Meanwhile, Meta has invested a staggering $100bn on metaverse research and development to date, $15bn in the past year alone—with apparently little to show for it. . . . In April, Sony and Lego invested $2bn in Epic’s metaverse vision. In January, Microsoft moved to acquire another games giant, Activision Blizzard, makers of World of Warcraft, Overwatch, Call of Duty and Candy Crush, for nearly $70bn. . . The metaverse was valued at nearly $23bn last year and is expected to grow nearly 40% a year for the rest of the decade. As the Epic co-founder and CEO Tim Sweeney put it last year: "The next three years are going to be critical for all of the metaverse-aspiring companies. . . . Whoever brings on a billion users first would be the presumed leader in setting the standards."
While internet users have embraced this supercharged creative potential—armed with the correctly refined prompt, even novices can now create arresting digital canvases—some artists have balked at the new technology’s capacity for mimicry. Among the prompts entered into image generators Stable Diffusion and Midjourney, many tag an artist’s name in order to ensure a more aesthetically pleasing style for the resulting image. Something as mundane as a bowl of oranges can become eye-catching if rendered in the style of, say, Picasso. Because the AI has been trained on billions of images, some of which are copyrighted works by living artists, it can generally create a pretty faithful approximation.
Microsoft, its subsidiary GitHub, and its business partner OpenAI have been targeted in a proposed class action lawsuit alleging that the companies’ creation of AI-powered coding assistant GitHub Copilot relies on "software piracy on an unprecedented scale". . . .Copilot, which was unveiled by Microsoft-owned GitHub in June 2021, is trained on public repositories of code scraped from the web, many of which are published with licenses that require anyone reusing the code to credit its creators. Copilot has been found to regurgitate long sections of licensed code without providing credit—prompting this lawsuit that accuses the companies of violating copyright law on a massive scale.
At time of writing, this is the first piece of legal scholarship on NFTs that examines their interaction with the first sale doctrine. This Note examines the rise of the NFT phenomenon and the historical articulation of the first sale doctrine in the digital era. As NFTs present challenges for the copyright owner’s reproduction right, this Note recommends legislative intervention to clarify the doctrine’s applicability within the digital marketplace. This Note proposes an addition to the Copyright Act of 1976 that expressly allows for a first sale to be effective upon a digital transfer, albeit under certain conditions. Amending the act in this manner promotes the Copyright Act’s purpose of balancing the interests of copyright owners and consumers in a dynamic digital marketplace, and serves as a guide that will be necessary to avoid legal ambiguities and increased litigation.
To give an idea of what’s possible today, take the example of Aschehoug Publishing Company from Oslo, Norway. Together, Aschehoug and Ludenso are bringing textbooks to life by adding live 3-D models to print textbooks, allowing students to explore a topic in AR through their mobile devices. This allows students to explore countless abstract concepts in a more tangible way, such as showing the magnetic field around the earth, or conducting virtual physics lab projects.
After using the Quest Pro, I feel like this is the headset Meta really needs to provide a high-quality VR experience for building out apps and environments. Now I still don’t know if this is enough to convince people to work and live in VR, but when it comes to enabling the Metaverse, the Quest Pro seems like the big building block for making that happen
See also: Paywall: "Inside Zuckerberg’s $1,500 Headset, the Metaverse Is Still Out of Reach," https://www.washingtonpost.com/technology/2022/10/11/meta-quest-pro-metaverse/.