Menées sous la supervision des professeurs Jeremy de Beer et Michael Geist,, chercheurs au Centre de recherche en droit, technologie et société, les recherches de Sarit K. Mizrahi explorent les collaborations littéraires, musicales et artistiques entre l'homme et l'intelligence artificielle au regard des règles sur le droit d'auteur, notamment en ce qui concerne leur impact potentiel sur la liberté de création, la prolifération des connaissances et le développement continu de la diversité culturelle.
Ses recherches ont été soutenues par une Bourse Joseph-Armand Bombardier du Conseil de recherches en sciences humaines du Canada, ainsi que par une bourse d’excellence de l'Université d'Ottawa.
Avant de poursuivre son doctorat, Sarit K. Mizrahi a obtenu un LL.B., un JD et un LL.M. en droit des technologies à l'Université de Montréal. Sarit K. Mizrahi a participé à plusieurs projets de recherche axés sur l'intersection entre le droit et la technologie. En tant que chercheure au Laboratoire de cyberjustice, elle a contribué à l'élaboration d'une étude pour le Gouvernement du Québec sur les implications juridiques de leur migration vers le nuage.
Outre ses superviseurs, le jury de soutenance était composé du professeur Graham Reynolds (Univeristy of British Columbia), examinateur externe, des professeurs Florian Martin-Bariteau,Amy Salyzyn et de David Fewer, examinateurs internes. Le président de la soutenance était le professeur Thomas Burelli.
Toutes nos félicitations à Sarit K. Mizrahi !
Résumé (en anglais seulement)
In a world where human creativity intertwines with the power of artificial intelligence, the very essence of authorship is being called into question. Originally conceived of as a dialogic relation between authors and pre-existing culture, the insertion of generative AI within the creative realm has introduced a new web of nested relationships – between human authors, AI, and its developers – that are redefining the ontology of authorship; reshaping how we both pursue and produce knowledge.
And while the question du jour might be whether copyright could recognize the human-machine collaborations that arise from these interactions, a far better one is whether it should. Our position should not be based on whether such creations fulfill what have become the very minimal requirements for enjoying copyright protection. Nor should it be founded on whether these creations draw on unauthorized copies of pre-existing works. Rather, it should rest on whether human-machine collaborations pursue the dialogic qualities that copyright as a construct was designed to promote.
This inquiry, however, necessarily requires a deep examination into copyright doctrine as it now stands; a reimagination of copyright’s most intrinsic principles through a dialogic lens. And that’s precisely where I commence my journey down the human-machine collaboration rabbit hole. I begin by reframing copyright’s approach to originality and infringement from a dialogic perspective, identifying creative autonomy as copyright’s central governing principle and laying the groundwork for a more nuanced understanding of authorship in the digital age. I then build upon this conceptual framework, exploring the barriers to creative autonomy arising from the various relationships that culminate in human-machine collaborations. By elucidating copyright’s role in shaping the power dynamics inherent in these relations, I conclude by illustrating how reimagining copyright’s boundaries can go a long way in attenuating many of generative AI’s impediments to creative autonomy; in embracing a more inclusive vision of authorship that permits all forms of creativity to flourish on the peripheries of cultural officialdom.