Artificial Intelligence
Debate between Roger Gale and John Nicolson(1 year, 4 months ago)
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John Nicolson (Ochil and South Perthshire) (SNP)
I will keep my speech short and snappy, and not repeat anything that any other Member has said—I know that is unfashionable in this place. I begin by congratulating the hon. Member for Boston and Skegness (Matt Warman) on introducing the debate. He was one of the very best Ministers I have ever come across in my role on the Front Bench, and I am sorry to see him on the Back Benches; he is well due promotion, I would say. I am sure that has just damned his prospects for all eternity.
As my party’s culture spokesperson, I am very keenly aware of the arts community’s concerns about AI and its risks to the arts. I have now been twice—like you, Mr Deputy Speaker, I am sure—to “ABBA Voyage”, once in my role on the Culture, Media and Sport Committee and once as a guest of the wonderful Svana, its producer. As I am sure you know, Mr Deputy Speaker, the show uses AI and motion capture technology combined with a set of massive, ultra-high-quality screens to create an utterly magnificent gig. It felt like the entire audience was getting to see ABBA in their prime; indeed, it was perhaps even better than it would have been originally, because we now have ultra-modern sound quality, dazzling light shows and a vast arena in which to enjoy the show. It was history, airbrushed to perfection and made contemporary. It seems to be a success, having sold over 1 million tickets so far and with talk of its touring the world. In fact, it was so good that towards the end, some of the audience started waving at Agnetha and Björn. They had become completely convinced that they were not in fact AI, but real people. There were tears as people looked at Agnetha, which says something about the power of technology to persuade us, does it not?
Soon, I will be going to see Nile Rodgers—that really is a very good gig, as I do not need to tell the other Front Benchers present. Again, I am going to be his guest. He is a legendary guitarist, songwriter and singer; he gave evidence to our Select Committee; and he has sold 500 million albums worldwide. Nile will be incredible —he always is—but he will also be 70 years of age. It will not be a 1970s early funk gig. The audience will include the mature, people in the prime of middle youth such as myself, and also the Glastonbury generation. It is easy to envisage an AI Nile Rodgers, produced by a record company and perhaps touring in competition with the very real Nile Rodgers, competing for ticket sales with the great man himself. Indeed, it is easy to envisage the young recording artists of today signing away their rights to their likenesses and vocals in perpetuity, with long-term consequences.
Many in the arts sphere feel safe from AI, as they suspect that human creativity at the artistic level cannot be replicated. I very much hope that they are right, but once that human creativity has been captured, it can be reproduced eternally, perhaps with higher production levels. It is not, I feel, the sole responsibility of artists, musicians and playwrights to be concerning themselves with radical developments in AI. They have work to do as it is, and surely the job to protect them is ours. We need to get on top of the copyright issues, and we need to protect future performers from having their rights sold away along with their very first contracts. We as parliamentarians must think deeply, listen and research widely. I have heard some heartening—sometimes lengthy —speeches that show there is, cross party, an awareness and a willingness to grasp this, and that is deeply encouraging.
However, the UK Government have much to work on in their White Paper. They have a lot to do when they look at this and listen to the submissions, and they must provide improvements. It allows public institutions and private companies to use new experimental AI on us, and then try to correct the flaws subsequently. It uses us, our communities and our industries as guinea pigs to try out untested code to see whether that makes matters better or worse. I think the risks are many for the arts community, which is concerned deeply about fakery, and there is an argument that the AI White Paper empowers such digital fakery.
In closing, it is absolutely key that we listen to experts in this field, as we should always do to inform our decision making, but in particular to those in the arts and music industry because they will be so deeply affected.
