Angels dancing on the head of a pin?
The Statute of Anne (1710) enabled individuals to assert monopoly 'rights' over the distribution of their texts. Prior to that, various monopolies for making and selling things were individually issued by monarchs or enshrined in guilds.
Lawyers revel in developing the language of 'rights'. A 'right' nowadays appears to be an 'entitlement' enshrined in law, but somehow conferred by an entity/abstraction external to law. An entity could be entirely abstract, e.g. a deity, or corporeal, e.g. a king. So-called 'human rights' derive from a mixture of the god-given and wishful thinking. Rights associated with possession of physical property have differently been elaborated according to whatever power structure was in place.
Problems accumulating to this day have arisen from failure at the outset to recognise the irreducible qualitative differences between physical property and any dreamt other kind. What's called “intellectual property” (IP) inherently is intangible.
IP can be instantiated on physical media (e.g. paper, vinyl, and photographic emulsion). Each such incarnation exists in a single specific, but changeable, location in time and space. There can be multiple physical instances of the medium, each with supposed IP inscribed. Physical media can be bought, sold, lent, or stolen, just as may other physical artefacts. 'Transactions' involving physical media do not diminish the hypothetical store of inscribable 'content'. In so far as a transaction involving media is concerned, the medium changes ownership (or possession when lent or stolen) but that which is inscribed is owned by nobody or everybody. The price paid when a medium with 'content' is bought covers the cost of the medium, the cost of inscription upon the medium, and the cost of distribution; the transaction is one of convenience for a buyer seeking ready access to the 'content'; it represents add-value to 'content' itself lacking any monetary worth whatsoever, this regardless of expense involved when concocting the 'content'.
When a medium and the message it contains are indivisible, it's not unnatural, yet intellectually lazy, to conceive of them as one physical entity. In the early days of the printing press, copyright was the exclusive entitlement to distribute printed copies of text and lithographs. Transactions, being in the physical world, could be policed for compliance with the law.
With passage of time, the world of copyright became ever more complicated, inclusion of layout for text and tables, indexing, and typefaces, as IP are examples. Argument and legal judgements ensued over quotation and “fair use”. The introduction of photographs, recorded music, and cinema complicated matters considerably.
Only upon introduction of readily available digital computation, storage media, and transmission, did the penny fully drop for people not already immersed in the profitable world of ever more silly applications of IP 'rights'. Digital data cannot be 'owned' regardless of such pretence in law. For the past forty years, this realisation has dawned upon young people up to the middle-aged. Introducing supposed AI makes obvious the disconnect between enforceable copyright and reality. Of course, the specious nature of IP should have been recognisable when the Statute of Anne was formulated, but it was not so glaringly obvious as now.
There is a concatenation of circumstances leading to the demise of copyright and its associated rentier economics. The first is growing unhappiness about the productively futile nature of 'financialised' market-capitalism, which is consequential upon Neo-liberal economics. When sweeping that away, clearer understanding will return about malaise brought about by unchecked monopolies; these evident in transnational corporations, conglomerates, and nonsensical copyright taken to such an extreme that its whole conceptual foundation has collapsed. Ideas and their applications shall be incorporated within orthodox pre-neoliberal market-economics as they should from the beginning. Ideas cannot be traded. Creative aptitudes can be placed in open competition in markets. Acquired reputation is the selling point. Attribution to sources of ideas borrowed or derived from shall be the principal entitlement on offer to creative enterprise.