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Call him [[post-modern]] — go on, do — but the [[JC]] doesn’t hold with [[Carl Sagan]]’s idea, above, that a book teleports its author “inside our heads”. That is to equate ''construal'' with ''symbol-processing''. It absolutely isn’t, and that [[metaphor]] — that the brain is a glorified Turing machine — gravely underestimates the human brain when in construction mode. | Call him [[post-modern]] — go on, do — but the [[JC]] doesn’t hold with [[Carl Sagan]]’s idea, above, that a book teleports its author “inside our heads”. That is to equate ''construal'' with ''symbol-processing''. It absolutely isn’t, and that [[metaphor]] — that the brain is a glorified Turing machine — gravely underestimates the human brain when in construction mode. | ||
This, by the way, is not in any way to diminish Shakespeare’s towering genius, but rather to observe that, however impossibly brilliant it is, it is swamped by the flood of exposition, analysis, interpretation, re-rendition and performance that has gone on since he published it, all as narratised and framed by the apparatus between the reader’s ears. | This, by the way, is not in any way to diminish Shakespeare’s towering genius, but rather to observe that, however impossibly brilliant it is, it is swamped by the flood of exposition, analysis, interpretation, re-rendition and performance that has gone on since he published it, all as narratised and framed by the apparatus between the reader’s ears. The quote above — as Hamlet deals with a ghost — is apposite because — well, because ''thinking makes it so''.<ref>''Hamlet'', II, ii.</ref> | ||
“Construal” — interpreting and assigning meaning to — and “construction” — building — have the same etymology. They are interchangeable in this sense: over time that cultural milieu takes the received corpus of literature and, literally, ''constructs'' it, into edifices its authors can scarce have imagined. | “Construal” — interpreting and assigning meaning to — and “construction” — building — have the same etymology. They are interchangeable in this sense: over time that cultural milieu takes the received corpus of literature and, literally, ''constructs'' it, into edifices its authors can scarce have imagined. | ||
''Hamlet'' | It is because a reader is ''not'' a simple “symbol processor”, that she does more than merely decrypt text to reveal a one-to-one assembly of the author’s intention in her own head, that ''Hamlet'' can speak, still, to the human dilemmas of the twenty-first century. | ||
=====On the absence of metaphors in foxholes===== | |||
There is one kind of “literature” that ''is'' like a computer programme: where the ''last'' thing the writer wants is for the reader use her imagination, , or bring her cultural baggage in from the hall and use it to “construct” a meaning. In this singular domain, clarity of the writer’s intention is paramount: the only priority is divining the what those who wrote the text meant by it. | |||
This is, of course, ''legal'' literature. | |||
Rather than ceding interpretative control to the reader, a legal drafter seeks to squash | Rather than ceding interpretative control to the reader, a legal drafter seeks to squash any chance for improvisation, to pre-emptively stomp on all ambiguity. Just as there are no atheists in foxholes, ''[[there are no metaphors in a trust deed|there are no metaphors in a Trust Deed]]''. | ||
Legal drafting seeks to be as [[finite]] as it can be. It strives | Legal drafting seeks to be as “[[finite]]” as it can be. It strives as far as it can to readers to mere symbol-processing machines; to allow them only the job of extracting the author’s incontrovertible meaning. But, in a natural language constructed out of dead [[metaphor|metaphors]], this is very, very hard to do: that such a comfortable living is to be made conducting commercial litigation shows that. | ||
It is one reason why [[legalese]] is so laboured. | It is one reason why [[legalese]] is so laboured. To render text as mechanical, precise and reliable as it can be, lawyers are compelled to chase down all blind alleys, previsualise all phantoms and prescribe outcomes for all logical possibilities. Where the best “literary” language prefers possibility to certainty, ''legal'' language sanctifies [[certainty]] above all else, at the cost of [[possibility]]. To hell with literary style and elegance. | ||
Where literary language is, in [[James Carse]]’s sense, ''[[Finite and Infinite Games|infinite]]'', legal language is ''finite''. | Where literary language is, in [[James Carse]]’s sense, ''[[Finite and Infinite Games|infinite]]'', legal language is ''finite''. | ||
=====LLMs okay for literature: bad for legal drafting===== | |||
Now: the punchline. Given how integral the reader and her cultural baggage are to the creative act in ''normal'' literature, we can see how, in that domain, a [[large learning model]], which spits out text ripe with interpretative possibilities, which positively begs for someone to “construct” it, just to make sense of it, is a feasible model for the language of possibility. The interpretative task is paramount: to move from a model where ''most'' of the creative work is done by the reader to one where ''all'' of it is, is no great step. | |||
It is is no great stretch to imagine doing without a human writer altogether. Who cares what the text is ''meant'' to say, as long as it is coherent enough for an enterprising reader to make something out of it? | |||
''But that does not work for legal language''. Legal language is code: it must say exactly what the parties require: nothing more or less, and it must do it in a way that leaves nothing open to later creative interpretation. Legal drafting is as close to computer code as natural language gets: a form of symbol processing where the meaning resides wholly within and is fully limited by the text. | |||
But unlike computer code, the operating system it is written for is not a closed logical system, and even the best-laid code can still run amok. You can’t run it in a sandbox to see if it works. You have to test in production. A random-word generator that creates plausible sounding legal text, which falls apart on closer inspection, is not much use. | |||
This is not to say that a [[large language model]] can’t be used to generate legal [[boilerplate]]: it just can’t do it by itself, and the process of working with it will be a lot more labour-intensive than the first round of generation suggests. | |||
We have seen it suggested that one might invert the process instead, letting humans do the first cut, then pressing the machine into action to critique the human drafts, to find potential errors and omissions. | |||
But this is to get the [[division of labour]] exactly backwards, using expensive, context-sensitive [[meatware]] to do the legwork and a dumb machine to provide the “magic”. And besides, there is a design flaw in any legal process which supposes that the risk in a legal contract is distributed evenly throughout its content, and that therefore the legal proposition is one of handling volume. | |||
Boilerplate is [[boilerplate]] for a reason. It is pinned down; tried, tested and done: it takes those things that should go without saying out of the equation. There is nothing to be gained from having a [[large language model]] drafting boilerplate from scratch each time — especially if, randomly, it changes things. ''[[The quotidian is a utility, not an asset|Boilerplate is a utility, not an asset]]''. It is the part of the deal the lawyers already spend the least time on. The parts that matter — that they do spend time on — are typically discrete, manageable parts of drafting. It is hard to see how an LLM really assists in the process. | |||
We come back to that question of basic human self-respect. We ''need to stop subordinating ourselves to machines''. We should not compromise just to optimise for machine processing, to make it easier for machines to manage what we do. | |||
====Meet the new boss —==== | ====Meet the new boss —==== |