.  Shield is a lonely turtle that he's like finally, oh, what if, what if shield was lonely? And he's like, oh, I hope I have a trainer and he finally has one. And it's us. Shield is lonely without sword. Oh, we need to find sword for shield. I just like calling my Pokemon my sword and my shield. That feels so nice. Okay, so potato. Potato is jolly.  Actually that name is pretty fitting. Potato. It's nice and happy. Jolly, but quick temper. How does that work? I don't, I don't know how that works. Geodude does look like an angry Pokemon though. So I guess it makes sense. Shield is lonely. But he's happy that he's finally got a trainer. Oh, shield is often lost in thought. Do you think he's thinking about sword? Sword is out there somewhere. He's lonely, but he's thinking about sword. Oh, fork is lonely too. I thought it was lax. Okay, very finicky. He's like, oh, I can't wait to meet new people. Doornom is modest.  But he's modest. He knows his place. He knows when it's not his time to shine and he lets other people in the spotlight when it's their turn.  Spark is lax. He knows he's just along for the ride to help out, help us traverse the area. He doesn't really care.  Okay, so yeah, quick temper. Oh, that's perfect.  Now that I'm all invested, can't wait to have them die. It's Pride Month.    Apom and Detective Pikachu scares.  That's one tip. If you ever want to design something creepy, make a non-human thing and give it human features. Try it out. Hey, a Buizel. Finally, a different Pokemon. We can catch this one. Birds with arms. Yeah, well, maybe birds with arms don't look creepy. They just look therapy. Good way to start. Hey, oh, I like Buoy. Oh, sorry. No, I like Buoy. Buoy is really good.  He's boy now. Boy. But it's good to have a backup anyway. A backup water type. Hey, there she is. It's her. It's Cheryl. No resting, but she does heal your Pokemon after every battle. So this is, this is good. Oh, wait, how are we going to do double battles? I'm going to give myself an out and say, I can catch the first of either Pokemon I run into. So in this case, if I did not already have a dust talks, I could catch dust talks or Bidu. So in this case, this Bidu is my first Pokemon and this is my catch. It's dead. It is so dead. Or maybe not. Or maybe Potatoes dead. Potato? Hang in there. Whoa. Singularity 98.  Yeah, I'll name the Bidu Singularity if it'll fit. Why not? Singularity. If I ever feel the need to put another grass type on my team, because Roserade is really good. It's nothing to scoff at.  Just kind of the whole thing was very by the numbers and nothing really special about it was my problem anyway. I don't like how this Pachirisu is looking at me.  If I can get a good magnitude off, I have to either do all the damage and kill it in this turn or do no damage and hope Chancey doesn't attack it. Those are my two options or I could rock polish. Yeah, rock polish. Why not? Chancey, don't do it. Cheryl, I'm trusting you. Oh God. Oh, luckily no stab. Okay. All right. Okay. All right. Cheryl knows what she's doing. Potatoes not dead yet. Luckily. I think if that were a stab, potato would be absolutely dead. I actually like Pachirisu quite a bit. I think it's one of the better. That's really bad. That's... Okay. Thank you, Intimidate. Shield. Protect us. Please. Yeah. Potatoes basically the big Lebowski. We'll say that. Yeah. I actually really like Pachirisu's design. It's one of the Pikachu clones that I like quite a bit. All right. Cheryl's Chancey is dead. No. No. Amity. No. I don't hate non-evolved Pokemon. No. One of my best friends is a non-evolved Pokemon. Oh God. This is fine. We are incredibly tanky and we can't be poisoned because we're paralyzed. All right. And just like that, look, our party is back to... Back to full health because Cheryl is a walking Pokemon center. Ah. All right. Two Abbas. Let's try out some magnitude. Why not? We lost Crowbar, our Zubat as well.   Oh no. Potato just got one shot.  Fighting? Oh my God. That's not okay. Potato got mashed.  That was a special fighting move. Wow. He was going to get so big and strong too. He was having such a... He grew so much. I was really growing to like him too. He was like the comic... He was the big Lebowski of the team. He was the chill dude. Gum's about to chew him up and spit him out. Gum is mad. Gum is in the first slot because she is going berserk. That her friend's dead. She's murdering every single one of the Pokemon in this forest. With what? She's going to scald the forest down. Maybe Sturdy. Sturdy doesn't work the way you think it does in this game. In this... Before Gen 5, Sturdy just protects you from one-hit-kill moves like... Sheer Cold and Guillotine. It doesn't actually protect you from being one-shot. Just yet. Can't see eating its own egg. Yes. Yeah, fucking. Gum is on a rampage.  Oh no. No. Mentos. Don't say that. Oh, don't say that. I don't like that. Isn't the solution to every nosy... Well, some people put the rule that you can't grind past the next gym's level. Which I think is a fair rule. What is my favorite four-letter word? I don't know. Probably Borf. How long did it take you to start feeling confident about your art? It's not that I wasn't and then I suddenly am. It's like a cycle. On some days I'll feel confident about it and on some days I'll feel like it's garbage. I think yesterday was one of those days where it peaked. Where I just felt like, no matter what, everything I made was terrible. And I think it all came to a point and just like all compiled on the Warlock video. So who do we bring on the team as a filler space? Do we bring Boy or do we bring Singularity? Boy? Lots of people saying boy. Alright. Boy the buizel. Boy. Quirky. Aw, so yeah, he's like, he's kind of wacky and weird, proud of its power. Okay, he's like Yosuke from Persona 4. He's kind of weird, kind of a loser, but he's a funny dude. So we have another area. We can catch another Mon and we can also slather some more honey. Krikatot. First Krikatot. Alright, I guess we're catching a Krikatot. Not effective against bugs, so it's either ground, poison, grass or fighting. Yeah, the Persona games are really good. Oh, I don't like that bide. I'm going to harden just because, just because it means I'm not going to be attacking it. Yeah, there we go. No, bide ignores all defenses. It deals double the damage it was taken no matter what. What do we name this Krikatot? It is not strong enough to be sword. This is not our sword. Continuing with the object names. So the two bug moves that it does know, it can't know because it has to level up to evolve.   Wow, and the stats are nothing to write home about. The Movetutor, yeah, but that's so far away. I should have named it Baggage. Wow. So the Krikatot that we caught, which is level 14, will evolve at level 15, which can't know leech life and it can't know fury cutter until we meet the Movetutor. And then it learns sing and focus energy and doesn't learn any more moves until X's are at 30. Sorry, no. I knew people considered Krikatoon bad, but I don't know it's that bad. Wait, no, no, no, I'm wrong. Hold on. It learns slash at 26. Wow. But Joe, it's about friendship and love and believe and also you have to limit the amount of Pokemon. You got to love your Pokemon and trust them through all the hard times. It's not about the numbers or the stats. See, see, knife is a kitchen appliance, not a weapon. Well, it is a weapon, but it's not designed to be one. Dagger though. Dagger specifically made for stabbing. Why not shiny hunt? I'm not a fan of shiny hunting and I could go without shinies. How much do I fear Cynthia this much? You can't, you can't see it, but I'm holding my arms out a lot. Congrats on a new video. You are my new, you're my new favorite creator, dude. Thanks. I'm just, I'm just not proud of that video, you know, so I'm redoing it. I hope people don't mind. So I want to be happy with it as well. I can make everybody happy, but I can make myself happy. And that's what I want to try and do. You have a winning aura about you. Thank you. Here we go. This one should be pretty easy. Brass has got quite a few weaknesses and we got a fair bit. I'll look at her church wig, but people usually consider grass as the weakest of the three starter types because it has so many weaknesses. Yeah. Well, we don't want to use spork because spork will just make this easy mode. We don't want easy mode. We know spork can just snap this entire gym using all these grass type moves with my quad resist. That's scary. Yeah. And she's going to use a super potion. That's fair. Keep using poison sting. Oh, no. That's not good. Leech seed can absolutely be scary. No, we'll be okay. We'll be okay. With a combination of gust and poison, we are going to be fine. I just really want doorknob to get this XP. Even though doorknob is most likely the strongest he'll be. This is his time to shine. He's been on the sidelines too long. He may be modest, but he's no pushover. Dude, seriously, leech seed is doing some work. Look at that. I'm going to swap out. All right. It looks like it. I kind of have to. I don't want to use more potions. I think I was okay. I think I'm safe even from crits. I don't think a crit would kill him. I got a chap. Don't worry. Don't worry. I'm scaring you. Sorry. I live life on the edge. Oh, that's a lot of damage. All right. I'm going to use my super potion. Not a very heavy. Ooh. I don't like this. I don't like this chat. Maybe swapping to doorknob is the best move. Maybe I should have healed doorknob. We'll see how this goes. We'll see how this goes. We can always swap to shield. Send and gum your... Oh, we're going to send out shield. Yeah. Shield will protect us. Oh, she didn't heal. Okay. Oh, God. He's heavy. I could have quick attacked, but I didn't want to risk it. I didn't know if that would do enough. Oh, God. Am I in an endless loop? I don't like this. I don't like this at all. Yeah. I am. Oh, no. I have to sacrifice someone. Doorknob will not survive. I don't trust Doorknob to survive. I think we're going to have to sacrifice Spork. I'm sorry, Spork. This is your moment. Beedoof will win this Nuzlocke. He knows he's just along for the ride to help out. Okay, Doorknob. We're going to heal you, Doorknob. I need you to trust me. I need you to trust me. Hold my hand. No crits, please. No crits. Okay. I'm going to heal Doorknob one more time. Because I don't trust this Roserade. God, I should have healed Doorknob. You think I could have survived? We can't take that chance. One crit is all it takes. Oh, God. All right. A crit will not kill us here. The bodies are piling up. All right. Well, thank you, almighty Beedoof. Thank you for forgiving me. What cost? What cost? Beedoof died for her sins. There was a fly in my room once again. Luckily it was not a Pokemon that we needed. It's just a Pokemon that makes things a lot better. Beedoof makes everything better when you play.  You've never hurt anybody, either. He's such a chill dude.  Oh, you need me to do HMs for you? Yeah, sure. Why not? We're going to bring Singularity in here. I'm actually about to cry, I'll be honest. You came to see the Pokemon statue, right? I'll take you there. Thank you, Puffin. Oh, hey. When we smacked together, a brilliant flash of inspiration came to me. An easy way to become a great trainer. Yeah, that. All right. Listen close. Make certain all your attacks hit. Avoid enemy attacks for sure. You do that. You never lose. You'll be the invincible trainer. You don't say, Puffin. Yeah, this is the herb shop. We can buy some cheap medicine here. It doesn't matter to me that this brings down happiness. If they're mad, then they're still alive. At least they'll be alive enough to be mad. Well, the thing is we killed our first chance at a machop. If I run into another machop, that's not good. Don't hurt yourself. Okay. Spork sacrifice is going to have a bigger impact than we realize right now that is immediately apparent. I'm watching over these Pokemon like a hawk, like a star raptor. Does this mean we should know? No, no more sacrifices. No sacrifices. Everyone joining in. Wait, did Spork die? What happened? Where's Spork? I always fear this guy's got six magic harps. Jesus. Badoo. Badoo's nature is modest. She's modest as well. And she likes to fight. Yeah, she's modestly training right now. She's trying to get big and strong like her friends. She looks up to them. She's the wholesome one. Very sweet, modest. She's like Gum's little sister in a way. Gum is like the big overprotective mom friend. And then Singularity is, you know, she's like, she's happy to be there. She looks up to Spork. Yeah, it's perfect. Oh, that's not good. That's really not good. Boy. Boy, that's not good. Swapping out. Gum protector. What have we discussed? I don't know. I don't know what their attacks are going to be when I first send them out. I don't know. We're going to test this hidden power, see if it's grass. Because it is not very effective against bugs. Yeah, we got hidden power grass. Look at that. Singularity needs a move to combat something that is not going to be weak to grass. We'll give her a cut. I've got enough pokeballs, I think. I hope. I'm going to stock up. You're right. You're absolutely right. Got to make sure you stock up on balls. You never know when you're going to need some balls. No, no potions, only balls. The only thing you need for a successful nuzloc are lots of large balls. There we go. There we go. We're fine. I'm fine. No encounters. There we go. I'll be honest. As a child, this place legitimately creeps me out. There's no music, no proper music. Hey, it's a ghastly. We're going to catch this boy. Unpopular opinion. Or maybe just an opinion in general. I prefer Haunter's design over Gengar's design. I don't know why. I just kind of like it. And I'm not really feeling boys, so we could have him replace boy for now. All right. What do we name this spooky boy? Rick ghastly. Hold on. Will this fit? S-T-L-Y. Yes! Rick ghastly. It's Rotom. I think this is why I thought it was a legendary because it gets the legendary roaming Pokemon music. Oh boy, uproar. Don't like that. Don't like that at all. We're going to raise our leaf again. Please don't crit. Please don't crit your uproar either. Okay. Well, we killed it. All right. Great. Great. Well, no Rotom. I thought it would do less damage than that. We still don't get any electric types, everybody. No big deal. No big deal. Her shield got cursed by Perugly. That's exactly what happened. Perugly is known as a run-ender. It was pretty close to completely destroying us, or at least killing Shield. It also gave Shield 666 experience, which leveled him up and he learned Curse. So I'm pretty sure Shield is cursed by Mars' Perugly. Don't worry. Don't worry about it. Don't even worry about it, Chat. It's best you don't see what happened. A fun thing to try and trick an anti-vaxxer. If you ever meet one, tell them, like, don't you think that the anti-vaxx movement is just a conspiracy of Russia and China in order to lower the U.S.'s immune system so that they can unleash biological warfare on us? Looker is like... He's like the tuxedo mask of this game. He's like, my work here is done. But he doesn't actually do anything. We're gonna swap out Boy for Rick Gasly. Hell yeah. What's my policy on the shiny claws? Shiny claws is active. If I find a shiny, which I think is very unlikely, but if I do, I can catch it. I'm allowed to catch it. All right. So Gasly is impish. Okay. Yeah, like mischievous, right? Like a little troll. Yeah, I think that's fitting. That's fitting for a ghost. And he's quick to flee.  Poor special attack stat. I'm willing to give up some special attack for some defense. I'm okay with that. All right. This might be a slow fight. Oh, no. No, no, no, no. Oh, swap. Pokemon switch. Without that plus defense nature, Rick Gasly would have died. Yeah, see? What's my favorite starter? Tie between Turksway again. Rowlet. Am I an official JoJo? Well, I am Joseph JoCat. Well, it's my stand. My stand is JoeCrap.   Ordinary people like you can't understand to go there. Oh, I don't even know what's going on. Dude, same. I identify with random grunt. I'm not risking it. It's probably it knows some psychic type moves. It absolutely knows psychic type moves. And I got three poison types in here. Jesus. All right. Yeah, it would absolutely. Whoa. Whoa. Chill out, Cadabra. Chill out for a sec. Shield was a beast for tanking that. But if that was a crit, shield was dead. We're going to send shield out first because he's he's our frontline tank and he can take on a quite a bit of damage. How silly of me to even ask. He wants to free the Pokemon. Fine. I Jupiter will deal with you.   Speaking of tank, let's tank up. Don't like that. Never mind. We're not going to tank up. We're going to swap out the doorknob. Hmm. This is a really bad time for you go. A zoo bad. It's the end of days. Shit. We can maybe get some double teams up. We're going to stack up on double teams.  A crit will be fine. We're double. Okay. We're at full double team. Okay. All right. Wing attack hits with a full double team stack. Skun tank. We are keeping you in fork. This skun tank is a monster and it's gross. It's going to keep wing attacking. We're fine. We don't have to worry about it critting if it never hits us in the first place. No faint attacks. Okay. Night slash. Don't crit. Please. Shit. Quick attack. End this.  Oh, that was the only way we would have beaten that. That's a lot of damage. That is a lot of attack. Oh, thank you, Puffin. It was Puffin's advice. Puffin gave us the perfect one. Never get hit and you win. Avoid all enemy attacks. I cruise my cycle shop. Oh, we get our bike. We get the bike. Oh, this is a good start. This is a good start.


From the Salesforce Tower in downtown San Francisco, it's theCUBE, covering Accenture TechVision 2019, brought to you by SiliconANGLE Media. Hey, welcome back, everybody. Jeff Frick here with theCUBE. We're in downtown San Francisco with the Salesforce Tower. We're on the 33rd floor with the grand opening of the Accenture Innovation Hub. It's five stories inside of the Salesforce Tower. It's pretty amazing. A couple of work floors and then kind of the labs and cool things. Tonight, they introduced the technology vision. We've been coming for a couple of years. Paul Dordian team introduced that later, but we're excited to have a couple of the core team from the Innovation Hub. And we're joined by Mary Hamilton. She's a managing director of Accenture Labs. Great to see you, Mary. Nice to see you too. And Teresa Tung, also managing director of Accenture Labs. Welcome. Thank you. So it's been quite a day starting with the ribbon cutting and the tours. This is quite a facility. So what does it mean having kind of this type of an asset at your disposal and your client engagements, training your old people. Pretty cool spot. Yeah, I think it's actually something that's, I mean, these Innovation Hubs are something that we're growing in the US and around the world. But I think here in San Francisco, we have a really unique space and really unique team and opportunity where we're actually bringing together all of our innovation capabilities. We have all of them centered here. And with the staircase that connects everyone, we can now serve clients by bringing the best of the best to put together the best solutions that have open innovation and research and co-creation and innovation all in one. Right, and you've had a soft opening how many months ago? So you've actually been running clients through here for a number of months, right? So we've been working here probably about six months in the work spaces. We've been bringing clients through, kind of breaking in the space. But just over the holidays, we opened sort of all the specialty spaces. So the e-glue, the immersive experience. We've got a make shop. And those all started to open up so our employees can take advantage and our clients can come in, yeah. So one of the things that comes up over and over, I think in every other interview that we've had today is the rock stars that are available here to help your clients. And Teresa, I got to brag on you. You're one of the rock stars. Also, we hear about as most patents of any services for most patents from this office of all the other offices in the center. And you're probably the person. So congratulations. Talk about, you know, your work. It's funny, it's some research. You have an interview from a long time ago. You didn't even think you wanted to get in tech. Now you're kicking out more patents at anybody a century, which has like 600,000 people. Pretty great accomplishment. No, I think it's a great story how a lot of people think about technology as a geek sort of thing. And they don't actually picture themselves in that role. But really, technology is about imagining the future and then being able to make it happen. You can imagine an idea and using cloud and AI, VR, it's also accessible today. You could buy a 3D printer and just print your own idea. And that's so much different than I think it was even 10, 20 years ago. And so when you think about tech, it's much more about making something happen instead of just, again, coding and math. Those are enablers, but that's not the outcome. Right, right. So what type of, is there specialty in terms of the type of patent work that you've done? I've done them all. So I started with cloud computing, doing a lot of APIs and AI. Most recently, doing a lot of work on robotics and that's the next generation. Right. So one of the cool things here, right, is software is obvious, right? You do software development, but there's a lot of stuff. There's a lot of tangible stuff. You talk about robotics as a robotics lab, fancy 3D printing lab. There's like this, I don't know, the Maker Lab, I guess you'd call it. That's right. And so I don't know that most people would think of a center maybe as being so engaged in co-creation of physical things beyond kind of software innovation. So I've been going on for a long time that relatively new and how's it playing in the marketplace? Yeah, so there's a few things we've been doing. So some of it is the acquisitions we've made. So MindTri, Pillar, Matter, that really have that expertise in industrial design and physical products. So we're getting to that space. And then I'm also, as a researcher standpoint, I'm really excited about some of the area that you'd never think Accenture would play in around material science. So if you start to combine material science plus artificial intelligence, you start to have smart materials for smart products. And that's where we see the future going, is what are all the kinds of products and services that we might provide with new materials, right? And new ways to use those materials. Right. My original background, my degree is in material science. So I feel like I've kind of kind of full circle in exactly what Theresa is saying is, how can you design things and come up with new things? But now we're bringing it from a technology perspective. Gotta get that graphene water filtration system. Solve the water problem in California. That's another topic I want to say. But I think one of the cool things is really the integration of the physical and the software. I think it's a really kind of under reported impact of what we're seeing today are connected devices. Not that they're just connected to do things, but they phone home at the end of the day and really enable the people that develop their products to actually know how they're being used and to actually, and then the other thing I think is so powerful is you can get shared learning. I think that's one of the cool thing about autonomous cars and Waymo, right? If there's an accident, it's not just the people involved in the accident, the insurance adjuster that learned what not to do, but you can actually integrate that learning now into the broader system. Everyone learns from one incident and that is so, so different than what it was before. Yeah, I mean, it really points to a type of shared pursuits of larger business outcomes, right? So by yourself, a company might see their customer and impact their business and their product. But if you think about the outcome for the customer, it's around taking an ecosystem approach. It might be your car, your insurance company, you as an individual, and maybe you might be a hobbyist with the car, your mechanic. Like this ecosystem that I just described here, it's the same across all the different types of verticals. People need to come together to share data to pursue these bigger outcomes. Right, yeah, well I was just saying, and along those lines, if you're sharing data, those insights go across the ecosystem, but then they can get plugged back in to thinking about the design. We're looking at something called generative design, where if you have that data, you can start to actually give the designer new creative solutions that they may not have thought about. So you can kind of say, hey, based on these parameters of the data we've received back about this product, here are all the permutations of design that you might want to consider. And here's all the levers you can pull, and then the designer can go in and say, okay, this makes sense, this doesn't, but it gives them the set of here are all the options based on the data. And I think that's incredibly brilliant. It's kind of the human plus machine coming together to be more intelligent. So human plus machine, great segue, right? We just got out of the presentation, and one of the guys said, there's three shortages coming up, right? There's food, water, and people. And that the whole kind of automation and machines taking jobs is not the right conversation at all, that we desperately need machines and technology to take many of the tasks away, because there aren't enough people to do all the tasks that are required. I mean, think about it as a good thing. As a human, the human plus workers really enabling your job to be easier, more efficient, more effective, safer. So any task that's dull, dirty, dangerous, those are things that we don't want to do as humans. We shouldn't be doing those as humans. That's a great place for the robotics and the machine to really pair with us. Or AI, AI could do a lot of those jobs that scale that, again, as a human, we shouldn't be doing, it's boring. Now you have human plus machine, whether it's robotics or AI, to actually make the human a higher level worker. I love the 3Ds there. Gotta add the 4D drudgery. It's great, you know, talking about automation, right? It's like drudgery, nobody wants to do drudgery work. But unfortunately, we still do. I mean, I'm ready for some more automation in my daily task for sure. Okay, so before we wrap up, kind of what are you looking forward to? We got the ribbon cutting. Are there some things coming in the short term that people should know about that you're excited that you're either doing here or some of your kind of research directives? Now that we got the big five from Paul and team, what are you doing in the next little while you can share? Well, I'm excited to have clients coming in. So a lot of the innovations that we have, like quantum computing, this is a big bet for Accenture. At the moment, at the time we started quantum computing, our clients weren't begging for it yet. We made that market. We went out and took a bet. We saw how the technology was changing. We saw the investments in quantum. We made the relationships with OneCubit, with IBM. And through that, now we're able to find this client opportunity with Biogen. And that's the story that we published a drug discovery method that is actually much better than what happened before. Right, yeah, very. For me, it's about, it's also the clients. And it's thinking about it from a co-research and co-innovation standpoint. So how do we establish strategic multi-year, long-term relationships with our clients where we're doing joint research together and we're leveraging everything that's in this amazing center to bring the best and to kind of have this ongoing cycle of what's the next thing? How are we going to innovate together and how are we going to transform them? You know, talk about a product somebody from building physical products to building a set of services. Right, right. And I think that's just taking advantage of this to make that transformation with our clients is so exciting to me. Well, what a great space, what great energy and clearly you guys look like you're ready to go. There we are. So congrats again on the event. Thanks for taking a few minutes and sharing this terrific space with us. Thank you. Thank you. All right, she's Teresa, she's Mary, I'm Jeff. You're watching theCUBE from San Francisco, the Ascension Innovation Hub. Thanks for watching, we'll see you next time.