Such AI-generated content attracted approximately 335 million views on social media, resulting in financial losses estimated at ¥2 billion to ¥4.5 billion for celebrities and artists, according to the study. The estimated losses were calculated based on licensing fees related to using a person's likeness or voice, as well as the advertising value of view counts. However, the nonprofit added that the "actual financial losses might be significantly larger than the estimate," as the calculation only covered cases they were able to find. Only 1.1% of companies said they had guidelines on how to deal with these violations. Some 52% said they were "currently considering" options, while the rest had no plans as of date.

Follow the day's latest updates Court approves $23.5m fine and costs order against ASX Shadow arts minister says AI companies need to do what everyone else does: 'ask permission and pay for it' Albanese defends gambling reforms, says he's'not against someone having a punt' Pocock says it's'tragic' gambling reforms don't go nearly far enough Shadow arts minister says AI companies need to do what everyone else does: 'ask permission and pay for it' If AI companies want to use Australian creative work, they should do what everyone else does: ask permission and pay for it. Australian creativity is one of our greatest national assets - not a free resource for multinational tech companies. The Coalition will always back the right of artists to control their work and be fairly compensated when others profit from it. This is about consent, fairness and respect for Australian creativity. Court approves $23.5m fine and costs order against ASX Shadow arts minister says AI companies need to do what everyone else does: 'ask permission and pay for it' Albanese defends gambling reforms, says he's'not against someone having a punt' Pocock says it's'tragic' gambling reforms don't go nearly far enough Court approves $23.5m fine and costs order against ASX A federal court judge has ordered the ASX operator to pay $23.5m in penalties and costs after the company admitted to making a misleading statement about a troubled upgrade for technology required to run the stock exchange.

Guardian Australia has been told an industry proposal has been presented to cabinet that would grant AI companies special exemptions to mine creative content. In exchange, the companies would bankroll the artists' fund and commit more than $50bn worth of investment in datacentres. Australia'sleepwalking' into AI crisis and'tech bro free-for-all', says Greens senator The independent senator David Pocock said the proposal was the "ultimate dirty deal" as he demanded the government categorically rule it out. The potential adoption of a text and data mining exemption would represent a major reversal from the federal government, which last year ruled it out after criticism from artists, authors and media groups. Amid fears the government could capitulate to big tech, a delegation of creatives staged a press conference in parliament house on Wednesday to urge the government to hold the line.

This story appears in the August 2026 print edition. While some stories from this issue are not yet available to read online, you can explore more from the magazine . Get our editors' guide to what matters in the world, delivered to your inbox every weekday. Holly Herndon and Mat Dryhurst believe the future doesn't have to belong to slop. The art was way too heavy. In mid-March, the artists Holly Herndon and Mat Dryhurst were preparing an installation to coincide with the Venice Biennale, the prestigious international art festival, but the execution was becoming tricky. They wanted to suspend sculptures of a trippy cityscape upside down from the ceiling of an 18th-century palazzo. But the construction material they envisioned-- 3-D-printed sand--would weigh tons, which was more than the antique building could bear. The sculptures, they realized, might fall and crush someone. Check out more from this issue and find your next story to read. This was a rather analog problem for a married couple widely seen as technological prophets. Herndon, 46, and Dryhurst, 41, have reached the upper echelons of the art world thanks to a media-spanning output--music, images, software, and reams of commentary--with a cybernetic bent. They are high culture's most influential exponents of artificial intelligence, an invention that many people believe spells doom for the arts but that they think could lead to a renaissance. I met them on a cold, bright Tuesday in Berlin.

Indie movie fans are upset about Google DeepMind's $75 million investment in the studio, which comes as AI companies are deepening their influence in Hollywood. Backrooms, the recent horror movie mega-hit, is a film replete with ideas about repetition and degradation. Its central theme--the horror of a world that seems to be mindlessly, monstrously, ripping off our own--was regarded in some circles as a critique of generative AI . The idea has clearly struck a nerve. Recently passing $300 million at the global box office, has become the biggest hit yet for its buzzy boutique producer and distributor, the New York company A24.

Recently, text-to-image diffusion models have been widely used for style mimicry and personalized customization through methods such as DreamBooth and Textual Inversion. This has raised concerns about intellectual property protection and the generation of deceptive content. Recent studies, such as Glaze and AntiDreamBooth, have proposed using adversarial noise to protect images from these attacks. However, recent purification-based methods, such as DiffPure and Noise Upscaling, have successfully attacked these latest defenses, showing the vulnerabilities of these methods. Moreover, present methods show limited transferability across models, making them less effective against unknown text-to-image models.

AI-generated music is becoming increasingly common and increasingly difficult to recognise. Here are the tell-tale signs that reveal whether a song is AI-generated – and what this development means for the music industry.

Qobuz Is the Anti-Spotify Music Streamer You've Been Waiting For With its music focus, no-AI content policy, and larger artist royalties, the hi-res streaming service is scooping up all sorts of switchers. When Dan Mackta, Qobuz's New York-based managing director, was looking for musicians to endorse the music streaming service after its US launch in 2019, he tapped up a friend--the manager of the Flaming Lips. It was mid-pandemic levels of tricky. "I flew to Oklahoma to shoot with Wayne Coyne," Mackta says. "He shows up wearing one of those helmets, with the ventilation system to protect you, a metallic puffer jacket and big silver moon boots."

Understanding how knowledge is distributed across the layers of generative models is crucial for improving interpretability, controllability, and adaptation. While prior work has explored knowledge localization in UNet-based architectures, Diffusion Transformer (DiT)-based models remain underexplored in this context. In this paper, we propose a model-and knowledge-agnostic method to localize where specific types of knowledge are encoded within the DiT blocks. We evaluate our method on state-of-the-art DiT-based models, including PixArt-α, FLUX, and SANA, across six diverse knowledge categories. We show that the identified blocks are both interpretable and causally linked to the expression of knowledge in generated outputs. Building on these insights, we apply our localization framework to two key applications: model personalization and knowledge unlearning. In both settings, our localized fine-tuning approach enables efficient and targeted updates, reducing computational cost, improving task-specific performance, and better preserving general model behavior with minimal interference to unrelated or surrounding content. Overall, our findings offer new insights into the internal structure of DiTs and introduce a practical pathway for more interpretable, efficient, and controllable model editing. 1

A painting bought for less than $100 (£75) in a US charity shop in the 1960s has sold for almost £190,000 at auction. Art teacher Helene Plotkin bought the work by Scottish Colourist FCB Cadell in White Plains, New York in 1966, unaware of its true value. The painting, Interior: The Lady in Black, hung in her living room for 60 years - but the artist's signature was illegible and was only recently identified. It sold for £189,200, including buyer's premium, in Edinburgh as part of Lyon & Turnbull's Scottish painting and sculpture auction. The background to the painting only became clear when Helene's son Barry began his own research into it and took it for a valuation last year.