Perforce, old assumptions must be discarded
This spat over so-called 'AI' is merely a fresh example of how the digital era has overturned assumptions concerning supposed 'intellectual property'.
For the past three hundred years and more, legal minds diligently have refined the core idea of the Statute of Anne (1710) which formalised copyright. They have bequeathed a tangle of legislation. It is impenetrable to all but the few with time to spend delving through musty law books. Even then, it is a ramshackle edifice containing lurking ambiguity, anomaly, and contradiction.
Advent of the digital era has revealed this effort to have been in vain. All along, from inception of the Act forward through additional legislation and case law, the notion that ideas, and their expression, are property in similar sense to physical items was nonsense. Digitisation demonstrated inherent separation of 'medium' and 'message'.
The former is the substrate upon which ideas are inscribed e.g. paper, film, vinyl discs, and CDs. It has physical presence. Each instance exists uniquely in time and place. The number of instances created is finite (e.g. printed copies of a book). These substrates can be construed as property just like oxen, asses, and land, which were familiar to the first recipients of the Ten Commandments. Each can be traded. Each can be stolen. Each, by virtue of scarcity, can be assigned monetary worth through price discovery in context of demand/supply economics.
However, digital representations, and derivatives therefrom, are not confined to particular instances of a medium or, indeed, to media of the same kind. They are sequences of digits, usually binary. They are samples from a Platonic heaven containing all possible digital sequences of the same length. Unlike analogue representations, digital sequences can be replicated easily, cheaply, and with great accuracy. These sequences cannot be corralled once they escape the clutches of their originators. Their lack of substance and absence of scarcity means digital sequences cannot conform to the market economics applicable to physical goods. Nevertheless, attempt was made to create artificial scarcity through decree of law protecting monopoly.
Until less than half a century ago, assumptions underlying law appeared to possess validity. This arose from seemingly inseparable nature of specific instances of physical medium and message. To consternation of people wedded to the rentier economics inherent to the ersatz monopoly, recent decades have shown how disobedience to fundamentally bad law is taking ever increasing effort by holders of supposed 'rights' to stem. This started with analogue representations of music being transferred from vinyl disc and radio broadcast to readily available cassette tapes: "home taping". An equivalent threat to 'rights' over printed matter arose from increasing ubiquity of photocopiers.
Nowadays, the rentiers are fighting a fierce rearguard action, but being forced into retreat and inevitable extinction.
There is but one valid economic model encompassing monetisation of idea creation. That consists of a market made up from creative individuals and groups (plus requisite skills) competing for attention from prospective sources of funding for their next project. The underlying source of funding is voluntary patronage. It certainly is not financial investment because once created digital sequences have zero monetary value; they can have cultural value, but that's a differing metric.
The 'currency' of culture is reputation. It is reputation which requires protection. This last is fostered by entitlement to attribution when a work is distributed or derived from.