They should pay the artists whose work helps train their models.
That should be the starting point of Australia’s AI copyright debate.
The ABC has reported government proposals that would allow AI training on online copyright material unless its owners opted out, subject to licensing or payment conditions. These remain proposals, not law. But the principle deserves challenging: why should creators have to take action to prevent commercial use of their work? [ABC News](https://www.abc.net.au/news/2026-09-15/ai-companies-train-on-creator-work-documents-reveal/107154688)
Surely the company seeking access should secure agreement first.
Writers, musicians, photographers and illustrators have spent years developing their skills. Their work is an asset, often their livelihood. They have every reason to resist handing over its commercial value without acceptable terms.
Especially when the resulting AI may compete for their next commission.
I have explored AI’s creative abilities in [Can AI Write From The Heart?](https://www.grappyssoapbox.com/2026/08/?m=0) That link opens the August archive containing the post. The technology is impressive. For someone earning a living through creativity, it is also a formidable potential competitor.
Being asked to help train that competitor deserves more than a promise of benefits to humanity.
Those benefits may be enormous. In [The AI Race Will Be Won With Energy](https://www.grappyssoapbox.com/2026/09/the-ai-race-will-be-won-with-energy.html), I argued that we should take AI’s transformative potential seriously.
But commercial AI developers also seek commercial returns. There is nothing wrong with that. There is something wrong with treating public benefit as a reason somebody else should supply the ingredients free.
Perhaps part of the impasse is timing.
Creators want compensation for work supplied now. Developers may prefer to pay after their investment produces a return. The eventual value is uncertain, and dividing it among millions of contributors will be difficult.
But delayed payment and no agreed entitlement to payment are very different things.
If artists are expected to wait, the terms should be settled before their work is used. Otherwise, they are being asked to finance somebody else’s business without the protections an investor would demand.
Royalties, collective licences, upfront payments or a combination might provide an answer. I do not claim to know which arrangement will work best. The method can evolve.
The obligation to compensate should not disappear while everyone debates the method.
Government has a useful role here. Bring the parties together. Help smaller creators negotiate collectively. Support transparent agreements and accessible enforcement.
But government should not change copyright law to give AI companies access to protected creative work without the rights holders’ agreement to the terms.
In negotiating those terms, government should mediate. It should not substitute its consent for the creator’s.
The attraction of investment, data centres and technological prestige does not give ministers the right to bargain away somebody else’s work.
Artists must be compensated. AI companies must foot the bill. The parties can negotiate how and when.
Government’s job is to help them reach an agreement—not make agreement unnecessary.




