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Indigenous rangers in northern Australia have started managing herds of feral animals from space. In the largest project of its kind in Australia, the so-called Space Cows project involves tagging and then tracking a thousand wild cattle and buffalo via satellite.

Water buffalo were imported into Australia’s Northern Territory in the 19th century as working animals and meat for remote settlements. When those communities were abandoned, the animals were released into the wild.

Their numbers have grown, and feral buffaloes can cause huge environmental damage. In wetlands, they move along pathways called swim channels, which have caused salt water to flow into freshwater plains. This has led to the degradation and loss of large areas of paperbark forest and natural waterholes, as well as spreading weeds.  

Under the so-called Space Cows program, feral cattle and buffaloes are being rounded up, often by helicopter, tied to trees, and fitted with solar-powered tags that can be tracked by satellite.

Scientists say the real-time data will be critical to controlling and predicting the movement of the feral herds, which are notorious for trashing the landscape.

Most feral buffalo are found on Aboriginal land, and researchers are working closely with Indigenous rangers. They carry out sporadic buffalo culls, and there are hopes that First Nations communities can benefit economically from well-managed feral herds.

The technology will allow Indigenous rangers to predict where cattle and buffalo are going and cull them or fence off important cultural or environmental sites.  The data will help rangers stop the animals trampling sacred ceremonial areas and destroying culturally significant waterways.  Scientists say the satellite information will allow them to predict when herds might head to certain waterways in warm weather allowing rangers to intervene.

In recent years, thousands of wild buffalo have been exported from Australia to Southeast Asia.

Andrew Hoskins is a biologist at the CSIRO, the Commonwealth Scientific and Industrial Research Organization, Australia’s national science agency.

He told the Australian Broadcasting Corp’s AM Program this is the first time feral animals have been monitored from space.

“This really, you know, large scale tracking project, (is) probably the largest from a wildlife or a buffalo tracking perspective that has ever been done.  The novel part, I suppose, is then that links through to a space-based satellite system,” said Hoskins.

Australia has had an often-disastrous experience with bringing in animals from overseas since European colonization in the later 1800s.  It is not just buffaloes that cause immense environmental damage.   

Cane toads — brought to the country in a failed attempt to control pests on sugar cane plantations in the 1930s — are prolific breeders and feeders that can dramatically attack native insects, frogs, reptiles and other small creatures. Their skin contains toxic venom that can also kill native predators.

Feral cats kill millions of birds in Australia each year, while foxes, pigs and camels cause widespread ecological damage across Australia.  

Yellow crazy ants are one of the world’s worst invasive species.  Authorities believe they arrived in Australia accidentally through shipping ports.  They have been recorded in Queensland and New South Wales states as well as the Northern Territory.  The ants are a highly aggressive species and spit a formic acid, which burns the skin of their prey, including small mammals, turtle hatchlings and bird chicks.
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Country singers, romance novelists, video game artists and voice actors are appealing to the U.S. government for relief — as soon as possible — from the threat that artificial intelligence poses to their livelihoods.

“Please regulate AI. I’m scared,” wrote a podcaster concerned about his voice being replicated by AI in one of thousands of letters recently submitted to the U.S. Copyright Office.

Technology companies, by contrast, are largely happy with the status quo that has enabled them to gobble up published works to make their AI systems better at mimicking what humans do.

The nation’s top copyright official hasn’t yet taken sides. She told The Associated Press she’s listening to everyone as her office weighs whether copyright reforms are needed for a new era of generative AI tools that can spit out compelling imagery, music, video and passages of text.

“We’ve received close to 10,000 comments,” said Shira Perlmutter, the U.S. register of copyrights, in an interview. “Every one of them is being read by a human being, not a computer. And I myself am reading a large part of them.”

What’s at stake?

Perlmutter directs the U.S. Copyright Office, which registered more than 480,000 copyrights last year covering millions of individual works but is increasingly being asked to register works that are AI-generated. So far, copyright claims for fully machine-generated content have been soundly rejected because copyright laws are designed to protect works of human authorship.

But, Perlmutter asks, as humans feed content into AI systems and give instructions to influence what comes out, “is there a point at which there’s enough human involvement in controlling the expressive elements of the output that the human can be considered to have contributed authorship?”

That’s one question the Copyright Office has put to the public.

A bigger one — the question that’s fielded thousands of comments from creative professions — is what to do about copyrighted human works that are being pulled from the internet and other sources and ingested to train AI systems, often without permission or compensation.

More than 9,700 comments were sent to the Copyright Office, part of the Library of Congress, before an initial comment period closed in late October. Another round of comments is due by December 6. After that, Perlmutter’s office will work to advise Congress and others on whether reforms are needed.

What are artists saying?

Addressing the “Ladies and Gentlemen of the US Copyright Office,” the Family Ties actor and filmmaker Justine Bateman said she was disturbed that AI models were “ingesting 100 years of film” and TV in a way that could destroy the structure of the film business and replace large portions of its labor pipeline.

It “appears to many of us to be the largest copyright violation in the history of the United States,” Bateman wrote. “I sincerely hope you can stop this practice of thievery.”

Airing some of the same AI concerns that fueled this year’s Hollywood strikes, television showrunner Lilla Zuckerman (Poker Face) said her industry should declare war on what is “nothing more than a plagiarism machine” before Hollywood is “coopted by greedy and craven companies who want to take human talent out of entertainment.”

The music industry is also threatened, said Nashville-based country songwriter Marc Beeson, who’s written tunes for Carrie Underwood and Garth Brooks. Beeson said AI has potential to do good but “in some ways, it’s like a gun — in the wrong hands, with no parameters in place for its use, it could do irreparable damage to one of the last true American art forms.”

While most commenters were individuals, their concerns were echoed by big music publishers — Universal Music Group called the way AI is trained “ravenous and poorly controlled” — as well as author groups and news organizations including The New York Times and The Associated Press.

Is it fair use?

What leading tech companies like Google, Microsoft and ChatGPT-maker OpenAI are telling the Copyright Office is that their training of AI models fits into the “fair use” doctrine that allows for limited uses of copyrighted materials such as for teaching, research or transforming the copyrighted work into something different.

“The American AI industry is built in part on the understanding that the Copyright Act does not proscribe the use of copyrighted material to train Generative AI models,” says a letter from Meta Platforms, the parent company of Facebook, Instagram and WhatsApp. The purpose of AI training is to identify patterns “across a broad body of content,” not to “extract or reproduce” individual works, it added.

So far, courts have largely sided with tech companies in interpreting how copyright laws should treat AI systems. In a defeat for visual artists, a federal judge in San Francisco last month dismissed much of the first big lawsuit against AI image-generators, though allowed some of the case to proceed.

Most tech companies cite as precedent Google’s success in beating back legal challenges to its online book library. The U.S. Supreme Court in 2016 let stand lower court rulings that rejected authors’ claim that Google’s digitizing of millions of books and showing snippets of them to the public amounted to copyright infringement.

But that’s a flawed comparison, argued former law professor and bestselling romance author Heidi Bond, who writes under the pen name Courtney Milan. Bond said she agrees that “fair use encompasses the right to learn from books,” but Google Books obtained legitimate copies held by libraries and institutions, whereas many AI developers are scraping works of writing through “outright piracy.”

Perlmutter said this is what the Copyright Office is trying to help sort out.

“Certainly, this differs in some respects from the Google situation,” Perlmutter said. “Whether it differs enough to rule out the fair use defense is the question in hand.”
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Advertisers are fleeing social media platform X over concerns about their ads showing up next to pro-Nazi content and hate speech on the site in general, with billionaire owner Elon Musk inflaming tensions with his own posts endorsing an antisemitic conspiracy theory.

IBM said this week that it stopped advertising on X after a report said its ads were appearing alongside material praising Nazis — a fresh setback as the platform, formerly known as Twitter, tries to win back big brands and their ad dollars, X’s main source of revenue.

The liberal advocacy group Media Matters said in a report Thursday that ads from Apple, Oracle, NBCUniversal’s Bravo network and Comcast also were placed next to antisemitic material on X.

“IBM has zero tolerance for hate speech and discrimination and we have immediately suspended all advertising on X while we investigate this entirely unacceptable situation,” the company said in a statement.

Apple, Oracle, NBCUniversal and Comcast didn’t respond immediately to requests seeking comment on their next steps.

The European Union’s executive branch said separately Friday it is pausing advertising on X and other social media platforms, in part because of a surge in hate speech. Later in the day, Disney, Lionsgate and Paramount Global also said they were suspending or pausing advertising on X.

Musk sparked outcry this week with his own tweets responding to a user who accused Jews of hating white people and professing indifference to antisemitism. “You have said the actual truth,” Musk tweeted in a reply Wednesday.

Musk has faced accusations of tolerating antisemitic messages on the platform since purchasing it last year, and the content on X has gained increased scrutiny since the war between Israel and Hamas began.

“We condemn this abhorrent promotion of antisemitic and racist hate in the strongest terms, which runs against our core values as Americans,” White House spokesperson Andrew Bates said Friday in response to Musk’s tweet.

X CEO Linda Yaccarino said X’s “point of view has always been very clear that discrimination by everyone should STOP across the board.”

“I think that’s something we can and should all agree on,” she tweeted Thursday.

Yaccarino, a former NBCUniversal executive, was hired by Musk to rebuild ties with advertisers who fled after he took over, concerned that his easing of content restrictions was allowing hateful and toxic speech to flourish and that would harm their brands.

“When it comes to this platform — X has also been extremely clear about our efforts to combat antisemitism and discrimination. There’s no place for it anywhere in the world — it’s ugly and wrong. Full stop,” Yaccarino said.

Media Matters and Anti-Defamation League

The accounts that Media Matters found posting antisemitic material will no longer be monetizable and the specific posts will be labeled “sensitive media,” according to a statement from X. Still, Musk decried Media Matters as “an evil organization.”

The head of the Anti-Defamation League also hit back at Musk’s tweets this week, in the latest clash between the prominent Jewish civil-rights organization and the billionaire businessman.

“At a time when antisemitism is exploding in America and surging around the world, it is indisputably dangerous to use one’s influence to validate and promote antisemitic theories,” ADL CEO Jonathan Greenblatt said on X.

Musk also tweeted this week that he was “deeply offended by ADL’s messaging and any other groups who push de facto anti-white racism or anti-Asian racism or racism of any kind.”

The group has previously accused Musk of allowing antisemitism and hate speech to spread on the platform and amplifying the messages of neo-Nazis and white supremacists who want to ban the ADL.

European Commission steps back

The European Commission, meanwhile, said it’s putting all its social media ad efforts on hold because of an “alarming increase in disinformation and hate speech” on platforms in recent weeks.

The commission, the 27-nation EU’s executive arm, said it is advising its services to “refrain from advertising at this stage on social media platforms where such content is present,” adding that the freeze doesn’t affect its official accounts on X.

The EU has taken a tough stance with new rules to clean up social media platforms, and last month it made a formal request to X for information about its handling of hate speech, misinformation and violent terrorist content related to the Israel-Hamas war.

TikTok troubles

X isn’t alone in dealing with problematic content since the conflict.

On Thursday, TikTok removed the hashtag #lettertoamerica after users on the app posted sympathetic videos about Osama bin Laden’s 2002 letter justifying the terrorist attacks against Americans on 9/11 and criticizing U.S. support for Israel. The Guardian news outlet, which published the transcript of the letter that was being shared, took it down and replaced it with a statement that directed readers to a news article from 2002 that it said provided more context.

The videos garnered widespread attention among X users critical of TikTok, which is owned by Beijing-based ByteDance. TikTok said the letter was not a trend on its platform and blamed an X post by journalist Yashar Ali and media coverage for drawing more engagement to the hashtag.

The short-form video app has faced criticism from Republicans and others who say the platform has been failing to protect Jewish users from harassment and pushing pro-Palestinian content to viewers.

TikTok has aggressively pushed back, saying it’s been taking down antisemitic content and doesn’t manipulate its algorithm to take sides. 
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SpaceX’s uncrewed spacecraft Starship, developed to carry astronauts to the moon and beyond, was presumed to have failed in space minutes after lifting off on Saturday in a second test after its first attempt to reach space ended in an explosion.

The two-stage rocket ship blasted off from the Elon Musk-owned company’s Starbase launch site near Boca Chica, Texas, soaring roughly 90 kilometers (55 miles) above ground on a planned 90-minute flight into space.

But the rocket’s Super Heavy first stage booster, though it appeared to achieve a crucial maneuver to separate with its core stage, exploded over the Gulf of Mexico shortly after detaching.

Meanwhile, the core Starship booster carried further toward space, but roughly 10 minutes into the flight a company broadcaster said that SpaceX mission control suddenly lost contact with the vehicle.

“We have lost the data from the second stage. … We think we may have lost the second stage,” SpaceX’s livestream host John Insprucker said.

The launch was the second attempt to fly Starship mounted atop its towering Super Heavy rocket booster, following an April attempt that ended in failure about four minutes after liftoff.

A live SpaceX webcast of Saturday’s launch showed the rocket ship rising from the launch tower into the morning sky as the Super Heavy’s cluster of powerful Raptor engines thundered to life.

The test flight’s principal objective was to get Starship off the ground and into space just shy of Earth’s orbit. Doing so would have marked a key step toward achieving SpaceX’s goal of producing a large, multipurpose spacecraft capable of sending people and cargo back to the moon later this decade for NASA, and ultimately to Mars.

Musk — SpaceX’s founder, chief executive and chief engineer — also sees Starship as eventually replacing the company’s workhorse Falcon 9 rocket as the centerpiece of its launch business, which already takes most of the world’s satellites and other commercial payloads into space.

NASA, SpaceX’s primary customer, has a considerable stake in the success of Starship, which the U.S. space agency is counting on to play a central role in its human spaceflight program, Artemis, successor to the Apollo missions of more than a half century ago that put astronauts on the moon for the first time.

The mission’s objective was to get Starship off the ground in Texas and into space just shy of reaching orbit, then plunge through Earth’s atmosphere for a splashdown off Hawaii’s coast. The launch had been scheduled for Friday but was pushed back by a day for a last-minute swap of flight-control hardware.

During its April 20 test flight, the spacecraft blew itself to bits less than four minutes into a planned 90-minute flight that went awry from the start. SpaceX has acknowledged that some of the Super Heavy’s 33 Raptor engines malfunctioned on ascent, and that the lower-stage booster rocket failed to separate as designed from the upper-stage Starship before the flight was terminated. 
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