Albanese government’s approval of North West Shelf gas extension being challenged by the Australian Conservation Foundation and Friends of Australian Rock Art

The Albanese government’s decision to approve one of the world’s largest gas projects in Western Australia is being challenged in the federal court, setting up a significant test of how Australia’s environment law deals with the climate crisis.

The Australian Conservation Foundation (ACF) and Friends of Australian Rock Art (Fara) are this week running concurrent court challenges against the approval of the extension of Woodside’s major North West Shelf gas export project.

For months, artists and activists have been calling on the prime minister, Anthony Albanese, to act on the AI boom as datacentres pop up around the country. Today he made a major speech at the University of Sydney addressing copyright, the regulation of datacentres and the future of AI in Australia

• 'Not up for grabs': Albanese establishes AI office and vows to protect Australian creatives from copyright 'theft'

PM lays out plan for datacentre development and rejects prospect tech companies will be given free use of Australian data

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Anthony Albanese has promised “the strongest possible protection” for Australian creatives against misuse of their work by artificial intelligence models, warning it would be “theft” if writers, artists and musicians didn’t have control of their work or receive payment for its use.

Amid growing community concern about large energy-intensive datacentres, the federal government will also set strict new rules for the facilities, including where they can be built, that they shouldn’t compete for land with housing, their power and water use, and that they don’t increase electricity prices for consumers.

Anthony Albanese will deliver a landmark speech on AI this week as MPs are torn between attracting datacentre investment and protecting the rights of creatives

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When Anna Funder stood before a pack of journalists at Parliament House this month, she presented herself not just as a writer but also a “victim of crime”.

The Stasiland author was using the analogy to illustrate how technology companies have flagrantly “hoovered up” her literary works for their own profit.