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CELPIP Practice Reading: Reading for Viewpoints ID: #63261 Hard Four Years of Evenings, Fed to a Machine

Read the following blog post from a website.

Two winters ago I found my name on a leaked list of files used to train a language model. The file was my French translation of a Chilean novel, four years of evenings at my kitchen table in Quebec City, and nobody had asked me or my publisher. So when a Commons committee began asking whether companies must pay before they train their systems on books, photos and articles, I stopped being a bystander. No court in Canada has settled the question yet.

Aoife Mathers, legal counsel to a national writers’ group, told the committee that training for profit without payment is “a consent problem wearing an innovation costume.” A system that absorbs an author’s voice and then sells drafts in that voice, she added, is competing with its source, not studying it. She wants firms to hold licences before any work enters a training set, with damages when a scraper ignores a site’s refusal. Mehmet Kearney, technical chief of a Waterloo start-up, argues that training resembles reading at enormous scale more than it resembles printing copies, and he notes that most models keep no whole chapters. He would accept a ban on systems repeating protected passages and a duty to log sources, but in his view a licence for every work before every training run would freeze small Canadian firms while foreign giants with deep catalogues carry on.

Daphne Imrie, who teaches copyright law in Sherbrooke, argues for tiers. Research that earns nothing could stay largely free of permission, she says, while training for profit would be covered by a compulsory licence, with rates fixed by a collective society rather than haggled deal by deal. Creators who want no part of it, even for a fee, could add their names to a public registry. Emrys Noonan, who runs a small press in Halifax, says he has added a training clause to every new contract, yet he admits the clause protects nothing that was copied before it existed. He wants any law to make firms disclose the works they have already used.

Imrie’s tiers appeal to me more than either all-or-nothing position, because they would give writers like me a fair price without forcing every start-up into thousands of tiny contracts. What worries me is Noonan’s point. A rate set tomorrow does nothing for the novel that was copied two winters ago, unless the law also looks backwards. I have asked my MP for Imrie’s model plus Noonan’s disclosure rule, and my publisher for a clause like his.

Using the drop-down menu (▾), choose the best option according to the information given on the website.

This blog post is mainly about 1.
.

Who most clearly treats training as closer to reading than to copying? 2.
.

Aoife Mathers’s position would most likely be supported by 3.
.

What outcome would Daphne Imrie’s plan call for when a firm trains for profit? 4.
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The blogger’s attitude toward Daphne Imrie’s tiers is best described as 5.
.

The following is a comment by a visitor to the website page. Complete the comment by choosing the best option to fill in each blank.

Every photo I have sold in twenty years sits on a website somewhere, so I went through this post twice before I dared to comment on it. The writers’ group lawyer wants damages whenever a scraper 6.
, which at least puts a price on what happened to so many of us. Under the professor’s plan, photographers who want no part of it could 7.
, and I would be one of them. The Halifax publisher says his new clause 8.
, and I plan to ask my own agency for something similar. What stung was picturing you finding 9.
on that leaked list after so many evenings of work. And since 10.
, I suppose a letter to my own MP is the least I can do.

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