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Originality

Originality is the quality of novelty, uniqueness, or distinctiveness in ideas, expressions, or creations, distinguishing them from existing precedents and serving as a foundational element in human innovation and artistic endeavor. In , it forms one half of the standard definition of , paired with effectiveness to characterize ideas or products that generate solutions while holding practical . This underscores originality's role in , where individuals forge unexpected connections between concepts to produce innovative outcomes. Historically, the concept of originality emerged as a central merit in art theories during the early , evolving from a rejection of mere to an emphasis on personal and imaginative renewal. Thinkers like Edward Young reframed it as an artistic development beyond superficial novelty, influencing Immanuel Kant's linkage of originality to the free play of imagination in aesthetic judgment. By the , figures such as popularized the imperative to "Make it New," positioning originality as a dynamic force for cultural progress, though it raises ongoing debates about the balance between tradition and innovation in creative processes. Across disciplines, originality manifests differently yet shares core traits of pioneering and contextual novelty. In the , it prioritizes self-expression and aesthetic , often validated through subjective . Social sciences view it as advancing knowledge via new methods or syntheses, confirmed by . In natural sciences, it emphasizes functional discoveries and problem-solving, where effectiveness tests its validity. Contemporary frameworks further conceptualize originality as dynamic and potential-based, subject to evolving judgments of and over time and across cultures.

Conceptual Foundations

Definition of Originality

Originality is fundamentally the quality of novelty and independence in creation, distinguishing a work or idea from mere reproductions, forgeries, or trivial derivatives by introducing something new through independent effort. In philosophical and artistic contexts, it encompasses not just historical newness but also psychological novelty—meaning the creation is fresh to its originator—while requiring a minimal degree of creativity beyond rote replication. Key attributes include independence, ensuring the work is not copied from existing sources; creativity, involving more than trivial modification to produce meaningful variation. These elements collectively position originality as a marker of authentic across disciplines like , , and . Perceptions of originality are culturally contingent, varying significantly by era and society, with pre-Romantic traditions often prioritizing imitation of classical models as the highest artistic virtue, viewing direct replication of esteemed precedents as a path to excellence rather than deficiency. In contrast, modern and post-Romantic societies valorize uniqueness and individual expression, assessing originality through subjective lenses of novelty and nonobviousness that evolve with cultural paradigms—such as how Eastern aesthetics may emphasize authentic harmony over Western-style bold innovation. This shift reflects broader historical changes in valuing personal genius over collective tradition. Basic examples illustrate these principles: a newly painted artwork, conceived and executed independently by an , embodies originality through its novel and creative choices, whereas a photocopy of an existing lacks and adds no creative element, rendering it a mere . Similarly, an invented gadget that solves a problem in a nonobvious way demonstrates originality via its development and minimal inventive , in distinction to a built by copying an existing , which offers no novel contribution. The concept of originality has philosophical roots in , where it emerged as a central tenet of artistic and intellectual value.

Historical and Philosophical Development

In classical antiquity, particularly in Greece and Rome, the philosophical and artistic valuation of creation centered on mimesis, or imitation, rather than novelty or originality as understood today. Aristotle, in his Poetics, described poetry and drama as forms of mimesis that imitate human actions and the structures of nature to reveal universal truths, prioritizing harmony with the natural order over innovative deviation. This approach extended to Roman aesthetics, emphasizing emulation of life realistically while adhering to established conventions, viewing excessive novelty as potentially disruptive to moral and aesthetic balance. Thus, originality was not a primary virtue; instead, excellence lay in skillful replication and refinement of timeless ideals. The marked a pivotal shift toward celebrating and individual , bridging classical with emerging notions of creative . Humanist philosophers and artists, influenced by the rediscovery of ancient texts, began to emphasize invenzione—the imaginative of new ideas—as essential to art, moving beyond mere copying of antiquity. This period's intellectual fervor, fueled by figures like , who translated and promoted the artist's role in divine creation, laid groundwork for viewing originality as a spark of akin to natural innovation. During the and , philosophical discourse elevated originality to a core attribute of and creativity. , in his (1790), posited genius as "the exemplary originality of the natural gifts of a subject," where the artist produces works without following prescribed rules, instead inventing new ones through the free play of . Building on Kantian ideas, Romantic thinkers like distinguished "" as a vital, unifying creative force that transforms elements into original wholes, contrasting it with "," a superficial aggregation of existing images. This emphasis on individual emotion and subjective invention reflected broader cultural changes, including the 1793 French Revolutionary decree on literary and artistic property, which recognized authors' exclusive rights to their original productions for their lifetimes plus ten years, affirming the moral and economic value of personal creation. In the , critiqued and deconstructed the Romantic ideal of originality, particularly through the lens of mass reproduction and appropriation. Walter Benjamin's 1935 essay "The Work of Art in the Age of Mechanical Reproduction" argued that technological reproducibility erodes the "" of authenticity tied to the unique original, democratizing art but challenging its traditional of ritualistic presence and . This perspective influenced postmodern practices of borrowing and remixing, questioning the feasibility of pure originality in an era of endless copies. The 1886 for the Protection of Literary and Artistic Works further institutionalized an implicit standard of originality by requiring signatory nations to protect foreign works under terms of national treatment, assuming creations must bear the stamp of authorial novelty to qualify.

Originality in Intellectual Property Law

In Copyright Law

In copyright law, originality serves as the fundamental threshold for protection, distinguishing protectable expressions from unprotectable ideas, facts, or mere labor. Internationally, the for the Protection of Literary and Artistic Works, adopted in 1886 and administered by the , mandates that member states protect original literary and artistic works originating in other member countries on the same terms as domestic works, without requiring formalities such as registration or notice. Although the Convention does not explicitly define originality, it implies a standard tied to creative authorship, influencing national laws to require some degree of independent intellectual effort for eligibility. In the United States, the articulated the originality standard in Feist Publications, Inc. v. Rural Telephone Service Co. (1991), holding that protection requires independent creation by the author plus at least a "modicum of ." This minimal threshold excludes purely factual or mechanical arrangements, as exemplified by the Court's ruling that a telephone directory's white pages—listing names and numbers alphabetically—lacked sufficient originality and thus could not be ed. The decision explicitly rejected the doctrine, a prior approach in some U.S. circuits that would extend protection to compilations based solely on the effort, labor, or investment involved in gathering facts, without any creative selection or arrangement. This doctrine, rooted in 19th-century cases emphasizing industrious collection as a basis for reward, was deemed incompatible with constitutional limits on , which protect only original expressions and not facts themselves; earlier cases like Harper & Row, Publishers, Inc. v. Nation Enterprises (1985) had noted the issue but declined to resolve it definitively. In India, the Supreme Court in Eastern Book Company v. D.B. Modak (2008) adopted a "skill and judgment" test for originality, particularly in compilations and derivative works like law reports, requiring that the work demonstrate the application of appreciable skill, judgment, and labor beyond mechanical reproduction or mere diligence. The Court rejected the unqualified "sweat of the brow" doctrine, aligning Indian law more closely with international standards by emphasizing creative input over raw effort; for instance, headnotes in judicial reports were deemed original only if they involved selective choices and phrasing through skill and judgment, not just copying judgments verbatim. This approach ensures protection for the intellectual contribution while leaving raw data or official records in the public domain. In the , the Court of Justice of the European Union established in Infopaq International A/S v. Danske Dagblades Forening (2009) that originality requires a work to be the "author's own intellectual creation," reflecting the author's personality through free and creative choices in selection, arrangement, or expression. This higher, subjective standard applies even to short extracts or parts of works if they embody such creativity, harmonizing protection across member states under Directive 2001/29/EC. Post-Brexit, the has retained this EU-derived standard, with courts confirming that originality demands the author's own intellectual creation, including for software and other works, rather than reverting to a purely skill-and-labor test.

In Patent Law

In patent law, originality is primarily assessed through the lenses of novelty and (or non-obviousness), which ensure that an represents a genuine advancement over existing , alongside the of applicability. Novelty demands that the must be new and not previously disclosed to the public in any form, such as through publications, sales, or public use, while inventive step requires that the must not be obvious to a person skilled in the relevant art at the time of filing. Industrial applicability, often termed in jurisdictions like the , mandates that the must be capable of practical use in or capable of solving a problem. International standards for patent originality have been harmonized to a significant extent through treaties like the Paris Convention for the Protection of Industrial Property (1883), which establishes a right of priority for patent applications filed within 12 months in member states, and the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS) (1994), which sets minimum standards requiring novelty, inventive step, and industrial applicability for all World Trade Organization members. Under these frameworks, jurisdictions distinguish between absolute novelty, which considers all prior global disclosures as barring patentability, and relative novelty, which may limit prior art to disclosures after a priority date; for instance, the United States shifted to a first-inventor-to-file system under the America Invents Act (AIA) effective March 16, 2013, aligning more closely with absolute novelty principles. Key concepts in evaluating patent originality include searches, which involve comprehensive reviews of existing , publications, and public disclosures to confirm novelty, and that provide limited exceptions for inventors' own disclosures. In the United States, a 12-month allows an inventor to file a after their own public disclosure without it counting as , as codified in 35 U.S.C. § 102(b)(1). A representative example of originality in patent law is Thomas Edison's U.S. No. 223,898 (1880) for an improved electric lamp using a high-resistance in a , which demonstrated novelty through its practical enhancement of prior incandescent designs and inventive step in achieving longer-lasting illumination suitable for widespread use. Unlike copyright law's focus on a minimal of creative expression in artistic works, patent originality emphasizes functional utility and technical innovation in inventions. Landmark case law further defines these standards; in Graham v. John Deere Co. (1966), the U.S. established factors for assessing non-obviousness under 35 U.S.C. § 103, including the and content of , differences between the claimed and , the level of ordinary skill in the field, and secondary considerations like commercial success or long-felt need. In , Section 2(1)(j) of the Patents Act, 1970, defines an "invention" as a new product or process involving an inventive step and capable of industrial application, reinforcing global alignment with TRIPS while adapting to local contexts.

Originality in Science and Research

Original Contributions in Scientific Discovery

In scientific discovery, originality is defined as the extent to which a contribution introduces unique knowledge—such as novel findings, theories, or applications—that subsequent research cannot derive from prior literature, thereby advancing the frontiers of understanding. This novelty often manifests as a departure from established paradigms, enabling new interpretive frameworks for phenomena. For instance, Albert Einstein's 1905 paper "On the Electrodynamics of Moving Bodies" introduced special relativity, fundamentally altering perceptions of space, time, and motion by positing their interdependence, which resolved inconsistencies in classical physics and electromagnetic theory. This work exemplified originality by providing non-derivable insights that reshaped physics, earning widespread recognition as a paradigm shift. Originality plays a central role in the scientific method by driving the generation of testable hypotheses that challenge existing assumptions, followed by experimental design and data collection to substantiate claims of novelty. Peer review then serves as a critical validation mechanism, ensuring that proposed innovations withstand scrutiny for uniqueness and methodological soundness before integration into the scientific canon. Historical examples illustrate this process: Galileo Galilei's 1632 Dialogue Concerning the Two Chief World Systems advanced heliocentrism through observational evidence from improved telescopes, overturning the geocentric model by demonstrating the moons of Jupiter and phases of Venus as empirical support for a sun-centered universe. Similarly, James Watson and Francis Crick's 1953 Nature paper proposed the double-helix structure of DNA, integrating X-ray diffraction data to reveal a mechanism for genetic replication that was unprecedented and not foreseeable from earlier biochemical knowledge. To evaluate originality, rely on metrics like citation counts, which reflect a work's influence on future studies as proxies for innovative impact. These indicators correlate positively with assessments of novelty, though they are not infallible measures. Proper attribution is vital to preserve originality, as —using others' ideas without credit—undermines the ethical foundation of discovery; guidelines emphasize accurately to distinguish novel contributions from built-upon knowledge. Challenges to establishing originality include the reproducibility of the 2010s, particularly in , where a large-scale replication effort found that only 36% of 100 high-profile studies from produced consistent results, raising doubts about the veracity and true innovativeness of many claims. This underscored how publication biases toward novel but fragile findings can inflate perceived originality, prompting calls for preregistration and transparent methods to better authenticate groundbreaking discoveries. Since then, of open practices, such as preregistration and , has led to improvements in replicability; for example, as of 2023, groups achieved ultra-high replication rates by following best practices, and by 2024, journals like the Journal of Experimental showed increased statistical power and replicability.

Standards in Academic Publishing

Academic journals enforce strict standards for originality to maintain the integrity of , requiring submissions to represent novel, unpublished work that has not been previously disseminated in any form. For instance, journals stipulate that material submitted must be original and neither published nor under consideration elsewhere, with violations such as leading to rejection or retraction. Similarly, publishers like mandate that manuscripts be original and not under review by other outlets, emphasizing that prior —even in or theses—may disqualify a submission unless explicitly disclosed. Plagiarism, including self-plagiarism or text recycling, is rigorously addressed through detection tools and ethical guidelines. Tools like , a version of tailored for research and publishing, scan manuscripts against vast databases of published works, theses, and web content to identify overlaps exceeding acceptable thresholds, often set at 10-15% similarity depending on the journal. The (COPE), established in 1997, provides flowcharts and guidelines for handling plagiarism cases, recommending investigation, author notification, and potential sanctions like publication bans when unattributed reuse is detected; for self-plagiarism, COPE advises transparency through proper of prior work to avoid misleading readers about novelty. Retractions serve as a mechanism to correct instances where fabricated or misrepresented originality undermines scientific trust. A prominent example is the 1998 Lancet paper by and colleagues, which falsely linked the to through manipulated data and undeclared conflicts, claiming novel findings that influenced ; it was fully retracted in 2010 after ethical investigations revealed , highlighting how retractions restore integrity but can have lasting impacts on . The rise of and servers has reshaped claims of originality by enabling rapid dissemination while navigating norms. , launched in 1991 by at , allows researchers in physics, , and related fields to post , establishing timestamps for priority and fostering early feedback without , though journals like those in require that subsequent submissions add substantial new content to qualify as original. This model has expanded to other disciplines via servers like , balancing speed with safeguards against premature or erroneous claims. Authorship standards further ensure originality by tying credit to substantive intellectual input. The International Committee of Medical Journal Editors (ICMJE) criteria, updated periodically since 1978, require authors to meet all four conditions: substantial contributions to , , //; or critical revision; final approval; and for all aspects, preventing honorary or ghost authorship that could dilute genuine originality. These guidelines, adopted by thousands of journals, underscore that originality in demands verifiable, individual contributions rather than mere supervision or funding.

Originality in Creative Arts

In Literature and Visual Arts

In literature, originality often emerges through the invention of fresh narratives, innovative language structures, or unconventional perspectives that challenge established conventions. James Joyce's Ulysses (1922) exemplifies this by pioneering the stream-of-consciousness technique, which captures the fluid, associative flow of characters' inner thoughts, thereby revolutionizing narrative form and influencing modernist fiction profoundly. This approach marked a departure from linear , emphasizing psychological depth over plot-driven and establishing a new benchmark for literary innovation. In , originality manifests as a bold rejection of traditional , favoring , fragmentation, or novel spatial interpretations to convey multifaceted realities. Pablo Picasso's development of between 1907 and 1914, co-founded with , shattered perspectival illusionism by depicting subjects from multiple viewpoints simultaneously, thus redefining form and space in painting. This movement's emphasis on geometric deconstruction prioritized intellectual engagement over mimetic accuracy, influencing subsequent practices. Distinguishing originality from mere involves assessing whether a work transforms its sources through critique, reinterpretation, or expansion, rather than replicating them. and , while drawing on existing narratives, often lack originality by closely imitating characters and plots without substantial alteration, whereas transformative works—such as those that subvert or expand elements—can achieve novelty by commenting on the originals. Cultural contexts further illuminate originality in these fields; for instance, art traditions emphasize unique that encodes spiritual, historical, and ecological through symbolic motifs, preserving communal while innovating within oral-visual frameworks. In the , modernism's break from amplified this by embracing fragmentation and subjectivity, as seen in movements that abstracted everyday scenes to reflect modernity's dislocations. Evaluation of originality in literature and visual arts frequently occurs through critical reception and prestigious awards, which recognize groundbreaking contributions. The Nobel Prize in Literature, for example, has honored authors like (1954) for their terse, innovative prose that reshaped narrative economy, underscoring the premium placed on stylistic originality. Similarly, Picasso's Cubist innovations garnered acclaim from critics and institutions, affirming their role in advancing artistic paradigms.

In Music and Performing Arts

Originality in music and performing arts manifests through innovative compositions, improvisational spontaneity, and interpretive reinventions that push beyond conventional forms to express novel auditory and physical experiences. In music, it often involves the creation of distinctive melodies, harmonies, or entire genres that reflect a creator's , requiring and a modicum of rather than mere novelty. In performing arts, originality emerges in and staging that redefine movement and narrative, drawing from personal or cultural depths to forge new expressive vocabularies. These elements distinguish auditory and performative works by emphasizing dynamism and over static . A seminal example of originality in music composition is The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band, which pioneered studio experimentation as a core creative tool. The album's concept of a fictional band allowed the group to explore alter egos, blending rock 'n' roll, psychedelia, Indian influences, and classical elements into cohesive tracks without traditional pauses, marking a shift from live performance to the studio as a compositional "laboratory." Innovations like tape loops in "Being for the Benefit of Mr. Kite!" and a 24-bar orchestral crescendo in "A Day in the Life" exemplified harmonic and textural experimentation, transforming pop music into an art form through extended recording sessions that lasted over five months. In , Martha Graham's from the onward revolutionized originality through unique physical interpretations of human emotion and mythology. Her technique, centered on contraction and release movements, created a sharp, angular vocabulary that conveyed psychological intensity, as seen in works portraying figures like and . By founding her company in 1926 and collaborating with composers like and sculptors like , Graham integrated music, sets, and dance into holistic innovations that influenced global , training figures such as . Sampling and remixing in have sparked ongoing debates about originality, particularly in the 1970s techniques pioneered by , who elevated DJing to a creative act of recombination. Flash's looping—isolate drum sections for repetition—and —manually reversing records—repurposed existing tracks into new rhythmic foundations, shifting the DJ from mere player to improvisational composer. These methods fueled 's emergence but raised questions of homage versus theft, as sampling transforms source material into novel expressions while challenging notions of authorship in auditory works. The distinction between live and recorded performances underscores improvisation's role in ephemeral originality, vividly illustrated by John Coltrane's in the 1960s. Coltrane's quartet, featuring and , used modal structures—fewer chords for freer scalar exploration—to enable spontaneous solos, as in live renditions of "My Favorite Things" that extended into abstract, motif-driven narratives. Unlike polished studio recordings like , live sets captured real-time invention, such as Coltrane's repetitive licks in "Epistrophy," highlighting jazz's value in momentary, unrepeatable creativity over fixed compositions. Cultural fusion further exemplifies originality through hybrid genres, as in Fela Kuti's , developed in the 1960s as a blend of Yoruba rhythms, , , and . Kuti's Africa '70 ensemble crafted extended, improvisational pieces that fused African traditions with Western influences, creating dense polyrhythms and socio-political lyrics to assert . This not only bridged continental sounds but also served as a vehicle for resistance, establishing as a distinctive form rooted in original rhythmic and melodic synthesis.

Modern Challenges and Applications

Originality in Digital Media and Recordings

In digital media and recordings, the concept of originality centers on the unique sonic and structural qualities inherent to the initial capture of audio, video, or data, which can be altered or diminished through reproduction processes. Analog recordings, such as those on magnetic tape or lacquer discs, capture continuous waveforms that impart a characteristic warmth and depth due to natural harmonic distortions and saturation effects, but they are prone to physical degradation over time, including tape shedding, oxide loss, and noise accumulation from repeated playback. In contrast, digital recordings convert these waveforms into discrete binary data, offering greater fidelity and resistance to physical wear, though generational copying in early digital formats could introduce quantization errors or aliasing if not handled properly. The original recording thus represents an irreplaceable artifact, as subsequent copies—whether analog dubs or compressed digital files—inevitably lose nuances like subtle spatial imaging or transient details that define the source's authenticity. Preservation of original digital media and recordings is critical for maintaining cultural and historical value, particularly given the fragility of analog source materials and the evolving obsolescence of digital formats. plays a central role through its National Recording Preservation Plan, established under the National Recording Preservation Act of 2000, which mandates a comprehensive program to safeguard the nation's estimated 46 million sound recordings held in institutions (as of 2011), many stored on deteriorating media like wax cylinders and acetate discs. This effort builds on earlier federal initiatives, emphasizing to mitigate risks such as format incompatibility and failures that could corrupt original content over decades. Archival practices prioritize non-destructive transfers to create surrogate digital masters, ensuring that the sonic integrity of originals—like rare field recordings or early broadcasts—is preserved for public access without further degradation. Digital challenges in maintaining originality arise primarily from compression techniques that trade file size for quality, introducing artifacts that deviate from the source material. Lossless formats like (Free Lossless Audio Codec) compress data without discarding any information, achieving 40-60% size reduction while preserving the exact of the original recording, making it ideal for archival . Conversely, lossy formats such as employ perceptual coding to remove inaudible frequencies and details, resulting in artifacts like pre-echo, quantization noise, and smeared transients that subtly alter the perceived sound, especially in complex passages with high dynamics. These differences highlight the importance of selecting appropriate formats for reproduction; for instance, while enables widespread distribution, it compromises the original's nuance, underscoring the value of uncompressed or lossless alternatives in professional and preservation contexts. Representative examples illustrate the enduring significance of original recordings in . Bob Dylan's early acetate demos from the early , such as those captured in City's folk scene and later compiled in The Bootleg Series Vol. 18: Through the Open Window, 1956–1963 and related releases, capture raw vocal inflections and guitar timbres lost in later polished versions, preserving the unfiltered essence of his compositional process. Similarly, in , the serves as the original digital artifact, embodying the developers' creative choices in algorithms and logic; protected as a literary work under , it ensures the game's unique mechanics and behaviors remain attributable to human authorship, distinct from compiled executables that obscure this originality. Legally, originality in sound recordings is recognized separately from underlying musical compositions under the Sound Recording Act of 1971 (Pub. L. No. 92-140), which extended federal protection to recordings fixed on or after February 15, 1972, granting owners exclusive reproduction rights while leaving performance rights tied to the composition itself. This distinction addresses concerns prevalent at the time, estimated at over $100 million annually, by treating the recording as an independent work that captures a specific performance or , thereby safeguarding its unique sonic qualities apart from the notated score. Pre-1972 recordings are now protected under federal law pursuant to the Classics Protection and Access Act of 2018, with terms extending up to 110 years from publication or no later than February 15, 2067. This federal framework supports preservation efforts by providing consistent protections nationwide.

Originality in AI and Generative Technologies

In the realm of () and generative technologies, originality hinges on the fundamental requirement of human authorship for protection, as established in key legal frameworks as of 2025. The U.S. Copyright Office's Part 2 Report on and , published in January 2025, explicitly states that outputs generated solely by systems, such as images produced by without human input, are ineligible for because they lack the human creative contribution necessary for originality. This position aligns with longstanding principles that demand a minimal degree of human creativity, excluding purely machine-generated works from protection. Human-AI collaboration introduces nuances to claims of originality, where protection may extend to human elements like detailed prompts or post-generation edits that demonstrate creative control. For instance, in v. Perlmutter (2023, affirmed by the U.S. Court of Appeals for the D.C. Circuit in March 2025), the court denied copyright to an artwork autonomously created by Thaler's "Creativity Machine" AI, ruling that AI cannot be an author and emphasizing that mere oversight or prompting does not suffice for authorship without substantial human involvement. The Copyright Office report further clarifies that while prompts alone often represent only minimal creativity—insufficient for independent protection—iterative human refinements, such as selecting and modifying AI outputs, can render the final work copyrightable if they reflect the user's original expression. Challenges to originality also arise from AI training data practices, where lawsuits question whether ingesting copyrighted materials constitutes . In the ongoing New York Times v. case (filed 2023, with significant developments through 2025), the plaintiffs allege that 's use of Times articles to train models like infringes copyrights, prompting debates over whether such training transforms data sufficiently to qualify as without undermining creators' originality rights. Ethically, this extends to attribution requirements in AI-assisted outputs; the EU AI Act, effective from August 2024, mandates transparency for generative AI systems, requiring deployers to disclose AI-generated or altered content to users, particularly in scientific and artistic contexts, to preserve trust and ethical integrity. Practical examples illustrate these principles in action. In , Midjourney-generated images gain copyright eligibility when humans curate prompts and iteratively edit outputs to infuse personal creative choices, as demonstrated in guidance from the emphasizing human authorship thresholds. Similarly, in , ChatGPT-assisted papers require explicit disclosure of AI use to address ethical concerns over unattributed generation, with journals increasingly mandating such transparency to uphold originality standards and prevent plagiarism-like issues.