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New Statesman
4 days ago
- Business
- New Statesman
Artificial Intelligence is coming for creatives, the question is how to make it fair
Photo by Shutterstock We have never lived in a moment in history before with as much written 'content' available to us as now. However, the livelihoods of writers have become more precarious. Over the past 15 years, the average earnings for writers have fallen by 66 percent to £7000 a year. Freelance writers still struggle to get fair contracts for their work and now have the potential threat of generative AI to the sustainability of their profession. These were the challenges discussed at a roundtable titled 'How do we create a sustainable future for freelance journalism?' convened by the New Statesman, sponsored by the Authors' Licensing and Collecting Society (ALCS) and chaired by Press Gazette editor Dominic Ponsford. The discussion was held under Chatham House rules, so the identity of contributors will be anonymised throughout. The opening speaker talked about their experience as a journalist and freelance journalist and added the point that there are broader threats to media, highlighting the closure of Voice of America and cuts to the BBC World Service. They highlighted the idea of a Freelance Commissioner to champion freelancers and represent them in government, something that has been a longstanding campaign demand from the ALCS. Ed. Soon after the Roundtable, the government announced a Freelance Champion as part of the Creative Industries Sector Plan. 'We are still in a world in transition where being a journalist is a very difficult career to pursue if you want to make a living,' said one attendee. They pointed out that there have been efforts by government and parliament to address the pressures facing journalism, including the creation of the Local Democracy Reporting Service and the Digital Markets, Competition and Consumers Act 2024. However, they added, there needs to be more done in order to ensure the vital role of journalism in supporting democracy and that the competition authorities need to take more account of freelancers when they are enforcing the law with Big Tech. 'Good luck if you're a young person, or if you're from a diverse community and are trying to break into these professions,' said one person, adding that, 'unless you've got independent wealth or connections, it's very difficult.' 'The pressure on the employer has been increasingly towards engaging freelancers because it basically costs less,' an attendee said. They speculated that freelancers may, in the short-term, be able to deploy AI to help them get money owed to them, but that in the longer-term there needs to be a collective agreement and collective society to get that money in and distributed to creators. One freelancer present outlined the challenges they faced in keeping track of what happens to their work, how it is used and securing payment for that. Some types of freelancers, such as photographers, are in a better position to ensure that control. They added that graduates are more likely to need to freelance at the start of a career in journalism, but working without the support of things such as sick pay is not an option for many people, which in turn feeds into problems of underrepresentation in journalism. 'Our rates are not going up, but our costs are up, and [there is a] cost of living crisis, we are stuck, and that's why we're seeing so many people just reaching this crunch, where they're taking that decision to leave the industry,' they said. Subscribe to The New Statesman today from only £8.99 per month Subscribe Another participant highlighted the specific financial problems facing freelance journalists who work on long-term investigations and have to pay for their own equipment, training, and associated costs. 'If you're an investigative freelance journalist, the infrastructure isn't really there,' they said. An attendee outlined the challenges facing freelance journalists at different career stages. For younger journalists there is a 'perpetual internship culture' that prevents them establishing themselves on a topic or area. Established journalists rarely make enough from journalism alone to make a living and so have to develop a portfolio of other types of work. Journalism has also become centralised, depriving opportunities for freelancers based outside of London. 'There's not a single publication that has been transparent about the deals that they have struck around AI and what they're charging for their information in news to be used,' commented one person. They said that, against that power, it may take a long time for freelancers to be in a position to challenge it themselves. They added that there was an increasingly blurred line between journalists and influencers who comment on the news. 'What we actually need as freelancers, we need the copyright laws that already exist strengthened and made more accessible for us,' an attendee said. Currently, they said, their only recourse is court, which would carry a huge financial risk if the was unsuccessful. Applying that to generative AI would be even more challenging for them. A speaker from the tech industry responded that less than one percent of publishers have struck any type of deal with AI companies to use their content. They said they were 'disappointed' in how the industry has thus far failed to come together to come up with a solution to these problems. 'We invented our system to get to that collective action, to have an independent attribution model that could be integrated,' they said. However, they said it was really difficult to try and make agreements with all the large number of rights holders, but they were optimistic that this could be resolved with collective action. 'What we are creating is an AI data licensing marketplace, matching rights holders with AI companies who wants to license that,' explained another tech representative. They agreed that there needed to be collective action and a product solution to the challenge of attribution and licensing. They added that the use case is really important, as they are critical of how the current deals in place are opaque, between big tech and big media, and are not licensing for training. They continued that there are a set of AI developers who are mining data for specific use cases that need to be enabled too. For news, they added, revenues were traditionally made up of advertising, readers and licensing, and this is very much about bringing licensing into the 21st century. They felt efforts in other countries had yet to produce a sustainable solution, but that there was learning from them as to how 'the value of the concept is important, getting the right relationships is important, doing that structure is important.' An attendee explained that the ALCS and the NUJ have recently worked together to create SCOOP in order to offer genuinely beneficial collective agreements between those representing freelance journalists and companies securing commercial returns from the online secondary use of their works, including news scraping and training AI. Attendees did feel there was an important place for legislation, and an imminent need for it. One attendee highlighted that Germany, Australia and New Zealand have laws that have enabled collective bargaining, and that Europe is ahead on protections on both AI and the digital distribution of content. Another person highlighted the importance of getting the incentive structures right for tech companies, so that they can be compelled to comply with rules, for example, on attribution. 'A lot of it is to do with politics, not necessarily mechanisms, but the political context which they [policymakers] are seeing the future,' said one person. They added that while legislators around are keen to regulate AI, it is still one among many competing priorities. 'We will struggle if we wait for specific regulation. I think we have to try voluntary measures, but I think we're going to need regulatory backup,' added another attendee. They pointed to collective licensing models, which the ALCS and others are already part of, as a solution for remunerating creators through a transparent and non-profit organisation. 'In order to get the right treatment, we need to get the right diagnosis, and before that, we need to identify the symptoms,' an attendee observed, 'we as freelancers, have different symptoms to news organisations. We really need to find those better before we work out what the treatment is' It is clear that AI technology will continue to be developed and deployed. There are already some solutions that can help creators get the remuneration and value they deserve, but in the medium and longer term there need to be larger policy interventions to regulate the technology and ensure quality and reliable information is available to citizens. That could include strengthening copyright laws, taxes on technology companies to fund specific services such as public service broadcasting, and regulation to support collective bargaining between creators and tech companies. Related
Fashion United
24-06-2025
- Business
- Fashion United
UK creative sector to get a 380-million-pound boost
The UK government pledges to inject 380 million pounds of targeted funding into the creative industries to support innovation, access to finance, research and development, skills and regional growth across the UK. The investment in the sector is part of the 'Creative Industries Sector Plan' from the Department of Culture, Media and Sport (DCMS), which sets out the government's ambitious ten-year plan to make the UK the best place to do business and unlock growth as part of the 'Plan for Change'. The hope is the new funding will boost innovation, regional growth and investment, as the government looks to drive the UK's Creative Industries from 17 billion pounds in 2023 to 31 billion pounds by 2035 to cement the UK's position as 'a global creative superpower'. The funding package is part of the government's wider plan to deliver targeted investment to create thousands of new jobs and opportunities in sub-sectors like film and TV, music, performing and visual arts, video games and advertising, while also generating economic growth in six regions outside London over the next three years, including Manchester, Liverpool, the West Midlands, West Yorkshire, the North East and the West of England. This includes a mix of sector-wide initiatives to help creative businesses, including those in the fashion industry, to scale, export and future-proof their operations while maintaining their cutting-edge creative identity. UK government pledges to more than double its support for the creative industries Tolu Coker SS25 at LFW Credits: Tolu Coker Several commitments from the government specifically for the fashion industry include continuing to invest in the British Fashion Council's NewGen programme, backing emerging UK designers with funding for London Fashion Week showcases and business mentoring, as well as providing funding for London Fashion Week itself. The Department for Business and Trade (DBT) will also continue to champion international trade promotion for the fashion and design sector through initiatives like guest programmes and key international trade shows. The report also identified the fashion sector as a particular sub-sector with 'complex global supply chains vulnerable to disruption,' and the DBT states that it will deepen its understanding of supply chain vulnerabilities through a new Supply Chain Centre, which will identify strategic inputs where additional action, such as building domestic capabilities or diversifying imports, is needed to build resilience. In response to the government's creative industries sector plan, Laura Weir, chief executive of the British Fashion Council, said in an open letter: 'Fashion's inclusion in this long-term plan is a strong and welcome signal of recognition for our sector's economic, cultural and international value. The UK has long been a launchpad for some of the world's most visionary designers and creative businesses and today's announcement strengthens our ability to support that legacy for future generations. 'This is also a clear endorsement of London Fashion Week as a global platform that drives culture, creativity and commerce, and an essential part of the UK's soft power and economic story.' Aaron Esh, spring/summer 2025 at London Fashion Week Credits: ©Launchmetrics/spotlight UK looking to become a 'a global creative superpower' with fresh government funding The fashion-specific initiatives are part of a wider suite of measures which the government says are aimed at strengthening the creative economy, including increasing support from the British Business Bank for the creative industries with debt and equity finance, creating a new working group to tackle barriers to IP-backed lending, and a plan to deliver a refreshed UK-wide 9 million pound creative careers service. Other initiatives include increasing the number of creative trade missions and markets targeted, building on traditional markets like the EU and the US, as well as fast-growing markets such as the Asia-Pacific, and committing to making UK IP rights the best protected in the world, setting a gold enforcement standard in the UK and internationally to protect rights owned by UK businesses. There will also be the creation of a new 10 Downing Street-led 'Global Talent Taskforce' to turbocharge the UK approach to international talent attraction. This will include making the Global Talent Visa more accessible to a broader range of design talent. Lisa Nandy, Culture Secretary, added: 'Our creative industries are powerful economic drivers in this country. By placing them at the heart of our Industrial Strategy this Sector Plan, backed by 380 million pounds of investment, will boost regional growth, stimulate private investment, and create thousands more high-quality jobs.'
Metro
23-06-2025
- Entertainment
- Metro
Victory for Metro after grassroots music venues handed £30,000,000 in support
Grassroots music venues across the UK are being handed a package of support worth millions of pounds by the government, in a victory for Metro's tube map campaign. Campaigners have said the moves could prove to be 'very, very radical' for a sector that has struggled under the pressure of rocketing costs, Brexit restrictions and the lingering impact of the Covid lockdowns. The Creative Industries Sector Plan, published earlier today, sets out measures including a shake-up of business rates and backing for a 'live levy' on arena gigs to support small venues. It also unveils investment worth £30 million to go towards grassroots spots across the country and mentoring opportunities for emerging talent. Mark Davyd, founder and CEO of the Music Venue Trust (MVT), said the plan is 'pointing in the right direction on a number of things'. He told Metro: 'The live levy alone, on its own, is a very radical intervention that provides for structured investment across a number of years. 'That really would solve a lot of problems at the grassroots level.' However, he said the plan didn't include 'exactly what's going to happen now', adding: 'Our view is really it would be best if it was in legislation.' A statement from the government containing more details is due to be published in the autumn, Mark said. Ticketing app DICE has put together a list of their 25 grassroots artists you need to see in London over the next six months. With tickets ranging from free to £27.50, these shows will ensure a great night to suit all tastes and budgets. Click HERE to catch the full list. He continued: 'We'll wait and see what this comes up with, but there are significant opportunities here, and it's good to see that lead being taken.' The MVT is one of several organisations to work alongside Metro on our campaign to promote the small venues that serve as the bedrock for the British music industry. At the heart of the effort is the London Grassroots Music Tube Map, which promotes the sites, music legends and new talent who define the culture of the capital. Stars including Billy Bragg, Skin and Prima Queen have also lent their backing to the campaign with recollections from the early days of their careers. Among the other campaign groups that backed the push was the Featured Artists Coalition (FAC). David Martin, chief executive of the FAC, said his organisation welcomes the Music Growth Package but wishes it was clearer on where the money would go. More Trending He told Metro: 'I think the public might be quite surprised to know that the investment was so small for an industry that's worth £6.7 billion – but ultimately the increase is positive.' Culture Secretary Lisa Nandy said: 'The UK music industry is truly world-leading — home to exceptional talent, iconic venues, and live events that draw fans from around the world. 'That's why music will be a key pillar of our Sector Plan, with the power to drive economic growth and create good jobs in every part of our country, as we deliver our Plan for Change. 'From helping artists tour internationally to supporting grassroots venues, this plan will ensure the music industry continues to thrive for generations to come.' Get in touch with our news team by emailing us at webnews@ For more stories like this, check our news page. MORE: 'I was the only out lesbian MP for 13 years – here's how Parliament has changed' MORE: Assisted dying takes huge step towards becoming law after MPs vote to back bill MORE: Pro-Palestine group that broke into RAF base 'will be banned in the UK'
