Thank you for your question.
It is a very complicated procedure, to tell you the truth, for a variety of reasons that I identified in my remarks. These are artists who deal almost entirely in a cash economy, so we have to be prepared to provide payment to artists in whatever form they're capable of accepting. And when we're dealing with Inuktitut speakers to begin with, the fact that we have a team of people who are fundamentally able to communicate with these artists....
Interestingly, a lot of our artists don't really understand the permissions and copyright program, so there is a very high level of trust between the artist stakeholders we work with and our organization. We've organized copyright arrangements with Centre Pompidou and with MoMA in New York. These are very important institutions. Most of our artists have no idea what these museums are. They've never been outside of the territory in some cases.
To answer your question, it is about our having that level of comfort, a level of trust, with our artists and being able to administer the program with their blessing.