This is a new layer in a stack of practical questions for AI-generated work: is it copyrightable, is it identifiable with an ISBN, does it comply with retailer policies, and how will readers react? Of course, other national ISBN agencies may take different approaches—a national library, as in the Canadian example, can gatekeep to an extent a commercial entity like Bowker or Nielsen might not—and many self-published authors don’t assign ISBNs at all, especially if they’re really only working within KDP. I suspect that, outside Canada, this is most interesting as a precedent and challenge for other bibliographic providers.
George writes the newsletter Outside Context and has a ton of info and insight into how AI is changing the publishing industry (and, by association, other media industries).
Cory Doctorow is a cranky Marxist, which makes him fun to read. He also occasionally makes good points:
Out of all the things I learned about publishing from Patrick, one truth stands out above all: publishing is “the act of making something public.” Publishing may or may not involve editing, layout, printing, binding, marketing or other activities that we associate with publishing houses, but publishing always involves identifying a work, identifying an audience, and finding ways to connect that work to that audience.
[…]
For another, this definition lets us understand that (for most of its existence) Google was the most successful publisher in human history. No other institution of any kind connected more works with more audiences. Lots of people have heard of Google’s wildly unsuccessful motto “Don’t be evil,” but far fewer are familiar with Google’s wildly successful mission statement, “organize the world’s information and make it universally accessible and useful.”
But all of that is in the past tense. With its AI projects – AI summaries, the Gemini chatbot – Google has abandoned the practice of “connecting works with audiences.” Today, Google’s function is to plunder all the works on the internet and chop them up and arrange them in an unimaginably vast, multidimensional array for the explicit purpose of preventing audiences from connecting with those works.
Also, Cory’s explanation of what happened during the Hugging Face attack is the most cogent I’ve read. If you have even the tiniest heart palpitation when you think about that event, take a look.
“AI” – chatbots that wake up, “set their own goals,” and “spontaneously” start hacking servers – is fake. It doesn’t have “a 10% chance of ending the human race.” The Hugging Face hack isn’t a mysterious, supernatural occurrence. It’s a Python loop and a chatbot. The people responsible didn’t accidentally create god: they created autonomous malicious software and then failed to closely monitor it, resulting in it doing something both foreseeable and bad.
Benj Edwards on how AI makes it possible for everyone to have completely personalized entertainment:
I love my AI-translated songs, but my kids don’t. In fact, it’s unlikely anyone else on earth will ever want to listen to these recordings. Sure, I wrote the music behind them. But since they’ve been fed into the AI maw, it feels like they are missing a human touch or connection that might make them land with others. And yet I have had more fun listening to my own songs than I ever expected. I am an audience of one.
To be fair, I’ve been playing Benj’s game Violent Checkers for several weeks now and am still enjoying it.





