VIENNA: A Vienna-based privacy campaign group said Wednesday it has sent a cease-and-desist letter to Meta, after the tech giant announced plans to train its artificial intelligence models with European users’ personal data.
The move comes after Meta said last month it would push ahead with plans to use personal data from European users of its Instagram and Facebook platforms for AI technology training from May 27, despite criticism over its legality.
Meta has been hit with multiple privacy complaints in Europe, but cited a “legitimate interest” to process personal data for AI training.
The privacy group, the European Center for Digital Rights — also known as Noyb (“None of Your Business“) — threatened to file an injunction or class-action lawsuit against Meta if it does not halt plans.
“Meta’s absurd claims that stealing everyone’s (personal) data is necessary for AI training is laughable,” Noyb founder Max Schrems said in a statement.
“Other AI providers do not use social network data — and generate even better models than Meta,” he added.
When Meta AI first launched in the European Union in late March, the tech giant was at pains to point out that the chatbot was not trained on data from European users.
Its rollout on the continent was delayed by more than a year as a result of overlapping European regulations on emerging technologies, including user data, AI and digital markets.
Following the complaints, Meta temporarily put its AI plans on hold in June 2024, before recently announcing it would go ahead with them.
“It is... totally absurd to argue that Meta needs the personal data of everyone that uses Facebook or Instagram in the past 20 years to train AI,” Schrems said, adding the plans were “neither legal nor necessary.”
“Meta simply says that (its) interest in making money is more important than the rights of its users,” he said, adding that users could simply be asked for their consent.
With about 400 million estimated Meta users in Europe, the approval of 10 percent of them would “already clearly be sufficient” for AI language training and the like, Schrems said.
Launched in 2018, Noyb has taken several court proceedings against technology giants, often prompting action from regulatory authorities.
Meta faces row over plan to use European data for AI
https://arab.news/m84wn
Meta faces row over plan to use European data for AI
- Its rollout on the continent was delayed by more than a year as a result of overlapping European regulations on emerging technologies
- Meta has been hit with multiple privacy complaints in Europe
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
