This series of posts explores how we can rethink the intersection of AI, creativity, and policy. From examining outdated regulatory metaphors to questioning copyright norms and highlighting the risks of stifling innovation, each post addresses a different piece of the AI puzzle. Together, they advocate for a more balanced, forward-thinking approach that acknowledges the potential of technological evolution while safeguarding the rights of creators and ensuring AI’s development serves the broader interests of society. You can read the first post and second post in the series.
In policy circles, creative industries have become the loudest voices in copyright debates. The problem? They are often mistaken for representing creativity itself, or even protecting individual creators and culture. But let’s get one thing straight: creativity is very different from the creative industries—as different as music is from the music business. Think The Beatles vs. Bad Boy Records: not the same vibe!
The creative industries are an economic concept, an invention of the British government in 1997 under Tony Blair. This was when the Creative Industries Task Force was born, bringing together sectors like advertising, design, fashion, film, music, and software—all under one umbrella. We’re talking about a vast range, from opera and ballet to architecture, advertising and video games. This is way beyond what most people think of as “culture.” And let’s not even talk about the hodgepodge concept of IPR-intensive industries waved by the Intellectual Property Office (EUIPO) and European Patent Office (EPO), which covers pretty much any company that filed patents or geographical indications, from McDonalds to the wonderful vendors of Prosciutto di Parma.
Who’s Who in the Creative Industry?
When talking about the creative industries, it’s important to differentiate between the players involved. There are rightsholders, who may be those producing and distributing content, or sometimes simply financial investors—think Scooter Braun vs. Taylor Swift. Then there are the creators themselves, who often don’t even own the rights to what they’ve created. And of course, there are all the other people who work in the industry—from “creatives” to those in support roles, just like in any other industry.
This complexity becomes crucial when considering AI. As we’ve seen with the Hollywood writers’ strike, the creative industry is already embracing AI, viewing it as either a new creative tool or a cost-cutting measure that could replace human jobs. That’s the “industries” part of the label—a business-driven focus that doesn’t necessarily align with the interests of individual creators or the broader value of creativity.
AI, Authenticity, and the Human Touch
The real challenges posed by AI aren’t limited to copyright or creative rights—they’re about the future of work and how we value human contribution in an automated world. To understand the human creator’s role, let’s take a look at the evolution of electronic dance music (EDM). As Douglas Rushkoff describes, EDM started with anonymous techno raves, with the DJ barely visible or hidden entirely. Over time, the DJ became the centerpiece, part of the spectacle—because humans relate to humans. This dynamic isn’t going to change with AI.
Or, as Dan Graham, owner of Gothic Storm Limited and Founder of the Library of the Human Soul, puts it: “We’re suckers for a backstory and authenticity. We hate knock-offs, even if they’re perfect. Fake Rolexes, forged artwork—it doesn’t matter how good it is, the real thing is always worth more, because we care.” AI might make flawless imitations, but the value of human creativity, authenticity, and connection remains unmatched.
So, while AI will certainly change the creative industries, it won’t replace the core of creativity—the human spirit, storytelling, and the authenticity we all crave as fans.
Caroline De Cock is a communications and policy expert, author, and entrepreneur. She serves as Managing Director of N-square Consulting and Square-up Agency, and Head of Research at Information Labs. Caroline specializes in digital rights, policy advocacy, and strategic innovation, driven by her commitment to fostering global connectivity and positive change.