WEBVTT - AI: ‘The biggest act of copyright theft in history’

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<v Speaker 1>To be honest on here a little or lucktont we

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<v Speaker 1>Over my career, I've always preferred doing rather than talking,

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<v Speaker 1>building things, solving problems, creating new new ventures, not giving

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<v Speaker 1>speeches about them.

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<v Speaker 2>A few weeks ago, at Lassian co founder and one

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<v Speaker 2>of Australia's wealthiest men, Scott Parquha addressed the Press Club.

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<v Speaker 1>But I'm here today because I believe Australia is standing

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<v Speaker 1>at the edge of the next great industrial revolution, one

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<v Speaker 1>powered to not by steam or electricity, but by artificial intelligence.

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<v Speaker 1>And like every revolution before it, the choices we make

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<v Speaker 1>now will shape not just our economy, but the kind

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<v Speaker 1>of country that we become.

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<v Speaker 2>Singing the praises of the economic opportunity of artificial intelligence,

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<v Speaker 2>Parqua called on the government to loosen the rules allowing

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<v Speaker 2>AI models to train themselves using creative works without paying

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<v Speaker 2>for it. Now, as the Treasurer and the Productivity Commission

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<v Speaker 2>talk about the potential billions AI could produce, there are

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<v Speaker 2>questions about what it will mean for the future of

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<v Speaker 2>creative work and journalism. I'm Ruby Jones and you're listening

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<v Speaker 2>to seven am today. Principle at Good Company Law Hannah

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<v Speaker 2>Marshall on the collision course between the AI art and

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<v Speaker 2>the law. It's Friday, August fifteenth, Hannah. Let's begin our

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<v Speaker 2>conversation about AI and the creative industries with what we're

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<v Speaker 2>starting to see in terms of the broader impact on

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<v Speaker 2>anyone who makes a living making any kind of art

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<v Speaker 2>in Australia.

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<v Speaker 3>The creative industries in Australia are on the cusp of

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<v Speaker 3>crisis and we're seeing increasing outcry from all of thurs

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<v Speaker 3>musicians and representatives of those industries about the fact that

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<v Speaker 3>these AI companies are basically coming and using their content,

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<v Speaker 3>deriving commercial value from that and not paying anything back

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<v Speaker 3>to these creatives, so they're not seeing any outside even

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<v Speaker 3>though their works are being used.

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<v Speaker 4>Nearly eleven thousand creatives put their name to a letter

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<v Speaker 4>that described the unauthorized use of their work by AI

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<v Speaker 4>as and I quote major and an unjust threat.

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<v Speaker 3>We're seeing groups like Creative Australia come out and say

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<v Speaker 3>that they want to have principles for using their content

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<v Speaker 3>in generative AI for it framed around fairness and the

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<v Speaker 3>right to be remunerated. And we've also got prominent authors

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<v Speaker 3>like Critchard Flanagan calling this the biggest act of copyright

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<v Speaker 3>theft in history. His books, quite interestingly, were actually part

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<v Speaker 3>of the trove of books which were the subject of

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<v Speaker 3>a case against Meta in the US about whether they

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<v Speaker 3>had infringed copyright in those books by using them to

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<v Speaker 3>train their AI model.

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<v Speaker 5>They accused Matter of illegally using their copyrighted works to

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<v Speaker 5>train its flagship generative EI model. But instead of the

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<v Speaker 5>declaration that Meta violated copyright law, the judge rule the

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<v Speaker 5>plaintiff's arguments weren't strong enough to move forward.

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<v Speaker 2>Odon And let's just spell out what is actually happening here.

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<v Speaker 2>So we're talking about AI companies basically scouring works of literature, articles,

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<v Speaker 2>news and using that material to train models to create

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<v Speaker 2>better AI. Is that right?

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<v Speaker 3>So when the AI model ingests content, there's an underlying

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<v Speaker 3>technical question about whether it's making an actual copy of

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<v Speaker 3>the copyright content in the learning process.

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<v Speaker 6>Everyone tends to assume that it is.

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<v Speaker 3>And none of the AI companies are kind of loudly

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<v Speaker 3>coming out and saying that it doesn't. But that would

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<v Speaker 3>be the precursor to the copyright infringement happening if it's

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<v Speaker 3>not making a copy of it or reproducing a substantial

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<v Speaker 3>part of the book or the song or whatever it

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<v Speaker 3>is it's learning from, then there wouldn't be a copyright infringement.

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<v Speaker 3>But we're not seeing that argument being seriously thrown out

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<v Speaker 3>by the AI companies, and so for the most part,

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<v Speaker 3>people are assuming that it must be some form of

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<v Speaker 3>reproduction and therefore there's a potential for infringement absent some

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<v Speaker 3>defense applying.

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<v Speaker 2>And that, I suppose brings me to my next question.

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<v Speaker 2>Is this breaking the law what these companies are doing

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<v Speaker 2>or is this a gray area?

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<v Speaker 3>A look, if it's reproducing it, then that's a copyright

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<v Speaker 3>infringement unless a defense applies. And so that's kind of

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<v Speaker 3>the bottom line. Under Australian law, we've got quite a

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<v Speaker 3>narrow set of defenses, and so it's not clear that

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<v Speaker 3>there is an obvious defense that the AI companies could

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<v Speaker 3>rely on other than saying there was no infringement in

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<v Speaker 3>the first place.

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<v Speaker 2>So if that is the case, tell me a bit

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<v Speaker 2>more than about how the AI companies are currently justifying

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<v Speaker 2>what they're doing.

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<v Speaker 3>So last week Scott Farqua, the co founder of Lassian,

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<v Speaker 3>came out quite loudly saying that copyright laws in Australia

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<v Speaker 3>are holding at the growth of an AI industry here

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<v Speaker 3>and that we need to change the laws urgently to

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<v Speaker 3>facilitate the growth of the industries.

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<v Speaker 1>We remain an outlier when it comes to copyright, so

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<v Speaker 1>this is a barrier to AI companies who want to

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<v Speaker 1>train or host their models in Australia.

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<v Speaker 3>Specifically, what he wants is a new exception to our

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<v Speaker 3>copyright laws for text and data mining.

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<v Speaker 1>So my first ask today of government is for the

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<v Speaker 1>Attorney General to urgently amend our Copyright Act to work

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<v Speaker 1>at fair use and text and data mining exceptions. Fixing

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<v Speaker 1>this one thing could unlock billions of dollars of foreign

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<v Speaker 1>investment in Australia.

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<v Speaker 2>And just as Scott Farqua, who is a billionaire, called

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<v Speaker 2>for looser rules, we have the Productivity Commission release a

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<v Speaker 2>paper arguing for the same thing. So what is their

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<v Speaker 2>case in favor of this?

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<v Speaker 3>The Productivity Commission, we're very loud and clear on the

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<v Speaker 3>money to be made in short and the jobs to

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<v Speaker 3>be gained from a growing AI industry in Australia. They

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<v Speaker 3>said it could boost productivity by between point five and

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<v Speaker 3>thirty percent over the next decade, which could be hundreds

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<v Speaker 3>of billions of dollars.

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<v Speaker 6>So it's a.

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<v Speaker 7>Lot Artificial intelligence is a game changer for our economy.

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<v Speaker 7>It has the potential to support all of our major

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<v Speaker 7>economic goals, making our economy more productive, stronger, lifting living

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<v Speaker 7>standards over time.

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<v Speaker 8>And Charmers came out last week as well talking about

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<v Speaker 8>how artificial intelligence will completely transform our economy and he

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<v Speaker 8>said that the government's intention is to regulate as much

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<v Speaker 8>as is necessary to protect.

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<v Speaker 3>Australians, but as little as possible to encourage innovation.

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<v Speaker 7>The only way to make our people and workers and

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<v Speaker 7>industries beneficiaries is if we treat AI as an enabler,

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<v Speaker 7>not an enemy of what we want to see in

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<v Speaker 7>our economy. That means listening to people.

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<v Speaker 3>But it's interesting that the you know, when other governments

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<v Speaker 3>are exploring and reporting on AI, for the most part,

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<v Speaker 3>they're focusing on how do we minimize harm from the

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<v Speaker 3>AI industry, whereas this report it's really talking about how

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<v Speaker 3>do we take away the regulatory hurdles so that it's

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<v Speaker 3>easier for the AI industry to come here and use

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<v Speaker 3>our creative's content. I mean, there's this really strong common

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<v Speaker 3>thread about the desire to unlock the benefits of the

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<v Speaker 3>AI industry, and you know, the creative industries are understandably

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<v Speaker 3>really concerned that they'll be railroaded in all of this

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<v Speaker 3>excitement about AI jobs and money, and looking at it globally,

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<v Speaker 3>what you can see is that it's really hard to

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<v Speaker 3>strike the good balance between the opportunity of the industry

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<v Speaker 3>which is undeniable, but also protecting creative industries. And the

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<v Speaker 3>risk is that because it's hard to strike that balance,

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<v Speaker 3>that it will be done badly or.

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<v Speaker 6>Not at all.

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<v Speaker 2>Coming up, authors versus the tech giants battle it out

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<v Speaker 2>in court, Hannah, let's talk about how this is playing

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<v Speaker 2>out in other countries, specifically the US, where a lot

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<v Speaker 2>of these AAR companies are based. What are we seeing

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<v Speaker 2>happen in court so over.

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<v Speaker 3>In the US, they have a broad exception to copyright

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<v Speaker 3>infringement for fair use, and that's been tested already in

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<v Speaker 3>cases against Meta and Anthropic in relation to books. And

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<v Speaker 3>it's the cases that I mentioned before, which included Richard Flanagan's.

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<v Speaker 6>Works, and the issue there was.

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<v Speaker 3>That a trove of one hundred and eighty five thousand

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<v Speaker 3>books had been used to train the AI models, and

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<v Speaker 3>you know, from the author's perspective, that was rampant example

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<v Speaker 3>of copyright infringement applying the fair use defense in the US,

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<v Speaker 3>the court ultimately decided that it wasn't a copyright infringement,

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<v Speaker 3>and the reason was that it wouldn't impact the downstream

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<v Speaker 3>sale of those books.

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<v Speaker 6>So the AI.

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<v Speaker 3>Models were in jesting the book content, but they weren't

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<v Speaker 3>spitting it out again. So you couldn't go on to

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<v Speaker 3>say chat GPT and say give me a copy of

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<v Speaker 3>Richard Flannagan's latest book.

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<v Speaker 6>It would say no. So because the training wasn't being.

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<v Speaker 3>Used to create a copy of the work, the court's

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<v Speaker 3>decision was that it wasn't an unfair use of their work,

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<v Speaker 3>and as such, the copyright infringement claims fail.

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<v Speaker 2>Okay, So if we are to accept the argument that

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<v Speaker 2>AI might be using this intellectual property making money off it,

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<v Speaker 2>but that doesn't necessarily impact someone still going ahead and

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<v Speaker 2>buying it for themselves, how does that apply when we

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<v Speaker 2>think about nonfiction, when we think about journalism and news.

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<v Speaker 3>Yeah, I think the analysis starts to change significantly when

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<v Speaker 3>you look at nonfiction, but particularly news, because the value

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<v Speaker 3>of those works is largely in the information they're conveying

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<v Speaker 3>rather than necessarily the specific words used to do that.

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<v Speaker 3>And so that means that, you know, using that US

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<v Speaker 3>legal analysis in the books case, you might get a

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<v Speaker 3>different outcome because if AI goes and ingests all of

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<v Speaker 3>the seven am podcast library, all of the Sydney Morning Herald,

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<v Speaker 3>it could spit out competing content and people could quite

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<v Speaker 3>naturally use the AI tools to access and get news

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<v Speaker 3>or nonfiction information from them in a way that does

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<v Speaker 3>impact the market for the news publishers. And so that's

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<v Speaker 3>the reason that I think AI is presenting almost an

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<v Speaker 3>existential threat to the news industry.

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<v Speaker 2>So, Hannah, if you wanted to both chase the economic

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<v Speaker 2>opportunity of AI while protecting the creative industries, what do

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<v Speaker 2>you think a good model that could do both would look.

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<v Speaker 6>Like In terms of legal protections.

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<v Speaker 3>At the moment in Australia, the current copyright laws do

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<v Speaker 3>seem to create a degree of protection for creatives and

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<v Speaker 3>that's what far Class A arguing against is that there

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<v Speaker 3>does seem to be a standing assumption that there is

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<v Speaker 3>an infringement in which case the AI companies have to

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<v Speaker 3>buy a license. You know, that still seems like a

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<v Speaker 3>reasonable outcome. If we were to go further though, and

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<v Speaker 3>create a new law which mandates payment, that might add

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<v Speaker 3>additional protection for the creative industry, but you would need

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<v Speaker 3>to be really careful about unintended consequences, and we've seen

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<v Speaker 3>that play out before with well intentioned legislation in the

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<v Speaker 3>form of the News Media Bargaining Code. Because deals which

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<v Speaker 3>facilitated payment by digital platforms through to the news companies

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<v Speaker 3>were not transparent, they didn't cover the whole industry, they

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<v Speaker 3>weren't renewed, and ultimately, to avoid being caught by the law,

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<v Speaker 3>Meta exited the news industry and Australia altogether, which was a.

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<v Speaker 6>Long way from the desired outcome of the law.

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<v Speaker 3>People like Scott Farquha are saying Australia's copyright laws are

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<v Speaker 3>a barrier to growth.

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<v Speaker 6>Of the AI industry.

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<v Speaker 3>But that hasn't really been examined in detail. I can't imagine,

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<v Speaker 3>given the funding and the revenue of these massive AI companies,

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<v Speaker 3>that the cost of licensing the content that they're ingesting

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<v Speaker 3>would be crippling or prohibitive. Nobody's really spelled out in

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<v Speaker 3>detail why the AI companies can't just pay for a license,

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<v Speaker 3>and that's the thing that really strucks me about all

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<v Speaker 3>of this.

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<v Speaker 2>Anna, thank you so much for your time.

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<v Speaker 6>Thank you for having me.

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<v Speaker 2>Also in the news today, salmon farming and Tasmania's Marcory

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<v Speaker 2>Harbor will continue. The Federal Environment Minister Murray Watt has

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<v Speaker 2>confirmed environmental groups, including the Bob Brown Foundation, had lodged

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<v Speaker 2>a request for the government to reconsider its twenty twelve

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<v Speaker 2>decision to allow for the expansion of salmon farming, citing

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<v Speaker 2>concerns about the impact on the endangered Morgians skate. In

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<v Speaker 2>a letter to three environment groups, Minister Watt said his

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<v Speaker 2>decision to allow salmon farming to continue had considered all

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<v Speaker 2>the evidence and that the government is committed to protecting

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<v Speaker 2>the endangered animal. And Donald Trump has threatened very severe

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<v Speaker 2>consequences if Vladimir Putin doesn't agree to a cease fire

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<v Speaker 2>at their upcoming meeting in Alaska. Speaking after a call

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<v Speaker 2>with European leaders, including Ukrainian President FLOTMW. Zelenski and Britain's Kiirstarmer,

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<v Speaker 2>President Trump said that if his meeting with Putin goes well,

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<v Speaker 2>Hill followed up quickly with another the meeting, bringing together

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<v Speaker 2>Putin and Zelenski. Trump earlier raised concerns when he said

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<v Speaker 2>he would discuss land swapping with Putin Zelenski has ruled

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<v Speaker 2>out seeding territory to Russia. Seven Am is a daily

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<v Speaker 2>show from Softstice Media. It's made by Atticus Bastow, Chris Dengate,

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<v Speaker 2>Daniel James, Sarah McPhee, Travis Evans, Zotenfetcho, and me Ruby Jones.

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<v Speaker 2>Our theme music is by Nede Beckley and Josh Hogan

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<v Speaker 2>of Envelope Budeo. Thanks for listening, have a great weekend,

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<v Speaker 2>See you Monday.