[text-free-culture-lessig.git] / freeculture.fr.po

# Free Culture translation to French
# Copyright (C) 2015 Benoît Guillon and Wikilivres
# This file is distributed under the same license as Free Culture
# book. When the original enters the public domain, the translation too.
#
#, fuzzy
msgid ""
msgstr ""
"Project-Id-Version: Free Culture by Laurence Lessig\n"
"POT-Creation-Date: 2015-09-12 17:09+0300\n"
"PO-Revision-Date: YEAR-MO-DA HO:MI+ZONE\n"
"Last-Translator: Benoît Guillon <marsgui@users.sourceforge.net>\n"
"Language-Team: Wikilivres (http://www.wikilivres.ca) & B. Guillon\n"
"Language: fr\n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"

#. type: Content of the copy entity
#: freeculture.xml:12
msgid "©"
msgstr ""

#. type: Attribute 'lang' of: <book>
#: freeculture.xml:15
msgid "en"
msgstr "fr"

#. type: Content of: <chapter><title>
msgid "Free Culture"
msgstr "Culture Libre"

#. type: Content of: <book><bookinfo>
msgid "<abbrev>\"freeculture\"</abbrev>"
msgstr ""

#. type: Content of: <chapter><para>
msgid ""
"How big media uses technology and the law to lock down culture and control "
"creativity"
msgstr ""
"Comment les grands médias utilisent la technologie et la loi pour verrouiller "
"la culture et contrôler la créativité"

#. type: Content of: <book><bookinfo>
msgid "<pubdate>2004-03-25</pubdate> <edition>1</edition>"
msgstr ""

#. type: Content of: <book><bookinfo><releaseinfo>
msgid "Version 2004-02-10"
msgstr ""

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
msgid "Lawrence"
msgstr ""

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
msgid "Lessig"
msgstr ""

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Intellectual property&mdash;United States."
msgstr "Propriété Intellectuelle&mdash;Etats Unis."

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Mass media&mdash;United States."
msgstr "Mass media&mdash;Etats Unis."

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Technological innovations&mdash;United States."
msgstr "Innovations technologiques&mdash;Etats Unis"

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Art&mdash;United States."
msgstr "Art&mdash;Etats Unis."

#. type: Content of: <book><bookinfo><publisher><address>
#, no-wrap
msgid "<city>Oslo</city>"
msgstr "<city>Valence</city>"

#. type: Content of: <book><bookinfo>
msgid ""
"<publisher> <publishername>Petter Reinholdtsen</publishername> <placeholder "
"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> "
"<holder>Lawrence Lessig</holder> </copyright>"
msgstr ""
"<publisher> <publishername>Petter Reinholdtsen</publishername> <placeholder "
"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> "
"<holder>Lawrence Lessig</holder> </copyright>"

#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject>
msgid ""
"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" "
"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata "
"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" "
"align=\"center\"/> </imageobject>"
msgstr ""
"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" "
"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata "
"fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" "
"align=\"center\"/> </imageobject>"

#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase>
msgid "Creative Commons, Some rights reserved"
msgstr "Creative Commons, droits réservés"

#. type: Content of: <book><bookinfo><legalnotice><para>
msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>"
msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>"

#. type: Content of: <book><colophon><para>
msgid ""
"This book is licensed under a Creative Commons license. This license permits "
"non-commercial use of this work, so long as attribution is given.  For more "
"information about the license visit <ulink "
"url=\"http://creativecommons.org/licenses/by-nc/1.0/\"/>."
msgstr ""
"Ce livre est sous licence Creative Commons. Cette licence permets "
"l'utilisation non commerciale de cette oeuvre, à la condition de "
"signaler les attributions de l'oeuvre. Pour plus "
"d'informations concernant la licence, voir <ulink "
"url=\"http://creativecommons.org/licenses/by-nc/1.0/\"/>."

#. type: Content of: <book><bookinfo><abstract><title>
msgid "About the author"
msgstr "À propos de l'auteur"

#. type: Content of: <book><bookinfo><abstract><para>
msgid ""
"Lawrence Lessig (<ulink "
"url=\"http://www.lessig.org\">http://www.lessig.org</ulink>), professor of "
"law and a Roy L. Furman Professor of Law and Leadership at Harvard Law "
"School, is founder of the Stanford Center for Internet and Society and is "
"chairman of the Creative Commons (<ulink "
"url=\"http://creativecommons.org\">http://creativecommons.org</ulink>).  The "
"author of The Future of Ideas (Random House, 2001) and Code: And Other Laws "
"of Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the "
"Public Library of Science, the Electronic Frontier Foundation, and Public "
"Knowledge. He was the winner of the Free Software Foundation's Award for the "
"Advancement of Free Software, twice listed in BusinessWeek's <quote>e.biz "
"25,</quote> and named one of Scientific American's <quote>50 "
"visionaries.</quote> A graduate of the University of Pennsylvania, Cambridge "
"University, and Yale Law School, Lessig clerked for Judge Richard Posner of "
"the U.S. Seventh Circuit Court of Appeals."
msgstr ""
"LAWRENCE LESSIG (<ulink "
"url=\"http://www.lessig.org\">http://www.lessig.org</ulink>), professeur de "
"droit et John A. Wilson Distinguished Faculty Scholar à la Faculté de droit "
"de Stanford, "
"est le fondateur du Stanford Center for Internet and Society et est le "
"président de l’association Creative Commons (<ulink "
"url=\"http://creativecommons.org\">http://creativecommons.org</ulink>). "
"Auteur de <citetitle>The Future of Ideas</citetitle> (Random House, 2001) et "
"de <citetitle>Code: And Other Laws "
"of Cyberspace</citetitle> (Basic Books, 1999), Lessig est un membre du comité "
"de la "
"Public Library of Science, de l’Electronic Frontier Foundation, et de Public "
"Knowledge. Il a été le lauréat du prix de la Free Software Foundation pour "
"le progrès du logiciel libre, a été mentionné deux fois dans "
"<citetitle>BusinessWeek</citetitle> <quote>e.biz 25</quote>, et a figuré parmi les "
"cinquantes <quote>visionnaires</quote> de <citetitle>Scientific American</citetitle>. Diplômé de "
"l’Université de Pennsylvanie, de Cambridge et de Yale Law School, Lessig a "
"été greffier pour le juge Richard Posner de la Septième Court d’Appel des "
"Etats Unis."

#. type: Content of: <book><bookinfo><mediaobject>
msgid ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata "
"fileref=\"images/cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
msgstr ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata "
"fileref=\"images/cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"

#. type: Content of: <book><bookinfo>
msgid ""
"  <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid "
"class=\"isbn\">978-82-8067-010-6</biblioid> <biblioid "
"class=\"libraryofcongress\">2003063276</biblioid> <biblioid "
"class=\"uri\">http://free-culture.cc/</biblioid>"
msgstr ""
"  <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid "
"class=\"isbn\">978-82-8067-010-6</biblioid> <biblioid "
"class=\"libraryofcongress\">2003063276</biblioid> <biblioid "
"class=\"uri\">http://free-culture.cc/</biblioid>"

#. type: Content of: <book><dedication><title>
msgid "Also by Lawrence Lessig"
msgstr "Du même auteur"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "The USA is lesterland: The nature of congressional corruption"
msgstr "The USA is lesterland: The nature of congressional corruption"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "Republic, lost: How money corrupts Congress - and a plan to stop it"
msgstr "Republic, lost: How money corrupts Congress - and a plan to stop it"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "Remix: Making art and commerce thrive in the hybrid economy"
msgstr "Remix: Making art and commerce thrive in the hybrid economy"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "Code: Version 2.0"
msgstr "Code: Version 2.0"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "The Future of Ideas: The Fate of the Commons in a Connected World"
msgstr "The Future of Ideas: The Fate of the Commons in a Connected World"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
msgid "Code: And Other Laws of Cyberspace"
msgstr "Code: And Other Laws of Cyberspace"

#. type: Content of: <book><dedication><para>
msgid ""
"To Eric Eldred &mdash; whose work first drew me to this cause, and for whom "
"it continues still."
msgstr ""
"À Eric Eldred &mdash; dont le travail m'a amené en premier à cette "
"cause, et pour qui je continue à la soutenir."

#. type: Content of: <book><lot><title>
msgid "List of figures"
msgstr ""

#. type: Content of: <book><preface><title>
msgid "Preface"
msgstr "Préface"

#. type: Content of: <book><preface><indexterm><primary>
msgid "Pogue, David"
msgstr "Pogue, David"

#. type: Content of: <book><preface><para>
msgid ""
"<emphasis role=\"bold\">At the end</emphasis> of his review of my first "
"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David "
"Pogue, a brilliant writer and author of countless technical and "
"computer-related texts, wrote this:"
msgstr ""
"À la fin de sa critique de mon premier livre, <citetitle>Code: And Other "
"Laws of Cyberspace,</citetitle> David Pogue, un brillant auteur de nombreux "
"textes informatiques et techniques, écrivait:"

#. type: Content of: <book><preface><blockquote><para><footnote><para>
msgid ""
"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New "
"York Times</citetitle>, 30 January 2000."
msgstr ""
"David Pogue, <quote>Don’t Just Chat, Do Something,</quote><citetitle> New "
"York Times,</citetitle> 30 January 2000."

#. type: Content of: <book><preface><blockquote><para>
msgid ""
"Unlike actual law, Internet software has no capacity to punish. It doesn't "
"affect people who aren't online (and only a tiny minority of the world "
"population is). And if you don't like the Internet's system, you can always "
"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Contrairement à la loi véritable, Internet n’a pas la capacité de punir. "
"Il ne touche pas les gens qui ne sont pas en ligne (et seule une petite "
"minorité de la population mondiale l’est). Et si vous n’aimez pas "
"Internet, vous pouvez toujours éteindre le modem.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><preface><para>
msgid ""
"Pogue was skeptical of the core argument of the book&mdash;that software, or "
"<quote>code,</quote> functioned as a kind of law&mdash;and his review "
"suggested the happy thought that if life in cyberspace got bad, we could "
"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a "
"switch and be back home. Turn off the modem, unplug the computer, and any "
"troubles that exist in <emphasis>that</emphasis> space wouldn't "
"<quote>affect</quote> us anymore."
msgstr ""
"Pogue était sceptique vis-à-vis de l’argument principal du livre, à "
"savoir que le logiciel, ou le <quote>code</quote>, fonctionne comme une sorte "
"de loi. Sa critique suggérait l’heureuse idée que si la vie dans le "
"cyberespace tournait mal, nous pouvions toujours actionner l’interrupteur, "
"et abracadabra! être de retour à la maison. Coupons le modem, débranchons "
"l’ordinateur, et tout problème existant dans cet espace cesse de nous "
"toucher."

#. type: Content of: <book><preface><para>
msgid ""
"Pogue might have been right in 1999&mdash;I'm skeptical, but maybe.  But "
"even if he was right then, the point is not right now: <citetitle>Free "
"Culture</citetitle> is about the troubles the Internet causes even after the "
"modem is turned off. It is an argument about how the battles that now rage "
"regarding life on-line have fundamentally affected <quote>people who aren't "
"online.</quote> There is no switch that will insulate us from the Internet's "
"effect."
msgstr ""
"Pogue avait peut-être raison en 1999. Je suis sceptique, mais peut-être. "
"Mais quand bien même il aurait eu raison à l’époque, ce n’est plus le "
"cas aujourd’hui: <citetitle>Culture Libre</citetitle> traite des problèmes "
"causés par Internet même une fois que le modem est éteint. Ce livre "
"démontre comment les batailles qui font rage aujourd’hui concernant la vie "
"en ligne affectent fondamentalement ceux <quote>qui ne sont pas en "
"ligne</quote>. Il n’y a plus d’interrupteur pour nous isoler des effets "
"d’Internet."

#. type: Content of: <book><preface><para>
msgid ""
"But unlike <citetitle>Code</citetitle>, the argument here is not much about "
"the Internet itself. It is instead about the consequence of the Internet to "
"a part of our tradition that is much more fundamental, and, as hard as this "
"is for a geek-wanna-be to admit, much more important."
msgstr ""
"Mais contrairement à <citetitle>Code</citetitle>, le sujet de ce livre "
"n’est pas tellement Internet en soi. Le sujet en est plutôt les effets "
"d’Internet sur une de nos traditions, qui est bien plus fondamentale et, "
"aussi difficile à admettre que ce soit pour certains passionnés "
"d’informatique et de technologies, bien plus importante."

#. type: Content of: <book><preface><para><footnote><para>
msgid ""
"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 "
"(Joshua Gay, ed. 2002)."
msgstr ""
"Richard M. Stallman,<citetitle> Free Software, Free Societies</citetitle> 57 "
"(Joshua Gay, ed. 2002)."

#. type: Content of: <book><preface><para>
msgid ""
"That tradition is the way our culture gets made. As I explain in the pages "
"that follow, we come from a tradition of <quote>free "
"culture</quote>&mdash;not <quote>free</quote> as in <quote>free beer</quote> "
"(to borrow a phrase from the founder of the free software "
"movement<placeholder type=\"footnote\" id=\"0\"/>), but <quote>free</quote> "
"as in <quote>free speech,</quote> <quote>free markets,</quote> <quote>free "
"trade,</quote> <quote>free enterprise,</quote> <quote>free will,</quote> and "
"<quote>free elections.</quote> A free culture supports and protects creators "
"and innovators. It does this directly by granting intellectual property "
"rights. But it does so indirectly by limiting the reach of those rights, to "
"guarantee that follow-on creators and innovators remain <emphasis>as free as "
"possible</emphasis> from the control of the past. A free culture is not a "
"culture without property, just as a free market is not a market in which "
"everything is free. The opposite of a free culture is a <quote>permission "
"culture</quote>&mdash;a culture in which creators get to create only with "
"the permission of the powerful, or of creators from the past."
msgstr ""
"Cette tradition, c’est la manière dont notre culture est créée. Comme je "
"l’explique dans les pages qui suivent, nous venons d’une tradition de "
"<quote>culture libre</quote>&nbsp;: non pas libre au sens de gratuit, pour "
"reprendre la phrase du fondateur du logiciel libre<placeholder "
"type=\"footnote\" id=\"0\"/>, mais libre comme dans <quote>expression "
"libre</quote>, <quote>marchés libres</quote>, <quote>commerce libre</quote>, "
"<quote>libre entreprise</quote>, <quote>libre volonté</quote>, et "
"<quote>élections libres</quote>. Une culture libre protège et soutient les "
"créateurs et les innovateurs. Elle le fait d’une manière directe, en "
"accordant des droits de propriété intellectuelle. Mais elle le fait aussi "
"indirectement, en limitant la portée de ces droits, pour garantir que les "
"nouveaux créateurs restent <emphasis>aussi libres que possible</emphasis> "
"d’un contrôle du passé. Une culture libre n’est pas une culture sans "
"aucune propriété, pas plus qu’un marché libre n’est un marché dans "
"lequel tout est gratuit. Le contraire d’une culture libre est une "
"<quote>culture de permissions</quote>&nbsp;: une culture au sein de laquelle "
"les créateurs peuvent créer uniquement avec la permission des puissants, ou "
"des créateurs du passé."

#. type: Content of: <book><preface><para>
msgid ""
"If we understood this change, I believe we would resist it. Not "
"<quote>we</quote> on the Left or <quote>you</quote> on the Right, but we who "
"have no stake in the particular industries of culture that defined the "
"twentieth century.  Whether you are on the Left or the Right, if you are in "
"this sense disinterested, then the story I tell here will trouble you. For "
"the changes I describe affect values that both sides of our political "
"culture deem fundamental."
msgstr ""
"Si nous comprenions ce changement, je pense que nous nous y opposerions. Non "
"pas <quote>nous</quote> à gauche, ou <quote>vous</quote> à droite, mais "
"nous tous qui ne sommes pas actionnaires de ces industries de la culture qui "
"ont caractérisé le vingtième siècle. Que vous soyez de gauche ou de "
"droite, si vous êtes, en ce sens, désintéressés, alors l’histoire que "
"je raconte ici va vous toucher. Car les changements que je décris touchent "
"à des valeurs que les deux bords de notre culture politique tiennent pour "
"fondamentales."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "power, concentration of"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "CodePink Women in Peace"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Safire, William"
msgstr ""

#. type: Content of: <book><preface><indexterm><primary>
msgid "Stevens, Ted"
msgstr ""

#. type: Content of: <book><preface><para>
msgid ""
"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As "
"the FCC considered changes in media ownership rules that would relax limits "
"on media concentration, an extraordinary coalition generated more than "
"700,000 letters to the FCC opposing the change.  As William Safire described "
"marching <quote>uncomfortably alongside CodePink Women for Peace and the "
"National Rifle Association, between liberal Olympia Snowe and conservative "
"Ted Stevens,</quote> he formulated perhaps most simply just what was at "
"stake: the concentration of power. And as he asked,"
msgstr ""
"Nous avons eu un aperçu de cette union sacrée au début de l’été 2003. "
"Lorsque la FCC envisagea "
"d’assouplir la réglementation qui limite la concentration des médias, une "
"coalition extraordinaire se mit en place, et la FCC reçut plus de 700.000 "
"lettres de protestation contre ce changement. Lorsque William Safire se "
"décrivit défilant <quote>mal à l’aise, au côté du mouvement des Femmes "
"en Rose pour la Paix et de la National Rifle Association, entre la libérale "
"Olympia Snowe et le conservateur Ted Stevens</quote>, il eut une formule "
"simple pour décrire ce qui était en jeu&nbsp;: la concentration du pouvoir. "
"Il demanda:"

#. type: Content of: <book><preface><blockquote><para><footnote><para>
msgid ""
"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York "
"Times</citetitle>, 22 May 2003.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"William Safire, <quote>The Great Media Gulp,</quote><citetitle> New York "
"Times,</citetitle> 22 May 2003.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><preface><blockquote><para>
msgid ""
"Does that sound unconservative? Not to me. The concentration of "
"power&mdash;political, corporate, media, cultural&mdash;should be anathema "
"to conservatives. The diffusion of power through local control, thereby "
"encouraging individual participation, is the essence of federalism and the "
"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ceci vous paraît-il anti-conservateur&nbsp;? Pas à moi. Les conservateurs "
"devraient jeter l’anathème contre la concentration du pouvoir, qu’il "
"soit politique, d’entreprise, médiatique, culturel. La diffusion du "
"pouvoir jusqu’à l’échelon local, encourageant ainsi la participation "
"individuelle, est l’essence même du fédéralisme et la plus grande "
"expression de la démocratie<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><preface><para>
msgid ""
"This idea is an element of the argument of <citetitle>Free "
"Culture</citetitle>, though my focus is not just on the concentration of "
"power produced by concentrations in ownership, but more importantly, if "
"because less visibly, on the concentration of power produced by a radical "
"change in the effective scope of the law. The law is changing; that change "
"is altering the way our culture gets made; that change should worry "
"you&mdash;whether or not you care about the Internet, and whether you're on "
"Safire's left or on his right."
msgstr ""
"Cette idée est un élément de l’argumentation de <citetitle>Culture "
"Libre</citetitle>. Cependant, mon sujet n’est pas juste la concentration du "
"pouvoir qui résulte d’une concentration de la propriété, mais plutôt, "
"peut-être parce que c’est moins visible, la concentration du pouvoir qui "
"résulte d’un changement radical dans la portée pratique de la loi. La loi "
"est en train de changer; ce changement modifie la façon dont notre culture "
"est créée. Ce changement devrait vous inquiéter, que vous vous "
"intéressiez à Internet ou non, et que vous soyez à droite ou à gauche de "
"Safire."

#. type: Content of: <book><preface><para>
msgid ""
"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for "
"much of the argument of this book comes from the work of Richard Stallman "
"and the Free Software Foundation. Indeed, as I reread Stallman's own work, "
"especially the essays in <citetitle>Free Software, Free Society</citetitle>, "
"I realize that all of the theoretical insights I develop here are insights "
"Stallman described decades ago. One could thus well argue that this work is "
"<quote>merely</quote> derivative."
msgstr ""
"Le titre et la plus grande partie de mon argumentation sont inspirés du "
"travail de Richard Stallman et de la Free Software Foundation. A vrai dire, "
"quand je relis le travail de Stallman, et plus particulièrement les essais "
"dans <citetitle>Free Software, Free Society,</citetitle> je me rends compte "
"que toutes les idées théoriques que je développe ici sont des idées que "
"Stallman a décrites voilà des décennies. Il serait donc légitime "
"d’affirmer que ce travail est un <quote>simple</quote> travail dérivé."

#. type: Content of: <book><preface><para>
msgid ""
"I accept that criticism, if indeed it is a criticism. The work of a lawyer "
"is always derivative, and I mean to do nothing more in this book than to "
"remind a culture about a tradition that has always been its own.  Like "
"Stallman, I defend that tradition on the basis of values. Like Stallman, I "
"believe those are the values of freedom. And like Stallman, I believe those "
"are values of our past that will need to be defended in our future. A free "
"culture has been our past, but it will only be our future if we change the "
"path we are on right now.  Like Stallman's arguments for free software, an "
"argument for free culture stumbles on a confusion that is hard to avoid, and "
"even harder to understand. A free culture is not a culture without property; "
"it is not a culture in which artists don't get paid. A culture without "
"property, or in which creators can't get paid, is anarchy, not "
"freedom. Anarchy is not what I advance here."
msgstr ""
"J’accepte cette critique, si vraiment c’en est une. Le travail d’un "
"juriste est toujours un travail dérivé, et je ne veux rien faire d’autre "
"dans ce livre que de rappeler à une culture une tradition qui a toujours "
"été la sienne. Comme Stallman, je défends cette tradition sur la base de "
"valeurs. Comme Stallman, je crois que ces valeurs sont celles de la liberté. "
"Et comme Stallman, je crois que ces valeurs, héritées de notre passé, vont "
"avoir besoin d’être défendues à l’avenir. Notre passé a connu une "
"culture libre&nbsp;; notre avenir n’en connaîtra une que si nous changeons "
"le chemin que nous sommes en train d’emprunter aujourd’hui. Comme les "
"arguments de Stallman pour le logiciel libre, le plaidoyer pour une culture "
"libre achoppe sur une confusion qui est difficile à éviter, et même encore "
"plus difficile à comprendre. Une culture libre n’est pas une culture sans "
"propriété&nbsp;; ce n’est pas une culture dans laquelle les artistes ne "
"sont pas payés. Une culture sans propriété, ou dans laquelle les "
"créateurs ne pourraient pas être payés, serait l’anarchie, et non pas la "
"liberté. Et mon propos n’est pas de plaider pour l’anarchie."

#. type: Content of: <book><preface><para>
msgid ""
"Instead, the free culture that I defend in this book is a balance between "
"anarchy and control. A free culture, like a free market, is filled with "
"property. It is filled with rules of property and contract that get enforced "
"by the state. But just as a free market is perverted if its property becomes "
"feudal, so too can a free culture be queered by extremism in the property "
"rights that define it. That is what I fear about our culture today. It is "
"against that extremism that this book is written."
msgstr ""
"Au contraire, la culture libre que je défends dans ce livre est un "
"équilibre entre anarchie et contrôle. Une culture libre, comme un marché "
"libre, est pleine de propriété. Elle est pleine de règles de propriété, "
"et de contrats, que les pouvoirs publics doivent faire respecter. Mais tout "
"comme un marché libre est perverti quand sa propriété devient féodale, de "
"même une culture libre peut être dévoyée par un extrémisme des règles "
"de propriété qui la définissent. C’est ce que je crains pour notre "
"culture aujourd’hui. C’est contre cet extrémisme que ce livre est "
"écrit."

#. type: Content of: <book><chapter><title>
msgid "Introduction"
msgstr "Introduction"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Wright brothers"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North "
"Carolina beach for just shy of one hundred seconds, the Wright brothers "
"demonstrated that a heavier-than-air, self-propelled vehicle could fly. The "
"moment was electric and its importance widely understood. Almost "
"immediately, there was an explosion of interest in this newfound technology "
"of manned flight, and a gaggle of innovators began to build upon it."
msgstr ""
"Le 17 décembre 1903, sur une plage venteuse de Caroline du Nord, en un peu "
"moins de cent secondes, les frères Wright démontrèrent qu’un véhicule "
"autopropulsé plus lourd que l’air pouvait voler. Le moment fut électrique "
"et son importance largement comprise. Presque immédiatement, cette "
"technologie nouvelle du vol habité suscita une explosion d’intérêt, et "
"une nuée d’innovateurs se mirent à l’améliorer."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "air traffic, land ownership vs."
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "land ownership, air traffic and"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "property rights"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "air traffic vs."
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South "
"Hackensack, N.J.: Rothman Reprints, 1969), 18."
msgstr ""
"St. George Tucker,<citetitle> Blackstone’s Commentaries</citetitle> 3 "
"(South Hackensack, N.J.: Rothman Reprints, 1969), 18."

#. type: Content of: <book><chapter><para>
msgid ""
"At the time the Wright brothers invented the airplane, American law held "
"that a property owner presumptively owned not just the surface of his land, "
"but all the land below, down to the center of the earth, and all the space "
"above, to <quote>an indefinite extent, upwards.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how "
"best to interpret the idea that rights in land ran to the heavens. Did that "
"mean that you owned the stars? Could you prosecute geese for their willful "
"and regular trespass?"
msgstr ""
"À l’époque où les frères Wright inventaient l’avion, la loi "
"américaine stipulait que le propriétaire d’un terrain était non "
"seulement propriétaire de la surface de son terrain, mais de tout le sous- "
"sol, jusqu’au centre de la Terre, et de tout l’espace au-dessus, "
"<quote>jusqu’à l’infini.</quote><placeholder type=\"footnote\" "
"id=\"0\"/> Depuis des années, les érudits s’étaient demandé comment "
"interpréter au mieux l’idée que des droits de propriété terrestres "
"puissent monter jusqu’aux cieux. Cela signifiait-il que vous possédiez les "
"étoiles&nbsp;? Pouviez-vous poursuivre les oies en justice, pour violations "
"de propriété volontaires et répétées&nbsp;?"

#. type: Content of: <book><chapter><para>
msgid ""
"Then came airplanes, and for the first time, this principle of American "
"law&mdash;deep within the foundations of our tradition, and acknowledged by "
"the most important legal thinkers of our past&mdash;mattered. If my land "
"reaches to the heavens, what happens when United flies over my field? Do I "
"have the right to banish it from my property? Am I allowed to enter into an "
"exclusive license with Delta Airlines? Could we set up an auction to decide "
"how much these rights are worth?"
msgstr ""
"Puis vinrent les avions et, pour la première fois, ce principe de la loi "
"américaine &mdash; profondément ancré dans notre tradition, et reconnu par "
"les plus importants juristes de notre passé &mdash; prenait de "
"l’importance. Si ma terre s’étend jusqu’aux cieux, qu’advient-il "
"quand un avion d’United Airlines survole mon champ&nbsp;? Ai-je le droit de "
"lui interdire ma propriété&nbsp;? Ai-je le droit de mettre en place un "
"accord d’autorisation exclusive au profit de Delta Airlines&nbsp;? Pouvons- "
"nous organiser des enchères pour déterminer la valeur de ces droits&nbsp;?"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Causby, Thomas Lee"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Causby, Tinie"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"In 1945, these questions became a federal case. When North Carolina farmers "
"Thomas Lee and Tinie Causby started losing chickens because of low-flying "
"military aircraft (the terrified chickens apparently flew into the barn "
"walls and died), the Causbys filed a lawsuit saying that the government was "
"trespassing on their land. The airplanes, of course, never touched the "
"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had "
"said, their land reached to <quote>an indefinite extent, upwards,</quote> "
"then the government was trespassing on their property, and the Causbys "
"wanted it to stop."
msgstr ""
"En 1945, ces questions donnèrent lieu à un procès fédéral. Quand des "
"fermiers de Caroline du Nord, Thomas Lee et Tinie Causby commencèrent à "
"perdre des poulets à cause d’avions militaires volant à basse altitude "
"(apparemment, les poulets terrorisés se jetaient contre les murs du "
"poulailler et en mouraient), ils portèrent plainte au motif que le "
"gouvernement violait leur propriété. Bien entendu, les avions n’avaient "
"jamais touché la surface du terrain des Causby. Mais si, comme l’avaient "
"déclaré en leur temps Blackstone, Kent et Coke, leur terrain s’étendait "
"<quote>vers le haut jusqu’à l’infini</quote>, alors le gouvernement "
"commettait une violation de propriété, et les Causby voulaient que cela "
"cesse."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Douglas, William O."
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Supreme Court, U.S."
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "on airspace vs. land rights"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"The Supreme Court agreed to hear the Causbys' case. Congress had declared "
"the airways public, but if one's property really extended to the heavens, "
"then Congress's declaration could well have been an unconstitutional "
"<quote>taking</quote> of property without compensation. The Court "
"acknowledged that <quote>it is ancient doctrine that common law ownership of "
"the land extended to the periphery of the universe.</quote> But Justice "
"Douglas had no patience for ancient doctrine. In a single paragraph, "
"hundreds of years of property law were erased. As he wrote for the Court,"
msgstr ""
"La Cour suprême accepta d’entendre le cas des Causby. Le Congrès avait "
"déclaré les voies aériennes publiques. Mais si le droit de propriété "
"s’étendait réellement jusqu’aux espaces célestes, alors la "
"déclaration du Congrès pouvait très bien être anticonstitutionnelle, car "
"elle constituait une expropriation sans dédommagement. La Cour reconnut que "
"<quote>selon l’ancienne doctrine les droits de propriété foncière "
"s’étendent jusqu’à la périphérie de l’univers.</quote> Mais le Juge "
"Douglas n’avait pas la patience d’écouter l’ancienne doctrine. En un "
"simple paragraphe adressé à la Cour, il annula des centaines d’années de "
"droit foncier&nbsp;:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid ""
"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
"there could be a <quote>taking</quote> if the government's use of its land "
"effectively destroyed the value of the Causbys' land. This example was "
"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual)  "
"Property and Sovereignty: Notes Toward a Cultural Geography of "
"Authorship,</quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): "
"1293, 1333. See also Paul Goldstein, <citetitle>Real Property</citetitle> "
"(Mineola, N.Y.: Foundation Press, 1984), 1112&ndash;13.  <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"United States v. Causby, U.S. 328 (1946): 256, 261]. Le tribunal "
"considéra qu’il pouvait y avoir une <quote>saisie</quote> si l’usage de "
"ce terrain par le gouvernement détruisait la valeur du terrain des Causby. "
"Cet exemple m’a été suggéré par la merveilleuse œuvre de Keith Aoki, "
"«&nbsp;(Intellectual) Property and Sovereignty: Notes Toward a Cultural "
"Geography of Authorship,\"<citetitle> Stanford Law Review</citetitle> 48 "
"(1996): 1293, 1333. Voir également Paul Goldstein,<citetitle> Real "
"Property</citetitle> (Mineola, N.Y.: Foundation Press, 1984), 1112-13."
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"[The] doctrine has no place in the modern world. The air is a public "
"highway, as Congress has declared. Were that not true, every "
"transcontinental flight would subject the operator to countless trespass "
"suits. Common sense revolts at the idea. To recognize such private claims to "
"the airspace would clog these highways, seriously interfere with their "
"control and development in the public interest, and transfer into private "
"ownership that to which only the public has a just claim.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"[La] doctrine n’a pas sa place dans le monde moderne. L’espace aérien "
"est public, comme l’a déclaré le Congrès. Si ce n’était pas vrai, "
"n’importe quel opérateur de vols transcontinentaux serait exposé à des "
"plaintes sans nombre, pour violation de propriété. Le sens commun se "
"révolte à cette idée. Donner raison à des revendications privées sur "
"l’espace aérien entraînerait une paralysie des lignes aériennes, "
"compromettrait profondément leur développement et leur contrôle dans "
"l’intérêt public, et reviendrait à privatiser un bien qui a vocation à "
"être public<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><chapter><para>
msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr "<quote>Le sens commun se révolte à cette idée.</quote>"

#. type: Content of: <book><chapter><para>
msgid ""
"This is how the law usually works. Not often this abruptly or impatiently, "
"but eventually, this is how it works. It was Douglas's style not to "
"dither. Other justices would have blathered on for pages to reach the "
"conclusion that Douglas holds in a single line: <quote>Common sense revolts "
"at the idea.</quote> But whether it takes pages or a few words, it is the "
"special genius of a common law system, as ours is, that the law adjusts to "
"the technologies of the time. And as it adjusts, it changes. Ideas that were "
"as solid as rock in one age crumble in another."
msgstr ""
"C’est comme ça que la loi fonctionne en général. Pas souvent de façon "
"aussi abrupte et impatiente, mais en définitive, c’est comme ça qu’elle "
"fonctionne. C’était le style de Douglas de ne pas tergiverser. D’autres "
"juges auraient noirci des pages et des pages pour arriver à la même "
"conclusion, que Douglas fit tenir en une seule ligne&nbsp;: <quote>le sens "
"commun se révolte à cette idée</quote>. Mais qu’elle tienne en quelques "
"mots ou en plusieurs pages, le génie particulier d’un système de droit "
"commun comme le nôtre est que la loi s’adapte aux technologies de son "
"époque. Et en s’adaptant, elle change. Des idées qui un jour semblent "
"solides comme le roc sont friables le lendemain."

#. type: Content of: <book><chapter><para>
msgid ""
"Or at least, this is how things happen when there's no one powerful on the "
"other side of the change. The Causbys were just farmers. And though there "
"were no doubt many like them who were upset by the growing traffic in the "
"air (though one hopes not many chickens flew themselves into walls), the "
"Causbys of the world would find it very hard to unite and stop the idea, and "
"the technology, that the Wright brothers had birthed. The Wright brothers "
"spat airplanes into the technological meme pool; the idea then spread like a "
"virus in a chicken coop; farmers like the Causbys found themselves "
"surrounded by <quote>what seemed reasonable</quote> given the technology "
"that the Wrights had produced.  They could stand on their farms, dead "
"chickens in hand, and shake their fists at these newfangled technologies all "
"they wanted.  They could call their representatives or even file a "
"lawsuit. But in the end, the force of what seems <quote>obvious</quote> to "
"everyone else&mdash;the power of <quote>common sense</quote>&mdash;would "
"prevail. Their <quote>private interest</quote> would not be allowed to "
"defeat an obvious public gain."
msgstr ""
"Ou du moins, c’est ainsi que les choses se passent quand il n’y a "
"personne de puissant pour s’opposer au changement. Les Causby n’étaient "
"que des fermiers. Et bien qu’il y eut sans doute beaucoup de gens fâchés "
"comme eux par le trafic aérien naissant (on espère quand même que peu de "
"poulets se jetaient contre les murs), tous les Causby du monde auraient eu "
"beaucoup de mal à s’unir et à arrêter l’idée et la technique que les "
"frères Wright avaient fait naître. Les frères Wright avaient ajouté "
"l’avion au pot commun technologique&nbsp;; le concept se répandit comme un "
"virus dans un poulailler&nbsp;; les fermiers comme Causby se trouvèrent "
"brutalement confrontés à <quote>ce qui semblait raisonnable</quote> étant "
"donné la technologie inventée par les Wright. Ils pouvaient à loisir, "
"debout dans leurs fermes, poulets morts à la main, menacer du poing ces "
"nouvelles technologies. Ils pouvaient alerter leurs élus, ou même aller en "
"justice. Mais en fin de compte, la force de l’évidence &mdash; le pouvoir "
"du <quote>bon sens</quote> &mdash; allait l’emporter. Il n’était pas "
"possible de permettre que leur intérêt <quote>privé</quote> nuise à un "
"intérêt public évident."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Armstrong, Edwin Howard"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Bell, Alexander Graham"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Edison, Thomas"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Faraday, Michael"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "radio"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "FM spectrum of"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of "
"America's forgotten inventor geniuses. He came to the great American "
"inventor scene just after the titans Thomas Edison and Alexander Graham "
"Bell. But his work in the area of radio technology was perhaps the most "
"important of any single inventor in the first fifty years of radio. He was "
"better educated than Michael Faraday, who as a bookbinder's apprentice had "
"discovered electric induction in 1831. But he had the same intuition about "
"how the world of radio worked, and on at least three occasions, Armstrong "
"invented profoundly important technologies that advanced our understanding "
"of radio."
msgstr ""
"Edwin Howard Armstrong est un des inventeurs géniaux oubliés de "
"l’Amérique. Il entra sur la scène des grands inventeurs américains juste "
"après des géants comme Thomas Edison et Alexandre Graham Bell. Mais son "
"travail dans le domaine de la technique radiophonique fut peut-être, de "
"celle de tous les inventeurs individuels, la plus importante des cinquante "
"premières années de la radio. Il avait reçu une meilleure instruction que "
"Michael Faraday, qui avait découvert en 1831 l’induction électrique alors "
"qu’il était apprenti-relieur. Mais il avait la même intuition au sujet de "
"la manière dont les ondes radio fonctionnaient et, en trois occasions au "
"moins, Armstrong inventa des technologies extrêmement importantes qui firent "
"avancer notre compréhension de la radio."

#. type: Content of: <book><chapter><para>
msgid ""
"On the day after Christmas, 1933, four patents were issued to Armstrong for "
"his most significant invention&mdash;FM radio. Until then, consumer radio "
"had been amplitude-modulated (AM) radio. The theorists of the day had said "
"that frequency-modulated (FM) radio could never work. They were right about "
"FM radio in a narrow band of spectrum.  But Armstrong discovered that "
"frequency-modulated radio in a wide band of spectrum would deliver an "
"astonishing fidelity of sound, with much less transmitter power and static."
msgstr ""
"Au lendemain de Noël 1933, quatre brevets furent accordés à Armstrong pour "
"son invention la plus importante&nbsp;: la radio FM. Jusque là, les radios "
"grand public émettaient en modulation d’amplitude (AM). Les théoriciens "
"de l’époque avaient déclaré que la radio en modulation de fréquence "
"(FM) ne pourrait jamais fonctionner. Ils avaient raison pour la radio FM dans "
"une bande étroite de fréquences. Mais Armstrong découvrit que la radio à "
"modulation de fréquence dans une large bande de spectre délivrait un son "
"d’une fidélité étonnante, avec beaucoup moins de parasites, et "
"nécessitait bien moins de puissance d’émission."

#. type: Content of: <book><chapter><para>
msgid ""
"On November 5, 1935, he demonstrated the technology at a meeting of the "
"Institute of Radio Engineers at the Empire State Building in New York "
"City. He tuned his radio dial across a range of AM stations, until the radio "
"locked on a broadcast that he had arranged from seventeen miles away. The "
"radio fell totally silent, as if dead, and then with a clarity no one else "
"in that room had ever heard from an electrical device, it produced the sound "
"of an announcer's voice: <quote>This is amateur station W2AG at Yonkers, New "
"York, operating on frequency modulation at two and a half meters.</quote>"
msgstr ""
"Il fit une démonstration de cette technologie le 5 novembre 1935, au cours "
"d’une réunion de l’Institut des Ingénieurs Radio, à l’Empire State "
"Building de New York. Il tourna le bouton de réglage de la radio, captant au "
"passage une multitude d’émission AM, jusqu’à ce qu’il trouve "
"l’émission qu’il avait préparée, l’émetteur étant situé à vingt- "
"sept kilomètres de là. La radio se fit tout à fait silencieuse, comme si "
"le poste était mort, et alors, avec une clarté que personne dans la pièce "
"n’avait jamais entendue venant d’un appareil électrique, elle "
"reproduisit la voix d’un animateur&nbsp;: <quote>Ici la radio amateur W2AG "
"à Yonkers, New York, émettant en modulation de fréquence à deux mètres "
"cinquante.</quote>"

#. type: Content of: <book><chapter><para>
msgid "The audience was hearing something no one had thought possible:"
msgstr "L’auditoire entendit alors ce que personne n’avait cru possible&nbsp;:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid ""
"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard "
"Armstrong</citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209."
msgstr ""
"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard "
"Armstrong</citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"A glass of water was poured before the microphone in Yonkers; it sounded "
"like a glass of water being poured. &hellip; A paper was crumpled and torn; "
"it sounded like paper and not like a crackling forest fire. &hellip; Sousa "
"marches were played from records and a piano solo and guitar number were "
"performed. &hellip; The music was projected with a live-ness rarely if ever "
"heard before from a radio <quote>music box.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"On versa un verre d’eau à Yonkers, devant le microphone&nbsp;: le bruit "
"ressemblait à celui de l’eau qui coule... On froissa et déchira une "
"feuille de papier&nbsp;: le bruit fut celui du papier, et non le "
"grésillement d’un feu de forêt... On passa un disque des marches de "
"Sousa, et on joua un solo de piano et un air de guitare... La musique se "
"répandit avec une clarté rarement, voire jamais entendue venant d’une "
"<quote>boîte à musique</quote> radiophonique<placeholder type=\"footnote\" "
"id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "RCA"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "media"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "ownership concentration in"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"As our own common sense tells us, Armstrong had discovered a vastly superior "
"radio technology. But at the time of his invention, Armstrong was working "
"for RCA. RCA was the dominant player in the then dominant AM radio "
"market. By 1935, there were a thousand radio stations across the United "
"States, but the stations in large cities were all owned by a handful of "
"networks."
msgstr ""
"Comme nous le suggère notre bon sens, Armstrong avait découvert une "
"technologie de radio très supérieure. Mais à l’époque de son invention, "
"Armstrong travaillait pour la RCA. La RCA était alors l’acteur dominant du "
"marché alors dominant de la radios AM. Vers 1935, il existait un millier de "
"stations de radio à travers les Etats-Unis, mais les stations des grandes "
"villes appartenaient toutes à une poignée de réseaux."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Sarnoff, David"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that "
"Armstrong discover a way to remove static from AM radio. So Sarnoff was "
"quite excited when Armstrong told him he had a device that removed static "
"from <quote>radio.</quote> But when Armstrong demonstrated his invention, "
"Sarnoff was not pleased."
msgstr ""
"Le directeur de la RCA, David Sarnoff, un ami d’Armstrong, voulait "
"qu’Armstrong trouve un moyen de supprimer les parasites de la radio AM. Il "
"fut donc fort enthousiasmé quand celui-ci lui annonça qu’il avait un "
"système pour supprimer les parasites de la <quote>radio</quote>. Mais quand "
"Armstrong lui montra son invention, Sarnoff ne fut pas content."

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid ""
"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> "
"First Electronic Church of America, at www.webstationone.com/fecha, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
msgstr ""
"Voir <quote>Saints: The Heroes and Geniuses of the Electronic Era</quote>, "
"First Electronic Church of America, à www.webstationone.com/fecha, "
"disponible au lien #1."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"I thought Armstrong would invent some kind of a filter to remove static from "
"our AM radio. I didn't think he'd start a revolution&mdash; start up a whole "
"damn new industry to compete with RCA.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"<quote>Je pensais qu’Armstrong allait inventer une sorte de filtre pour "
"enlever les parasites de notre radio AM. Je ne pensais pas qu’il allait "
"lancer une révolution&nbsp;: démarrer une fichue nouvelle industrie qui "
"entrerait en compétition avec la RCA.</quote><placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "FM radio"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Armstrong's invention threatened RCA's AM empire, so the company launched a "
"campaign to smother FM radio. While FM may have been a superior technology, "
"Sarnoff was a superior tactician.  As one author described,"
msgstr ""
"L’invention d’Armstrong menaçait l’empire de la RCA, et la firme "
"entreprit d’étouffer la radio FM. La FM était peut-être une technologie "
"supérieure, mais Sarnoff était un tacticien supérieur. Comme le décrit un "
"auteur,"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Lessing, Lawrence"
msgstr ""

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid "Lessing, 226."
msgstr "Lessing, 226."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"The forces for FM, largely engineering, could not overcome the weight of "
"strategy devised by the sales, patent, and legal offices to subdue this "
"threat to corporate position. For FM, if allowed to develop unrestrained, "
"posed &hellip; a complete reordering of radio power &hellip; and the "
"eventual overthrow of the carefully restricted AM system on which RCA had "
"grown to power.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Les atouts de la FM, essentiellement d’ordre technique, ne faisaient pas le "
"poids face aux efforts des marchands, bureaux de brevets et cabinets "
"d’avocats, pour éloigner cette menace contre l’industrie dominante. Car "
"la FM, si on la laissait se développer librement, impliquait (...) un "
"bouleversement des rapports de force au sein de la radio (...) et à long "
"terme l’abandon du système soigneusement contrôlé de radio AM, grâce "
"auquel la RCA avait bâti son empire<placeholder type=\"footnote\" "
"id=\"0\"/>."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "FCC"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "on FM radio"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"RCA at first kept the technology in house, insisting that further tests were "
"needed. When, after two years of testing, Armstrong grew impatient, RCA "
"began to use its power with the government to stall FM radio's deployment "
"generally. In 1936, RCA hired the former head of the FCC and assigned him "
"the task of assuring that the FCC assign spectrum in a way that would "
"castrate FM&mdash;principally by moving FM radio to a different band of "
"spectrum. At first, these efforts failed. But when Armstrong and the nation "
"were distracted by World War II, RCA's work began to be more "
"successful. Soon after the war ended, the FCC announced a set of policies "
"that would have one clear effect: FM radio would be crippled. As Lawrence "
"Lessing described it,"
msgstr ""
"Au début, la RCA confina la technologie au sein de l’entreprise, en "
"insistant sur le fait qu’il était nécessaire de faire des expériences "
"supplémentaires. Quand, après deux ans de tests, Armstrong s’impatienta, "
"la RCA commença à utiliser son pouvoir auprès du gouvernement pour bloquer "
"le déploiement de la radio FM dans son ensemble. En 1936, la RCA engagea "
"l’ancien directeur de la FCC, avec pour mission de faire en sorte que la "
"FCC attribuerait les fréquences de manière à castrer la FM, "
"essentiellement en déplaçant la radio FM vers une bande différente du "
"spectre. Au début, ces efforts échouèrent. Mais quand l’attention "
"d’Armstrong et celle de la nation furent détournées par la seconde guerre "
"mondiale, le travail de la RCA commença à porter des fruits. Peu après la "
"fin de la guerre, la FCC annonça un ensemble de mesures clairement "
"destinées à paralyser la radio FM. Comme Lawrence Lessing le "
"décrivit&nbsp;:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid "Lessing, 256."
msgstr "Lessing, 256."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"The series of body blows that FM radio received right after the war, in a "
"series of rulings manipulated through the FCC by the big radio interests, "
"were almost incredible in their force and deviousness.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"La série de coups qu’a reçus la radio FM juste après la guerre, sous "
"forme de réglements dictés, à travers la FCC, par les intérêts des "
"grandes maisons de radio, étaient d’une force et d’un caractère retors "
"incroyables<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "AT&amp;T"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"To make room in the spectrum for RCA's latest gamble, television, FM radio "
"users were to be moved to a totally new spectrum band. The power of FM radio "
"stations was also cut, meaning FM could no longer be used to beam programs "
"from one part of the country to another.  (This change was strongly "
"supported by AT&amp;T, because the loss of FM relaying stations would mean "
"radio stations would have to buy wired links from AT&amp;T.) The spread of "
"FM radio was thus choked, at least temporarily."
msgstr ""
"Afin de faire libérer des fréquences pour le dernier pari de la RCA, la "
"télévision, les utilisateurs de la radio FM allaient être déplacés vers "
"une bande de fréquences totalement nouvelle. Il fallut aussi diminuer la "
"puissance des émetteurs radio FM, ce qui signifiait qu’on ne pouvait plus "
"utiliser la FM pour radiodiffuser d’un bout à l’autre du pays. (Ce "
"changement fut très fortement soutenu par AT&amp;T, parce que la perte "
"d’émetteurs relais FM impliquait que les stations de radio auraient à "
"acheter des liaisons filaires à AT&amp;T.)  La progression de la radio FM "
"fut ainsi étouffée, du moins provisoirement."

#. type: Content of: <book><chapter><para>
msgid ""
"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's "
"patents. After incorporating FM technology into the emerging standard for "
"television, RCA declared the patents invalid&mdash;baselessly, and almost "
"fifteen years after they were issued. It thus refused to pay him "
"royalties. For six years, Armstrong fought an expensive war of litigation to "
"defend the patents. Finally, just as the patents expired, RCA offered a "
"settlement so low that it would not even cover Armstrong's lawyers' "
"fees. Defeated, broken, and now broke, in 1954 Armstrong wrote a short note "
"to his wife and then stepped out of a thirteenth-story window to his death."
msgstr ""
"Armstrong résista aux efforts de la RCA. En réponse, la RCA résista aux "
"brevets d’Armstrong. Après avoir incorporé la technologie FM dans les "
"standards émergents de la télévision, la RCA déclara les brevets "
"invalides, sans raison, et presque quinze ans après leur dépôt. "
"L’entreprise refusa donc de lui payer des royalties. Pendant six ans, "
"Armstrong livra une coûteuse guerre légale pour défendre ses brevets. "
"Finalement, juste au moment où les brevets expiraient, la RCA proposa de "
"transiger pour une somme si faible qu’elle ne couvrait même pas les frais "
"d’avocats d’Armstrong. Défait, brisé, et désormais ruiné, Armstrong "
"écrivit en 1954 un court billet à sa femme, et se donna la mort en se "
"jetant par la fenêtre du treizième étage."

#. type: Content of: <book><chapter><para>
msgid ""
"This is how the law sometimes works. Not often this tragically, and rarely "
"with heroic drama, but sometimes, this is how it works. From the beginning, "
"government and government agencies have been subject to capture. They are "
"more likely captured when a powerful interest is threatened by either a "
"legal or technical change. That powerful interest too often exerts its "
"influence within the government to get the government to protect it. The "
"rhetoric of this protection is of course always public spirited; the reality "
"is something different. Ideas that were as solid as rock in one age, but "
"that, left to themselves, would crumble in another, are sustained through "
"this subtle corruption of our political process. RCA had what the Causbys "
"did not: the power to stifle the effect of technological change."
msgstr ""
"C’est ainsi que la loi fonctionne parfois. Pas souvent de manière aussi "
"tragique, et rarement accompagnée d’histoires héroïques, mais parfois "
"c’est ainsi qu’elle fonctionne. Depuis toujours, le gouvernement et ses "
"agences ont fait l’objet de détournements. Ceci a plus de chance de se "
"produire si des intérêts puissants se trouvent menacés par des changements "
"légaux ou techniques. Ces intérêts puissants, trop souvent, exercent leur "
"influence au sein du gouvernement pour obtenir sa protection. Bien sûr, la "
"rhétorique excusant cette protection est toujours inspirée par la défense "
"de l’intérêt public&nbsp;; la réalité est quelque peu différente. Des "
"idées qui un jour semblent solides comme le roc, mais qui laissées à "
"elles-mêmes se seraient effritées le lendemain, se maintiennent grâce à "
"cette corruption subtile de notre processus politique. La RCA avait ce que "
"les Causby n’avaient pas&nbsp;: le pouvoir de confisquer les effets du "
"progrès technique."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Internet"
msgstr ""

#. type: Content of: <book><chapter><section><indexterm><secondary>
msgid "development of"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at "
"Internet Access and the Digital Divide,</quote> Pew Internet and American "
"Life Project, 15 April 2003: 6, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #2</ulink>."
msgstr ""
"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at "
"Internet Access and the Digital Divide</quote>, Pew Internet and American "
"Life Project, 15 April 2003: 6, disponible au lien #2."

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role=\"strong\">There's no</emphasis> single inventor of the "
"Internet. Nor is there any good date upon which to mark its birth. Yet in a "
"very short time, the Internet has become part of ordinary American "
"life. According to the Pew Internet and American Life Project, 58 percent of "
"Americans had access to the Internet in 2002, up from 49 percent two years "
"before.<placeholder type=\"footnote\" id=\"0\"/> That number could well "
"exceed two thirds of the nation by the end of 2004."
msgstr ""
"Internet n’a pas été inventé par une seule personne. On ne peut pas non "
"plus lui attribuer une date de naissance précise. Cependant, en très peu de "
"temps, Internet est entré dans les mœurs américaines. D’après le "
"<quote>Pew Internet and American Life Project</quote>, 58 pour cent des "
"Américains avaient accès à Internet en 2002, contre 49 pour cent deux ans "
"auparavant<placeholder type=\"footnote\" id=\"0\"/>. Ce nombre pourrait bien "
"dépasser les deux tiers de la nation avant la fin 2004."

#. type: Content of: <book><chapter><para>
msgid ""
"As the Internet has been integrated into ordinary life, it has changed "
"things. Some of these changes are technical&mdash;the Internet has made "
"communication faster, it has lowered the cost of gathering data, and so "
"on. These technical changes are not the focus of this book. They are "
"important. They are not well understood. But they are the sort of thing that "
"would simply go away if we all just switched the Internet off.  They don't "
"affect people who don't use the Internet, or at least they don't affect them "
"directly. They are the proper subject of a book about the Internet. But this "
"is not a book about the Internet."
msgstr ""
"Au fur et à mesure qu’Internet s’est intégré à la vie ordinaire, il a "
"changé certaines choses. Certains de ces changements sont d’ordre "
"technique&nbsp;: Internet a rendu les communications plus rapides, rassembler "
"des données est devenu moins coûteux, et ainsi de suite. Ces changements "
"techniques ne sont pas le sujet de ce livre. Certes, ils sont importants. "
"Certes, ils ne sont pas bien compris. Mais ils font partie des choses qui "
"disparaîtraient si nous arrêtions tout à coup d’utiliser Internet. Ils "
"ne touchent pas les gens qui n’utilisent pas Internet, ou du moins, ils ne "
"les touchent pas directement. Ils pourraient faire le sujet d’un livre sur "
"Internet. Mais ceci n’est pas un livre sur Internet."

#. type: Content of: <book><chapter><para>
msgid ""
"Instead, this book is about an effect of the Internet beyond the Internet "
"itself: an effect upon how culture is made. My claim is that the Internet "
"has induced an important and unrecognized change in that process. That "
"change will radically transform a tradition that is as old as the Republic "
"itself. Most, if they recognized this change, would reject it. Yet most "
"don't even see the change that the Internet has introduced."
msgstr ""
"Le sujet de ce livre est plutôt un effet d’Internet, mais qui va au-delà "
"d’Internet&nbsp;: un effet sur la façon dont la culture est élaborée. Ma "
"thèse est qu’Internet a introduit dans ce processus un changement "
"important, et dont nous n’avons pas encore pris conscience. Ce changement "
"va transformer radicalement une tradition qui est aussi ancienne que notre "
"République. La plupart des gens, s’ils avaient conscience de ce "
"changement, le refuseraient. Cependant, la plupart ne voient même pas ce "
"qu’Internet a changé."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Barlow, Joel"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "culture"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "commercial vs. noncommercial"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Webster, Noah"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"We can glimpse a sense of this change by distinguishing between commercial "
"and noncommercial culture, and by mapping the law's regulation of each. By "
"<quote>commercial culture</quote> I mean that part of our culture that is "
"produced and sold or produced to be sold. By <quote>noncommercial "
"culture</quote> I mean all the rest. When old men sat around parks or on "
"street corners telling stories that kids and others consumed, that was "
"noncommercial culture. When Noah Webster published his "
"<quote>Reader,</quote> or Joel Barlow his poetry, that was commercial "
"culture."
msgstr ""
"Nous pouvons percevoir ce changement en distinguant culture commerciale et "
"culture non commerciale, et en comparant les aspects légaux de chacune. Par "
"<quote>culture commerciale</quote>, j’entends cette partie de la culture "
"qui est produite et vendue, ou qui est produite pour être vendue. Par "
"<quote>culture non commerciale</quote>, j’entends tout le reste. Quand un "
"vieil homme s’asseyait autrefois dans un parc ou à un coin de rue pour "
"raconter des histoires que les enfants (ou les adultes) consommaient, "
"c’était de la culture non commerciale. Quand Noah Webster faisait publier "
"son <quote>Reader</quote>, ou Joel Barlow sa poésie, c’était de la "
"culture commerciale."

#. type: Content of: <book><chapter><para>
msgid ""
"At the beginning of our history, and for just about the whole of our "
"tradition, noncommercial culture was essentially unregulated. Of course, if "
"your stories were lewd, or if your song disturbed the peace, then the law "
"might intervene. But the law was never directly concerned with the creation "
"or spread of this form of culture, and it left this culture "
"<quote>free.</quote> The ordinary ways in which ordinary individuals shared "
"and transformed their culture&mdash;telling stories, reenacting scenes from "
"plays or TV, participating in fan clubs, sharing music, making "
"tapes&mdash;were left alone by the law."
msgstr ""
"Au début de notre histoire, et pour l’essentiel de notre tradition, la "
"culture non commerciale a été non réglementée. Bien sûr, si vos "
"histoires étaient obscènes, ou si votre chanson troublait l’ordre public, "
"il était possible que la loi intervienne. Mais la loi laissait cette culture "
"libre, et n’intervenait jamais directement dans sa création ou sa "
"diffusion. Les moyens habituels par lesquels les citoyens ordinaires "
"partageaient et transformaient leur culture (raconter des histoires, rejouer "
"des scènes de théatre ou de télévision, participer à des club "
"d’amateurs, partager de la musique, enregistrer des cassettes) n’étaient "
"pas réglementés."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "copyright infringement lawsuits"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "commercial creativity as primary purpose of"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Brandeis, Louis D."
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"This is not the only purpose of copyright, though it is the overwhelmingly "
"primary purpose of the copyright established in the federal constitution.  "
"State copyright law historically protected not just the commercial interest "
"in publication, but also a privacy interest. By granting authors the "
"exclusive right to first publication, state copyright law gave authors the "
"power to control the spread of facts about them. See Samuel D. Warren and "
"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 "
"(1890): 193, 198&ndash;200.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Ce n’est pas le seul but du copyright, bien que ce soit le but primaire "
"principal du copyright établi dans la constitution fédérale. La loi "
"d’État du copyright protégeait historiquement non seulement l’intérêt "
"commerciaux dans l’édition, mais aussi un intérêt de vie privée. En "
"accordant aux auteurs le droit exclusif de la première publication, la loi "
"d’État du copyright donnait aux auteurs le pouvoir de contrôler la "
"diffusion des faits à leur propos. Voir Samuel D. Warren et Louis D. "
"Brandeis, <quote>The Right to Privacy</quote>, "
"<citetitle> Harvard Law Review</citetitle> 4 (1890): 193, 198-200. "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"The focus of the law was on commercial creativity. At first slightly, then "
"quite extensively, the law protected the incentives of creators by granting "
"them exclusive rights to their creative work, so that they could sell those "
"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" "
"id=\"0\"/> This is also, of course, an important part of creativity and "
"culture, and it has become an increasingly important part in America. But in "
"no sense was it dominant within our tradition. It was instead just one part, "
"a controlled part, balanced with the free."
msgstr ""
"La loi régulait seulement la création commerciale. Au début légèrement, "
"puis d’une façon assez exhaustive, la loi a protégé les intérêts des "
"créateurs, en leur accordant des droits exclusifs sur leurs créations, de "
"façon à ce qu’ils puissent vendre ces droits sur un marché "
"commercial<placeholder type=\"footnote\" id=\"0\"/>. Bien sûr, ceci "
"représente aussi une partie importante de la création culturelle, et cette "
"partie est devenue de plus en plus importante en Amérique. Mais en aucun cas "
"elle n’a été un élément dominant de notre tradition. Au contraire, ça "
"n’était qu’une partie de notre culture, sous contrôle, et équilibrée "
"par la partie libre."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "free culture"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "permission culture vs."
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "permission culture"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "free culture vs."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Litman, Jessica"
msgstr "Litman, Jessica"

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: "
"Prometheus Books, 2001), ch. 13.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Voir Jessica Litman,<citetitle> Digital Copyright</citetitle> (New York: "
"Prometheus Books, 2001), ch. 13.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"This rough divide between the free and the controlled has now been "
"erased.<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the "
"stage for this erasure and, pushed by big media, the law has now affected "
"it. For the first time in our tradition, the ordinary ways in which "
"individuals create and share culture fall within the reach of the regulation "
"of the law, which has expanded to draw within its control a vast amount of "
"culture and creativity that it never reached before. The technology that "
"preserved the balance of our history&mdash;between uses of our culture that "
"were free and uses of our culture that were only upon permission&mdash;has "
"been undone.  The consequence is that we are less and less a free culture, "
"more and more a permission culture."
msgstr ""
"Aujourd’hui, cette démarcation nette entre le libre et le "
"<quote>contrôlé</quote> a disparu<placeholder type=\"footnote\" id=\"0\"/>. "
"Internet a préparé le terrain à cette disparition, et avec l’appui des "
"médias, la loi y a contribué. Pour la première fois dans notre tradition, "
"les moyens habituels par lesquels les individus créent et partagent leur "
"culture tombent sous le coup de la loi, qui a étendu son emprise à des pans "
"entiers de la culture jusqu’ici libres de tout contrôle. La technologie, "
"qui jusqu’ici avait préservé l’équilibre historique entre la culture "
"libre et la culture nécessitant une <quote>permission</quote>, a été "
"défaite. La conséquence est que notre culture est de moins en moins libre, "
"et de plus en plus une culture de permissions."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "protection of artists vs. business interests"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"This change gets justified as necessary to protect commercial creativity.  "
"And indeed, protectionism is precisely its motivation. But the protectionism "
"that justifies the changes that I will describe below is not the limited and "
"balanced sort that has defined the law in the past. This is not a "
"protectionism to protect artists. It is instead a protectionism to protect "
"certain forms of business. Corporations threatened by the potential of the "
"Internet to change the way both commercial and noncommercial culture are "
"made and shared have united to induce lawmakers to use the law to protect "
"them. It is the story of RCA and Armstrong; it is the dream of the Causbys."
msgstr ""
"On nous justifie ce changement comme nécessaire à la protection de la "
"création commerciale. Et en effet, sa motivation est précisément le "
"protectionnisme. Mais le protectionnisme qui justifie le changement que je "
"décris plus loin n’est pas d’un genre limité et équilibré, comme "
"celui qui caractérisait la loi dans le passé. Il ne s’agit pas d’un "
"protectionnisme qui protège les artistes. C’est plutôt un protectionnisme "
"qui permet de protéger certains secteurs d’activité. Certaines "
"corporations, menacées par le potentiel qu’a Internet de changer la "
"manière dont la culture, commerciale ou non, est produite et partagée, se "
"sont unies pour inciter le législateur à les protéger. C’est "
"l’histoire de la RCA et Armstrong&nbsp;; c’est le rêve des Causby."

#. type: Content of: <book><chapter><para>
msgid ""
"For the Internet has unleashed an extraordinary possibility for many to "
"participate in the process of building and cultivating a culture that "
"reaches far beyond local boundaries. That power has changed the marketplace "
"for making and cultivating culture generally, and that change in turn "
"threatens established content industries. The Internet is thus to the "
"industries that built and distributed content in the twentieth century what "
"FM radio was to AM radio, or what the truck was to the railroad industry of "
"the nineteenth century: the beginning of the end, or at least a substantial "
"transformation. Digital technologies, tied to the Internet, could produce a "
"vastly more competitive and vibrant market for building and cultivating "
"culture; that market could include a much wider and more diverse range of "
"creators; those creators could produce and distribute a much more vibrant "
"range of creativity; and depending upon a few important factors, those "
"creators could earn more on average from this system than creators do "
"today&mdash;all so long as the RCAs of our day don't use the law to protect "
"themselves against this competition."
msgstr ""
"Car pour beaucoup de gens, Internet a libéré une possibilité "
"extraordinaire, de participer à la création et à l’élaboration d’une "
"certaine culture, qui rayonne bien au-delà des frontières locales. Cette "
"possibilité a changé les conditions de création et d’élaboration de la "
"culture en général, et ce changement menace les industries établies du "
"contenu. Ainsi, Internet est aux fabricants et distributeurs de contenu du "
"vingtième siècle ce que la radio FM fut à la radio AM, ou ce que le camion "
"fût au chemin de fer du XIX siècle&nbsp;: le début de la fin, ou du moins "
"une transformation substantielle. Les technologies numériques, liées à "
"Internet, pourraient générer un marché de la culture plus concurrentiel et "
"plus dynamique&nbsp;; ce marché pourrait accueillir des créateurs plus "
"variés et plus nombreux. Ces créateurs pourraient proposer et distribuer "
"des créations plus variées et plus nombreuses&nbsp;; et, en fonction de "
"quelques facteurs importants, ces créateurs pourraient, en moyenne, mieux "
"gagner leur vie dans ce système qu’ils ne le font aujourd’hui &mdash; du "
"moins si les RCA de notre temps n’utilisent pas la loi pour se protéger de "
"cette concurrence."

#. type: Content of: <book><chapter><para>
msgid ""
"Yet, as I argue in the pages that follow, that is precisely what is "
"happening in our culture today. These modern-day equivalents of the early "
"twentieth-century radio or nineteenth-century railroads are using their "
"power to get the law to protect them against this new, more efficient, more "
"vibrant technology for building culture. They are succeeding in their plan "
"to remake the Internet before the Internet remakes them."
msgstr ""
"Cependant, comme je le montre dans les pages qui suivent, c’est exactement "
"ce qui est en train de se produire dans notre culture aujourd’hui. Ces "
"équivalents actuels des radios du début du vingtième siècle ou des "
"chemins de fer du dix-neuvième siècle usent de leur influence pour que la "
"loi les protège contre ces moyens nouveaux, plus efficaces, et plus "
"dynamiques, de fabriquer la culture. Il sont en train de réussir à "
"transformer Internet avant qu’Internet ne les transforme."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Valenti, Jack"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on creative property rights"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New "
"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New "
"York Times</citetitle>, 17 January 2002."
msgstr ""
"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New "
"Tools to Turn the Net into an Illicit Video Club,</quote><citetitle> New York "
"Times,</citetitle> 17 January 2002."

#. type: Content of: <book><chapter><para>
msgid ""
"It doesn't seem this way to many. The battles over copyright and the "
"Internet seem remote to most. To the few who follow them, they seem mainly "
"about a much simpler brace of questions&mdash;whether <quote>piracy</quote> "
"will be permitted, and whether <quote>property</quote> will be "
"protected. The <quote>war</quote> that has been waged against the "
"technologies of the Internet&mdash;what Motion Picture Association of "
"America (MPAA) president Jack Valenti calls his <quote>own terrorist "
"war</quote><placeholder type=\"footnote\" id=\"0\"/>&mdash;has been framed "
"as a battle about the rule of law and respect for property. To know which "
"side to take in this war, most think that we need only decide whether we're "
"for property or against it."
msgstr ""
"Beaucoup de gens ne voient pas les choses de cette manière. Les batailles au "
"sujet du copyright et d’Internet leur semblent éloignées. Pour les rares "
"personnes qui y prêtent attention, elles semblent surtout se résumer à de "
"simples interrogations, à savoir&nbsp;: le <quote>piratage</quote> va-t-il "
"être autorisé, et la <quote>propriété</quote> va-t-elle être protégée. "
"La <quote>guerre</quote> qui a été engagée contre les technologies de "
"l’Internet, et que Jack Valenti, le président de la Motion Picture "
"Association of America (MPAA) appelle sa <quote>guerre anti-terroriste "
"personnelle</quote><placeholder type=\"footnote\" id=\"0\"/> a été "
"présentée comme une bataille pour faire régner la loi et pour faire "
"respecter la propriété. Pour savoir de quel côté se ranger dans cette "
"guerre, il suffirait simplement de décider si nous sommes pour ou contre la "
"propriété."

#. type: Content of: <book><chapter><para>
msgid ""
"If those really were the choices, then I would be with Jack Valenti and the "
"content industry. I, too, am a believer in property, and especially in the "
"importance of what Mr. Valenti nicely calls <quote>creative "
"property.</quote> I believe that <quote>piracy</quote> is wrong, and that "
"the law, properly tuned, should punish <quote>piracy,</quote> whether on or "
"off the Internet."
msgstr ""
"Si c’était vraiment là l’alternative, alors je serais du côté de Jack "
"Valenti et de l’industrie du contenu. Moi aussi, je crois en la "
"propriété, et particulièrement en l’importance de ce que M. Valenti "
"appelle poétiquement la <quote>propriété créatrice</quote>. Je crois que "
"le <quote>piratage</quote> est mauvais, et que la loi, intelligemment "
"écrite, devrait punir le <quote>piratage</quote>, que ce soit sur Internet "
"ou ailleurs."

#. type: Content of: <book><chapter><para>
msgid ""
"But those simple beliefs mask a much more fundamental question and a much "
"more dramatic change. My fear is that unless we come to see this change, the "
"war to rid the world of Internet <quote>pirates</quote> will also rid our "
"culture of values that have been integral to our tradition from the start."
msgstr ""
"Mais ces idées simples cachent une question bien plus fondamentale et un "
"changement bien plus important. Ma crainte est que, à moins que nous "
"n’arrivions à comprendre ce changement, la guerre pour débarrasser le "
"monde des <quote>pirates</quote> d’Internet ne débarrasse aussi notre "
"culture de certaines valeurs qui ont fondé notre société depuis ses "
"débuts."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Constitution, U.S."
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "First Amendment to"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "copyright law"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "as protection of creators"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "First Amendment"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
msgid "Netanel, Neil Weinstock"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> "
"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Neil W. Netanel, <quote>Copyright and a Democratic Civil "
"Society, </quote><citetitle> Yale Law Journal</citetitle> 106 (1996): 283. "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"These values built a tradition that, for at least the first 180 years of our "
"Republic, guaranteed creators the right to build freely upon their past, and "
"protected creators and innovators from either state or private control. The "
"First Amendment protected creators against state control.  And as Professor "
"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> "
"copyright law, properly balanced, protected creators against private "
"control. Our tradition was thus neither Soviet nor the tradition of "
"patrons. It instead carved out a wide berth within which creators could "
"cultivate and extend our culture."
msgstr ""
"Ces valeurs ont fondé une tradition qui, pendant les 180 premières années "
"de notre République au moins, a garanti aux créateurs le droit de "
"s’inspirer librement du passé, et a protégé créateurs et innovateurs du "
"contrôle de l’État ou d’un contrôle privé. Le Premier Amendement "
"(NdT&nbsp;: de la Constitution) protège les créateurs du contrôle de "
"l’État. Et comme le démontre avec force le professeur Neil "
"Netanel<placeholder type=\"footnote\" id=\"0\"/>, la loi sur le copyright, "
"bien équilibrée, protège les créateurs du contrôle privé. Notre "
"tradition n’est donc ni soviétique, ni une tradition de patrons. Au "
"contraire, elle a délimité un large espace au sein duquel les créateurs "
"ont pu élaborer et étendre notre culture."

#. type: Content of: <book><chapter><para>
msgid ""
"Yet the law's response to the Internet, when tied to changes in the "
"technology of the Internet itself, has massively increased the effective "
"regulation of creativity in America. To build upon or critique the culture "
"around us one must ask, Oliver Twist&ndash;like, for permission first.  "
"Permission is, of course, often granted&mdash;but it is not often granted to "
"the critical or the independent. We have built a kind of cultural nobility; "
"those within the noble class live easily; those outside it don't. But it is "
"nobility of any form that is alien to our tradition."
msgstr ""
"Cependant la loi, en cherchant à réguler les changements technologiques "
"liés à Internet, a répondu par une augmentation massive de la "
"réglementation sur la création en Amérique. Pour nous inspirer d’œuvres "
"existantes, ou bien pour les critiquer, nous devons d’abord demander la "
"permission, à la manière d’Oliver Twist. Bien sûr, la permission est "
"souvent accordée. Mais elle n’est pas souvent accordée à un "
"indépendant, ou à qui veut critiquer. Nous avons créé une sorte de "
"noblesse culturelle. Ceux qui sont dans la classe noble ont la vie facile, "
"ceux qui n’y sont pas ne l’ont pas. Mais c’est la noblesse, sous toute "
"ses formes, qui est étrangère à notre tradition."

#. type: Content of: <book><chapter><para>
msgid ""
"The story that follows is about this war. It is not about the "
"<quote>centrality of technology</quote> to ordinary life. I don't believe in "
"gods, digital or otherwise. Nor is it an effort to demonize any individual "
"or group, for neither do I believe in a devil, corporate or otherwise. It is "
"not a morality tale. Nor is it a call to jihad against an industry."
msgstr ""
"L’histoire qui suit a pour sujet cette guerre. Mon sujet n’est pas la "
"<quote>place centrale de la technologie</quote> dans notre vie quotidienne. "
"Je ne crois pas aux dieux, numériques ou autres. Il ne s’agit pas non plus "
"d’une tentative de diaboliser un individu ou un groupe, car je ne crois pas "
"non plus au diable, qu’il soit capitaliste ou autre. Il ne s’agit ni "
"d’un conte moral, ni d’un appel au jihad contre une industrie."

#. type: Content of: <book><chapter><para>
msgid ""
"It is instead an effort to understand a hopelessly destructive war inspired "
"by the technologies of the Internet but reaching far beyond its code. And by "
"understanding this battle, it is an effort to map peace.  There is no good "
"reason for the current struggle around Internet technologies to "
"continue. There will be great harm to our tradition and culture if it is "
"allowed to continue unchecked. We must come to understand the source of this "
"war. We must resolve it soon."
msgstr ""
"Il s’agit plutôt d’un effort pour comprendre une guerre, "
"désespéremment destructrice, inspirée par les technologies d’Internet, "
"mais qui s’étend bien au-delà du code informatique. Et en nous faisant "
"comprendre cette guerre, c’est un effort pour trouver la paix. La dispute "
"en cours autour des technologies d’Internet n’a aucune bonne raison de "
"continuer. Notre tradition et notre culture souffriront beaucoup si cette "
"guerre se prolonge de façon injustifiée. Nous devons comprendre les racines "
"du conflit. Nous devons le résoudre vite."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "intellectual property rights"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, "
"in part, about <quote>property.</quote> The property of this war is not as "
"tangible as the Causbys', and no innocent chicken has yet to lose its "
"life. Yet the ideas surrounding this <quote>property</quote> are as obvious "
"to most as the Causbys' claim about the sacredness of their farm was to "
"them. We are the Causbys. Most of us take for granted the extraordinarily "
"powerful claims that the owners of <quote>intellectual property</quote> now "
"assert. Most of us, like the Causbys, treat these claims as obvious. And "
"hence we, like the Causbys, object when a new technology interferes with "
"this property. It is as plain to us as it was to them that the new "
"technologies of the Internet are <quote>trespassing</quote> upon legitimate "
"claims of <quote>property.</quote> It is as plain to us as it was to them "
"that the law should intervene to stop this trespass."
msgstr ""
"Comme la bataille des Causby, l’objet du conflit, est, en partie, la "
"« propriété ». La propriété dans cette guerre n’est pas aussi "
"palpable que celle des Causby, et aucun poulet innocent n’y a perdu la vie. "
"Pourtant, pour une majorité de gens, les idées qui accompagnent cette "
"notion de <quote>propriété</quote> sont aussi évidentes que "
"l’inviolabilité de leur ferme ne l’était aux yeux des Causby. Nous "
"sommes comme les Causby. Ainsi, la plupart d’entre nous tiennent pour "
"acquis les extraordinaires revendications faites de nos jours par les "
"détenteurs de <quote>propriété intellectuelle</quote>. La plupart "
"d’entre nous, comme les Causby, considérons que ces revendications sont "
"évidentes. Et par conséquent, comme les Causby, nous protestons quand une "
"nouvelle technologie interfère avec cette propriété. Tout comme pour eux, "
"il nous semble clair que ces nouvelles technologies d’Internet violent une "
"revendication légitime de <quote>propriété</quote>. Tout comme pour eux, "
"il nous semble clair que la loi doit intervenir pour faire cesser cette "
"violation."

#. type: Content of: <book><chapter><para>
msgid ""
"And thus, when geeks and technologists defend their Armstrong or Wright "
"brothers technology, most of us are simply unsympathetic.  Common sense does "
"not revolt. Unlike in the case of the unlucky Causbys, common sense is on "
"the side of the property owners in this war. Unlike the lucky Wright "
"brothers, the Internet has not inspired a revolution on its side."
msgstr ""
"Et par conséquent, quand des passionnés d’informatique ou de technologie "
"veulent défendre ce qu’ils appellent des technologies à la Armstrong ou "
"à la Wright Brothers, nous restons indifférents. Le sens commun ne se "
"révolte pas. Contrairement au cas des malheureux Causby, le sens commun est "
"du côté des propriétaires dans cette guerre. Contrairement aux heureux "
"frères Wright, Internet n’a pas inspiré de révolution en sa faveur."

#. type: Content of: <book><chapter><para>
msgid ""
"My hope is to push this common sense along. I have become increasingly "
"amazed by the power of this idea of intellectual property and, more "
"importantly, its power to disable critical thought by policy makers and "
"citizens. There has never been a time in our history when more of our "
"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet "
"there has never been a time when the concentration of power to control the "
"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as "
"it is now."
msgstr ""
"Mon souhait est de faire évoluer ce sens commun. Je m’étonne de plus en "
"plus du pouvoir de cette idée de propriété intellectuelle, et surtout de "
"sa capacité à handicaper le sens critique des hommes politiques et des "
"citoyens. Jamais dans notre histoire la partie <quote>possédée</quote> de "
"notre <quote>culture</quote> n’a été aussi importante qu’aujourd’hui. "
"Et pourtant, la concentration du pouvoir qui contrôle les "
"<emphasis>usages</emphasis> de cette culture n’a jamais été aussi "
"largement acceptée."

#. type: Content of: <book><chapter><para>
msgid ""
"The puzzle is, Why? Is it because we have come to understand a truth about "
"the value and importance of absolute property over ideas and culture? Is it "
"because we have discovered that our tradition of rejecting such an absolute "
"claim was wrong?"
msgstr ""
"Le mystère, c’est&nbsp;: pourquoi&nbsp;? Aurions-nous enfin compris une "
"vérité concernant la valeur et l’importance d’une propriété absolue "
"sur les idées et la culture&nbsp;? Aurions-nous découvert que notre "
"tradition a eu tort de rejeter une revendication aussi absolue&nbsp;?"

#. type: Content of: <book><chapter><para>
msgid ""
"Or is it because the idea of absolute property over ideas and culture "
"benefits the RCAs of our time and fits our own unreflective intuitions?"
msgstr ""
"Ou bien est-ce parce que l’idée d’une propriété absolue des idées et "
"de la culture bénéficie aux RCA de notre époque, et ne nous choque pas à "
"première vue&nbsp;?"

#. type: Content of: <book><chapter><para>
msgid ""
"Is the radical shift away from our tradition of free culture an instance of "
"America correcting a mistake from its past, as we did after a bloody war "
"with slavery, and as we are slowly doing with inequality? Or is the radical "
"shift away from our tradition of free culture yet another example of a "
"political system captured by a few powerful special interests?"
msgstr ""
"Cette dérive brutale par rapport à notre tradition de libre culture est- "
"elle le fait d’une Amérique corrigeant une erreur de son passé, comme "
"elle l’a fait après une guerre sanglante contre l’esclavage, et comme "
"elle le fait lentement avec les inégalités&nbsp;? Ou bien n’est-elle "
"qu’une manifestation de plus d’un système politique détourné par une "
"poignée d’intérêts particuliers puissants&nbsp;?"

#. type: Content of: <book><chapter><para>
msgid ""
"Does common sense lead to the extremes on this question because common sense "
"actually believes in these extremes? Or does common sense stand silent in "
"the face of these extremes because, as with Armstrong versus RCA, the more "
"powerful side has ensured that it has the more powerful view?"
msgstr ""
"Si le sens commun conduit à l’extrémisme sur ces questions, est-ce "
"vraiment parce qu’il croit à cet extrémisme&nbsp;? Ou alors, est-ce que "
"le sens commun cède devant l’extrémisme, parce que, comme dans le cas "
"d’Armstrong contre la RCA, le côté le plus puissant s’est arrangé pour "
"imposer ses vues&nbsp;?"

#. type: Content of: <book><chapter><para>
msgid ""
"I don't mean to be mysterious. My own views are resolved. I believe it was "
"right for common sense to revolt against the extremism of the Causbys. I "
"believe it would be right for common sense to revolt against the extreme "
"claims made today on behalf of <quote>intellectual property.</quote> What "
"the law demands today is increasingly as silly as a sheriff arresting an "
"airplane for trespass. But the consequences of this silliness will be much "
"more profound."
msgstr ""
"Je ne cherche pas à être mystérieux. Mon opinion personnelle est faite. Je "
"crois qu’il était juste que le sens commun se révolte contre "
"l’extrémisme des Causby. Je crois qu’il serait juste que le sens commun "
"se révolte contre les revendications extrêmes faites aujourd’hui au nom "
"de la <quote>propriété intellectuelle</quote>. Ce que la loi exige "
"aujourd’hui est de plus en plus stupide, un peu comme un shérif qui "
"arrêterait un avion pour violation de propriété. Cependant les "
"conséquences de cette stupidité sont bien plus profondes."

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role=\"strong\">The struggle</emphasis> that rages just now "
"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My "
"aim in this book's next two parts is to explore these two ideas."
msgstr ""
"La bataille qui fait rage actuellement est centrée autour de deux "
"idées&nbsp;: le <quote>piratage</quote> et la <quote>propriété.</quote> "
"Mon but dans les deux prochaines parties de ce livre est d’explorer ces "
"deux idées."

#. type: Content of: <book><chapter><para>
msgid ""
"My method is not the usual method of an academic. I don't want to plunge you "
"into a complex argument, buttressed with references to obscure French "
"theorists&mdash;however natural that is for the weird sort we academics have "
"become. Instead I begin in each part with a collection of stories that set a "
"context within which these apparently simple ideas can be more fully "
"understood."
msgstr ""
"Ma méthode n’est pas la méthode habituelle d’un universitaire. Je ne "
"souhaite pas vous plonger dans des arguties complexes, mâtinées de "
"références à d’obscurs théoriciens français, aussi naturel que ce soit "
"pour les bizarres individus que nous sommes devenus, nous autres "
"universitaires. Au contraire, je commence chaque partie par quelques "
"histoires, afin d’établir un contexte dans lequel ces idées apparemment "
"simples peuvent mieux être comprises."

#. type: Content of: <book><chapter><para>
msgid ""
"The two sections set up the core claim of this book: that while the Internet "
"has indeed produced something fantastic and new, our government, pushed by "
"big media to respond to this <quote>something new,</quote> is destroying "
"something very old. Rather than understanding the changes the Internet might "
"permit, and rather than taking time to let <quote>common sense</quote> "
"resolve how best to respond, we are allowing those most threatened by the "
"changes to use their power to change the law&mdash;and more importantly, to "
"use their power to change something fundamental about who we have always "
"been."
msgstr ""
"Les deux sections présentent l’idée centrale de ce livre&nbsp;: alors "
"qu’Internet a engendré quelque chose de nouveau et de fantastique, notre "
"gouvernement, poussé par les médias à répondre à cette <quote>chose "
"nouvelle</quote>, est en train de détruire quelque chose de très ancien. "
"Plutôt que comprendre les changements que permet Internet, et au lieu de "
"laisser au <quote>sens commun</quote> le temps de trouver la meilleure "
"réponse possible, nous laissons ceux qui sont le plus menacés par ces "
"changements user de leur influence pour changer la loi. Et bien plus grave, "
"pour changer quelque chose de fondamental concernant notre identité."

#. type: Content of: <book><chapter><para>
msgid ""
"We allow this, I believe, not because it is right, and not because most of "
"us really believe in these changes. We allow it because the interests most "
"threatened are among the most powerful players in our depressingly "
"compromised process of making law. This book is the story of one more "
"consequence of this form of corruption&mdash;a consequence to which most of "
"us remain oblivious."
msgstr ""
"Nous les laissons faire, je pense, non pas parce qu’ils ont raison, ou "
"parce qu’une majorité d’entre nous croit réellement en ces changements. "
"Nous les laissons faire parce que les intérêts les plus menacés comptent "
"parmi les plus puissants acteurs dans notre système législatif "
"désespérément corrompu. Ce livre est l’histoire d’une conséquence de "
"plus de cette corruption&nbsp;; une conséquence dont pour la plupart nous "
"n’avons pas conscience."

#. type: Content of: <book><part><title>
msgid "<quote>Piracy</quote>"
msgstr "<quote>Piratage</quote>"

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "English"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Mansfield, William Murray, Lord"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><primary>
msgid "music publishing"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "sheet music"
msgstr ""

#. type: Content of: <book><part><partintro><para>
msgid ""
"<emphasis role=\"strong\">Since the inception</emphasis> of the law "
"regulating creative property, there has been a war against "
"<quote>piracy.</quote> The precise contours of this concept, "
"<quote>piracy,</quote> are hard to sketch, but the animating injustice is "
"easy to capture.  As Lord Mansfield wrote in a case that extended the reach "
"of English copyright law to include sheet music,"
msgstr ""
"La guerre contre le <quote>piratage</quote> est née en même temps que les "
"lois qui réglementent la propriété des créations. Les contours précis de "
"ce concept de <quote>piratage</quote> sont difficiles à cerner, mais il est "
"facile de comprendre les injustices qu’il entraîne. Au cours d’un "
"procès qui étendit le champ d’application du droit d’auteur anglais aux "
"partitions musicales, Lord Mansfield écrivit&nbsp;:"

#. type: Content of: <book><part><partintro><blockquote><para><footnote><para>
msgid ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 "
"Eng. Rep. 1274 (1777) (Mansfield)."
msgstr ""
"<citetitle>Bach v. Longman,</citetitle> 98 Eng. Rep. 1274 (1777) (Mansfield)."

#. type: Content of: <book><part><partintro><blockquote><para>
msgid ""
"A person may use the copy by playing it, but he has no right to rob the "
"author of the profit, by multiplying copies and disposing of them for his "
"own use.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"<citetitle><quote>Une personne peut utiliser la copie en interprétant la musique, "
"mais elle n’a pas le droit de priver l’auteur de ses profits en "
"multipliant les copies et en les écoulant pour son propre "
"compte.</quote></citetitle><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "efficient content distribution on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "peer-to-peer (p2p) file sharing"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "efficiency of"
msgstr ""

#. type: Content of: <book><part><partintro><para>
msgid ""
"Today we are in the middle of another <quote>war</quote> against "
"<quote>piracy.</quote> The Internet has provoked this war. The Internet "
"makes possible the efficient spread of content. Peer-to-peer (p2p) file "
"sharing is among the most efficient of the efficient technologies the "
"Internet enables. Using distributed intelligence, p2p systems facilitate the "
"easy spread of content in a way unimagined a generation ago."
msgstr ""
"Aujourd’hui, nous sommes au milieu d’une autre <quote>guerre</quote> "
"contre le <quote>piratage</quote>. Internet a provoqué cette guerre. "
"Internet a permis la diffusion efficace des contenus. Le partage des fichiers "
"en peer-to-peer (p2p) est l’une des technologies les plus efficaces "
"qu’Internet a rendues possibles. Grâce à un système d’information "
"répartie, les systèmes p2p facilitent la diffusion rapide de contenus, "
"d’une manière inconcevable il y a seulement une génération."

#. type: Content of: <book><part><partintro><para>
msgid ""
"This efficiency does not respect the traditional lines of copyright.  The "
"network doesn't discriminate between the sharing of copyrighted and "
"uncopyrighted content. Thus has there been a vast amount of sharing of "
"copyrighted content. That sharing in turn has excited the war, as copyright "
"owners fear the sharing will <quote>rob the author of the profit.</quote>"
msgstr ""
"Cette efficacité ne tient pas compte des contraintes traditionnellement "
"imposées par le droit d’auteur. Le réseau ne fait pas de différence "
"entre le partage de contenu sous copyright ou non. De ce fait, de grandes "
"quantités de contenus sous copyright ont été échangés. En retour, ces "
"échanges ont provoqué une guerre, les détenteurs de copyright craignant "
"qu’ils ne <quote>privent l’auteur de ses profits.</quote>"

#. type: Content of: <book><part><partintro><para>
msgid ""
"The warriors have turned to the courts, to the legislatures, and "
"increasingly to technology to defend their <quote>property</quote> against "
"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is "
"being raised to believe that <quote>property</quote> should be "
"<quote>free.</quote> Forget tattoos, never mind body piercing&mdash;our kids "
"are becoming <emphasis>thieves</emphasis>!"
msgstr ""
"Les guerriers du copyright se sont tournés vers les tribunaux, vers les "
"législateurs, et, de plus en plus, vers la technologie, pour défendre leur "
"<quote>propriété</quote> contre le <quote>piratage</quote>. Une "
"génération d’Américains, nous mettent-ils en garde, est élevée dans "
"l’idée que la <quote>propriété</quote> devrait être "
"<quote>gratuite</quote>. Oubliez les tatouages, qu’importent les piercings, "
"nos enfants sont en train de devenir des <emphasis>voleurs</emphasis>&nbsp;!"

#. type: Content of: <book><part><partintro><para>
msgid ""
"There's no doubt that <quote>piracy</quote> is wrong, and that pirates "
"should be punished. But before we summon the executioners, we should put "
"this notion of <quote>piracy</quote> in some context. For as the concept is "
"increasingly used, at its core is an extraordinary idea that is almost "
"certainly wrong."
msgstr ""
"Il ne fait aucun doute que le <quote>piratage</quote> est quelque chose de "
"mauvais, et que les pirates devraient être punis. Mais avant de convoquer "
"les bourreaux, nous devrions replacer cette notion de <quote>piratage</quote> "
"dans un certain contexte. Car si le concept est de plus en plus utilisé, on "
"trouve, à son cœur même, une idée assez extraordinaire qui est, presque "
"certainement, erronée."

#. type: Content of: <book><part><partintro><para>
msgid "The idea goes something like this:"
msgstr "Cette idée est à peu près la suivante&nbsp;:"

#. type: Content of: <book><part><partintro><blockquote><para>
msgid ""
"Creative work has value; whenever I use, or take, or build upon the creative "
"work of others, I am taking from them something of value. Whenever I take "
"something of value from someone else, I should have their permission. The "
"taking of something of value from someone else without permission is "
"wrong. It is a form of piracy."
msgstr ""
"Le travail créatif a de la valeur. Dès que j’utilise le travail créatif "
"d’autre personnes, ou que je fonde mon travail sur le leur, je leur prends "
"quelque chose qui a de la valeur. Dès lors que je prends quelque chose qui a "
"de la valeur à quelqu’un d’autre, je devrais avoir son autorisation. Il "
"est injuste de prendre quelque chose qui a de la valeur à quelqu’un sans "
"avoir sa permission. C’est une forme de piratage."

#. type: Content of: <book><part><partintro><indexterm><primary>
msgid "ASCAP"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><primary>
msgid "Dreyfuss, Rochelle"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><primary>
msgid "Girl Scouts"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "creative property"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "<quote>if value, then right</quote> theory of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "<quote>if value, then right</quote> theory"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para>
msgid ""
"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language "
"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law "
"Review</citetitle> 65 (1990): 397."
msgstr ""
"Voir Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language "
"in the Pepsi Generation,</quote><citetitle> Notre Dame Law Review</citetitle> "
"65 (1990): 397."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Zittrain, Jonathan"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para>
msgid ""
"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay "
"Up,</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; "
"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of "
"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston "
"Globe</citetitle>, 24 November 2002.  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
"Lisa Bannon, <quote>The Birds May Sing, but Campers Can’t Unless They Pay "
"Up</quote>, <citetitle>Wall Street Journal</citetitle>, 21 août 1996, "
"available at link #3; Jonathan Zittrain, <quote>Calling Off the Copyright "
"War: In Battle of Property vs. Free Speech, No One Wins</quote>, <citetitle> "
"Boston Globe</citetitle>, 24 November 2002.  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><partintro><para>
msgid ""
"This view runs deep within the current debates. It is what NYU law professor "
"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> "
"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> "
"&mdash;if there is value, then someone must have a right to that value. It "
"is the perspective that led a composers' rights organization, ASCAP, to sue "
"the Girl Scouts for failing to pay for the songs that girls sang around Girl "
"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was "
"<quote>value</quote> (the songs) so there must have been a "
"<quote>right</quote>&mdash;even against the Girl Scouts."
msgstr ""
"Ce point de vue sous-tend les débats en cours. C’est ce que Rochelle "
"Dreyfuss, professeur en droit à l’université de New York, appelle la "
"théorie <quote>valeur implique droits</quote> de la propriété des "
"créations<placeholder type=\"footnote\" id=\"0\"/> &mdash; s'il y a valeur, "
"alors quelqu'un doit avoir un droit dessus. C'est cette perspective qui "
"a conduit l'organisation des droits d'auteur, l'ASCAP, à faire un procés "
"aux Girl Scouts pour ne pas avoir payé pour les chansons que les filles "
"chantaient autour des feux de camp de scouts.<placeholder type=\"footnote\" "
"id=\"1\"/> Il y avait de la <quote>valeur</quote> (les chansons), donc il "
"devait y avoir un <quote>droit</quote>, quand bien même ce droit allait contre "
"les Girl-Scouts."

#. type: Content of: <book><part><partintro><para>
msgid ""
"This idea is certainly a possible understanding of how creative property "
"should work. It might well be a possible design for a system of law "
"protecting creative property. But the <quote>if value, then right</quote> "
"theory of creative property has never been America's theory of creative "
"property.  It has never taken hold within our law."
msgstr ""
"Cette idée est certainement une interprétation possible de la façon dont "
"la propriété des créations devrait fonctionner. Elle pourrait très bien "
"servir de cadre à un système légal protégeant la propriété des "
"créations. Cependant, la théorie <quote>valeur implique droit</quote> n’a "
"jamais été la théorie américaine de la propriété des créations. Cette "
"théorie n’a jamais eu sa place dans notre droit."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on republishing vs. transformation of original work"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "creativity"
msgstr ""

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "legal restrictions on"
msgstr ""

#. type: Content of: <book><part><partintro><para>
msgid ""
"Instead, in our tradition, intellectual property is an instrument. It sets "
"the groundwork for a richly creative society but remains subservient to the "
"value of creativity. The current debate has this turned around. We have "
"become so concerned with protecting the instrument that we are losing sight "
"of the value."
msgstr ""
"Au contraire, dans notre tradition, la propriété intellectuelle est un "
"moyen. C’est un moyen de favoriser l’épanouissement de la création dans "
"la société, mais qui reste subordonné à la valeur de la créativité. Le "
"débat actuel constitue un revirement de cette tradition. Nous sommes devenus "
"si préoccupés de protéger l’instrument que nous perdons de vue "
"l’objectif."

#. type: Content of: <book><part><partintro><para>
msgid ""
"The source of this confusion is a distinction that the law no longer takes "
"care to draw&mdash;the distinction between republishing someone's work on "
"the one hand and building upon or transforming that work on the "
"other. Copyright law at its birth had only publishing as its concern; "
"copyright law today regulates both."
msgstr ""
"À l’origine de cette confusion, il y a une différence que la loi ne prend "
"plus la peine de faire&nbsp;: la différence entre d’une part le fait de "
"republier le travail de quelqu’un d’autre, et d’autre part le fait de "
"transformer ce travail, ou de se fonder sur ce travail. Au départ, les lois "
"sur le copyright ne concernaient que la publication, aujourd’hui elles "
"réglementent les deux aspects."

#. type: Content of: <book><part><partintro><para>
msgid ""
"Before the technologies of the Internet, this conflation didn't matter all "
"that much. The technologies of publishing were expensive; that meant the "
"vast majority of publishing was commercial. Commercial entities could bear "
"the burden of the law&mdash;even the burden of the Byzantine complexity that "
"copyright law has become. It was just one more expense of doing business."
msgstr ""
"Ce regroupement n’avait pas beaucoup d’importance avant l’apparition "
"d’Internet. Les procédés de publication étaient coûteux, et par "
"conséquent la grande majorité de l’édition était commerciale. Les "
"organisations commerciales pouvaient se permettre de se conformer à la loi "
"&mdash; même aux lois d’une complexité byzantine qu’étaient devenues "
"les lois sur le copyright. Ce n’était qu’une dépense supplémentaire "
"nécessaire pour faire des affaires."

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "creativity impeded by"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
msgid "Florida, Richard"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
msgid "Rise of the Creative Class, The (Florida)"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para>
msgid ""
"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic "
"Books, 2002), Richard Florida documents a shift in the nature of labor "
"toward a labor of creativity.  His work, however, doesn't directly address "
"the legal conditions under which that creativity is enabled or stifled. I "
"certainly agree with him about the importance and significance of this "
"change, but I also believe the conditions under which it will be enabled are "
"much more tenuous.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic "
"Books, 2002), Richard Florida documents a shift in the nature of labor toward "
"a labor of creativity.  His work, however, doesn't directly address the legal "
"conditions under which that creativity is enabled or stifled. I certainly "
"agree with him about the importance and significance of this change, but I "
"also believe the conditions under which it will be enabled are much more "
"tenuous.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><partintro><para>
msgid ""
"But with the birth of the Internet, this natural limit to the reach of the "
"law has disappeared. The law controls not just the creativity of commercial "
"creators but effectively that of anyone. Although that expansion would not "
"matter much if copyright law regulated only <quote>copying,</quote> when the "
"law regulates as broadly and obscurely as it does, the extension matters a "
"lot. The burden of this law now vastly outweighs any original "
"benefit&mdash;certainly as it affects noncommercial creativity, and "
"increasingly as it affects commercial creativity as well. Thus, as we'll see "
"more clearly in the chapters below, the law's role is less and less to "
"support creativity, and more and more to protect certain industries against "
"competition. Just at the time digital technology could unleash an "
"extraordinary range of commercial and noncommercial creativity, the law "
"burdens this creativity with insanely complex and vague rules and with the "
"threat of obscenely severe penalties. We may be seeing, as Richard Florida "
"writes, the <quote>Rise of the Creative Class.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Unfortunately, we are also seeing an "
"extraordinary rise of regulation of this creative class."
msgstr ""
"Mais depuis l’apparition d’Internet, cette limite naturelle au champ "
"d’application de la loi a disparu. La loi ne contrôle plus seulement la "
"créativité des créateurs commerciaux, mais celle de tout le monde. Cette "
"extension serait peut-être anodine si les lois sur le copyright ne "
"réglementaient que la <quote>copie</quote>. Cependant, vu la largesse et le "
"flou avec lesquels s’applique la loi actuelle, cette extension prend "
"beaucoup d’importance. Les inconvénients de cette loi dépassent "
"maintenant de beaucoup ses avantages initiaux&nbsp;: elle affecte la "
"créativité non commerciale, et, de plus en plus, aussi, la créativité "
"commerciale. Comme nous le verrons plus clairement dans les chapitres "
"suivants, le rôle de la loi est de moins en moins de soutenir la "
"créativité, et de plus en plus de protéger certaines industries de la "
"compétition. Juste au moment où les technologies numériques auraient pu "
"libérer un flot extraordinaire de créativité, commerciale et non "
"commerciale, la loi entrave cette énergie par des règlements vagues d’une "
"complexité insensée, et en menaçant de peines d’une sévérité "
"déraisonnable. Nous allons peut-être assister, comme l’écrit Richard "
"Florida, à l’<quote>Essor de la classe créative</quote><placeholder "
"type=\"footnote\" id=\"0\"/> (NdT&nbsp;: <quote>Rise of the Creative "
"Class</quote>, titre d’un livre de Richard Florida). Malheureusement, nous "
"sommes aussi en train d’assister à une augmentation extraordinaire de la "
"réglementation de cette <quote>classe créative</quote>."

#. type: Content of: <book><part><partintro><para>
msgid ""
"These burdens make no sense in our tradition. We should begin by "
"understanding that tradition a bit more and by placing in their proper "
"context the current battles about behavior labeled <quote>piracy.</quote>"
msgstr ""
"Ces fardeaux réglementaires n’ont aucun sens dans notre tradition. Nous "
"devrions commencer par comprendre cette tradition un peu mieux, et par placer "
"dans leur vrai contexte les batailles en cours contre le comportement "
"étiqueté <quote>piratage</quote>."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter One: Creators"
msgstr "Créateurs"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "animated cartoons"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "cartoon films"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "films"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "animated"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Steamboat Willie"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Mickey Mouse"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role=\"strong\">In 1928</emphasis>, a cartoon character was "
"born. An early Mickey Mouse made his debut in May of that year, in a silent "
"flop called <citetitle>Plane Crazy</citetitle>.  In November, in New York "
"City's Colony Theater, in the first widely distributed cartoon synchronized "
"with sound, <citetitle>Steamboat Willie</citetitle> brought to life the "
"character that would become Mickey Mouse."
msgstr ""
"<emphasis role='strong'>En 1928</emphasis> est né un personnage de dessin "
"animé. Mickey Mouse, première version, fit ses débuts en mai de cette "
"année là dans <citetitle>Plane Crazy</citetitle>, un flop retentissant. En "
"novembre, au <quote>Colony Theater</quote> de New York, dans le premier "
"dessin animé avec son synchronisé largement distribué, le personnage qui "
"allait devenir Mickey Mouse prit vie dans <citetitle>Steamboat "
"Willie</citetitle>."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Disney, Walt"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Synchronized sound had been introduced to film a year earlier in the movie "
"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy "
"the technique and mix sound with cartoons. No one knew whether it would work "
"or, if it did work, whether it would win an audience. But when Disney ran a "
"test in the summer of 1928, the results were unambiguous.  As Disney "
"describes that first experiment,"
msgstr ""
"Le son synchronisé était apparu un an plus tôt au cinéma dans le film "
"<citetitle>The Jazz Singer</citetitle>. Devant ce succès, Walt Disney copia "
"la technique et introduisit le son dans les dessins animés. Personne ne "
"savait si cela allait marcher, ou, si ça marchait, si ça plairait au "
"public. Mais après un premier essai pendant l'été 1928, les résultats "
"furent sans équivoque. Laissons Disney décrire cette première expérience:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"A couple of my boys could read music, and one of them could play a mouth "
"organ. We put them in a room where they could not see the screen and "
"arranged to pipe their sound into the room where our wives and friends were "
"going to see the picture."
msgstr ""
"\"Deux de mes employés pouvaient lire la musique, et l'un d'eux jouait de "
"l'harmonica. Nous les avons placés dans une pièce d'où ils ne pouvaient "
"pas voir l'écran, et nous nous sommes débrouillés pour diffuser le son "
"dans la pièce où nos épouses et nos amis s'apprêtaient à regarder le "
"film."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"The boys worked from a music and sound-effects score. After several false "
"starts, sound and action got off with the gun. The mouth organist played the "
"tune, the rest of us in the sound department bammed tin pans and blew slide "
"whistles on the beat.  The synchronization was pretty close."
msgstr ""
"Les garçons travaillaient avec une partition indiquant la musique et les "
"effets sonores. Après plusieurs faux départs, nous réussîmes à accorder "
"le son avec l'action. L'homme à l'harmonica jouait l'air, nous autres du "
"bruitage donnions des coups de sifflet et des coups de casserole, dans le "
"rythme. La synchronisation était presque bonne."

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
msgid ""
"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated "
"Cartoons</citetitle> (New York: Penguin Books, 1987), 34&ndash;35."
msgstr ""
"Leonard Maltin,<citetitle> Of Mice and Magic: A History of American Animated "
"Cartoons</citetitle> (New York: Penguin Books, 1987), 34-35."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"The effect on our little audience was nothing less than electric.  They "
"responded almost instinctively to this union of sound and motion. I thought "
"they were kidding me. So they put me in the audience and ran the action "
"again. It was terrible, but it was wonderful! And it was something "
"new!<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Notre assistance fut transportée. Les gens réagirent d'instinct à cette "
"union du son et du mouvement. Je pensais qu'ils me faisaient marcher. Du "
"coup, ils me placèrent dans l'assistance, et recommencèrent l'action. "
"C'était épouvantable, mais aussi, merveilleux! Et c'était "
"nouveau!\"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Iwerks, Ub"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
"Iwerks, put it more strongly: <quote>I have never been so thrilled in my "
"life. Nothing since has ever equaled it.</quote>"
msgstr ""
"Ub Iwerks, un des plus talentueux professionnel du dessin animé, alors "
"associé de Disney, l'exprima plus vigoureusement: <quote>Je n'ai jamais "
"été aussi excité de ma vie. Rien depuis n'a jamais égalé ça.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Disney had created something very new, based upon something relatively "
"new. Synchronized sound brought life to a form of creativity that had "
"rarely&mdash;except in Disney's hands&mdash;been anything more than filler "
"for other films. Throughout animation's early history, it was Disney's "
"invention that set the standard that others struggled to match.  And quite "
"often, Disney's great genius, his spark of creativity, was built upon the "
"work of others."
msgstr ""
"Disney avait créé quelque chose de très nouveau, fondé sur quelque chose "
"d'assez nouveau. Le son synchronisé donnait vie à une forme de créativité "
"qui avait rarement, sauf dans les mains de Disney, été autre chose qu'une "
"technique de remplissage dans d'autres films. Dans les premiers temps de "
"l'histoire du dessin animé, l'invention de Disney définit le standard que "
"les autres allaient peiner à suivre. Et très souvent, le génie de Disney, "
"ses éclairs de créativité, furent fondés sur des travaux d'autres "
"personnes."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Keaton, Buster"
msgstr "Keaton, Buster"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Steamboat Bill, Jr."
msgstr "Steamboat Bill, Jr."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This much is familiar. What you might not know is that 1928 also marks "
"another important transition. In that year, a comic (as opposed to cartoon) "
"genius created his last independently produced silent film.  That genius was "
"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>."
msgstr ""
"Tout ceci est familier. Ce que vous ignorez peut-être, c'est qu'une autre "
"importante transition marque aussi 1928. Cette année là, un génie comique "
"créait son dernier film muet produit d'une façon indépendante. Ce génie "
"était Buster Keaton. Le film était <citetitle>Steamboat Bill, "
"Jr.</citetitle>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Keaton was born into a vaudeville family in 1895. In the era of silent film, "
"he had mastered using broad physical comedy as a way to spark uncontrollable "
"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a "
"classic of this form, famous among film buffs for its incredible stunts.  "
"The film was classic Keaton&mdash;wildly popular and among the best of its "
"genre."
msgstr ""
"Keaton est né en 1895 dans une famille d'artistes de music-hall. Il fut un "
"maître du film muet, usant du genre burlesque pour provoquer le fou rire du "
"public. <citetitle>Steamboat Bill, Jr.</citetitle> est un classique de ce "
"genre, fameux chez les cinéphiles passionnés pour ses cascades incroyables. "
"Le film était typique de Keaton&nbsp;: très populaire, et parmi les meilleurs "
"du genre."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "derivative works"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "piracy vs."
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "piracy"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "derivative work vs."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"I am grateful to David Gerstein and his careful history, described at <ulink "
"url=\"http://free-culture.cc/notes/\">link #4</ulink>.  According to Dave "
"Smith of the Disney Archives, Disney paid royalties to use the music for "
"five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat "
"Bill,</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief "
"Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and "
"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the "
"Straw,</quote> was already in the public domain. Letter from David Smith to "
"Harry Surden, 10 July 2003, on file with author."
msgstr ""
"Je suis reconnaissant envers David Gerstein et son histoire attentive, "
"décrite au lien #4. D'après Dave Smith des Disney Archives, Disney payait "
"des royalties pour utiliser la musique de cinq chansons dans "
"<citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill,</quote>The "
"Simpleton<quote> (Delille), </quote>Mischief Makers<quote> (Carbonara), "
"</quote>Joyful Hurry No. 1<quote> (Baron) et </quote>Gawky Rube<quote> "
"(Lakay). Une sixième chanson, </quote>The Turkey in the Straw\", était "
"déjà dans le domaine public. Lettre de David Smith à Harry Surden, 10 "
"juillet 2003."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon "
"Steamboat Willie.  The coincidence of titles is not coincidental. Steamboat "
"Willie is a direct cartoon parody of Steamboat Bill,<placeholder "
"type=\"footnote\" id=\"0\"/> and both are built upon a common song as a "
"source. It is not just from the invention of synchronized sound in "
"<citetitle>The Jazz Singer</citetitle> that we get <citetitle>Steamboat "
"Willie</citetitle>. It is also from Buster Keaton's invention of Steamboat "
"Bill, Jr., itself inspired by the song <quote>Steamboat Bill,</quote> that "
"we get Steamboat Willie, and then from Steamboat Willie, Mickey Mouse."
msgstr ""
"<citetitle>Steamboat Bill, Jr.</citetitle> est antérieur au dessin animé de "
"Disney <citetitle>Steamboat Willie</citetitle>. La similitude des titres "
"n'est pas une coïncidence. Steamboat Willie est une parodie en dessin animé "
"de Steamboat Bill<placeholder type=\"footnote\" id=\"0\"/>, et tous les deux "
"sont construits autour d'une musique commune. Ce n'est pas seulement à "
"l'invention du son synchronisé dans <citetitle>The Jazz Singer</citetitle> "
"que nous devons <citetitle>Steamboat Willie</citetitle>. C'est aussi de "
"l'invention de Steamboat Bill, Jr. par Buster Keaton, lui même inspiré par "
"la chanson <quote>Steamboat Bill,</quote> qu'est né Steamboat Willie, et, de "
"Steamboat Willie, Mickey Mouse."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "by transforming previous works"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Disney, Inc."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse "
"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink "
"url=\"http://free-culture.cc/notes/\">link #5</ulink>."
msgstr ""
"Il était également un fan du domaine public. Voir Chris Sprigman, "
"<quote>The Mouse that Ate the Public Domain,</quote> Findlaw, 5 March 2002, "
"at link #5."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This <quote>borrowing</quote> was nothing unique, either for Disney or for "
"the industry. Disney was always parroting the feature-length mainstream "
"films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many "
"others. Early cartoons are filled with knockoffs&mdash;slight variations on "
"winning themes; retellings of ancient stories. The key to success was the "
"brilliance of the differences. With Disney, it was sound that gave his "
"animation its spark. Later, it was the quality of his work relative to the "
"production-line cartoons with which he competed. Yet these additions were "
"built upon a base that was borrowed.  Disney added to the work of others "
"before him, creating something new out of something just barely old."
msgstr ""
"Cet <quote>emprunt</quote> n'avait rien d'exceptionnel, ni pour Disney, ni "
"pour l'industrie d'alors. Disney parodiait toujours les longs métrages de "
"son époque<placeholder type=\"footnote\" id=\"0\"/>. Beaucoup d'autres en "
"faisaient autant. Les premiers dessins animés sont truffés d'imitations, de "
"légères variations de thèmes populaires, de nouvelles versions d'anciens "
"contes. C'est l'éclat des différences qui est la clef du succès. Chez "
"Disney, c'était le son qui donnait à ses dessins animés cet éclat. Plus "
"tard, ce fut la qualité de son travail par rapport à celui de la "
"concurrence, qui fabriquait à la chaîne. Ces additions se fondaient "
"cependant sur un socle emprunté. Disney enrichissait le travail d'autres "
"avant lui, créant du neuf avec de l'à peine vieux."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Grimm fairy tales"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Sometimes this borrowing was slight. Sometimes it was significant.  Think "
"about the fairy tales of the Brothers Grimm. If you're as oblivious as I "
"was, you're likely to think that these tales are happy, sweet stories, "
"appropriate for any child at bedtime. In fact, the Grimm fairy tales are, "
"well, for us, grim. It is a rare and perhaps overly ambitious parent who "
"would dare to read these bloody, moralistic stories to his or her child, at "
"bedtime or anytime."
msgstr ""
"L'emprunt était parfois léger. D'autre fois, il était important. Pensez "
"aux contes de fées des frères Grimm. Si vous êtes aussi oublieux que "
"moi-même, vous pensez sans doute que ces contes sont joyeux, gentils, qu'ils "
"conviennent à tous les enfants au moment de se mettre au lit. En réalité, "
"les contes de Grimm sont effrayants. Les parents qui oseraient lire ces "
"histoires sanglantes et moralisatrices à leurs enfants sont rares, et peut "
"être excessivement ambitieux."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Disney took these stories and retold them in a way that carried them into a "
"new age. He animated the stories, with both characters and light. Without "
"removing the elements of fear and danger altogether, he made funny what was "
"dark and injected a genuine emotion of compassion where before there was "
"fear. And not just with the work of the Brothers Grimm. Indeed, the catalog "
"of Disney work drawing upon the work of others is astonishing when set "
"together: <citetitle>Snow White</citetitle> (1937), "
"<citetitle>Fantasia</citetitle> (1940), <citetitle>Pinocchio</citetitle> "
"(1940), <citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> "
"(1942), <citetitle>Song of the South</citetitle> (1946), "
"<citetitle>Cinderella</citetitle> (1950), <citetitle>Alice in "
"Wonderland</citetitle> (1951), <citetitle>Robin Hood</citetitle> (1952), "
"<citetitle>Peter Pan</citetitle> (1953), <citetitle>Lady and the "
"Tramp</citetitle> (1955), <citetitle>Mulan</citetitle> (1998), "
"<citetitle>Sleeping Beauty</citetitle> (1959), <citetitle>101 "
"Dalmatians</citetitle> (1961), <citetitle>The Sword in the Stone</citetitle> "
"(1963), and <citetitle>The Jungle Book</citetitle> (1967)&mdash;not to "
"mention a recent example that we should perhaps quickly forget, "
"<citetitle>Treasure Planet</citetitle> (2003). In all of these cases, Disney "
"(or Disney, Inc.) ripped creativity from the culture around him, mixed that "
"creativity with his own extraordinary talent, and then burned that mix into "
"the soul of his culture. Rip, mix, and burn."
msgstr ""
"Disney reprit ces contes et les raconta à nouveau d'une façon qui les "
"projeta dans une ère nouvelle. Il anima les contes avec de la lumière et "
"des personnages. Sans complètement supprimer les touches d'angoisse et de "
"danger, il rendit drôle ce qui était sinistre et insuffla émotion et "
"compassion là où auparavant on trouvait de la peur. Et pas seulement à "
"partir de l'œuvre des frères Grimm. En réalité, en reconstituant le "
"catalogue des œuvres où Disney utilise des créations antérieures, on "
"obtient un ensemble étonnant: <citetitle> Snow White</citetitle> "
"(1937),<citetitle> Fantasia</citetitle> (1940),<citetitle> "
"Pinocchio</citetitle> (1940),<citetitle> Dumbo</citetitle> (1941),<citetitle> "
"Bambi</citetitle> (1942),<citetitle> Song of the South</citetitle> "
"(1946),<citetitle> Cinderella</citetitle> (1950),<citetitle> Alice in "
"Wonderland</citetitle> (1951),<citetitle> Robin Hood</citetitle> "
"(1952),<citetitle> Peter Pan</citetitle> (1953),<citetitle> Lady and the "
"Tramp</citetitle> (1955),<citetitle> Mulan</citetitle> (1998),<citetitle> "
"Sleeping Beauty</citetitle> (1959),<citetitle> 101 Dalmatians</citetitle> "
"(1961),<citetitle> The Sword in the Stone</citetitle> (1963), et<citetitle> "
"The Jungle Book</citetitle> (1967). Mentionnons encore un exemple plus "
"récent, qu'il faudrait peut-être mieux oublier:<citetitle> Treasure "
"Planet</citetitle> (2003).  Dans tous ces cas, Disney (ou Disney,Inc.) a "
"extrait l'inventivité de la culture qui l'entourait, combiné cette "
"inventivité avec son extraordinaire talent personnel, et fondu ce mélange "
"pour former l'âme de ses créations. Extraire, combiner, et fondre."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This is a kind of creativity. It is a creativity that we should remember and "
"celebrate. There are some who would say that there is no creativity except "
"this kind. We don't need to go that far to recognize its importance. We "
"could call this <quote>Disney creativity,</quote> though that would be a bit "
"misleading. It is, more precisely, <quote>Walt Disney "
"creativity</quote>&mdash;a form of expression and genius that builds upon "
"the culture around us and makes it something different."
msgstr ""
"Ceci est une forme de créativité. C'est une forme de créativité dont nous "
"devons nous souvenir et nous réjouir. Certains diront qu'il n'existe de "
"créativité que de cette sorte. Il n'est pas nécessaire d'aller si loin "
"pour en reconnaître l'importance. Nous pourrions l'appeler <quote>la "
"créativité Disney</quote>, quoique ce serait un peu fallacieux. C'est, plus "
"précisément, <quote>la créativité Walt Disney</quote>: une forme "
"d'expression et de génie qui utilise et transforme la culture qui nous "
"entoure."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "copyright"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "duration of"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "public domain"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "defined"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "traditional term for conversion to"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Until 1976, copyright law granted an author the possibility of two terms: an "
"initial term and a renewal term. I have calculated the "
"<quote>average</quote> term by determining the weighted average of total "
"registrations for any particular year, and the proportion renewing. Thus, if "
"100 copyrights are registered in year 1, and only 15 are renewed, and the "
"renewal term is 28 years, then the average term is 32.2 years. For the "
"renewal data and other relevant data, see the Web site associated with this "
"book, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#6</ulink>."
msgstr ""
"Jusqu'à 1976, la loi du copyright copyright accordait à un auteur la "
"possibilité de deux durées: une durée initiale et une durée de "
"renouvellement. J'ai calculé la durée <quote>moyenne</quote> en "
"déterminant la moyenne pondérée du total des enregistrements pour chaque "
"année, et la proportion de renouvellement. Ainsi, si 100 copyrights sont "
"enregistrés à l'année 1, et que seuls 15 sont renouvelés, et que la "
"durée du renouvellement est de 28 ans, alors la durée moyenne es de 32,2 "
"ans. Pour les données de renouvellement et d'autres données pertinentes, "
"voir le site web associé à ce livre, disponible au lien #6."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In 1928, the culture that Disney was free to draw upon was relatively "
"fresh. The public domain in 1928 was not very old and was therefore quite "
"vibrant. The average term of copyright was just around thirty "
"years&mdash;for that minority of creative work that was in fact "
"copyrighted.<placeholder type=\"footnote\" id=\"0\"/> That means that for "
"thirty years, on average, the authors or copyright holders of a creative "
"work had an <quote>exclusive right</quote> to control certain uses of the "
"work. To use this copyrighted work in limited ways required the permission "
"of the copyright owner."
msgstr ""
"En 1928, Disney était libre de fonder ses œuvres sur une culture "
"relativement récente. Les travaux du domaine public en 1928 n'étaient pas "
"très anciens et par conséquent encore très vivants. La durée moyenne du "
"copyright était d'environ trente ans, pour cette minorité de travaux qui "
"étaient effectivement sous copyright<placeholder type=\"footnote\" "
"id=\"0\"/>. Cela voulait dire que pour trente ans, en moyenne, les auteurs ou "
"les détenteurs du copyright d'une œuvre de l'esprit avait un <quote>droit "
"exclusif</quote> à contrôler certains usages des œuvres. Il fallait la "
"permission du détenteur du copyright pour utiliser, d'une façon limitée, "
"les œuvres sous copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"At the end of a copyright term, a work passes into the public domain.  No "
"permission is then needed to draw upon or use that work. No permission and, "
"hence, no lawyers. The public domain is a <quote>lawyer-free zone.</quote> "
"Thus, most of the content from the nineteenth century was free for Disney to "
"use and build upon in 1928. It was free for anyone&mdash; whether connected "
"or not, whether rich or not, whether approved or not&mdash;to use and build "
"upon."
msgstr ""
"Au terme du copyright, une œuvre entre dans le domaine public. Il n'est plus "
"nécessaire d'avoir une permission pour l'utiliser ou fonder un autre travail "
"sur elle. Pas de permission, et, par conséquent, pas de juristes. Le domaine "
"public est un <quote>terrain sans juristes</quote>. C'est ainsi que la "
"plupart des travaux du dix-neuvième siècle purent être utilisés librement "
"par Disney en 1928. Puissant ou misérable, autorisé ou non, tout un chacun "
"était libre d'utiliser ces travaux à sa guise."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This is the ways things always were&mdash;until quite recently. For most of "
"our history, the public domain was just over the horizon. From until 1978, "
"the average copyright term was never more than thirty-two years, meaning "
"that most culture just a generation and a half old was free for anyone to "
"build upon without the permission of anyone else.  Today's equivalent would "
"be for creative work from the 1960s and 1970s to now be free for the next "
"Walt Disney to build upon without permission. Yet today, the public domain "
"is presumptive only for content from before the Great Depression."
msgstr ""
"C'est ainsi que les choses se déroulaient depuis toujours. Jusqu'à une "
"période récente, le domaine public n'a jamais été bien loin à l'horizon. "
"De 1790 jusqu'à 1978, la durée moyenne du copyright n'a jamais été "
"supérieure à trente deux ans. En d'autres termes, toutes les créations "
"vieilles d'une génération et demi étaient librement à la disposition de "
"tous sans avoir besoin de la permission de personne. Pour donner une "
"équivalence actuelle, les œuvres des années 1960 et 1970 seraient "
"actuellement librement à la disposition d'un nouveau Walt Disney. En fait, "
"actuellement, on ne peut présumer qu'une œuvre fait partie du domaine "
"public que si elle date d'avant la grande crise de 1929."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly "
"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free "
"culture has, until recently, and except within totalitarian nations, been "
"broadly exploited and quite universal."
msgstr ""
"<emphasis role='strong'>Bien entendu,</emphasis> Walt Disney ne détenait pas "
"de monopole sur la <quote>créativité Disney</quote>. L'Amérique non plus. "
"Pays totalitaires exceptés, la culture libre, jusqu'à récemment, est une "
"norme universelle, et amplement appliquée."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "comics, Japanese"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Japanese comics"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "manga"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Consider, for example, a form of creativity that seems strange to many "
"Americans but that is inescapable within Japanese culture: "
"<citetitle>manga</citetitle>, or comics. The Japanese are fanatics about "
"comics. Some 40 percent of publications are comics, and 30 percent of "
"publication revenue derives from comics. They are everywhere in Japanese "
"society, at every magazine stand, carried by a large proportion of commuters "
"on Japan's extraordinary system of public transportation."
msgstr ""
"Considérons par exemple une forme de créativité que de nombreux "
"Américains tiennent pour bizarre, mais qui est profondément ancrée dans la "
"culture japonaise: les <citetitle>mangas</citetitle>, genre de bandes "
"dessinées. Les Japonais sont passionnés de bande dessinée. Près de 40 "
"pour cent des publications sont des bandes dessinées, et 30 pour cent des "
"revenus de l'édition en provient. Les mangas sont partout dans la société "
"japonaise, dans tous les kiosques; dans les transports publics, on les "
"remarque dans de nombreuses mains."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Americans tend to look down upon this form of culture. That's an "
"unattractive characteristic of ours. We're likely to misunderstand much "
"about manga, because few of us have ever read anything close to the stories "
"that these <quote>graphic novels</quote> tell. For the Japanese, manga cover "
"every aspect of social life. For us, comics are <quote>men in "
"tights.</quote> And anyway, it's not as if the New York subways are filled "
"with readers of Joyce or even Hemingway. People of different cultures "
"distract themselves in different ways, the Japanese in this interestingly "
"different way."
msgstr ""
"Les Américains ont tendance à faire peu de cas de cette forme culturelle. "
"La bande dessinée est une caractéristique peu attrayante de notre culture. "
"Nous avons peu de chance de bien comprendre les mangas, parce que nous sommes "
"peu nombreux a avoir déjà lu quelque chose qui ressemble à ces "
"authentiques <quote>nouvelles graphiques</quote>. Pour les Japonais, les "
"mangas embrassent tous les aspects de la vie sociale. Pour nous, la bande "
"dessinée évoque des hommes en collants ridicules. Et de toute façon, ce "
"n'est pas comme si le métro de New York était plein de lecteurs de Joyce ou "
"même d'Hemingway. Des gens de différentes cultures se distraient de façons "
"différentes; les Japonais de cette curieuse et intéressante façon."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But my purpose here is not to understand manga. It is to describe a variant "
"on manga that from a lawyer's perspective is quite odd, but from a Disney "
"perspective is quite familiar."
msgstr ""
"Mais mon but n'est pas ici de comprendre les mangas. Il est de décrire un "
"phénomène à propos des mangas, tout à fait étrange du point de vue d'un "
"juriste, mais tout à fait familier analysé d'une perspective Disney."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "doujinshi comics"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are "
"also comics, but they are a kind of copycat comic. A rich ethic governs the "
"creation of doujinshi. It is not doujinshi if it is "
"<emphasis>just</emphasis> a copy; the artist must make a contribution to the "
"art he copies, by transforming it either subtly or significantly. A "
"doujinshi comic can thus take a mainstream comic and develop it "
"differently&mdash;with a different story line. Or the comic can keep the "
"character in character but change its look slightly. There is no formula for "
"what makes the doujinshi sufficiently <quote>different.</quote> But they "
"must be different if they are to be considered true doujinshi. Indeed, there "
"are committees that review doujinshi for inclusion within shows and reject "
"any copycat comic that is merely a copy."
msgstr ""
"C'est le phénomène des<citetitle> doujinshis.</citetitle> Les doujinshis "
"sont aussi des bandes dessinées, mais une sorte de copie des mangas. La "
"création des doujinshis obéit à des règles strictes. Une copie conforme "
"n'est pas un doujinshi; l'artiste doit apporter une contribution à l'art "
"qu'il copie, par des transformations légères et subtiles, ou alors plus "
"sensibles. Un doujinshi peut ainsi utiliser une bande dessinée "
"traditionnelle répandue, et la reprendre en changeant le scénario. Ou "
"garder tout le caractère d'un personnage, mais changer légèrement son "
"aspect. Il n'existe pas de formule qui définit ce qui fait qu'un doujinshi "
"est suffisamment <quote>différent</quote>. Mais la différence doit exister "
"pour caractériser un vrai doujinshi. Il existe des commissions qui rejettent "
"les vulgaires copies, et autorisent les authentiques doujinshis à participer "
"à des expositions spécialisées."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These copycat comics are not a tiny part of the manga market. They are "
"huge. More than 33,000 <quote>circles</quote> of creators from across Japan "
"produce these bits of Walt Disney creativity. More than 450,000 Japanese "
"come together twice a year, in the largest public gathering in the country, "
"to exchange and sell them. This market exists in parallel to the mainstream "
"commercial manga market. In some ways, it obviously competes with that "
"market, but there is no sustained effort by those who control the commercial "
"manga market to shut the doujinshi market down. It flourishes, despite the "
"competition and despite the law."
msgstr ""
"Ces bandes dessinées inspirées par d'autres représentent une grosse part "
"du marché des mangas. De tout le Japon, plus de 33 000 groupes de créateurs "
"réalisent ces fragments de <quote>créativité Walt Disney</quote>. Deux "
"foix par an, plus de 450 000 Japonais se rassemblent dans de grandes "
"manifestations pour les échanger et les vendre. Ce marché existe "
"parallèlement au courant principal, commercial, du marché des mangas. Il "
"est à l'évidence, d'une certaine façon, en compétition avec ce marché. "
"Mais les personnes qui contrôlent le marché commercial des mangas "
"n'entreprennent pas d'action soutenue pour fermer le marché des doujinshis. "
"Il prospère, malgré la compétition et malgré la loi."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "Japanese"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The most puzzling feature of the doujinshi market, for those trained in the "
"law, at least, is that it is allowed to exist at all. Under Japanese "
"copyright law, which in this respect (on paper) mirrors American copyright "
"law, the doujinshi market is an illegal one. Doujinshi are plainly "
"<quote>derivative works.</quote> There is no general practice by doujinshi "
"artists of securing the permission of the manga creators. Instead, the "
"practice is simply to take and modify the creations of others, as Walt "
"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both "
"Japanese and American law, that <quote>taking</quote> without the permission "
"of the original copyright owner is illegal. It is an infringement of the "
"original copyright to make a copy or a derivative work without the original "
"copyright owner's permission."
msgstr ""
"Pour les spécialistes du droit, la caractéristique la plus curieuse du "
"marché des doujinshis est simplement qu'il lui soit permis d'exister. "
"D'après la loi japonaise sur le copyright, qui reflète, au moins sur le "
"papier, la loi américaine, le marché des doujinshis est illégal. Les "
"doujinshis sont clairement des <quote>travaux dérivés</quote>. Il n'est pas "
"d'usage pour les créateurs de doujinshi d'obtenir la permission des auteurs "
"de mangas. En pratique, simplement, ils utilisent et modifient les créations "
"des autres, comme le fit Walt Disney avec<citetitle> Steamboat Bill, "
"Jr.</citetitle> Cette appropriation, sans permission du détenteur original "
"du copyright, est illégale d'après la loi japonaise, comme d'après la loi "
"américaine."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Winick, Judd"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"For an excellent history, see Scott McCloud, <citetitle>Reinventing "
"Comics</citetitle> (New York: Perennial, 2000)."
msgstr ""
"Pour une histoire excellente, voir Scott McCloud,<citetitle> Reinventing "
"Comics</citetitle> (New York: Perennial, 2000)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet this illegal market exists and indeed flourishes in Japan, and in the "
"view of many, it is precisely because it exists that Japanese manga "
"flourish. As American graphic novelist Judd Winick said to me, <quote>The "
"early days of comics in America are very much like what's going on in Japan "
"now. &hellip; American comics were born out of copying each other. &hellip; "
"That's how [the artists] learn to draw &mdash; by going into comic books and "
"not tracing them, but looking at them and copying them</quote> and building "
"from them.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Pourtant, ce marché illégal existe, et même prospère, au Japon. Beaucoup "
"pensent même que c'est précisément à son existence que les mangas "
"japonais doivent leur prospérité. Voici ce que me disait l'auteur "
"américain de bandes dessinées Judd Winick: <quote>Les premiers temps de la "
"bande dessinée en Amérique ressemblaient à ce qui se passe au Japon "
"aujourd'hui... Les comics américains sont nés en se copiant les uns les "
"autres... C'est ainsi que les artistes apprennent à dessiner, pas en "
"décalquant les comics, mais en les examinant et les copiant</quote> et en "
"leur empruntant<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Superman comics"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"American comics now are quite different, Winick explains, in part because of "
"the legal difficulty of adapting comics the way doujinshi are "
"allowed. Speaking of Superman, Winick told me, <quote>there are these rules "
"and you have to stick to them.</quote> There are things Superman "
"<quote>cannot</quote> do. <quote>As a creator, it's frustrating having to "
"stick to some parameters which are fifty years old.</quote>"
msgstr ""
"Les comics américains sont maintenant très différents, explique Winick, en "
"partie à cause de la difficulté légale à les adapter, à la façon des "
"doujinshis. Il poursuit, parlant de Superman: <quote>il y a des règles, et "
"il faut s'y tenir.</quote> Superman ne <quote>peut pas</quote> faire "
"certaines choses. <quote>Pour un créateur, il est frustrant de devoir "
"respecter des limitations définies il y a cinquante ans.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Mehra, Salil"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, "
"182. <quote>[T]here might be a collective economic rationality that would "
"lead manga and anime artists to forgo bringing legal actions for "
"infringement. One hypothesis is that all manga artists may be better off "
"collectively if they set aside their individual self-interest and decide not "
"to press their legal rights. This is essentially a prisoner's dilemma "
"solved.</quote>"
msgstr ""
"Voir Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why All the Comics My Kid Watches Are Japanese Imports?</quote><citetitle> "
"Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>Il pourrait y "
"avoir une rationalité économique collective qui ferait que les principaux "
"artistes de manga et d'anime renoncent à des actions légales pour "
"violation. Une hypothèse est que tous les artistes de manga sont peut-être "
"en meilleure posture collectivement s'ils mettent de côté leur intérêt "
"personnel et décident de ne pas pousser leurs droits légaux. C'est "
"essentiellement un dilemme de prisonnier résolu.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The norm in Japan mitigates this legal difficulty. Some say it is precisely "
"the benefit accruing to the Japanese manga market that explains the "
"mitigation. Temple University law professor Salil Mehra, for example, "
"hypothesizes that the manga market accepts these technical violations "
"because they spur the manga market to be more wealthy and "
"productive. Everyone would be worse off if doujinshi were banned, so the law "
"does not ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"L'usage, au Japon, minimise ce problème légal. Certains disent que c'est "
"précisément l'effet heureux sur la marché des mangas japonais qui explique "
"cet adoucissement. Par exemple Salil Mehra, professeur de droit à la Temple "
"University, émet l'hypothèse que le marché des mangas accepte ces "
"infractions parce qu'elles incitent le marché des mangas à être plus "
"productif et plus riche. Tout le monde y perdrait si les doujinshis étaient "
"interdits, ce qui explique que la loi n'interdit pas les "
"doujinshis<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The problem with this story, however, as Mehra plainly acknowledges, is that "
"the mechanism producing this laissez faire response is not clear. It may "
"well be that the market as a whole is better off if doujinshi are permitted "
"rather than banned, but that doesn't explain why individual copyright owners "
"don't sue nonetheless. If the law has no general exception for doujinshi, "
"and indeed in some cases individual manga artists have sued doujinshi "
"artists, why is there not a more general pattern of blocking this "
"<quote>free taking</quote> by the doujinshi culture?"
msgstr ""
"Cette explication comporte cependant un défaut, admis par Mehra: le "
"mécanisme à l'origine de cette indulgence n'est pas clair. Il est possible "
"que le marché dans son ensemble se porte mieux avec des doujinshis "
"autorisés plutôt qu'interdits, mais cela n'explique pas pourquoi chaque "
"détenteur de copyright, considéré isolément, ne fasse pas de procès. Si "
"la loi ne fait pas d'exception spéciale en faveur des doujinshis (et "
"d'ailleurs il est déjà arrivé que des créateurs de doujinshis soient "
"attaqués en justice par des auteurs de mangas), pourquoi n'existe-t-il pas "
"de mécanisme solide pour faire obstacle aux <quote>emprunts</quote> "
"perpétrés par la culture doujinshi?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"I spent four wonderful months in Japan, and I asked this question as often "
"as I could. Perhaps the best account in the end was offered by a friend from "
"a major Japanese law firm. <quote>We don't have enough lawyers,</quote> he "
"told me one afternoon. There <quote>just aren't enough resources to "
"prosecute cases like this.</quote>"
msgstr ""
"J'ai passé quatre mois merveilleux au Japon, et posé cette question aussi "
"souvent que possible. C'est un ami d'un gros cabinet de juristes japonais qui "
"m'a sans doute donné la meilleure explication. Il m'a dit, un après-midi: "
"<quote>nous n'avons pas assez d'avocats. Nous n'avons simplement pas assez de "
"ressources pour engager des poursuites dans des affaires de ce genre</quote>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This is a theme to which we will return: that regulation by law is a "
"function of both the words on the books and the costs of making those words "
"have effect. For now, focus on the obvious question that is begged: Would "
"Japan be better off with more lawyers? Would manga be richer if doujinshi "
"artists were regularly prosecuted? Would the Japanese gain something "
"important if they could end this practice of uncompensated sharing? Does "
"piracy here hurt the victims of the piracy, or does it help them? Would "
"lawyers fighting this piracy help their clients or hurt them?"
msgstr ""
"C'est un sujet sur lequel nous reviendrons: la réglementation par la loi est "
"fonction non seulement de la formulation de la loi, mais aussi des coûts "
"nécessaires pour la faire appliquer. Pour le moment, concentrons-nous sur la "
"question évidente, qui est éludée: le Japon se porterait-il mieux d'avoir "
"plus d'avocats? Les mangas seraient-ils plus riches si les artistes "
"doujinshis étaient régulièrement poursuivis en justice? Les Japonais "
"gagneraient-ils quelque chose d'important s'ils pouvaient interdire cette "
"pratique de partage sans indemnisation? La piraterie, ici, nuit-elle à ses "
"victimes, ou leur est-elle bénéfique? Des avocats combattant cette "
"piraterie seraient-ils utiles à leurs clients, ou leur causeraient-ils du "
"tort?"

#. type: Content of: <book><part><chapter><para>
msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment."
msgstr "<emphasis role='strong'>Interrompons-nous</emphasis> un moment."

#. type: Content of: <book><part><chapter><para>
msgid ""
"If you're like I was a decade ago, or like most people are when they first "
"start thinking about these issues, then just about now you should be puzzled "
"about something you hadn't thought through before."
msgstr ""
"Si vous êtes semblables à la plupart des gens qui s'intéressent pour la "
"première fois à ces questions, si vous êtes comme moi-même il y a une "
"décennie, alors, vous êtes certainement, à cet instant, troublé par une "
"idée à laquelle vous n'aviez jamais réfléchi jusqu'alors."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Vaidhyanathan, Siva"
msgstr "Vaidhyanathan, Siva"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual "
"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York "
"University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of "
"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. The term "
"accurately describes a set of <quote>property</quote> rights &mdash; "
"copyright, patents, trademark, and trade-secret &mdash; but the nature of "
"those rights is very different."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Le terme <citetitle>propriété "
"intellectuelle</citetitle> est d'origine "
"relativement récente. Voir Siva Vaidhyanathan, <citetitle>Copyrights and "
"Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). Voir "
"aussi Lawrence Lessig,<citetitle> The Future of Ideas</citetitle> (New York: "
"Random House, 2001), 293 n. 26. Le terme décrit précisément un ensemble de "
"droits de <quote>propriété</quote>&mdash;copyrights, brevets, marques "
"réposées et secrets de fabrication &mdash; mais la nature de ces droits est "
"très différente."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We live in a world that celebrates <quote>property.</quote> I am one of "
"those celebrants.  I believe in the value of property in general, and I also "
"believe in the value of that weird form of property that lawyers call "
"<quote>intellectual property.</quote><placeholder type=\"footnote\" "
"id=\"0\"/> A large, diverse society cannot survive without property; a "
"large, diverse, and modern society cannot flourish without intellectual "
"property."
msgstr ""
"Nous vivons dans un monde qui tient la <quote>propriété</quote> en haute "
"valeur. Je partage cette idée. Je crois en la valeur de la propriété en "
"général, et je crois aussi en la valeur de cette étrange forme de "
"propriété que les juristes appellent la <quote>propriété "
"intellectuelle</quote><placeholder type=\"footnote\" id=\"0\"/>. Une grande "
"communauté, variée, ne peut pas survivre sans propriété; une grande et "
"moderne société ne peut pas prospérer sans propriété intellectuelle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But it takes just a second's reflection to realize that there is plenty of "
"value out there that <quote>property</quote> doesn't capture. I don't mean "
"<quote>money can't buy you love,</quote> but rather, value that is plainly "
"part of a process of production, including commercial as well as "
"noncommercial production.  If Disney animators had stolen a set of pencils "
"to draw Steamboat Willie, we'd have no hesitation in condemning that taking "
"as wrong&mdash; even though trivial, even if unnoticed. Yet there was "
"nothing wrong, at least under the law of the day, with Disney's taking from "
"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the "
"taking from Keaton because Disney's use would have been considered "
"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms "
"because the Grimms' work was in the public domain."
msgstr ""
"Mais une simple seconde de réflexion nous permet de réaliser qu'il existe "
"beaucoup de valeur dans le monde que la <quote>propriété</quote> ne peut "
"pas <quote>capturer</quote>. Je n'entends pas par là <quote>l'amour ne "
"s'achète pas</quote>, je veux parler effectivement de valeur faisant partie "
"intégrante des processus de production, marchands comme non marchands. Si "
"les dessinateurs, chez Disney, avaient volé une boîte de crayons pour "
"dessiner Steamboat Willie, nous n'aurions pas hésité à condamner ce vol. "
"Même mineur, même passé inaperçu, c'eût été un délit. Pourtant, il "
"n'y avait rien de mal, au moins d'après la loi de l'époque, aux emprunts de "
"Disney à Buster Keaton ou aux frères Grimm. Il n'y avait rien de mal aux "
"emprunts à Keaton, parce qu'ils auraient été jugés loyaux. Il n'y avait "
"rien de mal aux emprunts aux frères Grimm, parce que leurs œuvres étaient "
"dans le domaine public."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "derivative works based on"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Thus, even though the things that Disney took&mdash;or more generally, the "
"things taken by anyone exercising Walt Disney creativity&mdash;are valuable, "
"our tradition does not treat those takings as wrong. Some things remain free "
"for the taking within a free culture, and that freedom is good."
msgstr ""
"Donc, bien que Disney (ou, plus généralement, quiconque exerçant une "
"<quote>créativité Disney</quote>) prenne quelque chose de valeur, notre "
"tradition ne considère pas cette prise comme un délit. Certains emprunts "
"restent gratuits et libres dans une libre culture, et cette liberté est un "
"bien."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The same with the doujinshi culture. If a doujinshi artist broke into a "
"publisher's office and ran off with a thousand copies of his latest "
"work&mdash;or even one copy&mdash;without paying, we'd have no hesitation in "
"saying the artist was wrong. In addition to having trespassed, he would have "
"stolen something of value. The law bans that stealing in whatever form, "
"whether large or small."
msgstr ""
"Même chose avec la culture doujinshi. Si un auteur de doujinshi "
"s'introduisait dans le bureau d'un éditeur et se sauvait, sans payer, avec "
"mille copies (voire même une seule) de son dernier ouvrage, nous "
"n'hésiterions pas une seconde à déclarer l'artiste en tort. En plus de "
"commettre une violation de propriété, il aurait volé quelque chose de "
"valeur. La loi proscrit ce genre de vol, petit ou grand."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
"the copycat comic artists are <quote>stealing.</quote> This form of Walt "
"Disney creativity is seen as fair and right, even if lawyers in particular "
"find it hard to say why."
msgstr ""
"Pourtant il existe une réticence évidente, même chez les avocats japonais, "
"à dire que les artistes copieurs de mangas <quote>volent</quote>. Cette "
"forme de <quote>créativité Walt Disney</quote> est tenue pour loyale, même "
"si les avocats, spécialement, trouvent difficile d'expliquer pourquoi."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Shakespeare, William"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"It's the same with a thousand examples that appear everywhere once you begin "
"to look. Scientists build upon the work of other scientists without asking "
"or paying for the privilege. (<quote>Excuse me, Professor Einstein, but may "
"I have permission to use your theory of relativity to show that you were "
"wrong about quantum physics?</quote>) Acting companies perform adaptations "
"of the works of Shakespeare without securing permission from anyone. (Does "
"<emphasis>anyone</emphasis> believe Shakespeare would be better spread "
"within our culture if there were a central Shakespeare rights clearinghouse "
"that all productions of Shakespeare must appeal to first?) And Hollywood "
"goes through cycles with a certain kind of movie: five asteroid films in the "
"late 1990s; two volcano disaster films in 1997."
msgstr ""
"Quand on y réfléchit, on peut trouver mille et un exemples de mécanismes "
"similaires. Les scientifiques se servent des travaux d'autres scientifiques "
"sans demander de permission, ou sans payer pour ce privilège (<quote "
">Excusez-moi, Professeur Einstein, pourrais-je avoir la permission d'utiliser "
"votre théorie de la relativité pour démontrer que vous aviez tort au sujet "
"de la physique quantique?</quote>.) Les compagnies théâtrales interprètent "
"des adaptations des œuvres de Shakespeare sans permission de quiconque. (Y "
"a-t-il quelqu'un pour penser sérieusement que Shakespeare serait mieux "
"diffusé s'il existait un organisme central de gestion des droits de "
"Shakespeare qui serait un passage obligé pour tous les producteurs de cet "
"auteur?) Et Hollywood obéit à des cycles, avec certains genres de films: "
"cinq films traitant d'astéroïdes à la fin des années 1990; deux films "
"catastrophe impliquant des volcans en 1997."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Creators here and everywhere are always and at all times building upon the "
"creativity that went before and that surrounds them now.  That building is "
"always and everywhere at least partially done without permission and without "
"compensating the original creator. No society, free or controlled, has ever "
"demanded that every use be paid for or that permission for Walt Disney "
"creativity must always be sought. Instead, every society has left a certain "
"bit of its culture free for the taking&mdash;free societies more fully than "
"unfree, perhaps, but all societies to some degree."
msgstr ""
"Les créateurs ici et partout ont toujours et de tous temps créé à partir "
"du passé, et du présent qui les entoure. Cette création s'est faite "
"toujours et de tous temps, au moins en partie, sans dédommagement ni "
"autorisation du créateur d'origine. Aucune société, démocratique ou non, "
"n'a jamais exigée que soit payée chaque expression d'une "
"<quote>créativité Walt Disney</quote>, ou qu'une autorisation soit toujours "
"recherchée. Au contraire, chaque société (les sociétés démocratiques "
"peut-être un peu plus que les autres) a laissé des pans de sa culture "
"libres d'être repris."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The hard question is therefore not <emphasis>whether</emphasis> a culture is "
"free. All cultures are free to some degree. The hard question instead is "
"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and "
"how broadly, is the culture free for others to take and build upon? Is that "
"freedom limited to party members? To members of the royal family? To the top "
"ten corporations on the New York Stock Exchange? Or is that freedom spread "
"broadly? To artists generally, whether affiliated with the Met or not? To "
"musicians generally, whether white or not? To filmmakers generally, whether "
"affiliated with a studio or not?"
msgstr ""
"Par conséquent, la difficulté n'est pas de savoir si une culture est libre. "
"Toutes les cultures sont libres jusqu'à un certain point. La difficulté est "
"de quantifier cette liberté. Est-elle limitée aux membres du parti? Aux "
"membres de la famille royale? Aux dix entreprises les plus performantes de "
"Wall Street? Ou est-ce que cette liberté est accessible à beaucoup? Aux "
"artistes en général, qu'ils soient affiliés au Metropolitan ou pas? Aux "
"musiciens en général, qu'ils soient blancs ou non? Aux cinéastes en "
"général, qu'ils soient affiliés à une compagnie de cinéma ou pas?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Free cultures are cultures that leave a great deal open for others to build "
"upon; unfree, or permission, cultures leave much less. Ours was a free "
"culture. It is becoming much less so."
msgstr ""
"Les cultures libres sont celles qui, largement ouvertes, permettent la "
"création à partir de ce qui existe; les cultures qui ne sont pas libres, "
"qui imposent d'obtenir des permissions, offrent bien moins. Notre culture "
"était libre. Elle le devient de moins en moins."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Two: <quote>Mere Copyists</quote>"
msgstr "<quote>Simples copistes</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Daguerre, Louis"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "camera technology"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "photography"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the "
"first practical technology for producing what we would call "
"<quote>photographs.</quote> Appropriately enough, they were called "
"<quote>daguerreotypes.</quote> The process was complicated and expensive, "
"and the field was thus limited to professionals and a few zealous and "
"wealthy amateurs. (There was even an American Daguerre Association that "
"helped regulate the industry, as do all such associations, by keeping "
"competition down so as to keep prices up.)"
msgstr ""
"<emphasis role='strong'>En 1839,</emphasis> Louis Daguerre inventa le premier "
"procédé pratique permettant de réaliser ce que nous allions appeler des "
"<quote>photographies</quote>: le daguerréotype. Le procédé était "
"compliqué et coûteux, et la discipline par conséquent réservée aux "
"professionnels et à quelques riches amateurs passionnés (il exista même "
"une association (American Daguerre Association) qui contribua à réglementer "
"cette industrie, comme toutes les associations de ce genre, en étouffant la "
"compétition pour maintenir des prix élevés.)"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Talbot, William"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet despite high prices, the demand for daguerreotypes was strong.  This "
"pushed inventors to find simpler and cheaper ways to make <quote>automatic "
"pictures.</quote> William Talbot soon discovered a process for making "
"<quote>negatives.</quote> But because the negatives were glass, and had to "
"be kept wet, the process still remained expensive and cumbersome. In the "
"1870s, dry plates were developed, making it easier to separate the taking of "
"a picture from its developing. These were still plates of glass, and thus it "
"was still not a process within reach of most amateurs."
msgstr ""
"Cependant, malgré des prix élevés, la demande pour les daguerréotypes "
"était forte. Ceci incita les inventeurs à trouver des moyens plus simples "
"et moins chers de produire ces <quote>images automatiques</quote>. Bientôt, "
"William Talbot découvrit un procédé pour fabriquer des "
"<quote>négatifs</quote>. Mais comme ceux-ci étaient en verre, et devaient "
"être maintenus humides, le procédé restait encore coûteux et compliqué. "
"En 1870 furent introduites les plaques sèches, permettant plus facilement la "
"séparation entre la prise de vue et le développement. Il s'agissait encore "
"de plaques en verre et ce n'était toujours pas une méthode à la portée du "
"plus grand nombre."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Eastman, George"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The technological change that made mass photography possible didn't happen "
"until 1888, and was the creation of a single man. George Eastman, himself an "
"amateur photographer, was frustrated by the technology of photographs made "
"with plates. In a flash of insight (so to speak), Eastman saw that if the "
"film could be made to be flexible, it could be held on a single "
"spindle. That roll could then be sent to a developer, driving the costs of "
"photography down substantially. By lowering the costs, Eastman expected he "
"could dramatically broaden the population of photographers."
msgstr ""
"L'avancée qui permit de démocratiser la photographie n'eut pas lieu avant "
"1888, et fut l'oeuvre d'un seul homme. George Eastman, photographe amateur, "
"était contrarié par la technologie des plaques. En un éclair de génie, il "
"comprit que si le film pouvait être rendu souple, il deviendrait possible de "
"l'enrouler autour d'un axe. Cette bobine pourrait alors être expédiée à "
"un développeur, ce qui entraînerait une baisse sensible des coûts de la "
"photographie. En diminuant les coûts, Eastman s'attendait à augmenter "
"sensiblement le nombre de photographes."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Kodak cameras"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Kodak Primer, The (Eastman)"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: "
"Johns Hopkins University Press, 1975), 112."
msgstr ""
"Reese V. Jenkins,<citetitle> Images and Enterprise</citetitle> (Baltimore: "
"Johns Hopkins University Press, 1975), 112."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Eastman developed flexible, emulsion-coated paper film and placed rolls of "
"it in small, simple cameras: the Kodak. The device was marketed on the basis "
"of its simplicity. <quote>You press the button and we do the "
"rest.</quote><placeholder type=\"footnote\" id=\"0\"/> As he described in "
"<citetitle>The Kodak Primer</citetitle>:"
msgstr ""
"Eastman mis au point un film flexible, recouvert d'une émulsion. Il plaça "
"des rouleaux de film dans un modèle d'appareil photo petit et simple: le "
"Kodak. Celui-ci fut commercialisé en mettant en avant sa simplicité: "
"<quote>Appuyez sur le bouton et nous faisons le reste</quote><placeholder "
"type=\"footnote\" id=\"0\"/>.  Eastman décrivit son invention "
"dans<citetitle> The Kodak Primer</citetitle>:"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Coe, Brian"
msgstr "Coe, Brian"

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth "
"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth "
"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"The principle of the Kodak system is the separation of the work that any "
"person whomsoever can do in making a photograph, from the work that only an "
"expert can do. &hellip; We furnish anybody, man, woman or child, who has "
"sufficient intelligence to point a box straight and press a button, with an "
"instrument which altogether removes from the practice of photography the "
"necessity for exceptional facilities or, in fact, any special knowledge of "
"the art. It can be employed without preliminary study, without a darkroom "
"and without chemicals.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Le principe du système Kodak est de séparer le travail qu'un béotien en "
"photographie peut faire, de celui que seul un expert peut faire... Nous "
"fournissons à n'importe qui, homme, femme ou enfant, suffisamment "
"intelligent pour tenir un boitier immobile et appuyer sur un bouton, un "
"appareil qui élimine le besoin d'installations exceptionnelles et d'une "
"connaissance pointue de cet art. On peut l'utiliser sans apprentissage "
"préliminaire, sans chambre noire et sans produits chimiques<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Jenkins, 177."
msgstr "Jenkins, 177."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Based on a chart in Jenkins, p. 178."
msgstr "Basé sur un graphique dans Jenkins, p. 178."

#. type: Content of: <book><part><chapter><para>
msgid ""
"For $25, anyone could make pictures. The camera came preloaded with film, "
"and when it had been used, the camera was returned to an Eastman factory, "
"where the film was developed. Over time, of course, the cost of the camera "
"and the ease with which it could be used both improved. Roll film thus "
"became the basis for the explosive growth of popular photography. Eastman's "
"camera first went on sale in 1888; one year later, Kodak was printing more "
"than six thousand negatives a day.  From 1888 through 1909, while industrial "
"production was rising by 4.7 percent, photographic equipment and material "
"sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> "
"Eastman Kodak's sales during the same period experienced an average annual "
"increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Pour 25 dollars, tout le monde pouvait faire des photos. L'appareil était "
"vendu déjà chargé avec une pellicule, et retourné après utilisation, "
"pour développement, à l'usine Eastman. Évidemment, avec le temps, le prix "
"de l'appareil est allé diminuant et sa facilité d'utilisation a augmenté. "
"Ainsi, le rouleau de pellicule fut à l'origine de la croissance "
"exponentielle de la photographie populaire. Le premier appareil photo "
"d'Eastman est sorti en 1888. L'année suivante, Kodak tirait plus de six "
"mille négatifs par jour. Entre 1888 et 1909, alors que la production "
"industrielle augmentait de 4,7 pour cent, les ventes d'équipements et de "
"matériels photographiques augmentaient de 11 pour cent<placeholder "
"type=\"footnote\" id=\"0\"/>. Les ventes de Eastman Kodak augmentèrent durant "
"cette même période de 17 pour cent par an en moyenne<placeholder "
"type=\"footnote\" id=\"1\"/>."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Coe, 58."
msgstr "Coe, 58."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The real significance of Eastman's invention, however, was not economic. It "
"was social. Professional photography gave individuals a glimpse of places "
"they would never otherwise see. Amateur photography gave them the ability to "
"record their own lives in a way they had never been able to do before. As "
"author Brian Coe notes, <quote>For the first time the snapshot album "
"provided the man on the street with a permanent record of his family and its "
"activities. &hellip; For the first time in history there exists an authentic "
"visual record of the appearance and activities of the common man made "
"without [literary] interpretation or bias.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Cependant, la véritable importance de l'invention d'Eastman n'était pas de "
"nature économique. Elle était de nature sociale. La photographie "
"professionnelle donnait aux gens des aperçus d'endroits qu'ils n'auraient "
"jamais pu voir autrement. La photographie amateur leur permit de garder des "
"traces de leurs propres vies d'une façon impossible jusqu'alors. <quote> "
"Pour la première fois, l'album de photos a donné à l'homme de la rue une "
"mémoire permanente de sa famille et de ses activités... Pour la première "
"fois dans l'Histoire, il existe une authentique archive en images de "
"l'apparence et des activités des gens ordinaires, sans interprétation "
"[littéraire] ni déformation</quote> (Brian Coe<placeholder "
"type=\"footnote\" id=\"0\"/>)."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "democracy"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in technologies of expression"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "expression, technologies of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "democratic"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"In this way, the Kodak camera and film were technologies of expression.  The "
"pencil or paintbrush was also a technology of expression, of course. But it "
"took years of training before they could be deployed by amateurs in any "
"useful or effective way. With the Kodak, expression was possible much sooner "
"and more simply. The barrier to expression was lowered. Snobs would sneer at "
"its <quote>quality</quote>; professionals would discount it as "
"irrelevant. But watch a child study how best to frame a picture and you get "
"a sense of the experience of creativity that the Kodak enabled. Democratic "
"tools gave ordinary people a way to express themselves more easily than any "
"tools could have before."
msgstr ""
"En ce sens, l'appareil Kodak était une technique d'expression. Le crayon ou "
"le pinceau aussi, bien sûr. Mais il fallait des années d'entraînement "
"avant que des amateurs puissent s'en servir de manière utile et efficace. "
"Avec le Kodak, il devenait plus simple et plus rapide de s'exprimer. Les "
"barrières à l'expression s'abaissaient. Les snobs allaient évidemment "
"esquisser un sourire de mépris devant sa <quote>qualité</quote>, les "
"professionnels allaient l'écarter pour sa médiocrité. Mais il suffit de "
"regarder un enfant étudier comment encadrer au mieux une photo, pour capter "
"cette expérience de la créativité permise par le Kodak. Un outil "
"démocratique donnait à des gens ordinaires des moyens de s'exprimer, plus "
"facilement qu'aucun autre outil auparavant."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "permissions"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "photography exempted from"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> "
"v. <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); "
"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, "
"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> "
"v. <citetitle>Walker</citetitle>, 64 F. 280 (Mass.  Dist. Ct. 1894)."
msgstr ""
"Pour des affaires illustratrices, voir, par exemple,<citetitle> "
"Pavesich</citetitle> v.<citetitle> N.E. Life Ins. Co.,</citetitle> 50 S.E. 68 "
"(Ga. 1905);<citetitle> Foster-Milburn Co.</citetitle> v.<citetitle> "
"Chinn,</citetitle> 123090 S.W. 364, 366 (Ky. 1909);<citetitle> "
"Corliss</citetitle> v.<citetitle> Walker,</citetitle> 64 F. 280 (Mass. Dist. "
"Ct. 1894)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"What was required for this technology to flourish? Obviously, Eastman's "
"genius was an important part. But also important was the legal environment "
"within which Eastman's invention grew. For early in the history of "
"photography, there was a series of judicial decisions that could well have "
"changed the course of photography substantially.  Courts were asked whether "
"the photographer, amateur or professional, required permission before he "
"could capture and print whatever image he wanted. Their answer was "
"no.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Qu'est-ce qui était nécessaire pour que cette technique prospère? À "
"l'évidence, le génie d'Eastman joua un rôle important. Mais le climat "
"légal eut aussi une grande part. Car, tôt dans l'histoire de la "
"photographie, il y eut une série de décisions judiciaires qui aurait très "
"bien pu changer de façon importante son devenir. Les tribunaux durent "
"trancher la question de savoir si le photographe, amateur ou professionnel, "
"avait besoin d'une autorisation pour prendre et développer à sa guise "
"n'importe quelle photo. Ils répondirent que non<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "images, ownership of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The arguments in favor of requiring permission will sound surprisingly "
"familiar. The photographer was <quote>taking</quote> something from the "
"person or building whose photograph he shot&mdash;pirating something of "
"value. Some even thought he was taking the target's soul. Just as Disney was "
"not free to take the pencils that his animators used to draw Mickey, so, "
"too, should these photographers not be free to take images that they thought "
"valuable."
msgstr ""
"Les arguments avancés pour justifier la nécessité d'une permission vont "
"nous sembler étonnamment familiers. Le photographe <quote>prenait</quote> "
"quelque chose de la personne ou du bâtiment qu'il photographiait &mdash; il "
"piratait quelque chose qui avait de la valeur. Certains pensaient même qu'il "
"prenait l'âme du sujet. De même que Disney n'était pas autorisé à voler "
"les crayons que ses dessinateurs utilisaient pour dessiner Mickey, de même "
"ces photographes ne devaient pas être autorisés à prendre des images qui "
"avaient de la valeur."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Warren, Samuel D."
msgstr "Warren, Samuel D."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> "
"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193.  <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Samuel D. Warren et Louis D. Brandeis, <quote>The Right to "
"Privacy</quote>, <citetitle>Harvard Law Review</citetitle> 4 (1890): 193."
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"On the other side was an argument that should be familiar, as well.  Sure, "
"there may be something of value being used. But citizens should have the "
"right to capture at least those images that stand in public view.  (Louis "
"Brandeis, who would become a Supreme Court Justice, thought the rule should "
"be different for images from private spaces.<placeholder type=\"footnote\" "
"id=\"0\"/>) It may be that this means that the photographer gets something "
"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat "
"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free "
"to capture an image without compensating the source."
msgstr ""
"L'argument de l'autre partie devrait également nous être familier. Certes, "
"il se pouvait que le photographe utilise une chose qui avait de la valeur. "
"Mais les citoyens devraient au moins avoir le droit de prendre des images de "
"ce qui était en vue du public (Louis Brandeis, bien avant de siéger à la "
"Cour suprême, pensait que la règle devait être différente pour les "
"espaces privés<placeholder type=\"footnote\" id=\"0\"/>). Peut-être cela "
"signifiait-il que le photographe obtenait quelque chose pour rien. Tout comme "
"Disney pouvait s'inspirer de <citetitle>Steamboat Bill, Jr.</citetitle> ou "
"des frères Grimm, le photographe devait être libre de capturer une image "
"sans indemniser son sujet."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> "
"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William "
"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law "
"Review</citetitle> 48 (1960) 398&ndash;407; <citetitle>White</citetitle> "
"v. <citetitle>Samsung Electronics America, Inc</citetitle>., 971 F.  2d 1395 "
"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
msgstr ""
"Voir Melville B. Nimmer, <quote>The Right of Publicity,</quote><citetitle> "
"Law and Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
"<quote>Privacy,</quote><citetitle> California Law Review</citetitle> 48 "
"(1960) 398-407;<citetitle> White</citetitle> v.<citetitle> Samsung "
"Electronics America, Inc.,</citetitle> 971 F. 2d 1395 (9th Cir. 1992), cert. "
"denied, 508 U.S. 951 (1993)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Fortunately for Mr. Eastman, and for photography in general, these early "
"decisions went in favor of the pirates. In general, no permission would be "
"required before an image could be captured and shared with others. Instead, "
"permission was presumed. Freedom was the default.  (The law would eventually "
"craft an exception for famous people: commercial photographers who snap "
"pictures of famous people for commercial purposes have more restrictions "
"than the rest of us. But in the ordinary case, the image can be captured "
"without clearing the rights to do the capturing.<placeholder "
"type=\"footnote\" id=\"0\"/>)"
msgstr ""
"Heureusement pour M. Eastman, et pour la photographie, ces premières "
"décisions allèrent en faveur des pirates. En général, aucune permission "
"ne devait être requise pour prendre un cliché et le partager. La permission "
"était présumée. La liberté, implicite (la loi introduirait finalement une "
"restriction pour les célébrités: les photographes professionnels ont plus "
"d'obligations à respecter quand ils prennent, en vue de commercialisation, "
"des clichés de gens célèbres. Mais dans la majorité des cas, on peut "
"prendre des photos sans acquitter de droits<placeholder type=\"footnote\" "
"id=\"0\"/>)."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Napster"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"We can only speculate about how photography would have developed had the law "
"gone the other way. If the presumption had been against the photographer, "
"then the photographer would have had to demonstrate permission. Perhaps "
"Eastman Kodak would have had to demonstrate permission, too, before it "
"developed the film upon which images were captured. After all, if permission "
"were not granted, then Eastman Kodak would be benefiting from the "
"<quote>theft</quote> committed by the photographer. Just as Napster "
"benefited from the copyright infringements committed by Napster users, Kodak "
"would be benefiting from the <quote>image-right</quote> infringement of its "
"photographers. We could imagine the law then requiring that some form of "
"permission be demonstrated before a company developed pictures. We could "
"imagine a system developing to demonstrate that permission."
msgstr ""
"On ne peut que faire des suppositions à propos de ce que serait devenue la "
"photographie si la loi était allée dans l'autre sens. Avec une présomption "
"contre lui, le photographe aurait dû prouver avoir une autorisation. Eastman "
"Kodak aurait peut-être dû, aussi, prouver avoir une autorisation avant de "
"traiter les pellicules. Après tout, sans autorisation, Eastman Kodak aurait "
"bénéficié du <quote>vol</quote> perpétré par le photographe. Tout comme "
"Napster a bénéficié des violations de copyright commis par ses "
"utilisateurs, Kodak aurait bénéficié des violations de <quote>droits à "
"l'image</quote> de ses photographes. Nous pouvons imaginer alors que la loi "
"requiert d'une compagnie qu'elle établisse une autorisation, avant de "
"développer des photos. Nous pouvons imaginer le développement de tout un "
"système pour démontrer cette autorisation."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But though we could imagine this system of permission, it would be very hard "
"to see how photography could have flourished as it did if the requirement "
"for permission had been built into the rules that govern it. Photography "
"would have existed. It would have grown in importance over "
"time. Professionals would have continued to use the technology as they "
"did&mdash;since professionals could have more easily borne the burdens of "
"the permission system. But the spread of photography to ordinary people "
"would not have occurred. Nothing like that growth would have been "
"realized. And certainly, nothing like that growth in a democratic technology "
"of expression would have been realized."
msgstr ""
"Mais, bien qu'un tel système de permissions soit imaginable, il est très "
"difficile de croire que la photographie eût prospéré comme elle l'a fait, "
"si les contraintes liées aux permissions avaient fait partie intégrante des "
"lois qui la régissent. Certes, la photographie aurait existé. Elle se "
"serait développée avec le temps. Les professionnels auraient continué "
"d'utiliser la technologie de la même manière &mdash; car ils auraient plus "
"facilement supporté les contraintes du système de permissions. Mais la "
"photographie n'aurait pas atteint les gens ordinaires. Rien de comparable à "
"ce développement ne se serait produit. Et certainement rien de comparable au "
"développement d'une technologie d'expression démocratique."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "digital cameras"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Just Think!"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>If you drive</emphasis> through San Francisco's "
"Presidio, you might see two gaudy yellow school buses painted over with "
"colorful and striking images, and the logo <quote>Just Think!</quote> in "
"place of the name of a school. But there's little that's <quote>just</quote> "
"cerebral in the projects that these busses enable.  These buses are filled "
"with technologies that teach kids to tinker with film. Not the film of "
"Eastman. Not even the film of your VCR.  Rather the <quote>film</quote> of "
"digital cameras. Just Think! is a project that enables kids to make films, "
"as a way to understand and critique the filmed culture that they find all "
"around them. Each year, these busses travel to more than thirty schools and "
"enable three hundred to five hundred children to learn something about media "
"by doing something with media.  By doing, they think. By tinkering, they "
"learn."
msgstr ""
"<emphasis role='strong'>Si vous conduisez</emphasis> à travers le Presidio "
"(NdT: quartier historique) de San Francisco, vous pouvez voir deux bus "
"scolaires jaunes criards, et le logo <quote>Just Think!</quote> à la place "
"du nom d'une école. Mais les projets que ces bus rendent possibles ne sont "
"pas uniquement intellectuels. Ces bus sont bourrés de technologies qui "
"apprennent aux enfants comment jouer avec le cinéma. Pas le cinéma "
"d'Eastman. Pas même celui de votre magnétoscope. Plutôt celui des "
"caméscopes numériques. Just Think! est un projet qui permet aux enfants de "
"faire des films, de manière qu'ils puissent comprendre et critiquer la "
"culture filmée dans laquelle ils baignent. Chaque année, ces bus visitent "
"plus de trente écoles, et permettent à entre trois et cinq cent enfants "
"d'apprendre quelque chose sur les médias, en faisant quelque chose avec les "
"médias. En faisant, ils pensent. En manipulant, ils apprennent."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "education"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in media literacy"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "media literacy"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "media literacy and"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and "
"Software You Need to Create Digital Multimedia Presentations,</quote> "
"cadalyst, February 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #7</ulink>."
msgstr ""
"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and "
"Software You Need to Create Digital Multimedia Presentations,</quote> "
"cadalyst, 1 February 2002, disponible au lien #7."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These buses are not cheap, but the technology they carry is increasingly "
"so. The cost of a high-quality digital video system has fallen "
"dramatically.  As one analyst puts it, <quote>Five years ago, a good "
"real-time digital video editing system cost $25,000. Today you can get "
"professional quality for $595.</quote><placeholder type=\"footnote\" "
"id=\"0\"/> These buses are filled with technology that would have cost "
"hundreds of thousands just ten years ago. And it is now feasible to imagine "
"not just buses like this, but classrooms across the country where kids are "
"learning more and more of something teachers call <quote>media "
"literacy.</quote>"
msgstr ""
"Ces bus ne sont pas bon marché, mais la technologie qu'ils transportent "
"l'est de plus en plus. Le coût d'un système de vidéo numérique de haute "
"qualité a énormément baissé. D'après un analyste, <quote>Il y a cinq "
"ans, un bon système d'édition vidéo numerique coûtait 25.000 dollars. "
"Aujourd'hui vous pouvez obtenir de la qualité professionnelle pour 595 "
"dollars.</quote><placeholder type=\"footnote\" id=\"0\"/> Ces bus sont "
"bourrés de technologies qui auraient coûté des centaines de milliers de "
"dollars il y a a peine dix ans. Et maintenant il est possible d'imaginer non "
"seulement des bus comme celà, mais des salles de classe dans tout le pays "
"où les enfants apprennent de plus en plus ce que les enseignants appellent "
"<quote>lecture des médias</quote>."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Yanofsky, Dave"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of "
"Just Think!, puts it, <quote>is the ability &hellip; to understand, analyze, "
"and deconstruct media images. Its aim is to make [kids] literate about the "
"way media works, the way it's constructed, the way it's delivered, and the "
"way people access it.</quote>"
msgstr ""
"La <quote>lecture des médias</quote>, comme la définit Dave Yanofsky, le "
"directeur de Just Think!, <quote>est la capacité ... de comprendre, "
"d'analyser et de déconstruire les images des médias. Son but est de "
"permettre [aux enfants] de comprendre comment fonctionnent les médias, "
"comment ils sont construits, de quelle manière ils sont distribués, et de "
"quelle manière les gens y ont accès.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"This may seem like an odd way to think about <quote>literacy.</quote> For "
"most people, literacy is about reading and writing. Faulkner and Hemingway "
"and noticing split infinitives are the things that <quote>literate</quote> "
"people know about."
msgstr ""
"Il peut paraître étrange de parler de <quote>lecture</quote> en ces termes. "
"Pour une majorité de gens, <quote>lecture</quote> se réfère à ce qui est "
"écrit. Faulkner, Hemingway et les accords du participe passé sont les "
"choses qui vont avec la lecture."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "advertising"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "commercials"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "television"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "advertising on"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on "
"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May "
"1997, B6."
msgstr ""
"Judith Van Evra,<citetitle> Television and Child Development</citetitle> "
"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on "
"Family and TV Study,</quote><citetitle> Denver Post,</citetitle> 25 May 1997, "
"B6."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Maybe. But in a world where children see on average 390 hours of television "
"commercials per year, or between 20,000 and 45,000 commercials "
"generally,<placeholder type=\"footnote\" id=\"0\"/> it is increasingly "
"important to understand the <quote>grammar</quote> of media. For just as "
"there is a grammar for the written word, so, too, is there one for "
"media. And just as kids learn how to write by writing lots of terrible "
"prose, kids learn how to write media by constructing lots of (at least at "
"first) terrible media."
msgstr ""
"Peut-être. Mais dans un monde où les enfants voient en moyenne 390 heures "
"de publicité télévisée par an, soit entre 20.000 et 45.000 "
"publicités<placeholder type=\"footnote\" id=\"0\"/>, il est de plus en plus "
"important de comprendre la <quote>grammaire</quote> des images. Car de même "
"qu'il existe une grammaire de l'écrit, il y en a aussi une pour les images. "
"Et de même que les enfants apprennent à écrire en rédigeant beaucoup de "
"textes horribles, de même ils apprennent la grammaire des images en "
"construisant beaucoup d'images médiocres (du moins au début)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"A growing field of academics and activists sees this form of literacy as "
"crucial to the next generation of culture. For though anyone who has written "
"understands how difficult writing is&mdash;how difficult it is to sequence "
"the story, to keep a reader's attention, to craft language to be "
"understandable&mdash;few of us have any real sense of how difficult media "
"is. Or more fundamentally, few of us have a sense of how media works, how it "
"holds an audience or leads it through a story, how it triggers emotion or "
"builds suspense."
msgstr ""
"Un nombre croissant d'universitaires et d'activistes tiennent cette forme de "
"lecture pour cruciale dans la culture de la prochaine génération. En effet, "
"bien que toute personne sachant écrire comprenne les difficultés de "
"l'écriture (difficulté d'ordonner une histoire, de garder l'attention du "
"lecteur, de former des phrases compréhensibles), peu de gens ont une notion "
"du fonctionnement des images, comment elles retiennent le spectateur ou le "
"conduisent à travers une histoire. comment elles déclenchent l'émotion ou "
"construisent le suspense."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It took filmmaking a generation before it could do these things well.  But "
"even then, the knowledge was in the filming, not in writing about the "
"film. The skill came from experiencing the making of a film, not from "
"reading a book about it. One learns to write by writing and then reflecting "
"upon what one has written. One learns to write with images by making them "
"and then reflecting upon what one has created."
msgstr ""
"Il a fallu une génération au cinéma pour apprendre à bien faire ces "
"choses. Mais même après, la connaissance venait en filmant et non pas en "
"écrivant quelque chose au sujet du film. La compétence venait en faisant "
"l'expérience de la réalisation d'un film et non pas en lisant un livre qui "
"en parle. On apprend à écrire en écrivant et en réfléchissant ensuite à "
"ce qu'on a écrit. On apprend à écrire avec des images en les réalisant et "
"en réfléchissant ensuite à ce qu'on a créé."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Daley, Elizabeth"
msgstr "Daley, Elizabeth"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Crichton, Michael"
msgstr "Crichton, Michael"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Barish, Stephanie"
msgstr "Barish, Stephanie"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002.  "
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"
msgstr "Entrevue avec Elizabeth Daley et Stephanie Barish, 13 December 2002. "
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, "
"4 November 2000, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #8</ulink>; "
"<quote>Timeline,</quote> 22 November 2000, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #9</ulink>."
msgstr ""
"Voir Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, "
"4 novembre 2000, disponible au lien #8; <quote>Timeline,</quote> 22 novembre "
"2000, disponible au lien #9."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This grammar has changed as media has changed. When it was just film, as "
"Elizabeth Daley, executive director of the University of Southern "
"California's Annenberg Center for Communication and dean of the USC School "
"of Cinema-Television, explained to me, the grammar was about <quote>the "
"placement of objects, color, &hellip; rhythm, pacing, and "
"texture.</quote><placeholder type=\"footnote\" id=\"0\"/> But as computers "
"open up an interactive space where a story is <quote>played</quote> as well "
"as experienced, that grammar changes. The simple control of narrative is "
"lost, and so other techniques are necessary. Author Michael Crichton had "
"mastered the narrative of science fiction.  But when he tried to design a "
"computer game based on one of his works, it was a new craft he had to "
"learn. How to lead people through a game without their feeling they have "
"been led was not obvious, even to a wildly successful author.<placeholder "
"type=\"footnote\" id=\"1\"/>"
msgstr ""
"Cette grammaire a évolué avec les médias. Quand il ne s'agissait que de "
"films, comme me l'a expliqué Elizabeth Daley, directeur du Centre de "
"Communication Annenberg de l'Université de Californie du Sud et doyenne de "
"l'école de Cinema-Télévision de l'USC, cette grammaire concernait "
"<quote>le placement des objets, les couleurs, ... le rythme, la vitesses et "
"la texture.</quote><placeholder type=\"footnote\" id=\"0\"/> Mais quand les ordinateurs ont "
"ouvert un espace interactif où une histoire est <quote>jouée</quote> autant que "
"suivie, la grammaire a changé. Le contrôle simple de la narration est perdu et "
"donc d'autres techniques sont nécessaires. L'auteur Michael Crichton maîtrisait "
"la narration de science-fiction. Mais quand il essaya de faire un jeu "
"d'ordinateur basé sur un de ses livres, il lui a fallu apprendre une "
"nouvelle forme. Comment conduire des gens à leur insu, le long de l'intrigue "
"d'un jeu, n'est pas évident même pour un auteur à succès.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "computer games"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This skill is precisely the craft a filmmaker learns. As Daley describes, "
"<quote>people are very surprised about how they are led through a film. [I]t "
"is perfectly constructed to keep you from seeing it, so you have no idea. If "
"a filmmaker succeeds you do not know how you were led.</quote> If you know "
"you were led through a film, the film has failed."
msgstr ""
"Cette compétence est précisément le métier qu'apprend un réalisateur de "
"films. Comme le décrit Daley, <quote>les gens sont très surpris par la "
"manière dont ils sont conduits le long d'un film. C'est parfaitement "
"construit pour être invisible, donc vous ne vous en rendez pas compte. Si un "
"réalisateur réussit son métier, alors vous n'avez pas conscience d'avoir "
"été mené.</quote> Et si avez conscience d'avoir été mené à travers un "
"film, alors c'est un échec."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet the push for an expanded literacy&mdash;one that goes beyond text to "
"include audio and visual elements&mdash;is not about making better film "
"directors.  The aim is not to improve the profession of filmmaking at all.  "
"Instead, as Daley explained,"
msgstr ""
"Pour autant l'impulsion en faveur d'une extension de l'enseignement de la "
"lecture (une lecture qui dépasse le texte pour inclure des éléments "
"sonores et visuels) n'est pas là pour faire de meilleurs metteurs en scène. "
"Le but n'est pas du tout d'améliorer la profession. Au contraire, comme "
"l'explique Daley,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"From my perspective, probably the most important digital divide is not "
"access to a box. It's the ability to be empowered with the language that "
"that box works in. Otherwise only a very few people can write with this "
"language, and all the rest of us are reduced to being read-only."
msgstr ""
"De mon point de vue, la fracture numérique la plus importante n'est "
"peut-être pas l'accès à un ordinateur. C'est plutôt la capacité de se "
"saisir du langage avec lequel cet ordinateur travaille. Sinon très peu de "
"gens peuvent écrire avec ce langage, et tous les autres sont réduits à "
"être <quote>read-only</quote>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere.  "
"Couch potatoes. Consumers. This is the world of media from the twentieth "
"century."
msgstr ""
"<quote>Read-only.</quote> Récepteurs passifs d'une culture produite "
"ailleurs. Plantes vertes.  Consommateurs. Voici le monde des médias du "
"vingtième siècle."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Interview with Daley and Barish.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr "Entrevue avec Daley et Barish.<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "Ibid."
msgstr "Ibid."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The twenty-first century could be different. This is the crucial point: It "
"could be both read and write. Or at least reading and better understanding "
"the craft of writing. Or best, reading and understanding the tools that "
"enable the writing to lead or mislead. The aim of any literacy, and this "
"literacy in particular, is to <quote>empower people to choose the "
"appropriate language for what they need to create or "
"express.</quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable "
"students <quote>to communicate in the language of the twenty-first "
"century.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Le vingt-et-unième siècle pourrait être différent. Ce point est crucial: "
"Il pourrait être à la fois lecture et écriture. Ou du moins, lire et mieux "
"comprendre l'art d'écrire. Ou mieux, lire et comprendre les outils qui "
"permettent à l'écriture de mener ou de détourner. Le but de toute lecture, "
"et de celle-ci en particulier, est de <quote>permettre aux gens de choisir le "
"langage approprié pour ce qu'ils ont besoin de créer ou "
"d'exprimer.</quote><placeholder type=\"footnote\" id=\"0\"/> C'est de permettre "
"aux étudiants de <quote>communiquer dans le langage du vingt-et-unième "
"siècle.</quote><placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"As with any language, this language comes more easily to some than to "
"others. It doesn't necessarily come more easily to those who excel in "
"written language. Daley and Stephanie Barish, director of the Institute for "
"Multimedia Literacy at the Annenberg Center, describe one particularly "
"poignant example of a project they ran in a high school.  The high school "
"was a very poor inner-city Los Angeles school. In all the traditional "
"measures of success, this school was a failure. But Daley and Barish ran a "
"program that gave kids an opportunity to use film to express meaning about "
"something the students know something about&mdash;gun violence."
msgstr ""
"Comme n'importe quel langage, ce langage vient plus facilement à certains "
"qu'à d'autres. Il ne vient pas forcément plus facilement à ceux qui "
"excellent dans le langage écrit. Daley et Stephanie Barish, le directeur de "
"l'Institut d'Etudes Multimédia au Centre Annenberg, décrit l'exemple "
"particulièrement poignant d'un projet qu'ils effectuèrent dans un lycée. "
"C'était un lycée très pauvre du centre ville de Los Angeles. Selon tous "
"les critères traditionnels du succès, ce lycée était un échec. Mais "
"Daley et Barish effectuèrent un programme qui donna aux enfants l'occasion "
"d'utiliser des films pour s'exprimer au sujet de quelque chose que les "
"étudiants connaissent: la violence par armes à feu."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The class was held on Friday afternoons, and it created a relatively new "
"problem for the school. While the challenge in most classes was getting the "
"kids to come, the challenge in this class was keeping them away. The "
"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> "
"said Barish. They were working harder than in any other class to do what "
"education should be about&mdash;learning how to express themselves."
msgstr ""
"Le cours eut lieu les vendredis après-midi et il créa un problème inédit "
"pour cette école. Alors que le problème de la plupart des cours est de "
"faire venir les enfants, le problème cette fois-ci fut de les en détourner. "
"Les <quote>enfants étaient là à 6 heures du matin et partaient à 5 heures "
"de l'après-midi</quote>, dit Barish. Ils travaillaient plus dur que dans "
"tout autre cours, pour faire ce qui devrait être le sujet de toute "
"éducation: apprendre à s'exprimer."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Using whatever <quote>free web stuff they could find,</quote> and relatively "
"simple tools to enable the kids to mix <quote>image, sound, and "
"text,</quote> Barish said this class produced a series of projects that "
"showed something about gun violence that few would otherwise "
"understand. This was an issue close to the lives of these students. The "
"project <quote>gave them a tool and empowered them to be able to both "
"understand it and talk about it,</quote> Barish explained. That tool "
"succeeded in creating expression&mdash;far more successfully and powerfully "
"than could have been created using only text. <quote>If you had said to "
"these students, `you have to do it in text,' they would've just thrown their "
"hands up and gone and done something else,</quote> Barish described, in "
"part, no doubt, because expressing themselves in text is not something these "
"students can do well. Yet neither is text a form in which "
"<emphasis>these</emphasis> ideas can be expressed well. The power of this "
"message depended upon its connection to this form of expression."
msgstr ""
"En utilisant tout ce qu'ils <quote>purent trouver comme support libre sur le "
"web</quote> et des outils relativement simples pour permettre aux enfants de "
"mélanger <quote>des images, du son et du texte</quote>, Barish indiqua que "
"la classe avait produit une série de projets montrant des éléments sur la "
"violence par arme à feu que peu auraient sinon compris. Cette production a "
"été proche de la vie de ces étudiants. Barish expliqua que le projet "
"<quote>leur a donné un outil et les a renforcé en leur permettant de le "
"comprendre et d'en parler</quote>. Cet outil a permis la création d'une "
"expression &mdash;avec plus de réussite et de puissance que ne l'aurait "
"permis le seul texte. <quote>Si vous aviez dit à ces étudiants, 'vous devez "
"l'écrire', ils auraient simplement baissé les bras et fait autre "
"chose</quote>, a indiqué Barish car, sans aucun doute, ces étudiants "
"n'auraient pas su exprimer correctement leurs idées avec du texte. D'autre "
"part, le texte n'est pas la forme dans laquelle <emphasis>ces "
"idées</emphasis> peuvent être le mieux exprimées. La puissance de ce "
"message dépend de son lien avec la forme d'expression."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>But isn't education about teaching kids to write?</quote> I asked. In "
"part, of course, it is. But why are we teaching kids to write? Education, "
"Daley explained, is about giving students a way of <quote>constructing "
"meaning.</quote> To say that that means just writing is like saying teaching "
"writing is only about teaching kids how to spell. Text is one part&mdash;and "
"increasingly, not the most powerful part&mdash;of constructing meaning. As "
"Daley explained in the most moving part of our interview,"
msgstr ""
"<quote>Mais</quote>, demandai-je, <quote>le but de l'instruction n'est-il pas "
"d'apprendre aux enfants à écrire?</quote> Bien sûr, ça l'est en partie. "
"Mais pourquoi leur apprenons-nous à écrire? Le but de l'instruction, "
"m'expliqua Daley, est de donner aux étudiants un moyen de <quote>construire "
"du sens</quote>. Affirmer que ceci se réduit à l'écriture, c'est comme "
"dire qu'apprendre à écrire revient à apprendre à épeler. L'écrit n'est "
"qu'une partie &mdash; et de moins en moins prépondérante &mdash; de notre "
"manière de nous exprimer. Comme Daley l'expliqua dans la partie la plus "
"intéressante de notre interview,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"What you want is to give these students ways of constructing meaning. If all "
"you give them is text, they're not going to do it.  Because they can't. You "
"know, you've got Johnny who can look at a video, he can play a video game, "
"he can do graffiti all over your walls, he can take your car apart, and he "
"can do all sorts of other things. He just can't read your text. So Johnny "
"comes to school and you say, <quote>Johnny, you're illiterate. Nothing you "
"can do matters.</quote> Well, Johnny then has two choices: He can dismiss "
"you or he [can] dismiss himself. If his ego is healthy at all, he's going to "
"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things "
"that you can do, let's talk about this issue. Play for me music that you "
"think reflects that, or show me images that you think reflect that, or draw "
"for me something that reflects that.</quote> Not by giving a kid a video "
"camera and &hellip; saying, <quote>Let's go have fun with the video camera "
"and make a little movie.</quote> But instead, really help you take these "
"elements that you understand, that are your language, and construct meaning "
"about the topic.&hellip;"
msgstr ""
"Ce que nous voulons, c'est donner à ces étudiants les moyens de construire "
"du sens. Si vous ne leur donnez que l'écrit, ils ne le feront pas. Parce "
"qu'ils n'y arriveront pas. Vous savez, vous avez là Johnny qui sait regarder "
"des films, il sait jouer à des jeux vidéo, il sait peindre des graffiti sur "
"tous vos murs, il sait démonter votre voiture, et il sait faire encore "
"beaucoup d'autres choses. Simplement, il ne sait pas lire votre texte. Donc "
"Johnny vient à l'école, et vous lui dites, <quote>Johnny, tu es illettré. "
"Tu ne sais rien faire d'intéressant.</quote> Eh bien, Johnny a deux "
"possibilités: ou bien il va se déprécier, ou bien c'est vous qu'il va "
"déprécier. Et s'il n'a pas de problèmes d'ego, c'est vous qu'il va "
"déprécier. Mais si à la place vous lui dites <quote>Eh bien, avec toutes "
"ces choses que tu sais faire, parlons un peu de faire ceci: Joue-moi une "
"musique, ou bien montre-moi des images, ou bien dessine-moi quelque-chose qui "
"exprime ceci ou cela.</quote> Pas en lui donnant une caméra vidéo et ... en "
"disant <quote>on va s'amuser avec la caméra et faire un petit film</quote>, "
"mais plutôt sers-toi des éléments que tu comprends, qui sont ton langage, "
"et construis du sens..."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"That empowers enormously. And then what happens, of course, is eventually, "
"as it has happened in all these classes, they bump up against the fact, "
"<quote>I need to explain this and I really need to write something.</quote> "
"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, "
"6, 7, 8 times, till they got it right."
msgstr ""
"Ceci libère beaucoup de potentiel. Et ce qui arrive ensuite, bien sûr, "
"comme ce fut le cas dans toutes ces classes, c'est qu'ils finissent par se "
"rendre compte que <quote>j'ai besoin d'expliquer ceci, et pour ça j'ai "
"vraiment besoin d'écrire quelque chose.</quote> Et, comme le dit un des "
"professeurs à Stephanie, ils réécrivaient un paragraphe 5, 6, 7, 8 fois, "
"jusqu'à ce qu'ils soient satisfaits."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"Because they needed to. There was a reason for doing it. They needed to say "
"something, as opposed to just jumping through your hoops. They actually "
"needed to use a language that they didn't speak very well. But they had come "
"to understand that they had a lot of power with this language."
msgstr ""
"Parce qu'ils en avaient besoin. Il y avait une raison pour le faire. Ils "
"avaient besoin de dire quelque chose, et non plus de sauter vos obstacles. "
"Ils avaient vraiment besoin d'utiliser un langage qu'ils ne parlaient pas "
"très bien. Mais ils avaient fini par comprendre que ce langage leur donnait "
"beaucoup de pouvoir.\""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "September 11, 2001, terrorist attacks of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "World Trade Center"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "news coverage"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>When two planes</emphasis> crashed into the World "
"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania "
"field, all media around the world shifted to this news. Every moment of just "
"about every day for that week, and for weeks after, television in "
"particular, and media generally, retold the story of the events we had just "
"witnessed. The telling was a retelling, because we had seen the events that "
"were described. The genius of this awful act of terrorism was that the "
"delayed second attack was perfectly timed to assure that the whole world "
"would be watching."
msgstr ""
"<emphasis role='strong'>Quand deux avions</emphasis> se sont écrasés contre "
"le World Trade Center, un autre sur le Pentagone, et un quatrième dans un "
"champ en Pennsylvanie, tous les médias du monde se sont mis à couvrir "
"l'événement. A chaque instant de chaque jour de cette semaine, et pendant "
"les semaines qui suivirent, les médias en général, et les télévisions en "
"particulier, ont répété l'histoire des événements auxquels nous venions "
"d'assister. Leur histoire était une redite, car nous avions vu les "
"événements qui étaient décrits. Le génie de cet acte terroriste horrible "
"fut que la seconde attaque, retardée, était parfaitement synchronisée pour "
"s'assurer que le monde entier serait en train de regarder."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These retellings had an increasingly familiar feel. There was music scored "
"for the intermissions, and fancy graphics that flashed across the "
"screen. There was a formula to interviews. There was <quote>balance,</quote> "
"and seriousness. This was news choreographed in the way we have increasingly "
"come to expect it, <quote>news as entertainment,</quote> even if the "
"entertainment is tragedy."
msgstr ""
"Ces redites nous ont semblé de plus en plus familières. Il y avait une "
"musique passée entre deux rediffusions, et des logos graphiques qui "
"passaient à l'écran. [ There was a formula to interviews] . Il y avait de "
"l'<quote>équilibre</quote>, et du sérieux. C'était de l'information, "
"chorégraphiée d'une manière à laquelle nous avons appris à nous "
"attendre, de l'<quote>info-divertissement</quote>, quand bien même le "
"divertissement est une tragédie."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "ABC"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "CBS"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But in addition to this produced news about the <quote>tragedy of September "
"11,</quote> those of us tied to the Internet came to see a very different "
"production as well. The Internet was filled with accounts of the same "
"events. Yet these Internet accounts had a very different flavor. Some people "
"constructed photo pages that captured images from around the world and "
"presented them as slide shows with text. Some offered open letters. There "
"were sound recordings. There was anger and frustration.  There were attempts "
"to provide context. There was, in short, an extraordinary worldwide barn "
"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber "
"Rights</citetitle>, around a news event that had captured the attention of "
"the world. There was ABC and CBS, but there was also the Internet."
msgstr ""
"Mais en plus de ces informations publiées à propos de la <quote>tragédie "
"du 11 septembre</quote>, ceux d'entre nous reliés à Internet ont pu "
"observer une production tout autre. Internet était plein de récits des "
"mêmes événements. Cependant, ces récits avaient un point de vue très "
"différent. Certaines personnes avaient réalisé des pages qui regroupaient "
"des photos du monde entier et les présentaient sous forme de diapositives "
"avec du texte. D'autres proposaient des lettres ouvertes. Il y avait des "
"enregistrements sonores. Il y avait de la colère et de la déception. Il y "
"avait des tentatives pour fournir un contexte. Il y avait, en bref, une "
"remarquable mobilisation mondiale, dans le sens où Mike Godwin l'utilise "
"dans son livre Cyber Rights, autour d'une actualité qui a captivé "
"l'attention du monde entier. Il y a eu ABC et CBS, mais il y a aussi eu "
"Internet."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I don't mean simply to praise the Internet&mdash;though I do think the "
"people who supported this form of speech should be praised. I mean instead "
"to point to a significance in this form of speech. For like a Kodak, the "
"Internet enables people to capture images. And like in a movie by a student "
"on the <quote>Just Think!</quote> bus, the visual images could be mixed with "
"sound or text."
msgstr ""
"Mon propos n'est pas de faire un simple éloge d'Internet, bien que je pense "
"que ceux qui ont soutenu cette forme d'expression méritent un éloge. Je "
"cherche plutôt à démontrer en quoi cette forme d'expression est "
"importante. Car comme Kodak, Internet permet de capturer des images. Et comme "
"dans un film créé par un étudiant de <quote>Just Think!</quote>, ces "
"images peuvent être mélangées à du son ou à du texte."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But unlike any technology for simply capturing images, the Internet allows "
"these creations to be shared with an extraordinary number of people, "
"practically instantaneously. This is something new in our "
"tradition&mdash;not just that culture can be captured mechanically, and "
"obviously not just that events are commented upon critically, but that this "
"mix of captured images, sound, and commentary can be widely spread "
"practically instantaneously."
msgstr ""
"Mais à la différence d'une technologie qui se contenterait de capturer des "
"images, Internet permet de partager ces créations avec un nombre "
"extraordinaire de gens, presque instantanément. Ceci est quelque chose de "
"nouveau dans notre tradition; non pas le fait que la culture puisse être "
"créée de façon mécanique, et évidemment pas non plus le fait que les "
"événements reçoivent des commentaires critiques, mais le fait que ce "
"mélange d'images, de son et de commentaires puisse être largement répandu, "
"presque instantanément."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "blogs (Web-logs)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "blogs on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Web-logs (blogs)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"September 11 was not an aberration. It was a beginning. Around the same "
"time, a form of communication that has grown dramatically was just beginning "
"to come into public consciousness: the Web-log, or blog. The blog is a kind "
"of public diary, and within some cultures, such as in Japan, it functions "
"very much like a diary. In those cultures, it records private facts in a "
"public way&mdash;it's a kind of electronic <citetitle>Jerry "
"Springer</citetitle>, available anywhere in the world."
msgstr ""
"Le 11 septembre n'a pas été une aberration, mais un début. Vers la même "
"époque, une forme de communication qui a pris depuis beaucoup d'importance, "
"venait de faire son apparition dans l'esprit du public: Le Web-log, ou blog. "
"Le blog est une sorte d'agenda public, et dans certaines cultures, comme au "
"Japon, il fonctionne beaucoup comme un journal de bord. Dans ces cultures, il "
"consigne des faits privés d'une manière publique&mdash; c'est une sorte de "
"<citetitle>Jerry Springer</citetitle> électronique, disponible partout dans "
"le monde."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "political discourse"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "public discourse conducted on"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But in the United States, blogs have taken on a very different character.  "
"There are some who use the space simply to talk about their private "
"life. But there are many who use the space to engage in public "
"discourse. Discussing matters of public import, criticizing others who are "
"mistaken in their views, criticizing politicians about the decisions they "
"make, offering solutions to problems we all see: blogs create the sense of a "
"virtual public meeting, but one in which we don't all hope to be there at "
"the same time and in which conversations are not necessarily linked. The "
"best of the blog entries are relatively short; they point directly to words "
"used by others, criticizing with or adding to them.  They are arguably the "
"most important form of unchoreographed public discourse that we have."
msgstr ""
"Mais aux États-Unis, les blogs ont pris un caractère très différent. "
"Certains utilisent cet espace simplement pour parler de leur vie privée. "
"Mais beaucoup l'utilisent pour engager des conversations publiques. Ils "
"discutent de sujets d'intérêt public, critiquent ceux qui se trompent à "
"leurs yeux, critiquent les hommes politiques sur les décisions qu'ils "
"prennent, proposent des solutions aux problèmes que nous voyons tous: les "
"blogs donnent l'impression d'une réunion publique virtuelle, mais à "
"laquelle nous n'avons pas besoin d'être présents en même temps, et où les "
"conversations ne sont pas nécessairement reliées. Les meilleures "
"contributions sont relativement courtes; elles pointent directement vers les "
"mots utilisés par d'autres, en les critiquant ou en y ajoutant quelque "
"chose. Les blogs sont sans doute la forme la plus importante de discours "
"public non chorégraphié que nous possédions."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "elections"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"That's a strong statement. Yet it says as much about our democracy as it "
"does about blogs. This is the part of America that is most difficult for "
"those of us who love America to accept: Our democracy has atrophied.  Of "
"course we have elections, and most of the time the courts allow those "
"elections to count. A relatively small number of people vote in those "
"elections. The cycle of these elections has become totally professionalized "
"and routinized. Most of us think this is democracy."
msgstr ""
"Ceci est une affirmation forte. Et pourtant, elle en dit autant sur notre "
"démocratie que sur les blogs. Voici l'aspect de l'Amérique qui est le plus "
"difficile à accepter pour ceux d'entre nous qui aiment l'Amérique&nbsp;: "
"notre démocratie s'est atrophiée. Bien sûr nous avons des élections, et "
"la plupart du temps les tribunaux permettent à ces élections de compter. Un "
"nombre relativement restreint de gens votent au cours de ces élections. Le "
"cycle de ces élections est devenu complètement professionnalisé et "
"routinier. La plupart d'entre nous pensent que c'est ça, la démocratie."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Tocqueville, Alexis de"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "public discourse in"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "jury system"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See, for example, Alexis de Tocqueville, <citetitle>Democracy in "
"America</citetitle>, bk. 1, trans.  Henry Reeve (New York: Bantam Books, "
"2000), ch. 16."
msgstr ""
"Voir, par exemple, Alexis de Tocqueville,<citetitle> Democracy in "
"America,</citetitle> bk. 1, trans. Henry Reeve (New York: Bantam Books, "
"2000), ch. 16."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But democracy has never just been about elections. Democracy means rule by "
"the people, but rule means something more than mere elections. In our "
"tradition, it also means control through reasoned discourse.  This was the "
"idea that captured the imagination of Alexis de Tocqueville, the "
"nineteenth-century French lawyer who wrote the most important account of "
"early <quote>Democracy in America.</quote> It wasn't popular elections that "
"fascinated him&mdash;it was the jury, an institution that gave ordinary "
"people the right to choose life or death for other citizens.  And most "
"fascinating for him was that the jury didn't just vote about the outcome "
"they would impose. They deliberated. Members argued about the "
"<quote>right</quote> result; they tried to persuade each other of the "
"<quote>right</quote> result, and in criminal cases at least, they had to "
"agree upon a unanimous result for the process to come to an end.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Mais la démocratie ne s'est jamais réduite à des élections. La "
"démocratie, c'est la souveraineté du peuple, mais la souveraineté signifie "
"plus que de simples élections. Dans notre tradition, cela signifie aussi le "
"contrôle à travers des débats raisonnés. C'était d'ailleurs là l'idée "
"qui captura l'imagination de l'écrivain français du XIXe siècle Alexis de "
"Tocqueville, auteur de la plus importante analyse de la <citetitle>Démocratie en "
"Amérique</citetitle> de ce temps-là. Ce n'étaient pas les élections populaires "
"qui le fascinaient&nbsp;; c'était le jury, une institution judiciaire qui "
"donnait à des gens ordinaires le pouvoir de décider de la vie ou de la mort "
"d'autres citoyens. Et le plus fascinant pour lui était que le jury ne "
"faisait pas que voter sur l'issue du procès. Ils délibéraient. Les membres "
"se mettaient d'accord sur la meilleure solution, ils tentaient de se "
"convaincre les uns les autres de ce qui leur paraissait être la "
"<quote>bonne</quote> solution et, au moins dans les cas d'assises, devaient "
"obtenir l'unanimité pour que le procès soit clos<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> "
"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."
msgstr ""
"Bruce Ackerman et James Fishkin, <quote>Deliberation Day,</quote><citetitle> "
"Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet even this institution flags in American life today. And in its place, "
"there is no systematic effort to enable citizen deliberation. Some are "
"pushing to create just such an institution.<placeholder type=\"footnote\" "
"id=\"0\"/> And in some towns in New England, something close to deliberation "
"remains. But for most of us for most of the time, there is no time or place "
"for <quote>democratic deliberation</quote> to occur."
msgstr ""
"Et pourtant, même cette institution faiblit de nos jours en Amérique. Et à "
"sa place, il n'existe pas d'effort concerté pour permettre aux citoyens de "
"délibérer. Certaines personnes appellent à la création d'une institution "
"dont ce serait le rôle<placeholder type=\"footnote\" id=\"0\"/>. Et dans "
"certaines villes de Nouvelle Angleterre, quelque chose d'analogue aux "
"délibérations existe encore. Mais pour la plupart d'entre nous, et la "
"plupart du temps, il n'existe ni espace ni moment réservé à la "
"<quote>délibération démocratique</quote>."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton "
"University Press, 2001), 65&ndash;80, 175, 182, 183, 192."
msgstr ""
"Cass Sunstein,<citetitle> Republic.com</citetitle> (Princeton: Princeton "
"University Press, 2001), 65-80, 175, 182, 183, 192."

#. type: Content of: <book><part><chapter><para>
msgid ""
"More bizarrely, there is generally not even permission for it to occur.  We, "
"the most powerful democracy in the world, have developed a strong norm "
"against talking about politics. It's fine to talk about politics with people "
"you agree with. But it is rude to argue about politics with people you "
"disagree with. Political discourse becomes isolated, and isolated discourse "
"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what "
"our friends want to hear, and hear very little beyond what our friends say."
msgstr ""
"Le plus bizarre est qu'en général, ce débat n'a même pas l'autorisation "
"d'avoir lieu. Nous, la démocratie la plus puissant au monde, avons adopté "
"une norme forte, qui nous interdit de parler de politique. Il est permis de "
"parler de politique avec les gens avec qui vous êtes d'accord. Mais il est "
"impoli d'en discuter avec ceux avec qui vous n'êtes pas d'accord. Le "
"discours politique se fait isolé, et un discours isolé se fait plus "
"extrême<placeholder type=\"footnote\" id=\"0\"/>. Nous tenons le discours "
"que nos amis veulent entendre, et nous n'entendons presque rien d'autre que "
"ce qu'ils nous disent."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "e-mail"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Enter the blog. The blog's very architecture solves one part of this "
"problem. People post when they want to post, and people read when they want "
"to read. The most difficult time is synchronous time.  Technologies that "
"enable asynchronous communication, such as e-mail, increase the opportunity "
"for communication. Blogs allow for public discourse without the public ever "
"needing to gather in a single public place."
msgstr ""
"Arrive le blog. L'architecture même du blog résout une partie de ce "
"problème. Les gens postent quand ils en ont envie, et ils lisent quand ils "
"en ont envie. La difficulté est de synchroniser les gens. Une technologie "
"qui permet aux gens de communiquer de façon asynchrone, comme le courrier "
"électronique, augmente les occasions de communiquer. Les blogs permettent "
"des débats publics sans obliger le public à se rassembler en un seul "
"endroit."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But beyond architecture, blogs also have solved the problem of "
"norms. There's no norm (yet) in blog space not to talk about politics.  "
"Indeed, the space is filled with political speech, on both the right and the "
"left. Some of the most popular sites are conservative or libertarian, but "
"there are many of all political stripes. And even blogs that are not "
"political cover political issues when the occasion merits."
msgstr ""
"Mais au-delà de l'architecture, les blogs ont aussi résolu le problème des "
"normes. Il n'existe pas (encore) de norme qui interdise de parler de "
"politique sur un blog. De fait, cet espace est rempli de discours à teneur "
"politique, de droite comme de gauche. Certains des sites les plus populaires "
"sont conservateurs ou libertaires, mais beaucoup ont toutes les couleurs "
"politiques. Et même les blogs qui ne sont pas politiques traitent de "
"problèmes politiques quand l'occasion s'en présente."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Dean, Howard"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The significance of these blogs is tiny now, though not so tiny. The name "
"Howard Dean may well have faded from the 2004 presidential race but for "
"blogs. Yet even if the number of readers is small, the reading is having an "
"effect."
msgstr ""
"Pour le moment, l'impact de ces blogs est faible, mais pas nul. Sans les "
"blogs, le nom de Howard Dean aurait sans-doute disparu de la course à "
"l'élection présidentielle de 2004. Car quand bien même le nombre de leurs "
"lecteurs reste faible, leur lecture a un effet."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Lott, Trent"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Thurmond, Strom"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "blog pressure on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "news events on"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the "
"Pot,</quote> New York Times, 16 January 2003, G5."
msgstr ""
"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the "
"Pot,</quote><citetitle> New York Times,</citetitle> 16 January 2003, G5."

#. type: Content of: <book><part><chapter><para>
msgid ""
"One direct effect is on stories that had a different life cycle in the "
"mainstream media. The Trent Lott affair is an example. When Lott "
"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially "
"praising Thurmond's segregationist policies, he calculated correctly that "
"this story would disappear from the mainstream press within forty-eight "
"hours. It did. But he didn't calculate its life cycle in blog space. The "
"bloggers kept researching the story. Over time, more and more instances of "
"the same <quote>misspeaking</quote> emerged. Finally, the story broke back "
"into the mainstream press. In the end, Lott was forced to resign as senate "
"majority leader.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Un effet direct concerne les actualités, qui avaient un cycle de vie "
"différent dans les médias traditionnels. L'affaire Trent Lott en est un "
"exemple. Quand Lott effectua un <quote>dérapage verbal</quote> lors d'une "
"fête en l'honneur du sénateur Strom Thurmond, en vantant la politique "
"ségrégationniste de Thurmond, il avait fait le calcul correct que cette "
"histoire disparaîtrait de la presse traditionnelle en quarante-huit heures. "
"Ce qui fut le cas. Mais il n'avait pas compté avec sa durée de vie sur les "
"blogs. Les blogueurs n'arrêtèrent pas de rechercher cette histoire. Au "
"cours du temps, de plus en plus de récits de ce <quote>dérapage</quote> "
"apparurent. Finalement, cette histoire fit son retour dans la presse "
"traditionnelle. Pour finir Lott fut forcé de démissionner en tant que "
"leader de la majorité au sénat<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "commercial imperatives of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This different cycle is possible because the same commercial pressures don't "
"exist with blogs as with other ventures. Television and newspapers are "
"commercial entities. They must work to keep attention.  If they lose "
"readers, they lose revenue. Like sharks, they must move on."
msgstr ""
"Ce cycle différent est possible car les blogs ne sont pas soumis aux mêmes "
"pressions commerciales que les autres médias. Les journaux et les "
"télévisions sont des entités commerciales. Ils doivent travailler à "
"garder l'attention. S'ils perdent des lecteurs, ils perdent des revenus. "
"Comme les requins, ils sont obligés d'avancer sans arrêt."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "peer-generated rankings on"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But bloggers don't have a similar constraint. They can obsess, they can "
"focus, they can get serious. If a particular blogger writes a particularly "
"interesting story, more and more people link to that story. And as the "
"number of links to a particular story increases, it rises in the ranks of "
"stories. People read what is popular; what is popular has been selected by a "
"very democratic process of peer-generated rankings."
msgstr ""
"Mais les blogueurs n'ont pas de contrainte de ce genre. Ils peuvent "
"persévérer, ils peuvent se concentrer, ils peuvent devenir sérieux. Si un "
"blogueur écrit un texte particulièrement intéressant, de nombreux "
"internautes créent des liens vers ce texte. Et plus le nombre de liens vers "
"un texte augmente, mieux ce texte est classé. Les gens lisent ce qui a du "
"succès; ce qui a du succès a été sélectionné par un processus très "
"démocratique de classement par les pairs."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "journalism"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Winer, Dave"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"There's a second way, as well, in which blogs have a different cycle from "
"the mainstream press. As Dave Winer, one of the fathers of this movement and "
"a software author for many decades, told me, another difference is the "
"absence of a financial <quote>conflict of interest.</quote> <quote>I think "
"you have to take the conflict of interest</quote> out of journalism, Winer "
"told me.  <quote>An amateur journalist simply doesn't have a conflict of "
"interest, or the conflict of interest is so easily disclosed that you know "
"you can sort of get it out of the way.</quote>"
msgstr ""
"Il y a aussi un autre aspect en lequel les blogs ont une vie différente de "
"la presse traditionnelle. Comme me l'a dit Dave Winer, un des pères de ce "
"mouvement, et un auteur de logiciels depuis plusieurs décades, une autre "
"différence est l'absence de <quote>conflit d'intérêt</quote> financier. "
"<quote>Je pense que vous devriez débarrasser le journalisme du conflit "
"d'intérêt</quote>, m'a dit Winer. <quote>Un journaliste amateur n'a pas de "
"conflit d'intérêt, ou alors ce conflit d'intérêt est si facile à voir "
"que vous savez, vous pouvez vous en débarrasser</quote>."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "CNN"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Iraq war"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr "Entrevue par téléphone avec with David Winer, 16 avril 2003."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These conflicts become more important as media becomes more concentrated "
"(more on this below). A concentrated media can hide more from the public "
"than an unconcentrated media can&mdash;as CNN admitted it did after the Iraq "
"war because it was afraid of the consequences to its own "
"employees.<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain "
"a more coherent account. (In the middle of the Iraq war, I read a post on "
"the Internet from someone who was at that time listening to a satellite "
"uplink with a reporter in Iraq. The New York headquarters was telling the "
"reporter over and over that her account of the war was too bleak: She needed "
"to offer a more optimistic story. When she told New York that wasn't "
"warranted, they told her that <emphasis>they</emphasis> were writing "
"<quote>the story.</quote>)"
msgstr ""
"Ces conflits deviennent plus importants quand les médias deviennent plus "
"concentrés (nous en reparlerons plus loin). La concentration permet aux "
"médias de cacher plus de choses au public &mdash; et CNN a reconnu l'avoir "
"fait après la guerre en Irak, par peur des conséquences sur ses propres "
"employés<placeholder type=\"footnote\" id=\"0\"/>. Elle leur impose aussi "
"d'adopter un point de vue plus cohérent. (En pleine guerre d'Irak, j'ai lu "
"un message sur Internet, de quelqu'un qui à l'époque écoutait une liaison "
"satellite avec un reporter en Irak. La maison mère de New York répétait "
"sans cesse au reporter que sa version de la guerre était trop triste: elle "
"devait proposer un reportage plus optimiste. Quand elle dit à New York que "
"ça n'était pas garanti, ils rétorquèrent que c'était "
"<emphasis>eux</emphasis> qui écrivaient <quote>le reportage</quote>)."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of "
"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 "
"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, "
"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>."
msgstr ""
"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of "
"Information Online,</quote><citetitle> New York Times,</citetitle> 2 February "
"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but "
"Strong Overall,</quote> Online Journalism Review, 2 February 2003, disponible "
"au lien #10."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Blog space gives amateurs a way to enter the "
"debate&mdash;<quote>amateur</quote> not in the sense of inexperienced, but "
"in the sense of an Olympic athlete, meaning not paid by anyone to give their "
"reports. It allows for a much broader range of input into a story, as "
"reporting on the Columbia disaster revealed, when hundreds from across the "
"southwest United States turned to the Internet to retell what they had "
"seen.<placeholder type=\"footnote\" id=\"0\"/> And it drives readers to read "
"across the range of accounts and <quote>triangulate,</quote> as Winer puts "
"it, the truth. Blogs, Winer says, are <quote>communicating directly with our "
"constituency, and the middle man is out of it</quote>&mdash;with all the "
"benefits, and costs, that might entail."
msgstr ""
"Les Blogs donnent aux amateurs un moyen d'entrer dans le débat &mdash; "
"j'emploie le mot <quote>amateur</quote> non pas au sens de personne "
"inexpérimentée, mais au sens d'un athlète olympique, c'est-à-dire "
"quelqu'un qui n'est payé par personne pour rendre compte. Ceci permet "
"d'avoir plus de points de vue sur une information, comme l'ont démontré les "
"comptes-rendus sur le désastre de la navette Columbia, quand des centaines "
"de personnes du sud-ouest des États-Unis se sont tournées vers Internet "
"pour raconter ce qu'elles avaient vu<placeholder type=\"footnote\" "
"id=\"0\"/>. Et ceci conduit les lecteurs à lire plusieurs points de vue, et "
"à estimer la vérité <quote>par triangulation</quote>, comme le dit Winer. "
"Les blogs, d'après Winer, <quote>sont un lien direct avec notre pensée, et "
"il n'y a pas d'intermédiaire</quote>&mdash; avec tous les avantages, et tous "
"les inconvénients que cela suppose."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Olafson, Steve"
msgstr "Olafson, Steve"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> See Michael Falcone, <quote>Does an Editor's "
"Pencil Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 "
"September 2003, C4. (<quote>Not all news organizations have been as "
"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq "
"who started a blog about his reporting of the war on March 9, stopped "
"posting 12 days later at his bosses' request. Last year Steve Olafson, a "
"<citetitle>Houston Chronicle</citetitle> reporter, was fired for keeping a "
"personal Web log, published under a pseudonym, that dealt with some of the "
"issues and people he was covering.</quote>)"
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> Voir Michael Falcone, <quote>Does an Editor's "
"Pencil Ruin a Web Log?</quote><citetitle> New York Times,</citetitle> 29 "
"septembre 2003, C4. "
"(<quote>Toutes les organisations d'information n'ont pas été aussi "
"tolérantes envers les employés qui blogguent. Kevin Sites, un correspondant "
"de CNN en Irak qui avait commencé un blog sur son reportage sur la guerre le "
"9 mars, arrêta de poster 12 jours plus tard à la demande de son chef. "
"L'année dernière Steve Olaf - fils, un reporter de <citetitle>Houston "
"Chronicle</citetitle>, a été renvoyé pour avoir gardé un blog personnel, "
"publié sous un pseudonyme, qui traitait de certains sujets et personnes "
"qu'il couvrait.</quote>)"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Winer is optimistic about the future of journalism infected with "
"blogs. <quote>It's going to become an essential skill,</quote> Winer "
"predicts, for public figures and increasingly for private figures as "
"well. It's not clear that <quote>journalism</quote> is happy about "
"this&mdash;some journalists have been told to curtail their "
"blogging.<placeholder type=\"footnote\" id=\"0\"/> But it is clear that we "
"are still in transition. <quote>A lot of what we are doing now is warm-up "
"exercises,</quote> Winer told me.  There is a lot that must mature before "
"this space has its mature effect.  And as the inclusion of content in this "
"space is the least infringing use of the Internet (meaning infringing on "
"copyright), Winer said, <quote>we will be the last thing that gets shut "
"down.</quote>"
msgstr ""
"Winer est confiant en l'avenir d'un journalisme contaminé par les blogs. "
"<quote>Ça va devenir une compétence essentielle</quote>, prédit-il, pour "
"les personnages publics, et de plus en plus pour les particuliers. Il n'est "
"pas sûr que ça plaise au <quote>journalisme</quote> &mdash; certains "
"journalistes ont reçu pour instruction de limiter leur activité sur les "
"blogs<placeholder type=\"footnote\" id=\"0\"/>. Mais il est clair que nous "
"sommes encore dans une période de transition. <quote>Une grande partie de ce "
"que nous faisons maintenant correspond à un exercice "
"d'échauffement</quote>, m'a dit Winer. Beaucoup de choses doivent parvenir "
"à maturité, pour que cet espace démontre son plein effet. Et comme "
"l'addition de contenus à cet espace est l'utilisation d'Internet qui viole "
"le moins de copyrights, Winer m'a dit: <quote>nous sommes la dernière chose "
"qu'ils censureront.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"This speech affects democracy. Winer thinks that happens because <quote>you "
"don't have to work for somebody who controls, [for] a gatekeeper.</quote> "
"That is true. But it affects democracy in another way as well.  As more and "
"more citizens express what they think, and defend it in writing, that will "
"change the way people understand public issues. It is easy to be wrong and "
"misguided in your head. It is harder when the product of your mind can be "
"criticized by others. Of course, it is a rare human who admits that he has "
"been persuaded that he is wrong. But it is even rarer for a human to ignore "
"when he has been proven wrong.  The writing of ideas, arguments, and "
"criticism improves democracy.  Today there are probably a couple of million "
"blogs where such writing happens. When there are ten million, there will be "
"something extraordinary to report."
msgstr ""
"Ce discours a un effet sur la démocratie. Winer pense que ceci est dû au "
"fait que <quote>vous ne travaillez pas pour quelqu'un qui contrôle, pour un "
"gardien du temple</quote>. C'est vrai. Mais il a aussi un autre effet sur la "
"démocratie. Quand des citoyens toujours plus nombreux expriment leur point "
"de vue, le défendent par écrit, cela modifie la manière dont les gens "
"perçoivent les problèmes publics. Il est facile de se tromper tout seul. "
"C'est plus difficile quand le produit de votre esprit peut être critiqué "
"par d'autres. Bien sûr, rares sont les hommes qui reconnaissent avoir eu "
"tort. Mais encore plus rares sont ceux qui ne tiennent pas compte du fait que "
"l'on démontre qu'ils ont tort. Le fait d'écrire ses idées, arguments et "
"critiques, améliore la démocratie. Aujourd'hui, il y a peut-être deux "
"millions de blogs où de tels débats écrits prennent place. Quand il y en "
"aura dix millions, nous assisterons à quelque chose d'extraordinaire."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Brown, John Seely"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist "
"of the Xerox Corporation.  His work, as his Web site describes it, is "
"<quote>human learning and &hellip; the creation of knowledge ecologies for "
"creating &hellip; innovation.</quote>"
msgstr ""
"<emphasis role='strong'>John Seely Brown</emphasis> est le directeur "
"scientifique de Xerox. Son travail, comme il le décrit sur son site Web, est "
"centré sur <quote>l'apprentissage humain et [...] la création d'écologies "
"de la connaissance afin de créer [...] de l'innovation.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Brown thus looks at these technologies of digital creativity a bit "
"differently from the perspectives I've sketched so far. I'm sure he would be "
"excited about any technology that might improve democracy. But his real "
"excitement comes from how these technologies affect learning."
msgstr ""
"Brown voit donc ces technologies de création numérique sous un angle un peu "
"différent des perspectives que j'ai décrites jusqu'ici. Je suis certain "
"qu'il serait enthousiasmé par n'importe quelle technologie qui pourrait "
"améliorer la démocratie. Mais ce qui l'intéresse vraiment, c'est la "
"manière dont ces technologies affectent l'apprentissage."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As Brown believes, we learn by tinkering. When <quote>a lot of us grew "
"up,</quote> he explains, that tinkering was done <quote>on motorcycle "
"engines, lawnmower engines, automobiles, radios, and so on.</quote> But "
"digital technologies enable a different kind of tinkering&mdash;with "
"abstract ideas though in concrete form. The kids at Just Think! not only "
"think about how a commercial portrays a politician; using digital "
"technology, they can take the commercial apart and manipulate it, tinker "
"with it to see how it does what it does. Digital technologies launch a kind "
"of bricolage, or <quote>free collage,</quote> as Brown calls it. Many get to "
"add to or transform the tinkering of many others."
msgstr ""
"D'après Brown, nous apprenons en bricolant. Quand <quote>la plupart d'entre "
"nous sommes devenus grands,</quote> explique-t-il, ce bricolage s'est fait "
"<quote>sur des moteurs de motos, de tondeuses, des automobiles, des radios, "
"etc.</quote> Mais les technologies numériques rendent possible un bricolage "
"d'un type différent: avec des idées abstraites, mais sous forme concrète. "
"Les jeunes de <quote>Just Think!</quote> ne se contentent pas de penser à la "
"manière dont une publicité présente un homme politique; en utilisant les "
"technologies numériques, ils peuvent découper cette publicité, et la "
"manipuler, bricoler afin de voir comment elle fait ce qu'elle fait. Les "
"technologies numériques ont lancé une forme de bricolage, ou de "
"<quote>collage libre,</quote> comme l'appelle Brown. Beaucoup peuvent "
"compléter ou transformer les résultats d'expériences faites par beaucoup "
"d'autres."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The best large-scale example of this kind of tinkering so far is free "
"software or open-source software (FS/OSS). FS/OSS is software whose source "
"code is shared. Anyone can download the technology that makes a FS/OSS "
"program run. And anyone eager to learn how a particular bit of FS/OSS "
"technology works can tinker with the code."
msgstr ""
"Jusqu'ici, le meilleur exemple de grande envergure de ce type de bricolage "
"est le logiciel libre, ou open-source. Il s'agit de logiciels dont le code "
"source est partagé. N'importe qui peut télécharger la technologie qui fait "
"tourner ces programmes. Et n'importe quelle personne désireuse d'apprendre "
"comment fonctionne un aspect particulier d'une technologie libre ou open- "
"source peut bricoler avec son code."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This opportunity creates a <quote>completely new kind of learning "
"platform,</quote> as Brown describes. <quote>As soon as you start doing "
"that, you &hellip; unleash a free collage on the community, so that other "
"people can start looking at your code, tinkering with it, trying it out, "
"seeing if they can improve it.</quote> Each effort is a kind of "
"apprenticeship. <quote>Open source becomes a major apprenticeship "
"platform.</quote>"
msgstr ""
"Cette possibilité créé une <quote>plate-forme d'apprentissage d'un type "
"entièrement nouveau</quote>, comme le décrit Brown. <quote>Dès que vous "
"commencez à faire cela, vous [...] offrez un collage libre à la "
"communauté, de sorte que d'autres gens peuvent examiner votre code, bricoler "
"avec, faire des essais, voir s'ils peuvent l'améliorer.</quote> Chaque "
"effort est une forme d'apprentissage. <quote>L'open source devient une plate- "
"forme d'apprentissage majeure.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"In this process, <quote>the concrete things you tinker with are abstract.  "
"They are code.</quote> Kids are <quote>shifting to the ability to tinker in "
"the abstract, and this tinkering is no longer an isolated activity that "
"you're doing in your garage. You are tinkering with a community "
"platform. &hellip; You are tinkering with other people's stuff. The more you "
"tinker the more you improve.</quote> The more you improve, the more you "
"learn."
msgstr ""
"Dans ce processus, <quote>les choses concrètes avec lesquelles vous bricolez "
"sont abstraites. Elles sont du code.</quote> Les jeunes <quote>déplacent "
"leur habileté à bricoler vers le domaine abstrait, et ce bricolage n'est "
"plus une activité solitaire que vous faites dans votre garage. Vous bricolez "
"au sein d'une communauté... Vous bricolez avec les créations d'autres "
"personnes. Plus vous bricolez, plus vous les améliorez.</quote> Plus vous "
"les améliorez, plus vous apprenez."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This same thing happens with content, too. And it happens in the same "
"collaborative way when that content is part of the Web. As Brown puts it, "
"<quote>the Web [is] the first medium that truly honors multiple forms of "
"intelligence.</quote> Earlier technologies, such as the typewriter or word "
"processors, helped amplify text. But the Web amplifies much more than "
"text. <quote>The Web &hellip; says if you are musical, if you are artistic, "
"if you are visual, if you are interested in film &hellip; [then] there is a "
"lot you can start to do on this medium. [It] can now amplify and honor these "
"multiple forms of intelligence.</quote>"
msgstr ""
"Ce même processus est aussi à l'œuvre avec les contenus. Et il se produit "
"de la même manière collaborative quand ce contenu est sur le Web. Comme le "
"dit Brown, <quote>le Web [est] le premier médium qui rend véritablement "
"hommage à de multiples formes d'intelligence.</quote> Les technologies "
"précédentes, comme la machine à écrire ou le traitement de texte, ont "
"aidé à amplifier l'écrit. Mais le Web amplifie bien plus que l'écrit. "
"<quote>Le Web [...] dit ceci: si vous êtes musicien, artiste, ou bien "
"intéressé par le cinéma [alors] il y a beaucoup de choses que vous pouvez "
"faire avec ce medium. Aujourd'hui, [le web] peut amplifier ces multiples "
"formes d'intelligence, et leur rendre hommage.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just "
"Think! teach: that this tinkering with culture teaches as well as "
"creates. It develops talents differently, and it builds a different kind of "
"recognition."
msgstr ""
"Brown parle de ce qu'Elizabeth Daley, Stephanie Barish, et Just Think! nous "
"enseignent: le fait que ce bricolage culturel instruit autant qu'il créé. "
"Il développe des talents d'une manière différente, et il s'ensuit un type "
"différent de reconnaissance."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet the freedom to tinker with these objects is not guaranteed.  Indeed, as "
"we'll see through the course of this book, that freedom is increasingly "
"highly contested. While there's no doubt that your father had the right to "
"tinker with the car engine, there's great doubt that your child will have "
"the right to tinker with the images she finds all around.  The law and, "
"increasingly, technology interfere with a freedom that technology, and "
"curiosity, would otherwise ensure."
msgstr ""
"Cependant, la liberté de bricoler avec ces objets n'est pas garantie. En "
"fait, comme nous allons le voir au cours de ce livre, cette liberté est de "
"plus en plus menacée. Alors qu'il ne faisait aucun doute que votre père "
"avait le droit de bricoler avec le moteur de sa voiture, il est très peu "
"probable que votre enfant aura le droit de bricoler avec les images qu'elle "
"trouve autour d'elle. La loi et, de plus en plus, la technologie, "
"interfèrent avec une liberté que la technologie et la curiosité auraient "
"normalement garantie."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See, for example, Edward Felten and Andrew Appel, <quote>Technological "
"Access Control Interferes with Noninfringing Scholarship,</quote> "
"<citetitle>Communications of the Association for Computer "
"Machinery</citetitle> 43 (2000): 9."
msgstr ""
"Voir, par exemple, Edward Felten et Andrew Appel, <quote>Technological Access "
"Control Interferes with Noninfringing Scholarship,</quote><citetitle> "
"Communications of the Association for Computer Machinery</citetitle> 43 "
"(2000): 9."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These restrictions have become the focus of researchers and scholars.  "
"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>)  has developed a "
"powerful argument in favor of the <quote>right to tinker</quote> as it "
"applies to computer science and to knowledge in general.<placeholder "
"type=\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or "
"more fundamental. It is about the learning that kids can do, or can't do, "
"because of the law."
msgstr ""
"Ces restrictions sont devenues la préoccupation de certains chercheurs et "
"universitaires. Ed Felten, professeur à Princeton (et dont nous reparlerons "
"au chapitre  <xref xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) "
"a développé un argument fort en faveur du <quote>droit à "
"bricoler</quote>, comme il s'applique à l'informatique et au savoir en "
"général<placeholder type=\"footnote\" id=\"0\"/>. Mais l'inquiétude de "
"Brown est antérieure, ou plus fondamentale. Elle concerne ce que les enfants "
"peuvent ou ne peuvent pas apprendre, à cause de la loi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>This is where education in the twenty-first century is going,</quote> "
"Brown explains. We need to <quote>understand how kids who grow up digital "
"think and want to learn.</quote>"
msgstr ""
"<quote>Voici où va l'éducation du vingt-et-unième siècle,</quote> "
"explique Brown. Nous devons <quote>comprendre comment les enfants qui "
"grandissent dans un monde numérique pensent et veulent apprendre.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Yet,</quote> as Brown continued, and as the balance of this book will "
"evince, <quote>we are building a legal system that completely suppresses the "
"natural tendencies of today's digital kids. &hellip; We're building an "
"architecture that unleashes 60 percent of the brain [and] a legal system "
"that closes down that part of the brain.</quote>"
msgstr ""
"<quote>Mais,</quote> comme le dit Brown, et comme le démontre la suite de ce "
"livre, <quote>nous sommes en train de construire un système légal qui "
"supprime complètement les tendances naturelles des enfants de l'ère "
"numérique... Nous sommes en train de construire une architecture qui libère "
"60 pour cent de l'intellect, [et] un système légal qui referme cette même "
"partie de l'intellect.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"We're building a technology that takes the magic of Kodak, mixes moving "
"images and sound, and adds a space for commentary and an opportunity to "
"spread that creativity everywhere. But we're building the law to close down "
"that technology."
msgstr ""
"Nous sommes en train de construire une technologie qui prend la magie du "
"Kodak, permet de mélanger des images et du son, y ajoute de l'espace pour "
"accueillir des commentaires, et la possibilité de répandre partout cette "
"créativité. Mais nous construisons aussi des lois pour fermer cette "
"technologie."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet "
"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
"quipped to me in a rare moment of despondence."
msgstr ""
"<quote>Ce n'est pas comme ça qu'on fait marcher une culture,</quote> comme "
"me le dit Brewster Kahle, que nous rencontrerons au chapitre "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, dans un rare "
"moment de découragement."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Three: Catalogs"
msgstr "Catalogues"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Jordan, Jesse"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "RPI"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Rensselaer Polytechnic Institute (RPI)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "computer network search engine of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "search engines"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "university computer networks, p2p sharing on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "search engines used on"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of "
"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic "
"Institute, in Troy, New York.  His major at RPI was information "
"technology. Though he is not a programmer, in October Jesse decided to begin "
"to tinker with search engine technology that was available on the RPI "
"network."
msgstr ""
"À l'automne 2002, Jesse Jordan de la ville d'Oceanside, état de New York, "
"s'inscrivit en première année au Rensselaer Polytechnic Institute, à Troy, "
"état de New York. Sa matière principale au RPI était les technologies de "
"l'information. Bien qu'il ne fût pas programmeur, en octobre Jesse décida "
"de commencer à jouer avec les techniques de moteurs de recherche qui "
"étaient disponibles sur le réseau de RPI."

#. type: Content of: <book><part><chapter><para>
msgid ""
"RPI is one of America's foremost technological research institutions.  It "
"offers degrees in fields ranging from architecture and engineering to "
"information sciences. More than 65 percent of its five thousand "
"undergraduates finished in the top 10 percent of their high school "
"class. The school is thus a perfect mix of talent and experience to imagine "
"and then build, a generation for the network age."
msgstr ""
"RPI est l'un des centres de recherche technologiques les plus avancés "
"d'Amérique. Il délivre des diplômes dans des domaines allant de "
"l'architecture et l'ingéniérie aux sciences de l'information. Plus de 65 "
"pour cent des ses 5000 étudiants ont terminé le lycée en figurant parmi "
"les 10 pour cent meilleurs de leur classe. L'école rassemble ainsi un "
"mélange idéal de talent et d'expérience afin d'imaginer et de construire, "
"une génération pour l'âge des réseaux."

#. type: Content of: <book><part><chapter><para>
msgid ""
"RPI's computer network links students, faculty, and administration to one "
"another. It also links RPI to the Internet. Not everything available on the "
"RPI network is available on the Internet. But the network is designed to "
"enable students to get access to the Internet, as well as more intimate "
"access to other members of the RPI community."
msgstr ""
"Le réseau informatique de RPI relie entre eux étudiants, enseignants et "
"administration. Il relie également RPI à Internet. Tout ce qui est "
"disponible sur le réseau de RPI ne l'est pas sur Internet. Mais le réseau "
"est fait de sorte que les étudiants aient accès à Internet, de même qu'un "
"accès plus privé aux autres membres de la communauté de RPI."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Google"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Search engines are a measure of a network's intimacy. Google brought the "
"Internet much closer to all of us by fantastically improving the quality of "
"search on the network. Specialty search engines can do this even better. The "
"idea of <quote>intranet</quote> search engines, search engines that search "
"within the network of a particular institution, is to provide users of that "
"institution with better access to material from that institution.  "
"Businesses do this all the time, enabling employees to have access to "
"material that people outside the business can't get. Universities do it as "
"well."
msgstr ""
"Les moteurs de recherche permettent de mesurer le degré d'intimité d'un "
"réseau. Google a beaucoup rapproché Internet de nous, en améliorant de "
"manière fantastique la qualité des recherches sur le réseau. Les moteurs "
"de recherche spécialisés y parviennent encore mieux. L'idée derrière les "
"moteurs de recherche pour <quote>intranet</quote>, des moteurs de recherche "
"qui cherchent à l'intérieur du réseau d'une institution, est de fournir "
"aux utilisateurs de cette institution un meilleur accès aux données de "
"cette institution. Les entreprises font celà tout le temps, de manière à "
"permettre à leurs employés d'accéder à des données que les gens en "
"dehors de l'entreprise ne peuvent obtenir. Les universités le font aussi."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Microsoft"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "network file system of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"These engines are enabled by the network technology itself.  Microsoft, for "
"example, has a network file system that makes it very easy for search "
"engines tuned to that network to query the system for information about the "
"publicly (within that network) available content.  Jesse's search engine was "
"built to take advantage of this technology. It used Microsoft's network file "
"system to build an index of all the files available within the RPI network."
msgstr ""
"Ces moteurs fonctionnent grâce à la technologie du réseau lui-même. "
"Microsoft, par exemple, possède un système de fichier en réseau, qui "
"permet aux moteurs de recherche d'interroger le système très facilement, "
"pour savoir quels contenus sont disponibles publiquement (sur ce réseau). Le "
"moteur de recherche de Jesse fut construit de manière à tirer avantage de "
"cette technologie. Il utilisait le système de fichiers de Microsoft afin de "
"construire une liste de tous les fichiers disponibles sur le réseau RPI."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Jesse's wasn't the first search engine built for the RPI network.  Indeed, "
"his engine was a simple modification of engines that others had built. His "
"single most important improvement over those engines was to fix a bug within "
"the Microsoft file-sharing system that could cause a user's computer to "
"crash. With the engines that existed before, if you tried to access a file "
"through a Windows browser that was on a computer that was off-line, your "
"computer could crash. Jesse modified the system a bit to fix that problem, "
"by adding a button that a user could click to see if the machine holding the "
"file was still on-line."
msgstr ""
"Le moteur de Jesse n'était pas le premier construit pour le réseau RPI. En "
"effet, son moteur de recherche était une simple modification de moteurs "
"écrits par d'autres. Sa seule amélioration importante était qu'il "
"corrigeait une erreur existant dans le système de Microsoft, qui provoquait "
"des plantages d'ordinateurs. Avec les moteurs préexistants, en tentant "
"d'accéder à un fichier qui se trouvait sur un ordinateur qui n'était plus "
"en ligne avec un navigateur Windows, on pouvait faire planter son ordinateur. "
"Jesse modifia légèrement le système pour résoudre ce problème, en "
"ajoutant un bouton sur lequel un utilisateur pouvait cliquer pour savoir si "
"la machine qui contenait le fichier était toujours en ligne."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Jesse's engine went on-line in late October. Over the following six months, "
"he continued to tweak it to improve its functionality. By March, the system "
"was functioning quite well. Jesse had more than one million files in his "
"directory, including every type of content that might be on users' "
"computers."
msgstr ""
"Le moteur de Jesse fut mis en ligne fin octobre. Durant les six mois "
"suivants, il continua à le perfectionner et à en améliorer la "
"fonctionnalité. En mars, le système fonctionnait plutôt bien. Jesse avait "
"plus d'un million de fichiers dans sa liste, qui comprenait tout les types de "
"contenus se trouvant sur les ordinateurs des utilisateurs du réseau."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Thus the index his search engine produced included pictures, which students "
"could use to put on their own Web sites; copies of notes or research; copies "
"of information pamphlets; movie clips that students might have created; "
"university brochures&mdash;basically anything that users of the RPI network "
"made available in a public folder of their computer."
msgstr ""
"Ainsi donc la liste produite par son moteur de recherche contenait des "
"images, que les étudiants pouvaient utiliser, pour les mettre sur leur site "
"web; des copies de cours ou de la recherche; des copies de textes techniques; "
"des films courts crées par les étudiants; des brochures d'universités "
"&mdash; en bref, tout ce que les utilisateurs du réseau RPI rendaient "
"disponible dans un répertoire public de leur ordinateur."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "tinkering as means of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But the index also included music files. In fact, one quarter of the files "
"that Jesse's search engine listed were music files. But that means, of "
"course, that three quarters were not, and&mdash;so that this point is "
"absolutely clear&mdash;Jesse did nothing to induce people to put music files "
"in their public folders. He did nothing to target the search engine to these "
"files. He was a kid tinkering with a Google-like technology at a university "
"where he was studying information science, and hence, tinkering was the "
"aim. Unlike Google, or Microsoft, for that matter, he made no money from "
"this tinkering; he was not connected to any business that would make any "
"money from this experiment. He was a kid tinkering with technology in an "
"environment where tinkering with technology was precisely what he was "
"supposed to do."
msgstr ""
"Mais la liste contenait aussi de la musique. En fait, un quart des fichiers "
"que le moteur de recherche de Jesse listait étaient des fichiers de musique. "
"Ceci veut dire, bien sûr, que les trois quarts n'en étaient pas, et &mdash; "
"ce point est parfaitement clair &mdash; Jesse ne fit rien pour pousser les "
"gens à mettre des fichiers de musique dans leurs répertoires publics. Il ne "
"fit rien pour cibler le moteur de recherche vers ces fichiers. Il était un "
"étudiant qui expérimentait une technologie similaire à Google, dans une "
"université où il étudiait les sciences de l'information, et par "
"conséquent, expérimenter était son but. À la différence de Google, ou de "
"Microsoft en l'occurence, il ne gagnait pas d'argent de ses expériences; il "
"n'avait pas non plus de lien avec une entreprise qui en gagnait ainsi. Il "
"n'était qu'un étudiant qui expérimentait une technologie, dans un "
"environnement où c'était précisément ce qu'il était supposé faire."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "in recording industry"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "against student file sharing"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "recording industry"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright infringement lawsuits of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Recording Industry Association of America (RIAA)"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright infringement lawsuits filed by"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"On April 3, 2003, Jesse was contacted by the dean of students at RPI. The "
"dean informed Jesse that the Recording Industry Association of America, the "
"RIAA, would be filing a lawsuit against him and three other students whom he "
"didn't even know, two of them at other universities.  A few hours later, "
"Jesse was served with papers from the suit.  As he read these papers and "
"watched the news reports about them, he was increasingly astonished."
msgstr ""
"Le 23 avril 2003, Jesse fut contacté par le doyen de RPI. Le doyen l'informa "
"que la Recording Industry Association of America, la RIAA, était en train de "
"porter plainte contre lui et trois autres étudiants qu'il ne connaissait "
"même pas, dont deux se trouvaient dans d'autres universités. Quelques "
"heures plus tard, on remit à Jesse les documents concernant la plainte. "
"Lorsqu'il lu ces documents et vit les nouvelles s'y rapportant, il était de "
"plus en plus étonné."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>It was absurd,</quote> he told me. <quote>I don't think I did "
"anything wrong. &hellip; I don't think there's anything wrong with the "
"search engine that I ran or &hellip; what I had done to it. I mean, I hadn't "
"modified it in any way that promoted or enhanced the work of pirates. I just "
"modified the search engine in a way that would make it easier to "
"use</quote>&mdash;again, a <emphasis>search engine</emphasis>, which Jesse "
"had not himself built, using the Windows filesharing system, which Jesse had "
"not himself built, to enable members of the RPI community to get access to "
"content, which Jesse had not himself created or posted, and the vast "
"majority of which had nothing to do with music."
msgstr ""
"<quote>C'est absurde,</quote> me dit-il. <quote>Je ne pense pas avoir fait "
"quoi que ce soit de mal... Je ne pense pas qu'il y ait quoi que ce soit de "
"mal avec le moteur de recherche que j'ai fait tourner, ou ... avec ce que j'y "
"ai apporté. C'est-à-dire que je ne l'ai pas modifié d'une manière qui "
"favorise ou facilite le travail de pirates. Je l'ai simplement modifié de "
"manière à le rendre plus facile à utiliser</quote>&mdash; une fois de "
"plus, un <emphasis>moteur de recherche</emphasis>, que Jesse n'avait pas "
"écrit lui même, afin de permettre aux membres de RPI d'accéder à des "
"contenus que Jesse n'avait pas crées ou postés lui-même, et dont la vaste "
"majorité n'avait rien à voir avec de la musique."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "exaggerated claims of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "statutory damages of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "individual defendants intimidated by"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "statutory damages"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "intimidation tactics of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
"had therefore <quote>willfully</quote> violated copyright laws. They "
"demanded that he pay them the damages for his wrong. For cases of "
"<quote>willful infringement,</quote> the Copyright Act specifies something "
"lawyers call <quote>statutory damages.</quote> These damages permit a "
"copyright owner to claim $150,000 per infringement. As the RIAA alleged more "
"than one hundred specific copyright infringements, they therefore demanded "
"that Jesse pay them at least $15,000,000."
msgstr ""
"Mais la RIAA appelait Jesse un pirate. Elle prétendait qu'il animait un "
"réseau, et que par conséquent il avait <quote>volontairement</quote> violé "
"les lois sur le droit d'auteur. Elle demanda qu'il la paie en dommages de ses "
"actes. Dans des cas de <quote>violation volontaire</quote>, le Copyright Act "
"définit quelque chose que les juristes appellent <quote>dommages "
"statutaires</quote>. Ces dommages permettent à un détenteur de droits "
"d'auteur de réclamer 150.000 dollars par violation. Comme la RIAA se "
"plaignait de plus d'une centaine de violations, elle demanda que Jesse paie "
"au moins 15.000.000 de dollars."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Michigan Technical University"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Princeton University"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit "
"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media "
"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."
msgstr ""
"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit "
"Alleges $97.8 Billion in Damages,</quote><citetitle> Professional Media Group "
"LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Similar lawsuits were brought against three other students: one other "
"student at RPI, one at Michigan Technical University, and one at "
"Princeton. Their situations were similar to Jesse's. Though each case was "
"different in detail, the bottom line in each was exactly the same: huge "
"demands for <quote>damages</quote> that the RIAA claimed it was entitled "
"to.  If you added up the claims, these four lawsuits were asking courts in "
"the United States to award the plaintiffs close to $100 "
"<emphasis>billion</emphasis>&mdash;six times the <emphasis>total</emphasis> "
"profit of the film industry in 2001.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Des procès similaires furent intentés à trois autres étudiants: un autre "
"étudiant à RPI, un à l'Université Technique du Michigan, et un à "
"Princeton. Leurs situations étaient semblables à celle de Jesse. Bien que "
"chaque cas fût différent en détail, l'idée générale était exactement "
"la même: d'énormes demandes en <quote>dommages</quote> dont la RIAA se "
"déclarait redevable. En additionnant ces demandes, ces quatre procès "
"demandaient aux tribunaux américains de dédommager les plaignants de près "
"de 100 <emphasis>milliards</emphasis> de dollars &mdash; soit six fois le "
"total des profits de l'industrie cinématographique en 2001<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Jesse called his parents. They were supportive but a bit frightened.  An "
"uncle was a lawyer. He began negotiations with the RIAA. They demanded to "
"know how much money Jesse had. Jesse had saved $12,000 from summer jobs and "
"other employment. They demanded $12,000 to dismiss the case."
msgstr ""
"Jesse appela ses parents. Ils étaient avec lui, mais un peu effrayés. Un "
"oncle était avocat. Il commenca à négocier avec la RIAA. Ils demandèrent "
"combien d'argent Jesse avait. Jesse avait économisé 12.000 dollars, grâce "
"à des emplois d'été et autres travaux. Ils demandèrent 12.000 dollars "
"pour retirer leur plainte."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Oppenheimer, Matt"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The RIAA wanted Jesse to admit to doing something wrong. He refused. They "
"wanted him to agree to an injunction that would essentially make it "
"impossible for him to work in many fields of technology for the rest of his "
"life. He refused. They made him understand that this process of being sued "
"was not going to be pleasant. (As Jesse's father recounted to me, the chief "
"lawyer on the case, Matt Oppenheimer, told Jesse, <quote>You don't want to "
"pay another visit to a dentist like me.</quote>) And throughout, the RIAA "
"insisted it would not settle the case until it took every penny Jesse had "
"saved."
msgstr ""
"La RIAA voulait que Jesse reconnaisse avoir fait quelque chose de mal. Il "
"refusa. Il voulaient qu'il accepte un jugement qui lui aurait interdit de "
"travailler dans un certain nombre de secteurs technologiques pour le reste de "
"sa vie. Il refusa. Ils lui firent comprendre que le fait d'être traduit en "
"justice n'allait pas être une partie de plaisir. (Le père de Jesse me "
"raconta que l'avocat principal sur le dossier, Matt Oppenheimer, avait dit à "
"Jesse, <quote>Je ne vous conseille pas de vous payer une deuxième visite "
"chez un dentiste comme moi.</quote>) Et tout du long, la RIAA répéta "
"qu'elle ne retirerait pas sa plainte avant d'avoir pris le dernier centime "
"économisé par Jesse."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "legal system, attorney costs in"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Jesse's family was outraged at these claims. They wanted to fight.  But "
"Jesse's uncle worked to educate the family about the nature of the American "
"legal system. Jesse could fight the RIAA. He might even win. But the cost of "
"fighting a lawsuit like this, Jesse was told, would be at least $250,000. If "
"he won, he would not recover that money. If he won, he would have a piece of "
"paper saying he had won, and a piece of paper saying he and his family were "
"bankrupt."
msgstr ""
"La famille de Jesse fut scandalisée par ces prétentions. Ils voulaient se "
"défendre en justice. Mais l'oncle de Jesse leur fit comprendre la nature du "
"système légal américain. Jesse pouvait se défendre contre la RIAA. Il se "
"pouvait même qu'il gagne. Mais le coût d'un procès de ce genre, dit-il à "
"Jesse, serait d'au moins 250.000 dollars. S'il gagnait, il ne récupérerait "
"pas cet argent. S'il gagnait, il se retrouverait avec un bout de papier "
"stipulant qu'il aurait gagné, et un autre bout de papier stipulant que lui "
"et sa famille seraient en faillite."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
"$12,000 and a settlement."
msgstr ""
"Ainsi donc, Jesse était devant un choix digne de la mafia: 250.000 dollars "
"pour une chance de gagner, ou bien 12.000 dollars pour un règlement à "
"l'amiable."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "artists"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "recording industry payments to"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "artist remuneration in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "lobbying power of"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Occupational Employment Survey, U.S. Dept. of Labor (2001)  "
"(27&ndash;2042&mdash;Musicians and Singers). See also National Endowment for "
"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)."
msgstr ""
"Occupational Employment Survey, U.S. Dept. of Labor (2001) "
"(27-2042&mdash;Musicians and Singers). Voir aussi National Endowment for the "
"Arts,<citetitle> More Than One in a Blue Moon</citetitle> (2000)."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Douglas Lichtman makes a related point in <quote>KaZaA and "
"Punishment,</quote> <citetitle>Wall Street Journal</citetitle>, 10 September "
"2003, A24."
msgstr ""
"Douglas Lichtman fait un argument apparenté dans <quote>KaZaA and "
"Punishment,</quote><citetitle> Wall Street Journal,</citetitle> 10 septembre "
"2003, A24."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The recording industry insists this is a matter of law and morality.  Let's "
"put the law aside for a moment and think about the morality.  Where is the "
"morality in a lawsuit like this? What is the virtue in scapegoatism? The "
"RIAA is an extraordinarily powerful lobby. The president of the RIAA is "
"reported to make more than $1 million a year.  Artists, on the other hand, "
"are not well paid. The average recording artist makes $45,900.<placeholder "
"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect "
"and direct policy. So where is the morality in taking money from a student "
"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"L'industrie du disque répète qu'il s'agit d'une question de loi et de "
"morale. Mettons la loi de côté pour un moment, et pensons seulement à la "
"morale. Où est la morale dans un procès comme celui-là? Quelle vertu y "
"a-t-il à faire des boucs émissaires? La RIAA est un lobby extrêmement "
"puissant. Son président gagne, semble-t-il, plus d'un million de dollars par "
"an. Les artistes, en revanche, ne sont pas bien payés. Un chanteur gagne en "
"moyenne 45.900 dollars par an<placeholder type=\"footnote\" id=\"0\"/>. "
"La RIAA a énormément de moyens, pour influencer et diriger la politique. "
"Où est donc la morale à prendre de l'argent d'un étudiant pour avoir "
"fait tourner un moteur de recherche&nbsp;?<placeholder type=\"footnote\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"On June 23, Jesse wired his savings to the lawyer working for the RIAA. The "
"case against him was then dismissed. And with this, this kid who had "
"tinkered a computer into a $15 million lawsuit became an activist:"
msgstr ""
"Le 23 juin, Jesse vira ses économies à l'avocat de la RIAA. La plainte fut "
"retirée. Et par ces mots, cet étudiant qui avait transformé un ordinateur "
"en un procès à 15 millions de dollars devint un militant:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"I was definitely not an activist [before]. I never really meant to be an "
"activist. &hellip; [But] I've been pushed into this. In no way did I ever "
"foresee anything like this, but I think it's just completely absurd what the "
"RIAA has done."
msgstr ""
"Je n'étais absolument pas un militant [avant]. Je n'ai jamais vraiment voulu "
"être un militant... [Mais] on m'y a poussé. En aucune manière je n'avais "
"prévu quelque chose de ce genre, mais je pense que ce que la RIAA a fait est "
"complètement absurde."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Jesse's parents betray a certain pride in their reluctant activist. As his "
"father told me, Jesse <quote>considers himself very conservative, and so do "
"I. &hellip; He's not a tree hugger. &hellip; I think it's bizarre that they "
"would pick on him. But he wants to let people know that they're sending the "
"wrong message. And he wants to correct the record.</quote>"
msgstr ""
"Les parents de Jesse gardent une certaine fierté pour leur militant malgré "
"lui. Comme me l'a dit son père, Jesse <quote>se considère comme très "
"conservateur, et moi de même... Il n'est pas du genre à se battre pour "
"sauver les arbres... Je trouve que c'est très bizarre que ce soit tombé sur "
"lui. Mais il veut que les gens sachent qu'ils envoient un mauvais signal. Et "
"il veut corriger cela.</quote>"

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Four: <quote>Pirates</quote>"
msgstr "<quote>Pirates</quote>"

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in development of content industry"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the "
"creative property of others without their permission&mdash;if <quote>if "
"value, then right</quote> is true&mdash;then the history of the content "
"industry is a history of piracy. Every important sector of <quote>big "
"media</quote> today&mdash;film, records, radio, and cable TV&mdash;was born "
"of a kind of piracy so defined. The consistent story is how last "
"generation's pirates join this generation's country club&mdash;until now."
msgstr ""
"<emphasis role='strong'>Si <quote>pirater</quote> signifie</emphasis> "
"utiliser la propriété artistique des autres sans leur permission &mdash; "
"s'il est vrai que <quote>valeur implique droits</quote> &mdash; alors "
"l'histoire de l'industrie du contenu est une histoire de piratage. Chaque "
"secteur important de l'industrie des médias d'aujourd'hui &mdash; cinéma, "
"disque, radio et télévision par câble &mdash; est né d'une forme de "
"piratage selon cette définition. Ce chapitre montre comment chaque "
"génération de pirates a fini par rejoindre le club des industries "
"respectables &mdash; jusqu'à aujourd'hui."

#. type: Content of: <book><part><chapter><section><title>
msgid "Film"
msgstr "Cinéma"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro "
"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 87&ndash;93, which details "
"Edison's <quote>adventures</quote> with copyright and patent."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/>Je suis reconnaissant envers Peter "
"DiMauro pour m'avoir indiqué cette "
"histoire extraordinaire. Voir également Siva Vaidhyanathan,<citetitle> "
"Copyrights and Copywrongs,</citetitle> 87-93, qui détaille les "
"<quote>aventures</quote> d'Edison avec les copyrights et les brevets."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The film industry of Hollywood was built by fleeing pirates.<placeholder "
"type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East "
"Coast to California in the early twentieth century in part to escape "
"controls that patents granted the inventor of filmmaking, Thomas "
"Edison. These controls were exercised through a monopoly "
"<quote>trust,</quote> the Motion Pictures Patents Company, and were based on "
"Thomas Edison's creative property&mdash;patents.  Edison formed the MPPC to "
"exercise the rights this creative property gave him, and the MPPC was "
"serious about the control it demanded."
msgstr ""
"L'industrie cinématographique de Hollywood fut créée par des pirates en "
"fuite<placeholder type=\"footnote\" id=\"0\"/>. Les créateurs et metteurs en "
"scène migrèrent de la Côte Est vers la Californie au début du vingtième "
"siècle, en partie afin d'échapper au contrôle que les brevets accordaient "
"à l'inventeur du cinéma, Thomas Edison. Ce contrôle était exercé par un "
"<quote>trust</quote>, la Motion Pictures Patent Company, et était basé sur "
"la propriété intellectuelle de Thomas Edison &mdash; ses brevets. Edison "
"créa la MPPC afin d'exercer les droits que sa propriété intellectuelle lui "
"donnait, et la MPPC ne prenait pas son travail à la légère."

#. type: Content of: <book><part><chapter><section><para>
msgid "As one commentator tells one part of the story,"
msgstr "Comme le rapporte un commentateur&nbsp;:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"A January 1909 deadline was set for all companies to comply with the "
"license. By February, unlicensed outlaws, who referred to themselves as "
"independents protested the trust and carried on business without submitting "
"to the Edison monopoly. In the summer of 1909 the independent movement was "
"in full-swing, with producers and theater owners using illegal equipment and "
"imported film stock to create their own underground market."
msgstr ""
"Un ultimatum en janvier 1909 fut donné à toutes les compagnies pour se "
"mettre en règle avec la licence. En février, les hors-la-loi qui ne "
"possédaient pas de licence, et qui s'appelaient entre eux les indépendants, "
"protestèrent contre le trust et continuèrent de travailler sans se "
"soumettre au monopole d'Edison. A l'été 1909, le mouvement indépendant "
"était en pleine activité, avec des producteurs et des propriétaires de "
"cinémas qui utilisaient des équipements illégaux et importaient de la "
"pellicule pour créer leur propre marché souterrain."

#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
msgid "Fox, William"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
msgid "General Film Company"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Picker, Randal C."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "broadcast flag"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and "
"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion "
"Picture Patents Company vs. the Independent Outlaws,</quote> available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a "
"discussion of the economic motive behind both these limits and the limits "
"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison "
"to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
"Propertization of Copyright</quote> (September 2002), University of Chicago "
"Law School, James M. Olin Program in Law and Economics, Working Paper "
"No. 159.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"J. A. Aberdeen,<citetitle> Hollywood Renegades: The Society of Independent "
"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) et "
"textes complétés postés à <quote>The Edison Movie Monopoly: The Motion "
"Picture Patents Company vs. the Independent Outlaws,</quote> disponible au "
"lien #11. Pour une discussion sur la motivation économique derrière ces "
"limites et les limites imposées par Victor sur les phonographes, voir Randal "
"C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of Consent "
"and Refusal and the Prop- ertization of Copyright</quote> (September 2002), "
"University of Chicago Law School, James M. Olin Program in Law and Economics, "
"Working Paper No. 159.<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"With the country experiencing a tremendous expansion in the number of "
"nickelodeons, the Patents Company reacted to the independent movement by "
"forming a strong-arm subsidiary known as the General Film Company to block "
"the entry of non-licensed independents. With coercive tactics that have "
"become legendary, General Film confiscated unlicensed equipment, "
"discontinued product supply to theaters which showed unlicensed films, and "
"effectively monopolized distribution with the acquisition of all U.S. film "
"exchanges, except for the one owned by the independent William Fox who "
"defied the Trust even after his license was revoked.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Voyant le nombre de cinémas pirates dans le pays augmenter rapidement, la "
"Compagnie des Brevets réagit contre le mouvement indépendant, en créant "
"une filiale de gros bras, connue sous le nom de Compagnie Générale des "
"Films, chargée de bloquer l'entrée des cinémas sans licence. Au cours "
"d'actions répressives qui sont entrées dans la légende, la Générale des "
"Films confisqua les équipements sans licence, interrompit "
"l'approvisionnement des salles qui passaient des films sans licence, et "
"monopolisa le circuit de distribution, en acquérant toutes les bourses aux "
"films américaines, à l'exception de celle détenue par Wiliam Fox, un "
"indépendant qui continua de défier le Trust après que sa licence fut "
"révoquée<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents "
"Majority</citetitle>, archived at <ulink "
"url=\"http://free-culture.cc/notes/\">link #12</ulink>."
msgstr ""
"Marc Wanamaker, <quote>The First Studios,</quote><citetitle> The Silents "
"Majority,</citetitle> archivé au lien #12."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Napsters of those days, the <quote>independents,</quote> were companies "
"like Fox. And no less than today, these independents were vigorously "
"resisted.  <quote>Shooting was disrupted by machinery stolen, and "
"`accidents' resulting in loss of negatives, equipment, buildings and "
"sometimes life and limb frequently occurred.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> That led the independents to flee the East "
"Coast. California was remote enough from Edison's reach that filmmakers "
"there could pirate his inventions without fear of the law. And the leaders "
"of Hollywood filmmaking, Fox most prominently, did just that."
msgstr ""
"Les Napster de l'époque, les <quote>indépendants</quote>, étaient des "
"compagnies comme la Fox. Et pas moins qu'aujourd'hui, ces compagnies "
"résistèrent vigoureusement. <quote>Les tournages étaient interrompus par "
"des vols de machines, et des 'accidents' se produisaient fréquemment, qui se "
"traduisaient par des pertes de négatifs, d'équipements, de bâtiments et "
"parfois de vies.</quote><placeholder type=\"footnote\" id=\"0\"/> Ceci poussa "
"les indépendants à fuir vers la Côte Ouest. La Californie était "
"suffisament hors de portée d'Edison pour que les producteurs de films "
"puissent pirater ses inventions sans craindre la loi."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Of course, California grew quickly, and the effective enforcement of federal "
"law eventually spread west. But because patents grant the patent holder a "
"truly <quote>limited</quote> monopoly (just seventeen years at that time), "
"by the time enough federal marshals appeared, the patents had expired. A new "
"industry had been born, in part from the piracy of Edison's creative "
"property."
msgstr ""
"Bien sûr, la Californie se développa rapidement, et la loi fédérale finit "
"par être appliquée à l'Ouest. Mais comme les brevets n'accordaient qu'un "
"monopole vraiment <quote>limité</quote> à leur détenteur (seulement dix- "
"sept ans à l'époque), au moment ou les agents fédéraux furent en nombre "
"suffisant, les brevets avaient expiré."

#. type: Content of: <book><part><chapter><section><title>
msgid "Recorded Music"
msgstr "Musique enregistrée"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on music recordings"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The record industry was born of another kind of piracy, though to see how "
"requires a bit of detail about the way the law regulates music."
msgstr ""
"L'industrie du disque est née d'un autre genre de piratage, mais pour s'en "
"apercevoir il faut connaître certains détails sur la manière dont la loi "
"s'applique à la musique."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Fourneaux, Henri"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Russel, Phil"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"At the time that Edison and Henri Fourneaux invented machines for "
"reproducing music (Edison the phonograph, Fourneaux the player piano), the "
"law gave composers the exclusive right to control copies of their music and "
"the exclusive right to control public performances of their music. In other "
"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy "
"Mose,</quote> the law said I would have to pay for the right to get a copy "
"of the musical score, and I would also have to pay for the right to perform "
"it publicly."
msgstr ""
"A l'époque où Edison et Henri Fourneaux inventaient des machines à "
"reproduire la musique (Edison le phonographe, Fourneaux le piano mécanique), "
"la loi accordait aux compositeurs le droit exclusif de contrôler les copies "
"et les exécutions publiques de leur musique. En d'autres termes, si en 1900 "
"j'avais voulu une copie de <quote>Happy Mose</quote>, un succès de Phil "
"Russel en 1899, la loi stipulait que j'aurais dû payer pour avoir le droit "
"d'obtenir une copie de la partition musicale, et que j'aurais aussi dû payer "
"pour avoir le droit de la jouer en public."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Beatles"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's "
"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear "
"enough that I would have to buy any copy of the musical score that I "
"performed in making this recording. And it was clear enough that I would "
"have to pay for any public performance of the work I was recording.  But it "
"wasn't totally clear that I would have to pay for a <quote>public "
"performance</quote> if I recorded the song in my own house (even today, you "
"don't owe the Beatles anything if you sing their songs in the shower), or if "
"I recorded the song from memory (copies in your brain are "
"not&mdash;yet&mdash; regulated by copyright law). So if I simply sang the "
"song into a recording device in the privacy of my own home, it wasn't clear "
"that I owed the composer anything. And more importantly, it wasn't clear "
"whether I owed the composer anything if I then made copies of those "
"recordings.  Because of this gap in the law, then, I could effectively "
"pirate someone else's song without paying its composer anything."
msgstr ""
"Mais qu'en était-il si j'avais voulu enregistrer <quote>Happy Mose</quote>, "
"à l'aide du phonographe d'Edison, ou du piano mécanique de Fourneaux&nbsp;? "
"La loi bloquait sur ce point. Il était assez clair que j'aurais dû payer "
"pour chaque copie de la partition que j'aurais faite en créant cet "
"enregistrement. Et il était aussi clair que j'aurais dû payer pour chaque "
"exécution en public de l'oeuvre que j'aurais enregistrée. Mais ce qui "
"n'était pas clair, c'était si j'aurais dû payer pour une <quote>exécution "
"publique</quote> pour enregistrer la chanson à mon domicile (même "
"aujourd'hui, vous ne devez rien aux Beatles si vous chantez leurs chansons "
"sous la douche), ou si j'avais enregistré la chanson de mémoire (les copies "
"qui sont dans votre cerveau ne sont pas &mdash;encore&mdash; soumises à la "
"loi sur le droit d'auteur). Donc, si je chantais la chanson devant un "
"appareil d'enregistrement à mon propre domicile, il n'était pas sûr que je "
"doive quelque chose au compositeur. Et, plus important, il n'était pas sûr "
"que je doive quoi que ce soit au compositeur si je faisais ensuite des copies "
"de ces enregistrements.A cause de cette faille juridique, on pouvait à "
"l'époque pirater la chanson de quelqu'un d'autre, sans rien payer au "
"compositeur."

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
msgid "Kittredge, Alfred"
msgstr "Kittredge, Alfred"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The composers (and publishers) were none too happy about this capacity to "
"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Les compositeurs (et éditeurs) étaient tout sauf heureux de cette "
"possibilité de piratage. Pour reprendre les mots du sénateur Alfred "
"Kittredge, du Sud Dakota, <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 "
"and H.R. 19853 Before the (Joint) Committees on Patents, 59th Cong. 59, 1st "
"sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, "
"chairman), reprinted in <citetitle>Legislative History of the Copyright "
"Act</citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South "
"Hackensack, N.J.: Rothman Reprints, 1976).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 "
"and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st "
"sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, "
"chairman), reprinted in<citetitle> Legislative History of the 1909 Copyright "
"Act,</citetitle> E. Fulton Brylawski and Abe Goldman, eds. (South Hack- "
"ensack, N.J.: Rothman Reprints, 1976).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Imagine the injustice of the thing. A composer writes a song or an opera. A "
"publisher buys at great expense the rights to the same and copyrights "
"it. Along come the phonographic companies and companies who cut music rolls "
"and deliberately steal the work of the brain of the composer and publisher "
"without any regard for [their] rights.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Rendez-vous compte de l'injustice. Un compositeur écrit une chanson ou un "
"opéra. Un éditeur achète au prix fort les droits de cet opéra, et le "
"place sous copyright. Et puis arrivent l'industrie phonographique, et les "
"compagnies qui découpent des rouleaux de musique, et volent délibérément "
"le travail du compositeur et de l'éditeur, sans aucune considération pour "
"[leurs] droits.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Sousa, John Philip"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of "
"John Philip Sousa, composer)."
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of John "
"Philip Sousa, composer)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The innovators who developed the technology to record other people's works "
"were <quote>sponging upon the toil, the work, the talent, and genius of "
"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the "
"<quote>music publishing industry</quote> was thereby <quote>at the complete "
"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> "
"As John Philip Sousa put it, in as direct a way as possible, <quote>When "
"they make money out of my pieces, I want a share of it.</quote><placeholder "
"type=\"footnote\" id=\"2\"/>"
msgstr ""
"Les innovateurs qui avaient développé la technologie pour enregistrer le "
"travail des autres <quote>essoraient le travail, le talent et le génie des "
"compositeurs américains</quote><placeholder type=\"footnote\" id=\"0\"/> et "
"l'<quote>industrie de l'édition musicale</quote> se trouvait donc <quote>à la "
"merci de ces pirates.</quote><placeholder type=\"footnote\" id=\"1\"/> "
"Comme l'a dit John Philip Sousa, de la manière la plus directe possible, "
"<quote>Si ils font du profit avec ma musique, alors j'en veux une "
"partie.</quote><placeholder type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "American Graphophone Company"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "player pianos"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Congress, U.S."
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on copyright laws"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on recording industry"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "statutory licenses in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "statutory license system in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 283&ndash;84 "
"(statement of Albert Walker, representative of the Auto-Music Perforating "
"Company of New York)."
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright, 283-84 (statement of "
"Albert Walker, representative of the Auto-Music Perforating Company of New "
"York)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared "
"memorandum of Philip Mauro, general patent counsel of the American "
"Graphophone Company Association)."
msgstr ""
"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared "
"memorandum of Philip Mauro, general patent counsel of the American "
"Graphophone Company Association)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These arguments have familiar echoes in the wars of our day. So, too, do the "
"arguments on the other side. The innovators who developed the player piano "
"argued that <quote>it is perfectly demonstrable that the introduction of "
"automatic music players has not deprived any composer of anything he had "
"before their introduction.</quote> Rather, the machines increased the sales "
"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
"innovators argued, the job of Congress was <quote>to consider first the "
"interest of [the public], whom they represent, and whose servants they "
"are.</quote> <quote>All talk about `theft,'</quote> the general counsel of "
"the American Graphophone Company wrote, <quote>is the merest claptrap, for "
"there exists no property in ideas musical, literary or artistic, except as "
"defined by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Ces arguments trouvent un écho familier dans les guerres d'aujourd'hui. De "
"même que les arguments de la partie adverse. Les inventeurs du piano "
"mécanique arguèrent qu'il était <quote>parfaitement possible de démontrer "
"que l'apparition de machines à jouer de la musique n'a privé aucun "
"compositeur de rien qu'il n'eut avant.</quote> Au contraire, les machines "
"augmentaient les ventes de partitions.<placeholder type=\"footnote\" "
"id=\"0\"/> Quoi qu'il en soit, dirent les "
"inventeurs, le devoir du Congrès était de <quote>privilégier l'intérêt du "
"[public], qu'il représente et doit servir.</quote>"
"<quote>Tous ces discours parlant de 'vol'</quote>, écrivit le conseiller général de la "
"Compagnie Américaine des Graphophones, <quote>n'est que de la poudre aux yeux, "
"car il n'existe pas de propriété des idées musicales, littéraires ou "
"artistiques, sauf définie par décret.</quote><placeholder type=\"footnote\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "cover songs"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The law soon resolved this battle in favor of the composer "
"<emphasis>and</emphasis> the recording artist. Congress amended the law to "
"make sure that composers would be paid for the <quote>mechanical "
"reproductions</quote> of their music. But rather than simply granting the "
"composer complete control over the right to make mechanical reproductions, "
"Congress gave recording artists a right to record the music, at a price set "
"by Congress, once the composer allowed it to be recorded once. This is the "
"part of copyright law that makes cover songs possible. Once a composer "
"authorizes a recording of his song, others are free to record the same song, "
"so long as they pay the original composer a fee set by the law."
msgstr ""
"La loi trancha rapidement en faveur des compositeurs <emphasis>et</emphasis> "
"des interprètes qui enregistraient leur musique. Le Congrès amenda la loi "
"de manière à s'assurer que les compositeurs soient payés pour les "
"<quote>reproductions mécaniques</quote> de leur musique. Mais plutôt que "
"d'accorder au compositeur un contrôle total sur le droit de faire des "
"reproductions mécaniques, le Congrès donna aux interprètes le droit "
"d'enregistrer de la musique, à un prix fixé par le Congrès, après que le "
"compositeur aurait autorisé un premier enregistrement. C'est cette part de "
"la loi sur le copyright qui rend possible les reprises. Une fois qu'un "
"compositeur a autorisé un enregistrement de sa musique, les autres sont "
"libres d'enregistrer la même musique, du moment qu'ils paient au compositeur "
"original une taxe fixée par la loi."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "compulsory license"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "statutory licenses"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"American law ordinarily calls this a <quote>compulsory license,</quote> but "
"I will refer to it as a <quote>statutory license.</quote> A statutory "
"license is a license whose key terms are set by law. After Congress's "
"amendment of the Copyright Act in 1909, record companies were free to "
"distribute copies of recordings so long as they paid the composer (or "
"copyright holder)  the fee set by the statute."
msgstr ""
"En général, la loi américaine appelle ceci une <quote>licence "
"contraignante</quote>, mais je préfère parler de <quote>licence "
"statutaire</quote>.Une licence statutaire est une licence dont les termes "
"sont fixés par la loi. Après que le Congrès amenda le Copyright Act en "
"1909, les maisons d'enregistrement furent libres de distribuer des copies de "
"leurs enregistrements, du moment qu'ils payaient au compositeur (ou au "
"détenteur des droits d'auteur) la taxe fixée par le décret."

#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
msgid "Grisham, John"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is an exception within the law of copyright. When John Grisham writes a "
"novel, a publisher is free to publish that novel only if Grisham gives the "
"publisher permission. Grisham, in turn, is free to charge whatever he wants "
"for that permission. The price to publish Grisham is thus set by Grisham, "
"and copyright law ordinarily says you have no permission to use Grisham's "
"work except with permission of Grisham."
msgstr ""
"Ceci constitue une exception dans la loi sur le droit d'auteur. Quand John "
"Grisham écrit un roman, un éditeur est libre de publier ce roman seulement "
"si Grisham lui en donne la permission. Celui-ci, en revanche, est libre de "
"réclamer la somme qui lui plaît en échange de cette permission. Le prix "
"pour publier Grisham est donc fixé par Grisham lui même, et la loi sur le "
"droit d'auteur dit qu'en général vous n'avez pas le droit d'utiliser le "
"travail de Grisham sans sa permission."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and "
"H.R. 11794 Before the (Joint) Committee on Patents, 60th Cong., 1st sess., "
"217 (1908) (statement of Senator Reed Smoot, chairman), reprinted in "
"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, "
"E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman "
"Reprints, 1976)."
msgstr ""
"Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. "
"11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 "
"(1908) (statement of Senator Reed Smoot, chairman), reprinted in<citetitle> "
"Legislative History of the 1909 Copyright Act,</citetitle> E. Fulton "
"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, "
"1976)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But the law governing recordings gives recording artists less. And thus, in "
"effect, the law <emphasis>subsidizes</emphasis> the recording industry "
"through a kind of piracy&mdash;by giving recording artists a weaker right "
"than it otherwise gives creative authors. The Beatles have less control over "
"their creative work than Grisham does. And the beneficiaries of this less "
"control are the recording industry and the public. The recording industry "
"gets something of value for less than it otherwise would pay; the public "
"gets access to a much wider range of musical creativity. Indeed, Congress "
"was quite explicit about its reasons for granting this right. Its fear was "
"the monopoly power of rights holders, and that that power would stifle "
"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Mais la loi régissant les enregistrements sonores donne moins aux artistes. "
"Et donc, en effet, la loi <emphasis>subventionne</emphasis> les maisons "
"d'enregistrement à travers une sorte de piratage &mdash; en donnant aux "
"musiciens un contrôle plus faible qu'elle ne donne aux auteurs d'autres "
"types de création artistique. Les Beatles ont moins de contrôle sur leur "
"création que Grisham n'en a sur la sienne. Et les bénéficiaires de ce "
"moins de contrôle sont l'industrie du disque et le public. L'industrie du "
"disque obtient quelque chose qui a de la valeur pour moins que ce qu'elle ne "
"paierait normalement; le public a accès à un éventail plus large de "
"créations musicales. De fait, le Congrès fut très explicite quant aux "
"raisons pour lesquelles il accordait ce choix. Sa crainte était le pouvoir "
"monopolistique des ayant-droits, et que ce pouvoir ne supprime la "
"créativité.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"While the recording industry has been quite coy about this recently, "
"historically it has been quite a supporter of the statutory license for "
"records. As a 1967 report from the House Committee on the Judiciary relates,"
msgstr ""
"Bien que l'industrie du disque soit devenue plutôt timide récemment sur ce "
"sujet, historiquement sa position a été en faveur des licences statutaires "
"pour les enregistrements. Comme l'indique un rapport du Comité Judiciaire de "
"la Chambre des Représentants datant de 1967,"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on "
"the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8 March "
"1967). I am grateful to Glenn Brown for drawing my attention to this report."
msgstr ""
"Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on the "
"Judiciary, 90th Cong., 1st sess., House Document no. 83, 66 (8 March 1967). I "
"am grateful to Glenn Brown for drawing my attention to this report."

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"the record producers argued vigorously that the compulsory license system "
"must be retained. They asserted that the record industry is a "
"half-billion-dollar business of great economic importance in the United "
"States and throughout the world; records today are the principal means of "
"disseminating music, and this creates special problems, since performers "
"need unhampered access to musical material on nondiscriminatory "
"terms. Historically, the record producers pointed out, there were no "
"recording rights before 1909 and the 1909 statute adopted the compulsory "
"license as a deliberate anti-monopoly condition on the grant of these "
"rights. They argue that the result has been an outpouring of recorded music, "
"with the public being given lower prices, improved quality, and a greater "
"choice.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"les producteurs de disques soutinrent vigoureusement que le système de "
"licences contraignantes devait être maintenu. Ils soutinrent que l'industrie "
"du disque, qui pèse un demi milliard de dollars, est d'une importance "
"économique majeure aux États-Unis et dans le monde; les disques sont "
"aujourd'hui le principal moyen de diffusion de la musique, et ceci cause des "
"problèmes particuliers, car les chanteurs ont besoin d'un accès non "
"restreint à la musique, de manière non discriminatoire. Historiquement, "
"firent-ils remarquer, il n'existait pas de droits à l'enregistrement avant "
"1909, et le décret de 1909 avait accepté les licences contraignantes en "
"tant que mesure anti-monopolistique délibérée, en échange de l'octroi de "
"ces droits. Ils ajoutèrent que le résultat en a été une abondance de "
"disques, donnant au public des prix plus bas, une qualité meilleure, et un "
"choix plus large.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"By limiting the rights musicians have, by partially pirating their creative "
"work, the record producers, and the public, benefit."
msgstr ""
"Cette limitation des droits des musiciens, ce piratage partiel de leur "
"travail créatif, bénéficie aux maisons de disques, et au public."

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Radio"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "radio broadcast and"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid "Radio was also born of piracy."
msgstr "La radio aussi est née du piratage."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Hand, Learned"
msgstr "Hand, Learned"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At "
"the beginning, record companies printed <quote>Not Licensed for Radio "
"Broadcast</quote> and other messages purporting to restrict the ability to "
"play a record on a radio station.  Judge Learned Hand rejected the argument "
"that a warning attached to a record might restrict the rights of the radio "
"station. See <citetitle>RCA Manufacturing "
"Co</citetitle>. v. <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd "
"Cir. 1940). See also Randal C.  Picker, <quote>From Edison to the Broadcast "
"Flag: Mechanisms of Consent and Refusal and the Propertization of "
"Copyright,</quote> <citetitle>University of Chicago Law Review</citetitle> "
"70 (2003): 281.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"See 17<citetitle> United States Code,</citetitle> sections 106 and 110. At "
"the beginning, record companies printed <quote>Not Licensed for Radio "
"Broadcast</quote> and other messages purporting to restrict the ability to "
"play a record on a radio station. Judge Learned Hand rejected the argument "
"that a warning attached to a record might restrict the rights of the radio "
"station. See<citetitle> RCA Manufacturing Co.</citetitle> v.<citetitle> "
"Whiteman,</citetitle> 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. "
"Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of Consent and "
"Refusal and the Propertization of Copyright,</quote><citetitle> University of "
"Chicago Law Review</citetitle> 70 (2003): 281. <placeholder type=\"indexterm\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When a radio station plays a record on the air, that constitutes a "
"<quote>public performance</quote> of the composer's work.<placeholder "
"type=\"footnote\" id=\"0\"/> As I described above, the law gives the "
"composer (or copyright holder)  an exclusive right to public performances of "
"his work. The radio station thus owes the composer money for that "
"performance."
msgstr ""
"Lorsqu'une radio passe un enregistrement sur les ondes, ceci constitue une "
"<quote>exécution publique</quote> du travail du compositeur.<placeholder "
"type=\"footnote\" id=\"0\"/> Comme je l'ai décrit plus haut, la loi donne au "
"compositeur (ou au détenteur des droits d'auteur) un droit exclusif sur les "
"exécutions publiques de son oeuvre. La station de radio doit donc de "
"l'argent au compositeur pour cette exécution."

#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Lovett, Lyle"
msgstr "Lovett, Lyle"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But when the radio station plays a record, it is not only performing a copy "
"of the <emphasis>composer's</emphasis> work. The radio station is also "
"performing a copy of the <emphasis>recording artist's</emphasis> work. It's "
"one thing to have <quote>Happy Birthday</quote> sung on the radio by the "
"local children's choir; it's quite another to have it sung by the Rolling "
"Stones or Lyle Lovett. The recording artist is adding to the value of the "
"composition performed on the radio station.  And if the law were perfectly "
"consistent, the radio station would have to pay the recording artist for his "
"work, just as it pays the composer of the music for his work.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Mais quand une station de radio passe un disque, elle ne fait pas seulement "
"une copie de travail du <emphasis>compositeur</emphasis>. La radio effectue "
"aussi une copie du travail de <emphasis>l'interprète</emphasis>. C'est une "
"chose d'avoir <quote>Joyeux Anniversaire</quote> chanté à la radio par la "
"chorale d'enfants locale; c'en est une toute autre si ce sont les Rolling "
"Stones ou bien Lyle Lovett qui chantent. L'interprète ajoute à la valeur de "
"la composition effectuée par la station de radio. Et si la loi était "
"parfaitement cohérente, la station de radio devrait payer l'interprète pour "
"son travail, tout comme elle paie le compositeur pour sa musique.<placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But it doesn't. Under the law governing radio performances, the radio "
"station does not have to pay the recording artist. The radio station need "
"only pay the composer. The radio station thus gets a bit of something for "
"nothing. It gets to perform the recording artist's work for free, even if it "
"must pay the composer something for the privilege of playing the song."
msgstr ""
"Mais ce n'est pas le cas. D'après la loi sur les diffusions radiophoniques, "
"la station de radio n'a pas à payer l'interprète. La station de radio doit "
"seulement payer le compositeur. Par conséquent, la station reçoit quelque "
"chose sans contrepartie. Elle peut diffuser le travail de l'artiste "
"gratuitement, même si elle doit payer le compositeur pour avoir le droit de "
"passer sa chanson."

#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Madonna"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This difference can be huge. Imagine you compose a piece of music.  Imagine "
"it is your first. You own the exclusive right to authorize public "
"performances of that music. So if Madonna wants to sing your song in public, "
"she has to get your permission."
msgstr ""
"Cette différence peut être énorme. Supposez que vous composiez un morceau "
"de musique. Supposez que ce soit le premier. Vous détenez le droit exclusif "
"d'autoriser la diffusion de cette musique. Donc si Madonna veut chanter votre "
"chanson en public, elle doit obtenir votre permission."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Imagine she does sing your song, and imagine she likes it a lot. She then "
"decides to make a recording of your song, and it becomes a top hit. Under "
"our law, every time a radio station plays your song, you get some money. But "
"Madonna gets nothing, save the indirect effect on the sale of her CDs. The "
"public performance of her recording is not a <quote>protected</quote> "
"right. The radio station thus gets to <emphasis>pirate</emphasis> the value "
"of Madonna's work without paying her anything."
msgstr ""
"Supposez qu'elle chante votre chanson, et qu'elle l'aime beaucoup. Elle "
"décide alors d'en faire un enregistrement, qui devient un tube. D'après "
"notre loi, chaque fois qu'une station de radio passera votre chanson, vous "
"recevrez de l'argent. Et Madonna ne reçoit rien, à part l'effet indirect "
"sur les ventes de ses CDs. La diffusion publique de son enregistrement n'est "
"pas un droit <quote>protégé</quote>. Ainsi donc, la station de radio "
"<emphasis>pirate</emphasis> la valeur du travail de Madonna, sans rien lui "
"payer."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No doubt, one might argue that, on balance, the recording artists "
"benefit. On average, the promotion they get is worth more than the "
"performance rights they give up. Maybe. But even if so, the law ordinarily "
"gives the creator the right to make this choice. By making the choice for "
"him or her, the law gives the radio station the right to take something for "
"nothing."
msgstr ""
"Sans doute, on pourra rétorquer que les interprètes en bénéficient. En "
"moyenne, la publicité qu'ils en tirent vaut plus que les droits qu'ils "
"abandonnent. Peut-être. Mais quand bien même, la loi laisse d'habitude au "
"créateur le droit de faire son choix. En faisant le choix à sa place, cette "
"loi donne à la station de radio le droit de prendre quelque chose sans "
"contrepartie."

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Cable TV"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "cable television"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid "Cable TV was also born of a kind of piracy."
msgstr "La télévision par câble elle-aussi est née d'une forme de piratage."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When cable entrepreneurs first started wiring communities with cable "
"television in 1948, most refused to pay broadcasters for the content that "
"they echoed to their customers. Even when the cable companies started "
"selling access to television broadcasts, they refused to pay for what they "
"sold. Cable companies were thus Napsterizing broadcasters' content, but more "
"egregiously than anything Napster ever did&mdash; Napster never charged for "
"the content it enabled others to give away."
msgstr ""
"Lorsque les entrepreneurs du câble commencèrent à fournir la télévision "
"par câble à des communautés, en 1948, la plupart refusèrent de payer les "
"chaînes hertziennes pour les contenus qu'ils transmettaient à leurs "
"clients. Même lorsque les compagnies de câble commencèrent à vendre "
"l'accès à la télévision par câble, ils refusèrent de payer ce qu'ils "
"revendaient. Ainsi, les compagnies de câble napsterisaient les contenus "
"émis sur les ondes, mais d'une manière encore plus éhontée que tout ce "
"que Napster a jamais fait&mdash; Napster n'a jamais fait payer pour les "
"contenus qu'ils permettaient aux gens de partager."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Anello, Douglas"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Burdick, Quentin"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Hyde, Rosel H."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV: Hearing on S. 1006 Before the "
"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee "
"on the Judiciary, 89th Cong., 2nd sess., 78 (1966)  (statement of Rosel "
"H. Hyde, chairman of the Federal Communications Commission).  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Copyright Law Revision&mdash;CATV: Hearing on S. 1006 Before the Subcommittee "
"on Patents, Trademarks, and Copyrights of the Senate Committee on the "
"Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. Hyde, "
"chairman of the Federal Communications Commission).  <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."
msgstr ""
"Copyright Law Revision&mdash;CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Broadcasters and copyright owners were quick to attack this theft.  Rosel "
"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair "
"and potentially destructive competition.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> There may have been a <quote>public "
"interest</quote> in spreading the reach of cable TV, but as Douglas Anello, "
"general counsel to the National Association of Broadcasters, asked Senator "
"Quentin Burdick during testimony, <quote>Does public interest dictate that "
"you use somebody else's property?</quote><placeholder type=\"footnote\" "
"id=\"1\"/> As another broadcaster put it,"
msgstr ""
"Les chaînes hertziennes et les détenteurs de copyright s'en prirent "
"rapidement à ce vol. Rosel Hyde, le président de la FCC, voyait cette "
"pratique comme une forme de <quote>compétition déloyale et potentiellement "
"destructrice.</quote><placeholder type=\"footnote\" id=\"0\"/> Bien qu'il pût "
"y avoir un <quote>intérêt public</quote> à augmenter l'offre de la télévision "
"par câble, Douglas Anello, conseiller général de la National Association of "
"Broadcasters, demanda au sénateur Quentin Burdick lors d'un procès, "
"<quote>L'intérêt public vous commande-t'il d'utiliser la propriété de quelqu'un "
"d'autre?</quote><placeholder type=\"footnote\" id=\"1\"/> Un autre représentant "
"des chaînes hertziennes le dit en ces termes:"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."
msgstr ""
"Copyright Law Revision&mdash;CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"The extraordinary thing about the CATV business is that it is the only "
"business I know of where the product that is being sold is not paid "
"for.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ce qu'il y a d'extraordinaire au sujet de la télévision par câble, c'est "
"que c'est la seule industrie à ma connaissance qui revend un produit qu'elle "
"n'a pas payé.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid "Again, the demand of the copyright holders seemed reasonable enough:"
msgstr ""
"Encore une fois, la demande des détenteurs de copyright semblait "
"suffisamment raisonnable:"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV, 169 (joint statement of Arthur B.  Krim, "
"president of United Artists Corp., and John Sinn, president of United "
"Artists Television, Inc.)."
msgstr ""
"Copyright Law Revision&mdash;CATV, 169 (joint statement of Arthur B. Krim, "
"president of United Artists Corp., and John Sinn, president of United"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"All we are asking for is a very simple thing, that people who now take our "
"property for nothing pay for it. We are trying to stop piracy and I don't "
"think there is any lesser word to describe it. I think there are harsher "
"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Tout ce que nous demandons, c'est quelque chose de très simple, c'est que "
"ceux qui maintenant prennent notre propriété pour rien paient pour celà. "
"Nous tentons d'arrêter un piratage, et je ne crois pas qu'il existe de mot "
"plus faible pour décrire celà. Je pense qu'il y a des mots plus durs qui "
"conviendraient.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Heston, Charlton"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV, 209 (statement of Charlton Heston, "
"president of the Screen Actors Guild).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
"Copyright Law Revision&mdash;CATV, 209 (statement of Charlton Heston, "
"president of the Screen Actors Guild).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president "
"Charlton Heston said, who were <quote>depriving actors of "
"compensation.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ils étaient des <quote>passagers au noir,</quote> d'après Charlton Heston, "
"le président de la Guilde des Acteurs, qui <quote>privaient les acteurs de "
"leurs argent.</quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But again, there was another side to the debate. As Assistant Attorney "
"General Edwin Zimmerman put it,"
msgstr ""
"Mais encore une fois, il existait un autre point de vue sur ce débat. Pour "
"citer le vice-ministre de la Justice, Edwin Zimmerman,"

#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary>
msgid "Zimmerman, Edwin"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"Copyright Law Revision&mdash;CATV, 216 (statement of Edwin M.  Zimmerman, "
"acting assistant attorney general).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
"Copyright Law Revision&mdash;CATV, 216 (statement of Edwin M. Zimmerman, "
"acting assistant attorney general).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Our point here is that unlike the problem of whether you have any copyright "
"protection at all, the problem here is whether copyright holders who are "
"already compensated, who already have a monopoly, should be permitted to "
"extend that monopoly. &hellip; The question here is how much compensation "
"they should have and how far back they should carry their right to "
"compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Notre préoccupation ici est que, contrairement au problème de savoir si un "
"système de protection du copyright existe ou non, le problème est de savoir "
"si les détenteurs de copyright, qui possèdent déjà un monopole, devraient "
"être autorisés à étendre ce monopole... La question ici est à combien "
"doit s'élever leur compensation, et jusqu'à où doit s'étendre leur droit "
"à une compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Copyright owners took the cable companies to court. Twice the Supreme Court "
"held that the cable companies owed the copyright owners nothing."
msgstr ""
"Les détenteurs de copyright traînèrent les compagnies de câble en "
"justice. Par deux fois, la Cour Suprême statua que les compagnies de câble "
"ne devaient rien aux détenteurs de copyright."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It took Congress almost thirty years before it resolved the question of "
"whether cable companies had to pay for the content they "
"<quote>pirated.</quote> In the end, Congress resolved this question in the "
"same way that it resolved the question about record players and player "
"pianos. Yes, cable companies would have to pay for the content that they "
"broadcast; but the price they would have to pay was not set by the copyright "
"owner.  The price was set by law, so that the broadcasters couldn't exercise "
"veto power over the emerging technologies of cable. Cable companies thus "
"built their empire in part upon a <quote>piracy</quote> of the value created "
"by broadcasters' content."
msgstr ""
"Il fallut au Congrès presque trente ans pour résoudre la question de savoir "
"si les compagnies de câble devaient payer pour les contenus qu'elles "
"<quote>pirataient</quote>. A la fin, le Congrès la résolut de la même "
"manière qu'il avait résolu la question des lecteurs de disques et des "
"pianos mécaniques. Oui, les compagnies de câble devraient payer pour les "
"contenus qu'ils distribuaient; mais le prix qu'ils devraient payer ne serait "
"pas décidé par le détenteur du copyright. Ce prix serait fixé par la loi, "
"de sorte que les chaînes hertziennes ne puissent faire obstruction à la "
"technologie émergente du câble. Les compagnies de câble ont donc, en "
"partie, bâti leur empire sur un <quote>piratage</quote>, de la valeur du "
"contenu créée par les chaînes hertziennes."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See, for example, National Music Publisher's Association, <citetitle>The "
"Engine of Free Expression: Copyright on the Internet&mdash;The Myth of Free "
"Information</citetitle>, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #13</ulink>. <quote>The threat of "
"piracy&mdash;the use of someone else's creative work without permission or "
"compensation&mdash;has grown with the Internet.</quote>"
msgstr ""
"Voir, par exemple, National Music Publisher's Association,<citetitle> The "
"Engine of Free Expression: Copyright on the Internet&mdash;The Myth of Free "
"Information,</citetitle> disponible au lien #13. <quote>La menace du piratage "
"- l'utilisation du travail créatif de quelqu'un d'autre sans permission ni "
"compensation - a augmenté avec Internet.</quote>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>These separate stories</emphasis> sing a common "
"theme. If <quote>piracy</quote> means using value from someone else's "
"creative property without permission from that creator&mdash;as it is "
"increasingly described today<placeholder type=\"footnote\" id=\"0\"/> "
"&mdash; then <emphasis>every</emphasis> industry affected by copyright today "
"is the product and beneficiary of a certain kind of piracy. Film, records, "
"radio, cable TV. &hellip; The list is long and could well be expanded. Every "
"generation welcomes the pirates from the last. Every generation&mdash;until "
"now."
msgstr ""
"<emphasis role='strong'>Ces différentes histoires</emphasis> chantent le "
"même refrain. Si <quote>piratage</quote> veut dire utiliser la valeur de la "
"création artistique de quelqu'un sans sa permission, et c'est de plus en "
"plus le sens qu'on accorde à ce mot aujourd'hui,<placeholder "
"type=\"footnote\" id=\"0\"/> alors <emphasis> chaque</emphasis> industrie "
"régulée par le droit d'auteur de nos jours est le résultat et le "
"bénéficiaire d'une certaine forme de piratage. Le cinéma, la musique, la "
"radio, la télévision par câble... La liste est longue, et elle pourrait "
"bien s'allonger. Chaque génération accueille les pirates de la génération "
"précédente &mdash; jusqu'à aujourd'hui."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Five: <quote>Piracy</quote>"
msgstr "<quote>Piratage</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>There is piracy</emphasis> of copyrighted "
"material. Lots of it. This piracy comes in many forms. The most significant "
"is commercial piracy, the unauthorized taking of other people's content "
"within a commercial context. Despite the many justifications that are "
"offered in its defense, this taking is wrong. No one should condone it, and "
"the law should stop it."
msgstr ""
"Il y a du piratage de contenus protégés par copyright. Énormément. Ce "
"piratage prend de nombreuses formes. La plus significative est le piratage "
"commercial, l'appropriation non autorisée du bien d'autrui dans un contexte "
"commercial. Malgré les nombreuses justifications qui sont présentées dans "
"sa défense, cette appropriation est mauvaise. Personne ne devrait la "
"pardonner et la loi devrait l'arrêter."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But as well as copy-shop piracy, there is another kind of "
"<quote>taking</quote> that is more directly related to the Internet. That "
"taking, too, seems wrong to many, and it is wrong much of the time. Before "
"we paint this taking <quote>piracy,</quote> however, we should understand "
"its nature a bit more.  For the harm of this taking is significantly more "
"ambiguous than outright copying, and the law should account for that "
"ambiguity, as it has so often done in the past."
msgstr ""
"Mais, en dehors de copies pirates vendues dans le commerce, il existe une "
"autre sorte d'appropriation, qui est plus directement liée à Internet. "
"Cette appropriation, elle aussi, semble mauvaise à beaucoup, et elle est "
"mauvaise la plupart du temps. Avant de nous intéresser à cette forme "
"particulière, nous devrions cependant comprendre sa nature un peu plus. Pour "
"son plus grand malheur, cette appropriation est significativement plus "
"ambiguë qu'une simple reproduction qui ne tient pas compte des droits, et la "
"loi devrait lever cette ambiguïté, comme elle l'a si souvent fait dans le "
"passé."

#. type: Content of: <book><part><chapter><section><title>
msgid "Piracy I"
msgstr "Piratage I"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Asia, commercial piracy in"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "CDs"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "foreign piracy of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy "
"Risk,</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11."
msgstr ""
"Voir IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
"juillet 2003, disponible au lien #14. Voir aussi Ben Hunt, <quote>Companies "
"Warned on Music Piracy Risk</quote>, <citetitle>Financial Times</citetitle>, "
"14 février 2003, 11."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"All across the world, but especially in Asia and Eastern Europe, there are "
"businesses that do nothing but take others people's copyrighted content, "
"copy it, and sell it&mdash;all without the permission of a copyright "
"owner. The recording industry estimates that it loses about $4.6 billion "
"every year to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that "
"works out to one in three CDs sold worldwide). The MPAA estimates that it "
"loses $3 billion annually worldwide to piracy."
msgstr ""
"Partout dans le monde, mais particulièrement en Asie et l'Europe de l'Est, "
"des entreprises ne font rien d'autre que prendre le travail des autres "
"protégé par copyright, le copier et le vendre dans son intégralité sans "
"la permission du détenteur dudit copyright. L'industrie du disque estime "
"qu'elle perd environ 4,6 milliards de dollars chaque année à cause du "
"piratage physique<placeholder type=\"footnote\" id=\"0\"/> (ce qui correspond "
"à un CD sur trois vendus dans le monde entier). La MPAA estime ses pertes annuelles à trois milliards de "
"dollars du fait du piratage."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is piracy plain and simple. Nothing in the argument of this book, nor "
"in the argument that most people make when talking about the subject of this "
"book, should draw into doubt this simple point: This piracy is wrong."
msgstr ""
"Ceci est du piratage pur et simple. Rien dans les arguments de ce livre, ni "
"dans les arguments que font la plupart des gens quand ils parlent du sujet de "
"ce livre, ne met en doute ce simple point&nbsp;: le piratage est mauvais."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Which is not to say that excuses and justifications couldn't be made for "
"it. We could, for example, remind ourselves that for the first one hundred "
"years of the American Republic, America did not honor foreign copyrights. We "
"were born, in this sense, a pirate nation. It might therefore seem "
"hypocritical for us to insist so strongly that other developing nations "
"treat as wrong what we, for the first hundred years of our existence, "
"treated as right."
msgstr ""
"Ceci ne veut pas dire que des excuses et des justifications ne peuvent pas "
"être trouvées. Nous pourrions, par exemple, nous rappeler que, pour les "
"cents premières années de la République américaine, l'Amérique ne "
"respecta pas les copyrights étrangers. Nous sommes nés, en ce sens, en "
"nation pirate. Cela pourrait donc sembler hypocrite pour nous d'insister si "
"fortement pour que d'autres pays en voie de développement considèrent comme "
"injuste ce que nous avons, pendant les cent premières années de notre "
"existence, considéré comme juste."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"That excuse isn't terribly strong. Technically, our law did not ban the "
"taking of foreign works. It explicitly limited itself to American "
"works. Thus the American publishers who published foreign works without the "
"permission of foreign authors were not violating any rule.  The copy shops "
"in Asia, by contrast, are violating Asian law. Asian law does protect "
"foreign copyrights, and the actions of the copy shops violate that law. So "
"the wrong of piracy that they engage in is not just a moral wrong, but a "
"legal wrong, and not just an internationally legal wrong, but a locally "
"legal wrong as well."
msgstr ""
"Cette excuse n'est pas vraiment valable. Techniquement, notre loi "
"n'interdisait pas l'appropriation de travaux étrangers. Elle s'était "
"explicitement limitée aux travaux américains. Ainsi les éditeurs "
"américains qui publièrent des travaux étrangers sans la permission des "
"auteurs étrangers ne violaient aucune règle. Les magasins vendant des copie "
"en Asie, à l'inverse, violent la loi asiatique. La loi asiatique protège "
"vraiment les droits des auteurs étrangers et l'activité de tels magasins "
"viole cette loi. Donc, le tort que ce piratage implique n'est donc pas qu'une "
"injustice morale, mais une transgression légale, et pas qu'une transgression "
"légale et internationale, mais aussi une transgression légale au niveau "
"local."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"True, these local rules have, in effect, been imposed upon these "
"countries. No country can be part of the world economy and choose not to "
"protect copyright internationally. We may have been born a pirate nation, "
"but we will not allow any other nation to have a similar childhood."
msgstr ""
"Pour dire vrai, ces règlements locaux ont été, en fait, imposés à ces "
"pays. Aucun pays ne peut faire partie de l'économie mondiale et choisir de "
"ne pas protéger les copyrights internationalement. Nous sommes peut-être "
"nés nation pirate, mais nous n'accepterons pas qu'une autre nation ait une "
"enfance similaire."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "agricultural patents"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary>
msgid "Drahos, Peter"
msgstr "Drahos, Peter"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Peter Drahos with John Braithwaite, Information Feudalism: "
"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New "
"Press, 2003), 10&ndash;13, 209.  The Trade-Related Aspects of Intellectual "
"Property Rights (TRIPS) agreement obligates member nations to create "
"administrative and enforcement mechanisms for intellectual property rights, "
"a costly proposition for developing countries. Additionally, patent rights "
"may lead to higher prices for staple industries such as agriculture. Critics "
"of TRIPS question the disparity between burdens imposed upon developing "
"countries and benefits conferred to industrialized nations. TRIPS does "
"permit governments to use patents for public, noncommercial uses without "
"first obtaining the patent holder's permission. Developing nations may be "
"able to use this to gain the benefits of foreign patents at lower "
"prices. This is a promising strategy for developing nations within the TRIPS "
"framework.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Voir Peter Drahos avec John Braithwaite, <citetitle>Information Feudalism: "
"Who Owns the Knowledge Economy&nbsp;?</citetitle> (New York: The New Press, "
"2003), 10-13, 209. L'accord sur les aspects concernant le commerce des droits "
"de propriété intellectuelle (circulation) oblige les nations membres à "
"créer des mécanismes administratifs et exécutifs pour les droits de "
"propriété intellectuelle, une proposition coûteuse pour les pays en voie "
"de développement. De plus, les droits exclusifs d'exploitation peuvent "
"conduire à des prix plus élevés pour les industries principales comme "
"l'agriculture. Les critiques de la question de la circulation mettent en "
"doute la disparité entre les fardeaux imposés aux pays en voie de "
"développement et les avantages conférés aux pays industrialisés. Les "
"circulations permettent vraiment aux gouvernements d'utiliser des brevets "
"d'invention pour le public, des utilisations sans but lucratif et sans "
"obtenir tout d'abord la permission du détenteur du brevet. Les pays en voie "
"de développement peuvent être capables de l'utiliser pour gagner les "
"avantages de brevets d'invention étrangers aux prix inférieurs. C'est une "
"stratégie prometteuse pour des pays en voie de développement dans la "
"structure des circulations. <placeholder type=\"indexterm\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If a country is to be treated as a sovereign, however, then its laws are its "
"laws regardless of their source. The international law under which these "
"nations live gives them some opportunities to escape the burden of "
"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my "
"view, more developing nations should take advantage of that opportunity, but "
"when they don't, then their laws should be respected. And under the laws of "
"these nations, this piracy is wrong."
msgstr ""
"Cependant, si un pays doit être traité comme souverain, alors ses lois sont "
"ses lois, indépendamment de leur source. La loi internationale sous laquelle "
"ces pays vivent leur donne quelques occasions d'échapper au fardeau de la "
"loi la propriété intellectuelle<placeholder type=\"footnote\" id=\"0\"/>. "
"Selon moi, plus de pays en voie de développement devraient profiter de cette "
"occasion, mais quand ils ne font pas, alors leurs lois devraient être "
"respectées. Et conformément aux lois de ces pays, ce piratage est mal."

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
msgid "Liebowitz, Stan"
msgstr "Liebowitz, Stan"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
"Amacom, 2002), 144&ndash;90. <quote>In some instances &hellip; the impact of "
"piracy on the copyright holder's ability to appropriate the value of the "
"work will be negligible. One obvious instance is the case where the "
"individual engaging in pirating would not have purchased an original even if "
"pirating were not an option.</quote> Ibid., 149.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Pour une analyse de l'aspect 'impact économique' de la technologie de copie, "
"voir Stan Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> "
"(New York: Amacom, 2002), 144-90. <quote>Dans quelques cas ... l'impact du "
"piratage sur la capacité du détenteur du copyright lors d'une appropriation "
"de la valeur du travail sera négligeable. Un cas évident est le cas où "
"l'individu s'engageant dans le piratage n'aurait pas acheté d'original même "
"si le piratage n'était pas une option</quote> Ibid., 149. <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Alternatively, we could try to excuse this piracy by noting that in any "
"case, it does no harm to the industry. The Chinese who get access to "
"American CDs at 50 cents a copy are not people who would have bought those "
"American CDs at $15 a copy. So no one really has any less money than they "
"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Sinon, nous pourrions aussi essayer d'excuser ce piratage en notant que, dans "
"ce cas, cela ne fait pas de tort à l'industrie. Les Chinois ayant accès aux "
"CDs américains à 50 cents [NDT : de dollar] l'unité ne sont pas des gens "
"qui pourraient acheter ces mêmes CDs à 15 dollars pièce. Donc personne n'a "
"en réalité moins d'argent qu'il n'aurait pu en avoir de toute "
"façon<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is often true (though I have friends who have purchased many thousands "
"of pirated DVDs who certainly have enough money to pay for the content they "
"have taken), and it does mitigate to some degree the harm caused by such "
"taking. Extremists in this debate love to say, <quote>You wouldn't go into "
"Barnes &amp; Noble and take a book off of the shelf without paying; why "
"should it be any different with on-line music?</quote> The difference is, of "
"course, that when you take a book from Barnes &amp; Noble, it has one less "
"book to sell. By contrast, when you take an MP3 from a computer network, "
"there is not one less CD that can be sold.  The physics of piracy of the "
"intangible are different from the physics of piracy of the tangible."
msgstr ""
"C'est souvent vrai (quoique j'ai des amis qui ont acheté des milliers de "
"DVDs piratés et qui ont certainement assez d'argent pour payer ce qu'ils ont "
"pris) et cela atténue quand même un peu le mal causé par de tels vols. Les "
"extrémistes dans ce débat aiment dire&nbsp;: <quote>Vous n'entreriez pas à "
"Barnes &amp; Noble pour prendre un livre sans "
"payer&nbsp;; pourquoi cela devrait-il être différent avec la musique en "
"ligne&nbsp;?</quote> La différence est, bien sûr, que quand vous prenez un "
"livre de Barnes &amp; Noble, ils ont un livre de moins à vendre. A "
"l'inverse, quand vous prenez un MP3 d'un réseau informatique, il n'y a pas "
"un CD de moins qui peut être vendu. La science du piratage de l'immatériel "
"est différente de la science du piratage du matériel."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This argument is still very weak. However, although copyright is a property "
"right of a very special sort, it <emphasis>is</emphasis> a property "
"right. Like all property rights, the copyright gives the owner the right to "
"decide the terms under which content is shared. If the copyright owner "
"doesn't want to sell, she doesn't have to. There are exceptions: important "
"statutory licenses that apply to copyrighted content regardless of the wish "
"of the copyright owner. Those licenses give people the right to "
"<quote>take</quote> copyrighted content whether or not the copyright owner "
"wants to sell. But where the law does not give people the right to take "
"content, it is wrong to take that content even if the wrong does no harm. If "
"we have a property system, and that system is properly balanced to the "
"technology of a time, then it is wrong to take property without the "
"permission of a property owner. That is exactly what <quote>property</quote> "
"means."
msgstr ""
"Cet argument est encore vraiment faible. Cependant, bien que le copyright "
"soit un droit de propriété d'un type spécial, il "
"<emphasis>reste</emphasis> un droit de propriété. Comme tous les droits de "
"propriété, le copyright donne à son détenteur le droit de décider les "
"termes selon lesquels le bien est partagé. Si le détenteur ne veut pas "
"vendre, il ne doit pas l'être. Il y a des exceptions&nbsp;: les licences "
"statutaires importantes qui s'appliquent au contenu protégé par copyright "
"indépendamment du souhait du détenteur. Ces licences donnent aux gens le "
"droit <quote>de prendre</quote> le contenu protégé par le droit d'auteur, "
"que le détenteur le veuille vendre ou non. Mais quand la loi ne donne pas "
"aux gens ce droit, il est illégal de prendre ce contenu même si cela ne "
"provoque aucun tort. Si nous avons un système de propriété, et que ce "
"système est correctement équilibré avec la technologie d'une époque, "
"alors il est mal de s'approprier quelque chose sans la permission du "
"possesseur de la propriété. C'est exactement ce que "
"<quote>propriété</quote> signifie."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "in Asia"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "free software/open-source software (FS/OSS)"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
msgid "GNU/Linux operating system"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
msgid "Linux operating system"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "competitive strategies of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Windows"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "international software piracy of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "Windows operating system of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
"piracy actually helps the copyright owner. When the Chinese "
"<quote>steal</quote> Windows, that makes the Chinese dependent on "
"Microsoft.  Microsoft loses the value of the software that was taken. But it "
"gains users who are used to life in the Microsoft world. Over time, as the "
"nation grows more wealthy, more and more people will buy software rather "
"than steal it. And hence over time, because that buying will benefit "
"Microsoft, Microsoft benefits from the piracy. If instead of pirating "
"Microsoft Windows, the Chinese used the free GNU/Linux operating system, "
"then these Chinese users would not eventually be buying Microsoft.  Without "
"piracy, then, Microsoft would lose."
msgstr ""
"Enfin, nous pourrions essayer d'excuser ce piratage avec l'argument que le "
"piratage aide en réalité le détenteur du copyright. Quand un Chinois "
"<quote>vole</quote> Windows, cela le rend dépendant de Microsoft. Microsoft "
"perd la valeur du logiciel qui a été volé. Mais il gagne des utilisateurs "
"qui sont utilisés pour faire vivre le monde Microsoft. Dans quelques temps, "
"quand la nation sera plus riche, de plus en plus de gens achèteront le "
"logiciel plutôt que de le voler. Et quelques temps après, parce que cet "
"achat lui profitera, Microsoft tirera des bénéfices du piratage. Si au lieu "
"de pirater Microsoft Windows, le Chinois avait utilisé le système "
"d'exploitation GNU/LINUX, libre et gratuit, alors ces utilisateurs chinois "
"n'achèteraient finalement pas de produits Microsoft. Sans piratage, "
"Microsoft perdrait."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "law"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "databases of case reports in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This argument, too, is somewhat true. The addiction strategy is a good "
"one. Many businesses practice it. Some thrive because of it. Law students, "
"for example, are given free access to the two largest legal databases. The "
"companies marketing both hope the students will become so used to their "
"service that they will want to use it and not the other when they become "
"lawyers (and must pay high subscription fees)."
msgstr ""
"Cet argument, lui aussi, est en partie fondé. La stratégie de dépendance "
"est une bonne stratégie. De nombreuses entreprises l'utilisent. Certaines "
"prospèrent grâce à elle. Par exemple, les étudiants en droit ont libre "
"accès aux deux plus grandes bases de données juridiques. Les sociétés qui "
"vendent l'accès à ces bases de données espèrent chacune que ces "
"étudiants deviendront si habitués à leur service qu'ils voudront "
"l'utiliser plutôt que l'autre, une fois devenus avocats (et qu'ils paieront "
"alors de lourds frais d'abonnement)."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Netscape"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Internet Explorer"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Still, the argument is not terribly persuasive. We don't give the alcoholic "
"a defense when he steals his first beer, merely because that will make it "
"more likely that he will buy the next three. Instead, we ordinarily allow "
"businesses to decide for themselves when it is best to give their product "
"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can "
"give its product away, as it did, for example, with Internet Explorer to "
"fight Netscape. A property right means giving the property owner the right "
"to say who gets access to what&mdash;at least ordinarily. And if the law "
"properly balances the rights of the copyright owner with the rights of "
"access, then violating the law is still wrong."
msgstr ""
"Là encore, l'argument n'est pas terriblement persuasif. Nous ne défendons "
"pas un alcoolique quand il vole sa première bière simplement parce que cela "
"le rend plus susceptible d'acheter les trois suivantes. Au lieu de cela, nous "
"permettons d'habitude aux entreprises de décider pour elles quand il est "
"préférable de donner leur produit. Si Microsoft craint la concurrence de "
"GNU/LINUX, alors Microsoft peut donner son produit comme il l'a fait, par "
"exemple, avec Internet Explorer pour se battre contre Netscape. Un droit de "
"propriété signifie donner au possesseur de la propriété le droit de dire "
"qui a accès à quoi&mdash;au moins d'habitude. Et si la loi fait "
"correspondre correctement les droits du détenteur de copyright avec les "
"droits d'accès, alors la violation de la loi est toujours mauvaise."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Thus, while I understand the pull of these justifications for piracy, and I "
"certainly see the motivation, in my view, in the end, these efforts at "
"justifying commercial piracy simply don't cut it. This kind of piracy is "
"rampant and just plain wrong. It doesn't transform the content it steals; it "
"doesn't transform the market it competes in. It merely gives someone access "
"to something that the law says he should not have.  Nothing has changed to "
"draw that law into doubt. This form of piracy is flat out wrong."
msgstr ""
"Ainsi, tandis que je comprends la force de ces justifications de piratage, et "
"que j'en vois de manière certaine la motivation, à mon avis, à la fin, ces "
"efforts de justification du piratage commercial ne tiennent plus. Cette sorte "
"de piratage est effrénée et ne cause que du tort. Elle ne transforme pas le "
"contenu qu'elle vole&nbsp;; elle ne transforme pas le marché avec lequel "
"elle entre en concurrence. Elle donne simplement à quelqu'un accès à "
"quelque chose dont la loi dit qu'il ne devrait pas avoir accès. Rien n'a "
"changé pour entraîner cette loi dans le doute. Cette forme de piratage est "
"complètement dans l'erreur."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But as the examples from the four chapters that introduced this part "
"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> "
"is. Or at least, not all <quote>piracy</quote> is wrong if that term is "
"understood in the way it is increasingly used today. Many kinds of "
"<quote>piracy</quote> are useful and productive, to produce either new "
"content or new ways of doing business.  Neither our tradition nor any "
"tradition has ever banned all <quote>piracy</quote> in that sense of the "
"term."
msgstr ""
"Mais, comme les exemples des quatre chapitres qui précèdent cette partie le "
"suggèrent, même si quelques piratages sont complètement mauvais, tous ne "
"le sont pas. Ou au moins, pas tous les <quote>piratages</quote> sont mauvais, "
"si ce terme est compris de la manière dont il est de plus en plus utilisé "
"aujourd'hui. Beaucoup de sortes de <quote>piratage</quote> sont utiles et "
"productives, pour produire soit de nouveaux contenus, soit de nouvelles "
"façons de faire des affaires. Ni notre tradition, ni n'importe quelle "
"tradition n'ont jamais interdit tous les <quote>piratages</quote> dans ce "
"sens du terme."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This doesn't mean that there are no questions raised by the latest piracy "
"concern, peer-to-peer file sharing. But it does mean that we need to "
"understand the harm in peer-to-peer sharing a bit more before we condemn it "
"to the gallows with the charge of piracy."
msgstr ""
"Cela ne signifie pas qu'il n'y a aucune question levée par la dernière "
"affaire de piratage en date&nbsp;: le partage de fichiers peer-to-peer. Mais "
"cela signifie que nous devons comprendre le mal dans le peer-to-peer avant "
"que nous ne le condamnions au gibet avec pour charge d'accusation le "
"piratage."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For (1) like the original Hollywood, p2p sharing escapes an overly "
"controlling industry; and (2) like the original recording industry, it "
"simply exploits a new way to distribute content; but (3) unlike cable TV, no "
"one is selling the content that is shared on p2p services."
msgstr ""
"En effet, comme Hollywood à ses débuts (1), le partage p2p s'émancipe d'une industrie au "
"contrôle excessif; comme l'industrie du disque à ses débuts (2), il exploite simplement une nouvelle façon de distribuer "
"du contenu; cependant, à la différence de la télévision câblée (3), personne ne vend le contenu qui est partagé sur "
"les services p2p."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These differences distinguish p2p sharing from true piracy. They should push "
"us to find a way to protect artists while enabling this sharing to survive."
msgstr ""
"Ces différences distinguent le partage p2p du vrai piratage. Elles devraient "
"nous pousser à trouver une façon de protéger les artistes tout en "
"permettant à ce partage de survivre."

#. type: Content of: <book><part><chapter><section><title>
msgid "Piracy II"
msgstr "Piratage II"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 "
"Eng. Rep. 1274 (1777)."
msgstr ""
"<citetitle>Bach</citetitle> v.<citetitle> Longman</citetitle>, 98 Eng. Rep. "
"1274 (1777)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The key to the <quote>piracy</quote> that the law aims to quash is a use "
"that <quote>rob[s] the author of [his] profit.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> This means we must determine whether and how "
"much p2p sharing harms before we know how strongly the law should seek to "
"either prevent it or find an alternative to assure the author of his profit."
msgstr ""
"Le point caractéristique du <quote>piratage</quote> que la loi aspire à "
"annuler est une utilisation qui <quote>vole l'auteur [de son] "
"bénéfice</quote><placeholder type=\"footnote\" id=\"0\"/>. Cela veut dire "
"que nous devons déterminer, s'il y a lieu, combien de maux le partage p2p "
"induit avant que nous ne sachions dans quelle mesure la loi devrait "
"l'empêcher ou trouver une alternative pour garantir à l'auteur un retour "
"profitable."

#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Fanning, Shawn"
msgstr "Fanning, Shawn"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "innovation"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Christensen, Clayton M."
msgstr "Christensen, Clayton M."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, "
"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller "
"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, "
"2000). Professor Christensen examines why companies that give rise to and "
"dominate a product area are frequently unable to come up with the most "
"creative, paradigm-shifting uses for their own products.  This job usually "
"falls to outside innovators, who reassemble existing technology in inventive "
"ways. For a discussion of Christensen's ideas, see Lawrence Lessig, "
"<citetitle>Future</citetitle>, 89&ndash;92, 139.  <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/>Voir Clayton M. Christensen, "
"<citetitle>The Innovator's Dilemma: The "
"Revolutionary National Bestseller That Changed the Way We Do "
"Business</citetitle> (New York: HarperBusiness, 2000). Le professeur "
"Christensen examine pourquoi les sociétés qui provoquent et dominent un "
"secteur de produit sont souvent incapables d'inventer les utilisations les "
"plus créatrices, changeant de paradigme pour leurs produits propres. Ce "
"travail incombe d'habitude aux innovateurs extérieurs, qui rassemblent la "
"technologie existante de façons inventives. Pour une discussion des idées "
"de Christensen, voir Lawrence Lessig, <citetitle>Future</citetitle>, 89-92, "
"139.<placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Peer-to-peer sharing "
"was made famous by Napster. But the inventors of the Napster technology had "
"not made any major technological innovations.  Like every great advance in "
"innovation on the Internet (and, arguably, off the Internet as "
"well<placeholder type=\"footnote\" id=\"3\"/>), Shawn Fanning and crew had "
"simply put together components that had been developed independently."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>Le Peer-to-peer a été "
"rendu célèbre par Napster. Mais les inventeurs de la technologie Napster "
"n'ont créé aucune innovation technologique majeure. Comme chaque grande "
"avancée dans l'innovation sur Internet (et, probablement comme partout "
"ailleurs <placeholder type=\"footnote\" id=\"3\"/>, Shawn Fanning et son "
"équipe avaient simplement réuni des composants qui avaient été "
"développés indépendamment."

#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Kazaa"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
msgid "number of registrations on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
msgid "replacement of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood "
"Nightmare,</quote> <citetitle>San Francisco Chronicle</citetitle>, 24 "
"September 2002, A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New "
"Scientist</citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster "
"Names CEO, Secures New Financing,</quote> <citetitle>San Francisco "
"Chronicle</citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up "
"Call,</quote> <citetitle>Economist</citetitle>, 24 June 2000, 23; John "
"Naughton, <quote>Hollywood at War with the Internet</quote> (London) "
"<citetitle>Times</citetitle>, 26 July 2002, 18."
msgstr ""
"Voir Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood "
"Nightmare</quote>, <citetitle>San Francisco Chronicle</citetitle>, 24 "
"September 2002, A1; <quote>Rock 'n' Roll Suicide</quote>, <citetitle>New "
"Scientist</citetitle>, 6 juillet 2002, 42; Benny Evangelista, <quote>Napster "
"Names CEO, Secures New Financing</quote>, <citetitle>San Francisco "
"Chronicle,</citetitle> 23 mai 2003, C1; <quote>Napster's Wake-Up "
"Call</quote>, <citetitle>Economist</citetitle>, 24 juin 2000, 23; John "
"Naughton, <quote>Hollywood at War with the Internet</quote> "
"(London)<citetitle>Times</citetitle>, 26 juillet 2002, 18."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The result was "
"spontaneous combustion. Launched in July 1999, Napster amassed over 10 "
"million users within nine months. After eighteen months, there were close to "
"80 million registered users of the system.<placeholder type=\"footnote\" "
"id=\"3\"/> Courts quickly shut Napster down, but other services emerged to "
"take its place. (Kazaa is currently the most popular p2p service. It boasts "
"over 100 million members.) These services' systems are different "
"architecturally, though not very different in function: Each enables users "
"to make content available to any number of other users. With a p2p system, "
"you can share your favorite songs with your best friend&mdash; or your "
"20,000 best friends."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>Le résultat a été une "
"combustion spontanée. Lancé en juillet 1999, "
"Napster a amassé plus de 10 millions d'utilisateurs en neuf mois. Après "
"dix-huit mois, il y avait près de 80 millions d'utilisateurs du système "
"enregistrés<placeholder type=\"footnote\" id=\"3\"/>. Les cours de justice "
"ont rapidement fermé Napster, mais d'autres services sont apparus pour le "
"remplacer (Kazaa est actuellement le service de p2p le plus populaire. Il se "
"targue de plus de 100 millions de membres). Ces systèmes de services sont "
"architecturalement différents, bien que très proches au niveau des "
"fonctionnalités&nbsp;: chacun permet aux utilisateurs de rendre disponible "
"un contenu à un nombre quelconque d'autres utilisateurs. Avec un système "
"p2p, vous pouvez partager vos chansons préférées avec votre meilleur "
"ami&mdash;ou vos 20 000 meilleurs amis."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music "
"Distribution</citetitle> (September 2002), reporting that 28 percent of "
"Americans aged twelve and older have downloaded music off of the Internet "
"and 30 percent have listened to digital music files stored on their "
"computers."
msgstr ""
"Voir Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music "
"Distribution</citetitle> (septembre 2002), rapportant que 28 pour cent des "
"Américains âgés de 12 et plus ont téléchargé de la musique depuis "
"Internet et 30 pourcent ont écouté de les fichiers numériques enregistrés "
"sur leurs ordinateurs."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> "
"<citetitle>New York Times</citetitle>, 6 June 2003, A1."
msgstr ""
"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight</quote>, "
"<citetitle>New York Times</citetitle>, 6 juin 2003, A1."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"According to a number of estimates, a huge proportion of Americans have "
"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 "
"estimated that 60 million Americans had downloaded music&mdash;28 percent of "
"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey "
"by the NPD group quoted in <citetitle>The New York Times</citetitle> "
"estimated that 43 million citizens used file-sharing networks to exchange "
"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast "
"majority of these are not kids. Whatever the actual figure, a massive "
"quantity of content is being <quote>taken</quote> on these networks. The "
"ease and inexpensiveness of file-sharing networks have inspired millions to "
"enjoy music in a way that they hadn't before."
msgstr ""
"Selon un certain nombre d'estimations, une proportion énorme d'Américains a "
"goûté à la technologie du partage de fichiers. Une étude Ipsos-Insight de "
"septembre 2002 a évalué à 60 millions le nombre d'Américains qui ont "
"téléchargé de la musique&mdash;28 pour cent des Américains plus âgés "
"que 12 ans<placeholder type=\"footnote\" id=\"0\"/>.  Un sondage du groupe "
"<ulink url=\"http://www.npd.com/\">NPD</ulink> cité dans le <citetitle>New "
"York Times</citetitle> a estimé que 43 millions de citoyens ont utilisé les "
"réseaux de partage de fichiers pour faire des échanges en mai 2003<placeholder "
"type=\"footnote\" id=\"1\"/>. La majorité d'entre eux n'était pas des enfants. "
"Quel que soit le chiffre réel, une quantité massive de données est tirée de ces "
"réseaux. La facilité et le caractère peu coûteux des réseaux de partage de "
"fichiers ont inspiré des millions de gens pour apprécier la musique d'une "
"manière nouvelle."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Some of this enjoying involves copyright infringement. Some of it does "
"not. And even among the part that is technically copyright infringement, "
"calculating the actual harm to copyright owners is more complicated than one "
"might think. So consider&mdash;a bit more carefully than the polarized "
"voices around this debate usually do&mdash;the kinds of sharing that file "
"sharing enables, and the kinds of harm it entails."
msgstr ""
"Une part de cette appréciation implique une infraction au copyright. Une "
"autre part non. Et même dans la partie qui constitue techniquement "
"l'infraction, le calcul du tort causé au détenteur du copyright est plus "
"compliqué qu'on pourrait le penser. En effet, considérez&mdash;un peu plus "
"soigneusement que ne le font habituellement les orateurs non objectifs dans "
"ce débat&mdash;les différentes sortes de partages que le partage de "
"fichiers permet, et les différents torts que cela entraîne."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
msgstr ""
"Ceux qui partagent des fichiers partagent différents types de contenu. On "
"peut regrouper ces différents types en quatre catégories."

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid ""
"There are some who use sharing networks as substitutes for purchasing "
"content. Thus, when a new Madonna CD is released, rather than buying the CD, "
"these users simply take it. We might quibble about whether everyone who "
"takes it would actually have bought it if sharing didn't make it available "
"for free. Most probably wouldn't have, but clearly there are some who "
"would.  The latter are the target of category A: users who download instead "
"of purchasing."
msgstr ""
"A. Il y a ceux qui utilisent les réseaux de partage comme substitut à "
"l'achat. Ainsi, quand un nouveau CD de Madonna est mis en vente dans le "
"commerce, plutôt que d'acheter le CD, ces utilisateurs le téléchargent "
"tout simplement. Nous pourrions pinailler en nous demandant si, oui ou non, "
"ceux qui se le sont approprié de cette manière l'auraient aujourd'hui "
"acheté si le partage ne l'avait rendu disponible gratuitement. La plupart ne "
"l'aurait probablement pas fait, mais il y a clairement certaines personnes "
"qui l'auraient acheté. Ces derniers sont la cible de catégorie A&nbsp;: les "
"utilisateurs qui téléchargent au lieu d'acheter."

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid ""
"There are some who use sharing networks to sample music before purchasing "
"it. Thus, a friend sends another friend an MP3 of an artist he's not heard "
"of. The other friend then buys CDs by that artist. This is a kind of "
"targeted advertising, quite likely to succeed.  If the friend recommending "
"the album gains nothing from a bad recommendation, then one could expect "
"that the recommendations will actually be quite good. The net effect of this "
"sharing could increase the quantity of music purchased."
msgstr ""
"B. Il y a ceux qui utilisent les réseaux de partage pour avoir un "
"échantillon de la musique qu'ils comptent acheter. Ainsi, un ami envoie à "
"un autre ami un MP3 d'un artiste dont ce dernier n'a jamais entendu parler. "
"L'autre ami achète alors le CD de l'artiste. C'est une sorte de publicité "
"ciblée, qui a relativement des chances de marcher. Si l'ami recommandant "
"l'album n'a rien à y gagner, alors on pourrait s'attendre à ce que les "
"recommandations soient tout à fait bonnes. L'effet net de ce partage "
"pourrait augmenter la quantité de musique achetée."

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid ""
"There are many who use sharing networks to get access to copyrighted content "
"that is no longer sold or that they would not have purchased because the "
"transaction costs off the Net are too high. This use of sharing networks is "
"among the most rewarding for many. Songs that were part of your childhood "
"but have long vanished from the marketplace magically appear again on the "
"network. (One friend told me that when she discovered Napster, she spent a "
"solid weekend <quote>recalling</quote> old songs. She was astonished at the "
"range and mix of content that was available.)  For content not sold, this is "
"still technically a violation of copyright, though because the copyright "
"owner is not selling the content anymore, the economic harm is "
"zero&mdash;the same harm that occurs when I sell my collection of 1960s "
"45-rpm records to a local collector."
msgstr ""
"C. Il y a ceux qui utilisent les réseaux de partage pour obtenir un accès "
"aux contenus protégés par copyright qui ne sont plus vendus ou qu'ils "
"n'auraient pas achetés parce que les coûts de transaction en dehors "
"d'Internet sont trop élevés. Cette utilisation des réseaux de partage est "
"parmi la plus utile pour beaucoup. Les chansons qui bercèrent votre enfance, "
"mais qui ont depuis longtemps disparu du marché apparaissent magiquement de "
"nouveau sur le réseau (une amie m'a dit que quand elle a découvert Napster, "
"elle a passé un week-end entier à <quote>récupérer</quote> de vieilles "
"chansons. Elle a été stupéfiée par l'étendue et la variété des "
"contenus qui étaient disponibles). Pour les oeuvres non vendues, c'est "
"toujours techniquement une violation de copyright, bien que le détenteur du "
"copyright ne vende désormais plus cette oeuvre&nbsp;; le tort économique "
"est nul&mdash;le même tort qui intervient quand je vends ma collection de 45 "
"tours des années 60 à un collectionneur local."

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid ""
"Finally, there are many who use sharing networks to get access to content "
"that is not copyrighted or that the copyright owner wants to give away."
msgstr ""
"D. Enfin, il y a ceux qui utilisent les réseaux de partage pour avoir accès "
"aux éléments qui ne sont pas protégés par copyright ou ceux que le "
"détenteur du copyright veut distribuer."

#. type: Content of: <book><part><chapter><section><para>
msgid "How do these different types of sharing balance out?"
msgstr "Dans quelles proportions pèsent ces différents types de partage&nbsp;?"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, "
"148&ndash;49.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Voir Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, "
"148-49.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Let's start with some simple but important points. From the perspective of "
"the law, only type D sharing is clearly legal. From the perspective of "
"economics, only type A sharing is clearly harmful.<placeholder "
"type=\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly "
"beneficial. Type C sharing is illegal, yet good for society (since more "
"exposure to music is good)  and harmless to the artist (since the work is "
"not otherwise available). So how sharing matters on balance is a hard "
"question to answer&mdash;and certainly much more difficult than the current "
"rhetoric around the issue suggests."
msgstr ""
"Commençons par quelques points simples mais importants. Du point de vue de "
"la loi, seul le partage de type D est complètement légal. D'un point de vue "
"économique, seule la catégorie A est clairement nuisible<placeholder "
"type=\"footnote\" id=\"0\"/>. Le type de partage B est illégal, mais "
"pleinement bénéfique. Le type C est illégal, mais pourtant bon pour la "
"société (puisque l’engouement pour la musique est bon) et bénin pour "
"l'artiste (puisque son travail n'est pas disponible autrement). Ainsi, tout "
"bien considéré, dans quelles mesures le partage importune est une question "
"à laquelle il est dur de répondre&mdash;et certainement beaucoup plus "
"difficile que la rhétorique actuelle autour de la question le suggère."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Whether on balance sharing is harmful depends importantly on how harmful "
"type A sharing is. Just as Edison complained about Hollywood, composers "
"complained about piano rolls, recording artists complained about radio, and "
"broadcasters complained about cable TV, the music industry complains that "
"type A sharing is a kind of <quote>theft</quote> that is "
"<quote>devastating</quote> the industry."
msgstr ""
"L'importance de la nuisance occasionnée par le partage dépend fortement du "
"degré de nuisance du partage de type A. De même qu'Edison s'est plaint de "
"Hollywood, que les compositeurs se sont plaints des bandes perforées, que "
"les artistes se sont plaints de la radio et que les chaînes de télévision "
"se sont plaintes de la télévision câblée, l'industrie de la musique se "
"plaint du fait que le type de partage A soit une sorte <quote>de vol</quote> "
"qui <quote>dévaste</quote> l'industrie."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "cassette recording"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "VCRs"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst &amp; Young, "
"<citetitle>Technology Evolution and the Music Industry's Business Model "
"Crisis</citetitle> (2003), 3. This report describes the music industry's "
"effort to stigmatize the budding practice of cassette taping in the 1970s, "
"including an advertising campaign featuring a cassette-shape skull and the "
"caption <quote>Home taping is killing music.</quote> At the time digital "
"audio tape became a threat, the Office of Technical Assessment conducted a "
"survey of consumer behavior. In 1988, 40 percent of consumers older than ten "
"had taped music to a cassette format. U.S.  Congress, Office of Technology "
"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the "
"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S.  Government Printing "
"Office, October 1989), 145&ndash;56."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/>Voir Cap Gemini Ernst &amp; Young, "
"<citetitle>Technology Evolution and the "
"Music Industry's Business Model Crisis</citetitle> (2003), 3. Ce rapport "
"décrit les efforts de l'industrie musicale pour stigmatiser la pratique "
"bourgeonnante de l'enregistrement sur cassettes à bande dans les années "
"1970, y compris une campagne publicitaire représentant un crâne en forme de "
"cassette avec le titre <quote>L'enregistrement personnel sur bande tue de la "
"musique</quote>.  Au moment où la bande audio numérique est devenue une "
"menace, le Bureau d'Évaluation Technique a mené un sondage sur le "
"comportement du grand public. En 1988, 40 pour cent de consommateurs âgés "
"de plus de dix ans avaient enregistré musique sur bande sur des cassettes. "
"U.S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, "
"D.C.: U.S. Government Printing Office, octobre 1989), 145-56."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"While the numbers do suggest that sharing is harmful, how harmful is harder "
"to reckon. It has long been the recording industry's practice to blame "
"technology for any drop in sales. The history of cassette recording is a "
"good example. As a study by Cap Gemini Ernst &amp; Young put it, "
"<quote>Rather than exploiting this new, popular technology, the labels "
"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels "
"claimed that every album taped was an album unsold, and when record sales "
"fell by 11.4 percent in 1981, the industry claimed that its point was "
"proved. Technology was the problem, and banning or regulating technology was "
"the answer."
msgstr ""
"Tandis que les chiffres suggèrent vraiment que le partage est nuisible, un "
"ordre de grandeur correspondant est plus dur à estimer. Cela a longtemps "
"été la pratique de l'industrie du disque de blâmer la technologie à la "
"moindre baisse des ventes. L'histoire de l'enregistrement sur cassette est un "
"bon exemple. Comme le montre une étude menée par Cap Gemini Ernst &amp; "
"Young, <quote>Plutôt qu'exploiter cette technologie nouvelle et populaire, "
"les Labels l'ont combattue</quote><placeholder type=\"footnote\" id=\"0\"/>. "
"Les Labels ont prétendu que chaque album enregistré sur bande était un "
"album invendu, et quand des ventes de CDs sont tombées de 11,4 pour cent en "
"1981, l'industrie a prétendu que ce fait en était ainsi la preuve. La "
"technologie était le problème et la technologie interdisant ou régulant "
"était la réponse."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "MTV"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr "Congrès américain, <citetitle>Copyright and Home Copying</citetitle>, 4."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
"regulation, MTV was launched, and the industry had a record "
"turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the "
"`crisis' &hellip; was not the fault of the tapers&mdash;who did not [stop "
"after MTV came into being]&mdash;but had to a large extent resulted from "
"stagnation in musical innovation at the major labels.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Pourtant par la suite, peu de temps après et avant que le Congrès ne donne "
"une opportunité d'ordonner une régulation, MTV fut lancée et l'industrie "
"connut un renversement des ventes. <quote>Au final</quote>, conclut Cap "
"Gemini, <quote>la 'crise'... ne fut pas due aux cassettes&mdash;qui n'ont pas "
"disparu après la venue au monde d'MTV&mdash;mais avait en grande partie "
"résulté de la stagnation dans l'innovation musicale chez les Labels "
"principaux</quote><placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But just because the industry was wrong before does not mean it is wrong "
"today. To evaluate the real threat that p2p sharing presents to the industry "
"in particular, and society in general&mdash;or at least the society that "
"inherits the tradition that gave us the film industry, the record industry, "
"the radio industry, cable TV, and the VCR&mdash;the question is not simply "
"whether type A sharing is harmful. The question is also "
"<emphasis>how</emphasis> harmful type A sharing is, and how beneficial the "
"other types of sharing are."
msgstr ""
"Mais le fait que l'industrie se soit trompée dans le passé ne signifie pas "
"qu'elle se trompe aujourd'hui. Pour évaluer la menace réelle que le partage "
"p2p représente pour l'industrie du disque en particulier, et pour la "
"société en général&mdash;ou tout du moins la société qui hérite de la "
"tradition que nous ont donnée l'industrie cinématographique, l'industrie du "
"disque, l'industrie radiophonique, la télévision par câble et le "
"magnétoscope&mdash;la question n'est pas simplement de savoir si le partage "
"de type A est nuisible ou pas. La question est aussi de savoir dans quelle "
"mesure ce type est nuisible et dans quelle mesure les autres types sont "
"bénéfiques."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We start to answer this question by focusing on the net harm, from the "
"standpoint of the industry as a whole, that sharing networks cause.  The "
"<quote>net harm</quote> to the industry as a whole is the amount by which "
"type A sharing exceeds type B. If the record companies sold more records "
"through sampling than they lost through substitution, then sharing networks "
"would actually benefit music companies on balance. They would therefore have "
"little <emphasis>static</emphasis> reason to resist them."
msgstr ""
"Nous commençons à répondre à cette question en nous concentrant sur le "
"tort net, du point de vue de l'industrie dans son ensemble, que les réseaux "
"de partage causent. <quote>Le tort net</quote> pour l'industrie est dans son "
"ensemble la quantité pour laquelle le type de partage A excède le type B. "
"Si les sociétés du disque avaient vendu plus de CDs avec des échantillons "
"qu'elles n'en avaient perdu avec des substitutions, alors les réseaux de "
"partage profiteraient actuellement aux sociétés de musique tout compte "
"fait. Elles auraient donc peu de raisons <quote>valables</quote> de leur "
"résister."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "sales levels of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Could that be true? Could the industry as a whole be gaining because of file "
"sharing? Odd as that might sound, the data about CD sales actually suggest "
"it might be close."
msgstr ""
"Est-ce que cela pourrait être vrai&nbsp;? L'industrie dans son ensemble "
"pourrait-elle tirer profit du partage de fichier&nbsp;? Aussi étrange que "
"cela puisse paraître, les statistiques de ventes de CDs suggèrent que cela "
"pourrait l'être dans un futur proche."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Recording Industry Association of America, <citetitle>2002 Yearend "
"Statistics</citetitle>, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #15</ulink>. A later report "
"indicates even greater losses. See Recording Industry Association of "
"America, <citetitle>Some Facts About Music Piracy</citetitle>, 25 June 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: "
"<quote>In the past four years, unit shipments of recorded music have fallen "
"by 26 percent from 1.16 billion units in to 860 million units in 2002 in the "
"United States (based on units shipped).  In terms of sales, revenues are "
"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on "
"U.S. dollar value of shipments). The music industry worldwide has gone from "
"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based "
"on U.S. dollar value of shipments).</quote>"
msgstr ""
"Voir Recording Industry Association of America, <citetitle>2002 Yearend "
"Statistics</citetitle>, disponible au lien #15. Un rapport ultérieur indique "
"des pertes encore plus grandes. Voir Recording Industry Association of "
"America, <citetitle>Some Facts About Music Piracy</citetitle>, 25 juin 2003, "
"disponible au lien #16&nbsp;: <quote>dans les quatre dernières années, les "
"expéditions d'unité de musique enregistrée sont tombées de 26 pour cent, "
"passant de 1,16 milliards d'unités en 1999 à 860 millions d'unités en 2002 "
"aux Etats-Unis (basé sur des unités expédiées). En termes de ventes, les "
"revenus sont en baisse de 14 pour cent, passant de 14,6 milliards de dollars "
"en 1999 à 12,6 milliards de dollars l'année dernière (basé sur la valeur "
"du dollar américain à l'exportation). L'industrie mondiale de la musique "
"est passée du statut d'une industrie de 39 milliards de dollars en 2000 à "
"une industrie de 32 milliards de dollars en 2002 (basé sur la valeur du "
"dollar américain à l'exportation)</quote>."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Black, Jane"
msgstr "Black, Jane"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, "
"13 February 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #17</ulink>.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Jane Black, <quote>Big Music's Broken Record</quote>, BusinessWeek online, 13 "
"February 2003, disponible au lien #17.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 "
"million to 803 million units; revenues fell 6.7 percent.<placeholder "
"type=\"footnote\" id=\"0\"/> This confirms a trend over the past few "
"years. The RIAA blames Internet piracy for the trend, though there are many "
"other causes that could account for this drop. SoundScan, for example, "
"reports a more than 20 percent drop in the number of CDs released since "
"1999. That no doubt accounts for some of the decrease in sales. Rising "
"prices could account for at least some of the loss. <quote>From 1999 to "
"2001, the average price of a CD rose 7.2 percent, from $13.04 to "
"$14.19.</quote><placeholder type=\"footnote\" id=\"1\"/> Competition from "
"other forms of media could also account for some of the decline. As Jane "
"Black of <citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to "
"the film <citetitle>High Fidelity</citetitle> has a list price of "
"$18.98. You could get the whole movie [on DVD] for "
"$19.99.</quote><placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
"En 2002, la RIAA a annoncé que les ventes de CD avaient chuté de "
"8,9 pour cent, passant de 882 millions à 803 millions d'unités&nbsp;; les "
"revenus ont baissé 6,7 pour cent<placeholder type=\"footnote\" id=\"0\"/>. "
"Cela confirme la tendance de ces dernières années. La RIAA blâme le piratage "
"par Internet pour cette tendance, quoiqu'il y ait beaucoup d'autres causes qui "
"pourraient constituer cette baisse. SoundScan, par exemple, rapporte une chute "
"de plus de 20 pour cent du nombres de CDs sortis depuis 1999. Cela explique "
"sans doute une part de la diminution des ventes. Des prix en augmentation "
"pourraient aussi constituer au moins un peu de ces pertes. <quote>De 1999 à "
"2001, le prix moyen d'un CD est monté 7,2 pour cent, passant de 13.04 dollars "
"à 14.19 dollars</quote><placeholder type=\"footnote\" id=\"1\"/>. La "
"concurrence d'autres formes de média pourrait aussi représenter une partie du "
"déclin. Comme le dit Jane Black dans une note de "
"<citetitle>BusinessWeek</citetitle>, <quote>la bande sonore au film Haute "
"Fidélité (<citetitle>High Fidelity</citetitle>) a un prix en catalogue de "
"18,98 dollars. Vous pourriez obtenir le film entier [sur DVD] pour 19,99 "
"dollars</quote><placeholder type=\"footnote\" id=\"2\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But let's assume the RIAA is right, and all of the decline in CD sales is "
"because of Internet sharing. Here's the rub: In the same period that the "
"RIAA estimates that 803 million CDs were sold, the RIAA estimates that 2.1 "
"billion CDs were downloaded for free. Thus, although 2.6 times the total "
"number of CDs sold were downloaded for free, sales revenue fell by just 6.7 "
"percent."
msgstr ""
"Mais supposons que le RIAA ait raison et que toute la baisse dans les ventes "
"de CD soit la cause du partage sur Internet. Voici le hic&nbsp;: dans la "
"même période que celle où le RIAA évalue à 803 millions les CDs vendus, "
"le RIAA estime que 2,1 milliards de CDs ont été téléchargés gratuitement "
". Ainsi, bien que 2,6 fois le nombre total de CDs vendus ait été "
"téléchargé gratuitement, le revenu des ventes n'a chuté que de 6,7 pour "
"cent."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There are too many different things happening at the same time to explain "
"these numbers definitively, but one conclusion is unavoidable: The recording "
"industry constantly asks, <quote>What's the difference between downloading a "
"song and stealing a CD?</quote>&mdash;but their own numbers reveal the "
"difference. If I steal a CD, then there is one less CD to sell. Every taking "
"is a lost sale. But on the basis of the numbers the RIAA provides, it is "
"absolutely clear that the same is not true of downloads. If every download "
"were a lost sale&mdash;if every use of Kazaa <quote>rob[bed] the author of "
"[his] profit</quote>&mdash;then the industry would have suffered a 100 "
"percent drop in sales last year, not a 7 percent drop. If 2.6 times the "
"number of CDs sold were downloaded for free, and yet sales revenue dropped "
"by just 6.7 percent, then there is a huge difference between "
"<quote>downloading a song and stealing a CD.</quote>"
msgstr ""
"Il y a trop de choses différentes qui sont arrivées en même temps pour "
"expliquer ces chiffres une fois pour toutes, mais une conclusion est "
"inévitable&nbsp;: l'industrie du disque demande constamment, <quote>Quelle "
"est la différence entre le téléchargement d'une chanson et le vol d'un "
"CD&nbsp;?</quote>&mdash;mais leurs propres chiffres révèlent la "
"différence. Si je vole un CD, alors il y a un CD de moins à vendre. Chaque "
"appropriation est une vente perdue. Mais sur la base des chiffres que le RIAA "
"fournit, il est absolument clair que le même principe n'est pas valable pour "
"le téléchargement. Si chaque téléchargement était une vente "
"perdue&mdash;si chaque utilisation de Kazaa <quote>dépouille[dépouillait] "
"l'auteur de son bénéfice</quote>&mdash;alors l'industrie aurait souffert "
"d'une baisse des ventes de 100 pour cent l'année dernière, pas une baisse "
"de 7 pour cent. Si 2,6 fois le nombre de CDs vendus ont été téléchargés "
"gratuitement, et que pourtant les recettes des ventes n'ont baissé que de "
"6,7 pour cent, alors il y a réellement une différence énorme entre "
"<quote>télécharger une chanson</quote> et <quote>voler un CD</quote>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These are the harms&mdash;alleged and perhaps exaggerated but, let's assume, "
"real. What of the benefits? File sharing may impose costs on the recording "
"industry. What value does it produce in addition to these costs?"
msgstr ""
"Tout cela sont les maux — présumés et peut-être exagérés mais, "
"supposons-le, réels. Quant est-il des vertus&nbsp;? Le partage de fichier "
"peut imposer des dépenses à l'industrie du disque. Quelle valeur produit-il "
"en plus de ces dépenses&nbsp;?"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"By one estimate, 75 percent of the music released by the major labels is no "
"longer in print. See Online Entertainment and Copyright Law&mdash;Coming "
"Soon to a Digital Device Near You: Hearing Before the Senate Committee on "
"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of "
"the Future of Music Coalition), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #18</ulink>."
msgstr ""
"Selon une estimation, 75 pour cent de la musique mise en vente par les Labels "
"principaux n'est plus disponible en magasin. Voir Online Entertainment and "
"Copyright Law &mdash; Coming Soon to a Digital Device Near You: Hearing "
"Before the Senate Committee on the Judiciary, 107th Cong., 1st sess. (3 avril "
"2001) (déclaration préparée de la coalition pour l'avenir de la musique), "
"disponible au lien #18."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"One benefit is type C sharing&mdash;making available content that is "
"technically still under copyright but is no longer commercially available.  "
"This is not a small category of content. There are millions of tracks that "
"are no longer commercially available.<placeholder type=\"footnote\" "
"id=\"0\"/> And while it's conceivable that some of this content is not "
"available because the artist producing the content doesn't want it to be "
"made available, the vast majority of it is unavailable solely because the "
"publisher or the distributor has decided it no longer makes economic sense "
"<emphasis>to the company</emphasis> to make it available."
msgstr ""
"Un bienfait est le partage de type C&mdash;rendre disponible quelque chose "
"qui est techniquement sous copyright mais qui n'est plus disponible dans le "
"commerce. Ceci ne représente pas qu'une petite catégorie d'œuvres. Il y a "
"des millions de chansons qui ne sont plus disponibles "
"commercialement<placeholder type=\"footnote\" id=\"0\"/>. Et, bien que cela "
"soit concevable que quelques unes de ces oeuvres ne soient plus disponibles "
"parce que l'artiste qui produit le contenu ne veuille pas que cela le soit, "
"la grande majorité est indisponible parce que le éditeur ou le distributeur "
"a décidé que ce n'était plus économique <emphasis>pour "
"l'entreprise</emphasis> de le rendre disponible."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "books"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "resales of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good "
"estimates of the number of used record stores in existence, in 2002, there "
"were 7,198 used book dealers in the United States, an increase of 20 percent "
"since 1993. See Book Hunter Press, <citetitle>The Quiet Revolution: The "
"Expansion of the Used Book Market</citetitle> (2002), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records "
"accounted for $260 million in sales in 2002. See National Association of "
"Recording Merchandisers, <quote>2002 Annual Survey Results,</quote> "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Alors qu'il n'y a pas de bonne "
"estimation du nombre de magasins de CDs "
"d'occasion existants, en 2002, il y avait 7 198 vendeurs de livres d'occasion "
"aux Etats Unis, soit une augmentation de 20 pour cent depuis 1993. Voir Book "
"Hunter Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book "
"Market</citetitle> (2002), disponible au lien #19. Les ventes de CDs "
"d'occasion se sont chiffrées à 260 millions de dollars en 2002. Voir National "
"Association of Recording Merchandisers, <quote>2002 Annual Survey "
"Results</quote>, disponible au lien #20."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In real space&mdash;long before the Internet&mdash;the market had a simple "
"response to this problem: used book and record stores. There are thousands "
"of used book and used record stores in America today.<placeholder "
"type=\"footnote\" id=\"0\"/> These stores buy content from owners, then sell "
"the content they buy. And under American copyright law, when they buy and "
"sell this content, <emphasis>even if the content is still under "
"copyright</emphasis>, the copyright owner doesn't get a dime. Used book and "
"record stores are commercial entities; their owners make money from the "
"content they sell; but as with cable companies before statutory licensing, "
"they don't have to pay the copyright owner for the content they sell."
msgstr ""
"Dans la réalité&mdash;bien avant l'Internet&mdash;le marché avait une "
"réponse simple à ce problème&nbsp;: les entrepôts de livres et de CDs "
"d'occasion. Il y a des milliers de tels dépôts en Amérique "
"aujourd'hui<placeholder type=\"footnote\" id=\"0\"/>. Ces magasins achètent "
"le contenu aux propriétaires, et vendent ensuite ce contenu qu'ils "
"achètent. Et conformément à la loi du copyright américaine, quand ils "
"achètent et vendent ce contenu, <quote>même si le contenu est toujours sous "
"copyright</quote>, le détenteur du copyright n'obtient pas un centime. Les "
"magasins de livres et de CDs d'occasion sont des entités commerciales&nbsp;; "
"leurs propriétaires font de l'argent avec les oeuvres qu'ils vendent&nbsp;; "
"mais comme avec des sociétés de câble avant les licences statutaires, ils "
"ne doivent pas payer le détenteur du copyright pour le contenu qu'ils "
"vendent."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "out of print"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Bernstein, Leonard"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "books on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Type C sharing, then, is very much like used book stores or used record "
"stores. It is different, of course, because the person making the content "
"available isn't making money from making the content available.  It is also "
"different, of course, because in real space, when I sell a record, I don't "
"have it anymore, while in cyberspace, when someone shares my 1949 recording "
"of Bernstein's <quote>Two Love Songs,</quote> I still have it. That "
"difference would matter economically if the owner of the copyright were "
"selling the record in competition to my sharing. But we're talking about the "
"class of content that is not currently commercially available. The Internet "
"is making it available, through cooperative sharing, without competing with "
"the market."
msgstr ""
"Le type de partage C, alors, est vraiment comme les magasins de livres ou de "
"CDs d'occasion. C'est différent, bien sûr, parce que la personne faisant en "
"sorte que le contenu soit disponible ne gagne pas d'argent par cette action. "
"C'est aussi différent, bien sûr, parce que dans le monde réel, quand je "
"vends un CD, je ne l'ai plus désormais, alors que dans le monde virtuel, "
"quand quelqu'un partage mon enregistrement de 1949 de Bernstein <quote>Deux "
"Chansons d'Amour</quote> (<citetitle>Two Love Songs</citetitle>), je l'ai toujours. Cette "
"différence importerait économiquement si le détenteur du copyright de 1949 "
"vendait le CD en concurrence avec mon partage. Mais nous parlons de la classe "
"des contenus qui ne sont pas actuellement disponibles dans le commerce. "
"Internet le rend disponible, par le partage coopératif, sans rivaliser avec "
"le marché."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It may well be, all things considered, that it would be better if the "
"copyright owner got something from this trade. But just because it may well "
"be better, it doesn't follow that it would be good to ban used book "
"stores. Or put differently, if you think that type C sharing should be "
"stopped, do you think that libraries and used book stores should be shut as "
"well?"
msgstr ""
"Il se pourrait bien, toute chose considérée, qu'il soit meilleur que le "
"détenteur du copyright reçoive quelque chose de ce commerce. Mais le simple "
"fait que cela puisse être meilleur ne suffit pourtant pas à interdire les "
"magasins de livres d'occasion. Présenté différemment, si vous pensez que "
"le type de partage C devrait être arrêté, pensez-vous que les "
"bibliothèques et les magasins de livres d'occasion devraient être fermés "
"aussi&nbsp;?"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "free on-line releases of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Doctorow, Cory"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Down and Out in the Magic Kingdom (Doctorow)"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally, and perhaps most importantly, file-sharing networks enable type D "
"sharing to occur&mdash;the sharing of content that copyright owners want to "
"have shared or for which there is no continuing copyright. This sharing "
"clearly benefits authors and society. Science fiction author Cory Doctorow, "
"for example, released his first novel, <citetitle>Down and Out in the Magic "
"Kingdom</citetitle>, both free on-line and in bookstores on the same "
"day. His (and his publisher's) thinking was that the on-line distribution "
"would be a great advertisement for the <quote>real</quote> book. People "
"would read part on-line, and then decide whether they liked the book or "
"not. If they liked it, they would be more likely to buy it. Doctorow's "
"content is type D content. If sharing networks enable his work to be spread, "
"then both he and society are better off. (Actually, much better off: It is a "
"great book!)"
msgstr ""
"Enfin, et c'est peut-être le plus important, les réseaux de partage de "
"fichiers permettent au partage de type D&mdash;le partage de contenus que les "
"détenteurs du copyright veulent voir partagés ou pour lesquels il n'y a "
"plus de copyright en cours&mdash;d'exister. Ce partage rend clairement "
"service aux auteurs et à la société. L'auteur de science-fiction Cory "
"Doctorow, par exemple, a sorti sa première nouvelle <citetitle>Down and Out "
"in the Magic Kingdom</citetitle> à la fois en librairie et en version "
"téléchargeable gratuite le même jour. Sa reflexion (et celle de son "
"éditeur) était que la distribution en ligne serait une belle publicité "
"pour le livre <quote>réel</quote>. Les gens en liraient une partie en ligne, "
"et décideraient alors s'ils l'aiment ou non. S'ils l'aiment, alors ils "
"serait plus susceptibles de l'acheter. L'action de Doctorow est un partage de "
"type D. Si les réseaux de partage permettent à son travail d'être "
"diffusé, alors lui et la société en ressortent gagnants (en réalité, "
"bien plus que gagnants&nbsp;: c'est un grand livre&nbsp;!)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Likewise for work in the public domain: This sharing benefits society with "
"no legal harm to authors at all. If efforts to solve the problem of type A "
"sharing destroy the opportunity for type D sharing, then we lose something "
"important in order to protect type A content."
msgstr ""
"De même pour les travaux placés dans le domaine public&nbsp;: ce partage "
"bénéficie à la société sans aucun tort légal aux auteurs. Si des "
"efforts pour résoudre le problème du partage du type A détruisent "
"l'opportunité d'un partage de type D, alors nous perdrons quelque chose "
"d'important pour protéger les oeuvres A."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The point throughout is this: While the recording industry understandably "
"says, <quote>This is how much we've lost,</quote> we must also ask, "
"<quote>How much has society gained from p2p sharing? What are the "
"efficiencies? What is the content that otherwise would be "
"unavailable?</quote>"
msgstr ""
"Pour aller jusqu'au bout&nbsp;: tandis que l'industrie du disque dit, de "
"façon compréhensive, <quote>Voilà combien nous avons perdu</quote>, nous "
"devons aussi demander <quote>Dans quelle mesure la société a-t-elle tiré "
"profit du partage p2p&nbsp;? Quelle est son efficacité&nbsp;? Quelles sont "
"les oeuvres qui seraient autrement indisponibles&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For unlike the piracy I described in the first section of this chapter, much "
"of the <quote>piracy</quote> that file sharing enables is plainly legal and "
"good.  And like the piracy I described in chapter <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a "
"new way of spreading content caused by changes in the technology of "
"distribution. Thus, consistent with the tradition that gave us Hollywood, "
"radio, the recording industry, and cable TV, the question we should be "
"asking about file sharing is how best to preserve its benefits while "
"minimizing (to the extent possible) the wrongful harm it causes artists. The "
"question is one of balance. The law should seek that balance, and that "
"balance will be found only with time."
msgstr ""
"Car à la différence du piratage que j'ai décrit dans la première section "
"de ce chapitre, beaucoup de <quote>piratage</quote> que le partage de "
"fichiers permet est totalement légal et bon. Et comme le piratage que j'ai "
"décrit dans le chapitre <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"pirates\"/>, beaucoup de ce piratage est motivé par une "
"nouvelle manière de diffuser les contenus, impliquée par des changements "
"dans la technologie de distribution. Ainsi, en harmonie avec la tradition qui "
"nous a donné Hollywood, la radio, l'industrie du disque et la télévision "
"câblée, la question nous devrions poser à propos du partage de fichiers "
"est comment préserver au mieux ses vertus tout en réduisant (dans la mesure "
"possible) le mal injustifié qu'il cause aux artistes. Cette question doit "
"être bien considérée. La loi devrait chercher cet équilibre et cet "
"équilibre sera trouvé seulement avec du temps."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>But isn't the war just a war against illegal sharing? Isn't the "
"target just what you call type A sharing?</quote>"
msgstr ""
"<quote>Mais cette guerre n'est-elle pas juste une guerre contre le partage "
"illégal&nbsp;? La cible n'est-elle pas juste ce que vous appelez le partage "
"de type A&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 "
"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an "
"account of the litigation and its toll on Napster, see Joseph Menn, "
"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's "
"Napster</citetitle> (New York: Crown Business, 2003), 269&ndash;82."
msgstr ""
"Voir Transcript of Proceedings, dans la réédition de Napster Copyright "
"Litigation at 34- 35 (N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C "
"99-5183 MHP, disponible au lien #21. Pour un compte rendu du litige et de son "
"coût sur Napster, voir Joseph Menn, <citetitle>All the Rave: The Rise and "
"Fall of Shawn Fanning's Napster</citetitle> (New York: Crown Business, 2003), "
"269-82."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"You would think. And we should hope. But so far, it is not. The effect of "
"the war purportedly on type A sharing alone has been felt far beyond that "
"one class of sharing. That much is obvious from the Napster case "
"itself. When Napster told the district court that it had developed a "
"technology to block the transfer of 99.4 percent of identified infringing "
"material, the district court told counsel for Napster 99.4 percent was not "
"good enough. Napster had to push the infringements <quote>down to "
"zero.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Vous pourriez le penser. Et nous devrions espérer. Mais jusqu'ici, il n'en "
"est rien. L'effet de la guerre prétendument ciblée sur le type de partage A "
"uniquement a été ressenti globalement comme une guerre menée contre un "
"unique type de partage. C'est plus évident dans le cas de Napster lui-même. "
"Quand Napster a dit à la cour fédérale qu'il avait développé une "
"technologie pour bloquer le transfert de 99,4 pour cent des documents "
"identifiés comme étant en infraction, la cour fédérale a dit au "
"conseiller de Napster que 99,4 pour cent n'étaient pas suffisants. Napster "
"devait pousser le nombre d'infractions à <quote>zéro</quote><placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If 99.4 percent is not good enough, then this is a war on file-sharing "
"technologies, not a war on copyright infringement. There is no way to assure "
"that a p2p system is used 100 percent of the time in compliance with the "
"law, any more than there is a way to assure that 100 percent of VCRs or 100 "
"percent of Xerox machines or 100 percent of handguns are used in compliance "
"with the law. Zero tolerance means zero p2p.  The court's ruling means that "
"we as a society must lose the benefits of p2p, even for the totally legal "
"and beneficial uses they serve, simply to assure that there are zero "
"copyright infringements caused by p2p."
msgstr ""
"Si 99,4 pour cent ne sont pas assez bons, alors c'est une guerre aux "
"technologies de partage de fichiers, pas une guerre contre les infractions de "
"copyright. Il n'y a aucun moyen d'assurer qu'un système de p2p est utilisé "
"à 100 pour cent du temps conformément à la loi, pas plus qu'il n'y a de "
"façon d'assurer que 100 pour cent des magnétoscopes ou 100 pour cent des "
"machines de Xerox ou 100 pour cent des pistolets sont utilisés en accord "
"avec la loi. La tolérance zéro signifie zéro p2p. Le règlement de la cour "
"signifie que nous, en tant que société, devons perdre les bénéfices du "
"p2p, même pour les utilisations totalement légales et avantageuses qu'il "
"dessert, simplement pour garantir qu'il y a zéro infraction au copyright "
"causée par le p2p."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Zero tolerance has not been our history. It has not produced the content "
"industry that we know today. The history of American law has been a process "
"of balance. As new technologies changed the way content was distributed, the "
"law adjusted, after some time, to the new technology.  In this adjustment, "
"the law sought to ensure the legitimate rights of creators while protecting "
"innovation. Sometimes this has meant more rights for creators. Sometimes "
"less."
msgstr ""
"La tolérance zéro n'a pas été notre histoire. Elle n'a pas produit "
"l'industrie satisfaite que nous connaissons aujourd'hui. L'histoire de la loi "
"américaine a été un processus d'équilibre. Quand de nouvelles "
"technologies changeaient la manière dont les contenus étaient distribués, "
"la loi s'ajustait, après quelques temps, à la nouvelle technologie. Dans "
"cet ajustement, la loi a cherché à assurer les droits légitimes des "
"créateurs en protégeant l'innovation. Parfois, cela a signifié plus de "
"droits pour les créateurs. Parfois moins."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "composers, copyright protections of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "music recordings played on"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright protections in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "composer's rights vs. producers' rights in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"So, as we've seen, when <quote>mechanical reproduction</quote> threatened "
"the interests of composers, Congress balanced the rights of composers "
"against the interests of the recording industry. It granted rights to "
"composers, but also to the recording artists: Composers were to be paid, but "
"at a price set by Congress. But when radio started broadcasting the "
"recordings made by these recording artists, and they complained to Congress "
"that their <quote>creative property</quote> was not being respected (since "
"the radio station did not have to pay them for the creativity it broadcast), "
"Congress rejected their claim. An indirect benefit was enough."
msgstr ""
"Donc, comme nous l'avons vu, quand la <quote>reproduction mécanique</quote> "
"a menacé les intérêts des compositeurs, le Congrès a équilibré les "
"droits de compositeurs avec les intérêts de l'industrie du disque. Il a "
"accordé des droits aux compositeurs, mais aussi aux artistes qui "
"enregistraient&nbsp;: les compositeurs devaient être payés, mais à un prix "
"fixé par le Congrès. Mais quand la radio a commencé à émettre les "
"enregistrements enregistrés par les artistes, et qu'ils se sont plaints au "
"Congrès que leur <quote>propriété créatrice</quote> n'était pas "
"respectée (puisque la station de radio ne devait pas les payer pour la "
"création qu'elle diffusait), le Congrès a rejeté leur revendication. Un "
"profit indirect était assez."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Cable TV followed the pattern of record albums. When the courts rejected the "
"claim that cable broadcasters had to pay for the content they rebroadcast, "
"Congress responded by giving broadcasters a right to compensation, but at a "
"level set by the law. It likewise gave cable companies the right to the "
"content, so long as they paid the statutory price."
msgstr ""
"La télévision câblée a suivi le modèle des albums CD. Quand les cours "
"ont rejeté la revendication affirmant que les chaînes câblées devaient "
"payer pour le contenu qu'elles émettaient, le Congrès a répondu en donnant "
"aux chaînes un droit à la compensation, mais à un niveau fixé par la loi. "
"Il a de la même façon donné aux sociétés du câble le droit du contenu, "
"tant qu'elles payaient le prix statutaire."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This compromise, like the compromise affecting records and player pianos, "
"served two important goals&mdash;indeed, the two central goals of any "
"copyright legislation. First, the law assured that new innovators would have "
"the freedom to develop new ways to deliver content.  Second, the law assured "
"that copyright holders would be paid for the content that was "
"distributed. One fear was that if Congress simply required cable TV to pay "
"copyright holders whatever they demanded for their content, then copyright "
"holders associated with broadcasters would use their power to stifle this "
"new technology, cable. But if Congress had permitted cable to use "
"broadcasters' content for free, then it would have unfairly subsidized "
"cable. Thus Congress chose a path that would assure "
"<emphasis>compensation</emphasis> without giving the past (broadcasters) "
"control over the future (cable)."
msgstr ""
"Ce compromis, comme le compromis affectant les enregistrements et les pianos "
"mécaniques, a servi deux buts importants&mdash;en fait, les deux buts "
"centraux de n'importe quelle législation sur le copyright. Premièrement, la "
"loi a assuré que les nouveaux innovateurs auraient la liberté de "
"développer de nouvelles façons de livrer leur travail. Deuxièmement, la "
"loi a assuré que les détenteurs de copyright seraient payés pour le "
"contenu qui a été distribué. Une crainte était que si le Congrès "
"exigeait simplement de la télévision par câble qu'elle paie les "
"détenteurs de copyright quelle que soit leur demande pour leur contenu, "
"alors ces détenteurs associés aux chaînes utiliseraient leur pouvoir pour "
"étouffer cette nouvelle technologie, le câble. Mais si le Congrès avait "
"permis au câble d'utiliser le contenu des chaînes gratuitement, alors il "
"aurait injustement subventionné le câble. Ainsi le Congrès a choisi un "
"chemin qui assurerait la compensation sans donner le contrôle passé (des "
"chaînes) à l'avenir (le câble)."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Betamax"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the same year that Congress struck this balance, two major producers and "
"distributors of film content filed a lawsuit against another technology, the "
"video tape recorder (VTR, or as we refer to them today, VCRs) that Sony had "
"produced, the Betamax. Disney's and Universal's claim against Sony was "
"relatively simple: Sony produced a device, Disney and Universal claimed, "
"that enabled consumers to engage in copyright infringement. Because the "
"device that Sony built had a <quote>record</quote> button, the device could "
"be used to record copyrighted movies and shows. Sony was therefore "
"benefiting from the copyright infringement of its customers. It should "
"therefore, Disney and Universal claimed, be partially liable for that "
"infringement."
msgstr ""
"La même année où le Congrès a statué cet équilibre, deux producteurs et "
"distributeurs principaux de films ont intenté un procès contre une autre "
"technologie, l'enregistreur de bande vidéo (VTR [NDT: pour Video Tape "
"Recorder], ou comme nous leur faisons référence aujourd'hui, les "
"magnétoscopes) que Sony avait produit, le Betamax. Les revendications de "
"Disney et Universal contre Sony étaient relativement simples&nbsp;: Sony a "
"produit un appareil, selon Disney et Universal, qui a permis aux "
"consommateurs de s'engager dans une infraction au copyright. Parce que le "
"dispositif que Sony avait construit avait un bouton <quote>record</quote>, "
"l'appareil pourrait être utilisé pour enregistrer des films et des "
"spectacles protégés par copyright. Sony profitait donc de l'infraction au "
"copyright de ses clients. Il devrait donc, d'après les revendications de "
"Disney et Universal, être partiellement responsable de cette infraction."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There was something to Disney's and Universal's claim. Sony did decide to "
"design its machine to make it very simple to record television shows. It "
"could have built the machine to block or inhibit any direct copying from a "
"television broadcast. Or possibly, it could have built the machine to copy "
"only if there were a special <quote>copy me</quote> signal on the line. It "
"was clear that there were many television shows that did not grant anyone "
"permission to copy. Indeed, if anyone had asked, no doubt the majority of "
"shows would not have authorized copying. And in the face of this obvious "
"preference, Sony could have designed its system to minimize the opportunity "
"for copyright infringement. It did not, and for that, Disney and Universal "
"wanted to hold it responsible for the architecture it chose."
msgstr ""
"Il y avait quelque chose de valable dans la revendication de Disney et "
"Universal. Sony avait vraiment décidé de concevoir sa machine pour faire en "
"sorte qu'il soit très simple d'enregistrer des émissions télévisées. Il "
"aurait pu avoir construit une machine qui bloque ou interdise n'importe "
"quelle reproduction directe d'une émission de télévision. Ou probablement, "
"il aurait pu avoir construit une machine que ne puisse seulement copier s'il "
"y avait un signal spécial <quote>Copiez moi</quote> sur la ligne. Il était "
"clair qu'il y avait beaucoup d'émissions télévisées qui n'auraient pas "
"encouragé la possibilité de copier. En effet, si quelqu'un avait demandé, "
"la majorité d'émissions n'aurait sans doute pas autorisé la copie. Et face "
"à cette préférence évidente, Sony aurait pu avoir conçu son système "
"pour réduire au minimum les opportunités d'infraction au copyright. Il ne "
"l'a pas fait et pour cela, Disney et Universal ont voulu le tenir responsable "
"de l'architecture qu'il a choisie."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on VCR technology"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 "
"Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., "
"459 (1982) (testimony of Jack Valenti, president, Motion Picture Association "
"of America, Inc.)."
msgstr ""
"Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 "
"Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., "
"459 (1982) (témoignage de Jack Valenti, président, Motion Picture "
"Association of America, Inc.)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr "Copyright Infringements (Audio and Video Recorders), 475."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony "
"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)."
msgstr ""
"<citetitle>Universal City Studios, Inc.</citetitle> v.<citetitle> Sony Corp. "
"of America</citetitle>, 480 F. Supp. 429, 438 (C.D. Cal., 1979)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
"30, 40 million of these VCRs in the land, we will be invaded by millions of "
"`tapeworms,' eating away at the very heart and essence of the most precious "
"asset the copyright owner has, his copyright.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> <quote>One does not have to be trained in "
"sophisticated marketing and creative judgment,</quote> he told Congress, "
"<quote>to understand the devastation on the after-theater marketplace caused "
"by the hundreds of millions of tapings that will adversely impact on the "
"future of the creative community in this country. It is simply a question of "
"basic economics and plain common sense.</quote><placeholder "
"type=\"footnote\" id=\"1\"/> Indeed, as surveys would later show, 45 percent "
"of VCR owners had movie libraries of ten videos or more<placeholder "
"type=\"footnote\" id=\"2\"/> &mdash; a use the Court would later hold was "
"not <quote>fair.</quote> By <quote>allowing VCR owners to copy freely by the "
"means of an exemption from copyright infringement without creating a "
"mechanism to compensate copyright owners,</quote> Valenti testified, "
"Congress would <quote>take from the owners the very essence of their "
"property: the exclusive right to control who may use their work, that is, "
"who may copy it and thereby profit from its "
"reproduction.</quote><placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
"Le président de MPAA, Jack Valenti, est devenu le champion le plus loquace "
"des studios. Valenti a appelé les VCRs <quote>les vers de cassettes</quote> "
"[NDT&nbsp;: littéralement les <quote>vers solitaires</quote>]. Il a averti "
"<quote>Quand il y aura 20, 30, 40 millions de ces magnétoscopes sur la "
"Terre, nous serons envahis par des millions de ces 'vers solitaires', "
"rongeant le cœur et l'essence même du plus précieux atout qu'un détenteur "
"de copyright a, son copyright</quote><placeholder type=\"footnote\" "
"id=\"0\"/>. "
"<quote>On n'a pas besoin d'être formé au marketing sophistiqué et au jugement "
"de créateur</quote>, a-t'il dit au Congrès, <quote>pour comprendre la "
"dévastation sur le marché cinématographique causée par des centaines de "
"millions d'enregistrements sur bande qui seront un impact défavorable sur "
"l'avenir de la communauté créatrice dans ce pays. C'est simplement une question "
"d'économie de base et d'un bon sens total</quote><placeholder "
"type=\"footnote\" id=\"1\"/>. En effet, comme des sondages le montreraient "
"plus tard, 45 pour cent des propriétaires de magnétoscope auraient une "
"bibliothèque de films de dix vidéos ou plus<placeholder type=\"footnote\" "
"id=\"2\"/> — une utilisation que la Cour aurait plus tard considérée comme "
"non <quote>acceptable</quote>. En <quote>autorisant les propriétaires de "
"magnétoscope à copier librement par le biais d'une exemption aux infractions "
"de copyright sans créer un mécanisme pour indemniser des détenteurs de "
"copyright</quote>, a témoigné Valenti, le Congrès <quote>prendrait aux "
"propriétaires l'essence même de leur propriété&nbsp;: le droit exclusif de "
"contrôler qui peut utiliser leur travail, c'est-à-dire qui peut le copier et "
"qui profite ainsi de la reproduction</quote><placeholder type=\"footnote\" "
"id=\"3\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony "
"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir.  1981)."
msgstr ""
"<citetitle>Universal City Studios, Inc.</citetitle> v.<citetitle> Sony Corp. "
"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)."

#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Kozinski, Alex"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It took eight years for this case to be resolved by the Supreme Court. In "
"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in "
"its jurisdiction&mdash;leading Judge Alex Kozinski, who sits on that court, "
"refers to it as the <quote>Hollywood Circuit</quote>&mdash;held that Sony "
"would be liable for the copyright infringement made possible by its "
"machines. Under the Ninth Circuit's rule, this totally familiar "
"technology&mdash;which Jack Valenti had called <quote>the Boston Strangler "
"of the American film industry</quote> (worse yet, it was a "
"<emphasis>Japanese</emphasis> Boston Strangler of the American film "
"industry)&mdash;was an illegal technology.<placeholder type=\"footnote\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Cela a pris huit ans dans ce cas pour être résolu par la Cour suprême. En "
"intérim, la neuvième cour d'appel régionale, qui inclut Hollywood dans sa "
"juridiction&mdash;le Juge principal Alex Kozinski, qui est assis à cette "
"cour, s'y réfère comme <quote>le Circuit de Hollywood</quote>&mdash;a tenu "
"à ce que Sony soit responsable de l'infraction du copyright rendu possible "
"par ses machines. Conformément au règlement de la neuvième cour, cette "
"technologie totalement familière&mdash;que Jack Valenti avait appelé "
"<quote>l'Égorgeur de Boston de l'industrie cinématographique "
"américaine</quote> (pire encore, c'était un Égorgeur de Boston "
"<emphasis>japonais</emphasis> de l'industrie cinématographique "
"américaine)&mdash;était une technologie illégale<placeholder "
"type=\"footnote\" id=\"0\"/>. <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But the Supreme Court reversed the decision of the Ninth Circuit.  And in "
"its reversal, the Court clearly articulated its understanding of when and "
"whether courts should intervene in such disputes. As the Court wrote,"
msgstr ""
"Mais la Cour suprême a changé complètement la décision de la neuvième "
"cour d'appel. Et dans son renversement, la Cour a clairement articulé sa "
"compréhension sur quand et si les cours devraient intervenir dans de telles "
"différends. Comme la Cour a écrit,"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)."
msgstr ""
"<citetitle>Sony Corp. of America</citetitle> v.<citetitle> Universal City "
"Studios, Inc.</citetitle>, 464 U.S. 417, 431 (1984)."

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Sound policy, as well as history, supports our consistent deference to "
"Congress when major technological innovations alter the market for "
"copyrighted materials. Congress has the constitutional authority and the "
"institutional ability to accommodate fully the varied permutations of "
"competing interests that are inevitably implicated by such new "
"technology.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"La politique raisonnée, aussi bien que l'histoire, soutient notre "
"déférence cohérente au Congrès quand des innovations technologiques "
"principales changent le marché pour des documents protégés par le "
"copyright. Le congrès a l'autorité constitutionnelle et la capacité "
"institutionnelle d'accommoder entièrement les permutations diverses des "
"intérêts rivaux qui sont inévitablement impliqués par de telles "
"technologie nouvelles<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Congress was asked to respond to the Supreme Court's decision.  But as with "
"the plea of recording artists about radio broadcasts, Congress ignored the "
"request. Congress was convinced that American film got enough, this "
"<quote>taking</quote> notwithstanding.  If we put these cases together, a "
"pattern is clear:"
msgstr ""
"On a demandé au congrès de répondre à la décision de la Cour suprême. "
"Mais comme avec la réclamation des artistes qui enregistraient à propos des "
"émissions radiophoniques, le Congrès a ignoré la demande. Le congrès "
"était convaincu que le film américain avait eu assez, malgré cette "
"<quote>appropriation</quote>. Si nous plaçons ces cas ensembles, une "
"structure est claire&nbsp;:"

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "CASE"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "WHOSE VALUE WAS <quote>PIRATED</quote>"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "RESPONSE OF THE COURTS"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "RESPONSE OF CONGRESS"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Recordings"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Composers"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "No protection"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Statutory license"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Recording artists"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "N/A"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Nothing"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Broadcasters"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "VCR"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Film creators"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"These are the most important instances in our history, but there are other "
"cases as well. The technology of digital audio tape (DAT), for example, was "
"regulated by Congress to minimize the risk of piracy. The remedy Congress "
"imposed did burden DAT producers, by taxing tape sales and controlling the "
"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat.  "
"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not "
"eliminate the opportunity for free riding in the sense I've described. See "
"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From "
"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
"Review</citetitle> 70 (2003): 293&ndash;96.  <placeholder type=\"indexterm\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Ceux-ci sont les cas les plus importants dans notre histoire, mais il y a "
"d'autres affaires aussi. La technologie de la bande audio numérique (DAT), "
"par exemple, a été régulée par le Congrès pour minimiser le risque de "
"piratage. Le remède imposé par le Congrès a vraiment a encombré les "
"producteurs de DAT, en taxant les ventes de bande et en contrôlant la "
"technologie du DAT. Voir la loi Audio Home Recording de 1992 (Title 17 of the "
"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. "
"4237, codifiée au 17 U.S.C. §1001. Encore une fois, de toute façon, cette "
"régulation n'a pas éliminée les voyages gratuits dans le sens où je les "
"ai décrits. Voir Lessig, <citetitle>Future</citetitle>, 71. Voir aussi "
"Picker, <quote>From Edison to the Broadcast Flag</quote>, "
"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 293-96."
"<placeholder type=\"indexterm\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In each case throughout our history, a new technology changed the way "
"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
"case, throughout our history, that change meant that someone got a "
"<quote>free ride</quote> on someone else's work."
msgstr ""
"Dans chaque cas à travers notre histoire, une nouvelle technologie a changé "
"la façon dont les contenus ont été distribués<placeholder "
"type=\"footnote\" id=\"0\"/>. Dans chaque cas, partout dans notre histoire, "
"ce changement a signifié que quelqu'un a obtenu <quote>un tour "
"gratuit</quote> sur le travail de quelqu'un d'autre."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In <emphasis>none</emphasis> of these cases did either the courts or "
"Congress eliminate all free riding. In <emphasis>none</emphasis> of these "
"cases did the courts or Congress insist that the law should assure that the "
"copyright holder get all the value that his copyright created. In every "
"case, the copyright owners complained of <quote>piracy.</quote> In every "
"case, Congress acted to recognize some of the legitimacy in the behavior of "
"the <quote>pirates.</quote> In each case, Congress allowed some new "
"technology to benefit from content made before. It balanced the interests at "
"stake."
msgstr ""
"Dans <emphasis>aucun</emphasis> de ces cas, ni les cours, ni le Congrès "
"n'éliminent tous ces <quote>voyages gratuits</quote>. Dans "
"<emphasis>aucun</emphasis> de ces cas, ni les cours, ni le Congrès "
"n'insistent pour que la loi doive assurer que le détenteur du copyright "
"obtienne toute la valeur que son copyright a créée. Dans chaque cas, les "
"détenteurs de copyright se sont plaints de ce <quote>piratage</quote>. Dans "
"chaque cas, le Congrès a agi pour reconnaître un peu de légitimité dans "
"le comportement des <quote>pirates</quote>. Dans chaque cas, le Congrès a "
"permis à un peu de nouvelle technologie de profiter du contenu fait "
"auparavant. Il a équilibré les intérêts en jeu."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When you think across these examples, and the other examples that make up "
"the first four chapters of this section, this balance makes sense. Was Walt "
"Disney a pirate? Would doujinshi be better if creators had to ask "
"permission? Should tools that enable others to capture and spread images as "
"a way to cultivate or criticize our culture be better regulated? Is it "
"really right that building a search engine should expose you to $15 million "
"in damages? Would it have been better if Edison had controlled film? Should "
"every cover band have to hire a lawyer to get permission to record a song?"
msgstr ""
"Quand vous pensez à travers ces exemples et les autres exemples qui "
"composent les quatre premiers chapitres de cette section, cet équilibre "
"signifie quelque chose. Est-ce que Walt Disney était un pirate&nbsp;? Les "
"Doujinshi seraient-ils meilleurs si les créateurs avaient dû demander la "
"permission&nbsp;? Les outils qui permettent à d'autres de capturer et de "
"diffuser des images comme une façon de cultiver ou critiquer notre culture "
"devraient-ils être mieux régulés&nbsp;? Est-ce qu'il est vraiment juste "
"que la construction d'un moteur de recherche vous expose à 15 millions de "
"dollars de dommages et intérêts&nbsp;? Est-ce que cela aurait été "
"meilleur si Edison avait contrôlé le film&nbsp;? Chaque orchestre devrait- "
"il embaucher un avocat pour obtenir la permission d'enregistrer une "
"chanson&nbsp;?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on balance of interests in copyright law"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, (1984)."
msgstr ""
"<citetitle>Sony Corp. of America</citetitle> v.<citetitle> Universal City "
"Studios, Inc.</citetitle>, 464 U.S. 417, 432 (1984)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We could answer yes to each of these questions, but our tradition has "
"answered no. In our tradition, as the Supreme Court has stated, copyright "
"<quote>has never accorded the copyright owner complete control over all "
"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> "
"Instead, the particular uses that the law regulates have been defined by "
"balancing the good that comes from granting an exclusive right against the "
"burdens such an exclusive right creates. And this balancing has historically "
"been done <emphasis>after</emphasis> a technology has matured, or settled "
"into the mix of technologies that facilitate the distribution of content."
msgstr ""
"Nous pourrions répondre oui à chacune de ces questions, mais notre "
"tradition a répondu non. Dans notre tradition, comme la Cour suprême l'a "
"exposé, le copyright <quote>n'a jamais accordé le contrôle complet au "
"détenteur du copyright sur toutes les utilisations possibles de son "
"travail</quote><placeholder type=\"footnote\" id=\"0\"/>. Au lieu de cela, "
"les utilisations particulières que la loi régule ont été définies en "
"équilibrant le bienfait qui vient en accordant un droit exclusif contre les "
"fardeaux qu'un tel droit si exclusif crée. Et cet équilibre a "
"historiquement été fait <quote>après</quote> qu'une technologie ait mûri, "
"ou se soit installée dans le mélange des technologies qui facilitent la "
"distribution de contenus."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We should be doing the same thing today. The technology of the Internet is "
"changing quickly. The way people connect to the Internet (wires "
"vs. wireless) is changing very quickly. No doubt the network should not "
"become a tool for <quote>stealing</quote> from artists. But neither should "
"the law become a tool to entrench one particular way in which artists (or "
"more accurately, distributors) get paid. As I describe in some detail in the "
"last chapter of this book, we should be securing income to artists while we "
"allow the market to secure the most efficient way to promote and distribute "
"content. This will require changes in the law, at least in the "
"interim. These changes should be designed to balance the protection of the "
"law against the strong public interest that innovation continue."
msgstr ""
"Nous devrions faire la même chose aujourd'hui. La technologie Internet "
"change rapidement. La manière dont les gens se connectent à Internet "
"(filaire et sans-fil) change très rapidement. Il n'y a aucun doute que le "
"réseau devienne un outil pour <quote>voler</quote> les artistes. Mais la loi "
"ne devrait pas non plus devenir un outil pour soustraire dans une voie "
"particulière la façon dont les artistes (ou plus exactement les "
"distributeurs) sont payés. Comme je le décris en détail dans le dernier "
"chapitre de ce livre, nous devrions garantir un revenu aux artistes tandis "
"que nous permettrions au marché de sécuriser la façon la plus efficace de "
"promouvoir et distribuer le contenu. Cela exigera des changements de loi, au "
"moins de façon intérimaire. Ces changements devraient être conçus pour "
"équilibrer la protection de la loi et le fort intérêt public que "
"l'innovation maintient."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software "
"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 "
"September 2003, C3."
msgstr ""
"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software Echoes "
"Past Efforts</quote>, <citetitle>New York Times</citetitle>, 22 septembre "
"2003, C3."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is especially true when a new technology enables a vastly superior mode "
"of distribution. And this p2p has done. P2p technologies can be ideally "
"efficient in moving content across a widely diverse network.  Left to "
"develop, they could make the network vastly more efficient.  Yet these "
"<quote>potential public benefits,</quote> as John Schwartz writes in "
"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the "
"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"C'est particulièrement vrai quand une nouvelle technologie permet un mode "
"énormément supérieur de distribution. Et c'est ce qu'a fait le p2p. La "
"technologie p2p peut être idéalement efficace pour déplacer un contenu à "
"travers un réseau très divers. Une fois développé, il pourrait rendre le "
"réseau bien plus efficace. Pourtant ces <quote>avantages publics "
"potentiels</quote>, comme l'écrit John Schwartz dans le <citetitle>New-York "
"Times</citetitle>, <quote> </quote>pourraient être retardés dans le combat "
"contre le P2P\"<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about "
"<quote>balance,</quote> the copyright warriors raise a different "
"argument. <quote>All this hand waving about balance and incentives,</quote> "
"they say, <quote>misses a fundamental point. Our content,</quote> the "
"warriors insist, <quote>is our <emphasis>property</emphasis>. Why should we "
"wait for Congress to `rebalance' our property rights? Do you have to wait "
"before calling the police when your car has been stolen? And why should "
"Congress deliberate at all about the merits of this theft? Do we ask whether "
"the car thief had a good use for the car before we arrest him?</quote>"
msgstr ""
"Pourtant quand quelqu'un commence à parler <quote>de l'équilibre</quote>, "
"les guerriers du copyright lèvent un argument différent. <quote>Toute cet "
"aspect brandissant équilibre et motivations,</quote> disent-ils, "
"<quote>ignore un point fondamental. Notre contenu</quote>, insistent les "
"guerriers, <quote>est notre <emphasis>propriété</emphasis>. Pourquoi "
"devrions-nous attendre le Congrès pour 'rééquilibrer' nos droits de "
"propriété&nbsp;? Devez-vous attendre avant d'appeler la police quand votre "
"voiture a été volée&nbsp;? Et pourquoi le Congrès devrait-il délibérer "
"des mérites de ce vol&nbsp;? Demandons nous si le voleur de voiture avait "
"une bonne utilisation pour la voiture avant que nous ne "
"l'arrêtions&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors "
"insist. <quote>And it should be protected just as any other property is "
"protected.</quote>"
msgstr ""
"<quote>C'est <emphasis>notre propriété</emphasis></quote> insistent les "
"guerriers. <quote>Et cela devrait être protégé comme n'importe quelle "
"autre propriété est protégée</quote>."

#. type: Content of: <book><part><title>
msgid "<quote>Property</quote>"
msgstr "<quote>Propriété</quote>"

#. type: Content of: <book><part><partintro><para>
msgid ""
"<emphasis role='strong'>The copyright warriors</emphasis> are right: A "
"copyright is a kind of property. It can be owned and sold, and the law "
"protects against its theft. Ordinarily, the copyright owner gets to hold out "
"for any price he wants. Markets reckon the supply and demand that partially "
"determine the price she can get."
msgstr ""
"Les guerriers du copyright ont raison: un copyright est une forme de "
"propriété. Il peut être détenu et vendu, et la loi protège contre son "
"vol. En général, le détenteur d'un copyright peut choisir de l'exercer au "
"prix qu'il lui plaît. Les marchés font jouer l'offre et la demande, qui "
"déterminent en partie le prix qu'il peut en obtenir."

#. type: Content of: <book><part><partintro><para>
msgid ""
"But in ordinary language, to call a copyright a <quote>property</quote> "
"right is a bit misleading, for the property of copyright is an odd kind of "
"property.  Indeed, the very idea of property in any idea or any expression "
"is very odd. I understand what I am taking when I take the picnic table you "
"put in your backyard. I am taking a thing, the picnic table, and after I "
"take it, you don't have it. But what am I taking when I take the good "
"<emphasis>idea</emphasis> you had to put a picnic table in the "
"backyard&mdash;by, for example, going to Sears, buying a table, and putting "
"it in my backyard? What is the thing I am taking then?"
msgstr ""
"Mais, en langage ordinaire, appeler un copyright une "
"<quote>propriété</quote> est un peu confus, car la propriété liée au "
"copyright est d'un type bien inhabituel. En effet, l'idée même de posséder "
"une idée ou une expression est très inhabituelle. Je sais ce que je prends "
"si je prends la table de pique-nique que vous avez mise au fond de votre "
"jardin. Je prends un objet, la table de pique-nique, et une fois que je l'ai "
"prise, vous ne l'avez plus. Mais qu'est-ce que je prends, si je prends la "
"bonne<emphasis> idée</emphasis> que vous avez eue de mettre une table de "
"pique-nique dans votre jardin &mdash; par exemple, en allant acheter une "
"table chez Sears, et en la mettant au fond de mon jardin? Quelle est dans ce "
"cas la chose que je prends?"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Jefferson, Thomas"
msgstr ""

#. type: Content of: <book><part><partintro><para><footnote><para>
msgid ""
"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in "
"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew "
"A. Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333&ndash;34."
msgstr ""
"Lettre de Thomas Jefferson à Isaac McPherson (13 aout 1813) dans "
"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. "
"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333-34."

#. type: Content of: <book><part><partintro><para>
msgid ""
"The point is not just about the thingness of picnic tables versus ideas, "
"though that's an important difference. The point instead is that in the "
"ordinary case&mdash;indeed, in practically every case except for a narrow "
"range of exceptions&mdash;ideas released to the world are free. I don't take "
"anything from you when I copy the way you dress&mdash;though I might seem "
"weird if I did it every day, and especially weird if you are a "
"woman. Instead, as Thomas Jefferson said (and as is especially true when I "
"copy the way someone else dresses), <quote>He who receives an idea from me, "
"receives instruction himself without lessening mine; as he who lights his "
"taper at mine, receives light without darkening me.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"La différence ne tient pas seulement au fait que les tables de pique-nique "
"sont des objets physiques et non pas des idées, bien que cette différence "
"soit importante. La différence tient au fait que dans la plupart des "
"cas&mdash;en fait, dans pratiquement tous les cas à l'exception d'un nombre "
"restreint d'exceptions&mdash;les idées sont libres. Je ne vous prends rien "
"si je copie votre manière de vous habiller&mdash;bien que je risque de "
"passer pour quelqu'un de bizarre si je le fais tous les jours, surtout si "
"vous êtes une femme. Au contraire, comme disait Thomas Jefferson (et ceci "
"est particulièrement vrai si je copie la manière dont quelqu'un s'habille), "
"<quote>Celui qui recoit une idée de moi, recoit une instruction sans "
"diminuer la mienne; de même que celui qui allume sa chandelle à la mienne, "
"recoit de la lumière sans me faire de l'ombre.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "intangibility of"
msgstr ""

#. type: Content of: <book><part><partintro><para>
msgid ""
"The exceptions to free use are ideas and expressions within the reach of the "
"law of patent and copyright, and a few other domains that I won't discuss "
"here. Here the law says you can't take my idea or expression without my "
"permission: The law turns the intangible into property."
msgstr ""
"Les exceptions à l'usage libre sont les idées et expressions couverts par "
"la loi des brevets et du copyright, et quelques autres cas que je n'aborderai "
"pas ici. Dans ce cas la loi stipule que vous ne pouvez pas prendre mon idée "
"ou expression sans ma permission: La loi transforme l'impalpable en "
"propriété."

#. type: Content of: <book><part><partintro><para><footnote><para>
msgid ""
"As the legal realists taught American law, all property rights are "
"intangible.  A property right is simply a right that an individual has "
"against the world to do or not do certain things that may or may not attach "
"to a physical object. The right itself is intangible, even if the object to "
"which it is (metaphorically) attached is tangible. See Adam Mossoff, "
"<quote>What Is Property? Putting the Pieces Back Together,</quote> "
"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241."
msgstr ""
"Comme l'enseignaient les réalistes légaux à propos de la loi américaine, "
"tous les droits de propriété sont intangibles. Un droit de propriété est "
"simplement un droit qu'un individu a contre le monde de faire ou de ne pas "
"faire certaines choses qui peuvent ou ne peuvent pas être liées à un objet "
"physique. Le droit lui-même est intangible, même si l'objet auquel il est "
"(métaphoriquement) attaché est tangible. Voir Adam Mossoff, <quote>What Is "
"Property? Putting the Pieces Back Together,</quote><citetitle> Arizona Law "
"Review</citetitle> 45 (2003): 373, 429 n. 241."

#. type: Content of: <book><part><partintro><para>
msgid ""
"But how, and to what extent, and in what form&mdash;the details, in other "
"words&mdash;matter. To get a good sense of how this practice of turning the "
"intangible into property emerged, we need to place this "
"<quote>property</quote> in its proper context.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Mais comment, jusqu'à quel point, et sous quelle forme&mdash;les détails, "
"en d'autres termes&mdash; ont ici leur importance. Afin de bien comprendre "
"comment est apparu cet exercice de transformation de l'impalpable en "
"propriété, il nous faut replacer cette <quote>propriété</quote> dans son "
"contexte.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><partintro><para>
msgid ""
"My strategy in doing this will be the same as my strategy in the preceding "
"part. I offer four stories to help put the idea of <quote>copyright material "
"is property</quote> in context. Where did the idea come from? What are its "
"limits? How does it function in practice? After these stories, the "
"significance of this true statement&mdash;<quote>copyright material is "
"property</quote>&mdash; will be a bit more clear, and its implications will "
"be revealed as quite different from the implications that the copyright "
"warriors would have us draw."
msgstr ""
"Pour celà, ma stratégie sera la même que dans la partie précédente. Je "
"propose quatre anecdotes, afin d'aider à replacer dans son contexte l'idée "
"que <quote>le copyright est une propriété</quote>. D'où cette idée est- "
"elle venue? Quelles sont ses limites? Comment s'applique-t'elle en pratique? "
"Après ces anecdotes, le sens de cette assertion&mdash;<quote>le copyright "
"est une propriété</quote>&mdash;sera un peu plus clair, et ses implications "
"apparaîtront bien différentes de celles que les guerriers du copyright "
"voudraient bien nous faire accepter."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Six: Founders"
msgstr "Fondateurs"

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "English copyright law developed for"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "England, copyright laws developed in"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "United Kingdom"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "history of copyright law in"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Branagh, Kenneth"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Henry V"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Romeo and Juliet (Shakespeare)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>William Shakespeare</emphasis> wrote "
"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first "
"published in 1597. It was the eleventh major play that Shakespeare had "
"written. He would continue to write plays through 1613, and the plays that "
"he wrote have continued to define Anglo-American culture ever since. So "
"deeply have the works of a sixteenth-century writer seeped into our culture "
"that we often don't even recognize their source.  I once overheard someone "
"commenting on Kenneth Branagh's adaptation of Henry V: <quote>I liked it, "
"but Shakespeare is so full of clichés.</quote>"
msgstr ""
"<emphasis role='strong'>William Shakespeare</emphasis> a écrit<citetitle> "
"Romeo et Juliette</citetitle> en 1595. La pièce fut publiée pour la "
"première fois en 1597. C'était la onzième grande pièce de théâtre "
"écrite par Shakespeare. Il continua d'écrire des pièces jusqu'en 1613, et "
"les pièces qu'il a écrites depuis lors ont défini la culture anglo- "
"américaine. Les oeuvres de cet écrivain du seizième siècle ont imprégné "
"notre culture si profondément que souvent nous n'en reconnaissons même plus "
"la source. J'ai entendu un jour quelqu'un faire ce commentaire au sujet de "
"l'adaptation de Henri V par Kenneth Branagh&nbsp;: <quote>J'ai aimé, mais "
"Shakespeare contient tellement de clichés.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Conger"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Tonson, Jacob"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Jonson, Ben"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Dryden, John"
msgstr "Dryden, John"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Jacob Tonson is typically remembered for his associations with "
"prominent eighteenth-century literary figures, especially John Dryden, and "
"for his handsome <quote>definitive editions</quote> of classic works. In "
"addition to <citetitle>Romeo and Juliet</citetitle>, he published an "
"astonishing array of works that still remain at the heart of the English "
"canon, including collected works of Shakespeare, Ben Jonson, John Milton, "
"and John Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> "
"<citetitle>American Scholar</citetitle> 61:3 (1992): 424&ndash;31."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> On se souvient de Jacob Tonson particulièrement pour ses associations avec "
"des personnages importants de la littérature du dix-huitième siècle, en "
"particulier John Dryden, et pour sa belle <quote>édition définitive</quote> "
"d'oeuvres classiques. En plus de <citetitle>Roméo et Juliette</citetitle>, "
"il édita une collection étonnante d'oeuvres qui restent encore au coeur des "
"canons anglais, parmi lesquelles des oeuvres retrouvées de Shakespeare, Ben "
"Jonson, John Milton et John Dryden. Voir Keith Walker, <quote>Jacob Tonson, "
"Bookseller,</quote><citetitle> American Scholar</citetitle> 61:3 (1992): "
"424-31."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Lyman Ray Patterson, <citetitle>Copyright in Historical "
"Perspective</citetitle> (Nashville: Vanderbilt University Press, 1968), "
"151&ndash;52."
msgstr ""
"Lyman Ray Patterson,<citetitle> Copyright in Historical "
"Perspective</citetitle> (Nashville: Vanderbilt University Press, 1968), "
"151-52."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was "
"written, the <quote>copy-right</quote> for the work was still thought by "
"many to be the exclusive right of a single London publisher, Jacob "
"Tonson.<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most "
"prominent of a small group of publishers called the Conger<placeholder "
"type=\"footnote\" id=\"1\"/> who controlled bookselling in England during "
"the eighteenth century. The Conger claimed a perpetual right to control the "
"<quote>copy</quote> of books that they had acquired from authors. That "
"perpetual right meant that no one else could publish copies of a book to "
"which they held the copyright.  Prices of the classics were thus kept high; "
"competition to produce better or cheaper editions was eliminated."
msgstr ""
"En 1774, presque 180 ans après que <citetitle>Romeo et Juliette</citetitle> "
"fut écrit, le <quote>copy-right</quote> de la pièce était toujours, pour "
"beaucoup, le droit exclusif d'un unique éditeur londonien, Jacob "
"Tonson.<placeholder type=\"footnote\" id=\"0\"/> "
"Tonson était le plus en vue d'un petit groupe d'éditeurs appelé les "
"Conger<placeholder type=\"footnote\" id=\"1\"/> qui contrôlaient les ventes "
"de livres en Angleterre au dix-huitième siècle. Les Conger prétendaient "
"avoir un droit perpétuel de contrôler la <quote>copie</quote> de livres "
"qu'ils avaient acquis auprès de leurs auteurs. Ce droit perpétuel "
"signifiait que personne d'autre ne pouvait publier de copies d'un livre dont "
"ils détenaient les droits. Les classiques étaient maintenus à des prix "
"élevés: la compétition, qui aurait pu produire des éditions meilleures ou "
"moins chères, était éliminée."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "British Parliament"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "renewability of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Statute of Anne (1710)"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely "
"argues, it is erroneous to call this a <quote>copyright law.</quote> See "
"Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Comme l'argumente bien Siva "
"Vaidhyanathan, il est erroné d'appeler ceci une "
"<quote>loi de copyright</quote>. Voir Vaidhyanathan,<citetitle> Copyrights "
"and Copywrongs</citetitle>, 40."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Now, there's something puzzling about the year 1774 to anyone who knows a "
"little about copyright law. The better-known year in the history of "
"copyright is 1710, the year that the British Parliament adopted the first "
"<quote>copyright</quote> act. Known as the Statute of Anne, the act stated "
"that all published works would get a copyright term of fourteen years, "
"renewable once if the author was alive, and that all works already published "
"by 1710 would get a single term of twenty-one additional years.<placeholder "
"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and "
"Juliet</citetitle> should have been free in 1731. So why was there any issue "
"about it still being under Tonson's control in 1774?"
msgstr ""
"Maintenant, l'année 1774 a quelque chose d'étonnant, pour qui s'y connaît "
"un peu en loi sur le droit d'auteur. L'année la plus connue dans l'histoire "
"du droit d'auteur est 1710, année où le Parlement anglais adopta la "
"première loi de <quote>copyright</quote>. Connue sous le nom de Statut "
"d'Anne, cette loi stipulait que tout travail publié serait placé sous "
"copyright pour quatorze années, renouvelables une fois si l'auteur était "
"vivant, et que tout travail publié avant 1710 serait protégé pour une "
"durée additionnelle unique de vingt-et-une années.<placeholder "
"type=\"footnote\" id=\"0\"/> Selon cette loi,<citetitle> Romeo et "
"Juliette</citetitle> aurait du être libre de droits en 1731. Pourquoi, dans "
"ce cas, la question de savoir si il était sous le contrôle de Tonson se "
"posait-elle toujours en 1774?"

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "common vs. positive"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "positive law"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Licensing Act (1662)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The reason is that the English hadn't yet agreed on what a "
"<quote>copyright</quote> was&mdash;indeed, no one had. At the time the "
"English passed the Statute of Anne, there was no other legislation governing "
"copyrights.  The last law regulating publishers, the Licensing Act of 1662, "
"had expired in 1695. That law gave publishers a monopoly over publishing, as "
"a way to make it easier for the Crown to control what was published.  But "
"after it expired, there was no positive law that said that the publishers, "
"or <quote>Stationers,</quote> had an exclusive right to print books."
msgstr ""
"La raison est que les Anglais ne s'étaient pas encore mis d'accord sur ce "
"qu'était un <quote>copy-right</quote>&mdash;en fait personne ne l'avait "
"fait. A l'époque où les Anglais passaient le Statut d'Anne, il n'y avait "
"aucune autre législation gouvernant le droit d'auteur. La dernière loi "
"régulant l'activité des éditeurs, le Licensing Act de 1662, avait expiré "
"en 1695. Cette loi donnait aux éditeurs un monopole sur la publication, afin "
"de faciliter le contrôle de ce qui était publié par la Couronne. Mais "
"après son expiration, il n'y avait pas de loi positive qui réservait aux "
"éditeurs, ou <quote>Stationers</quote>, un droit exclusif d'imprimer des "
"livres."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "common law"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"There was no <emphasis>positive</emphasis> law, but that didn't mean that "
"there was no law. The Anglo-American legal tradition looks to both the words "
"of legislatures and the words of judges to know the rules that are to govern "
"how people are to behave. We call the words from legislatures "
"<quote>positive law.</quote> We call the words from judges <quote>common "
"law.</quote> The common law sets the background against which legislatures "
"legislate; the legislature, ordinarily, can trump that background only if it "
"passes a law to displace it. And so the real question after the licensing "
"statutes had expired was whether the common law protected a copyright, "
"independent of any positive law."
msgstr ""
"Qu'il n'y ait pas eu de loi <emphasis>positive</emphasis> ne veut pas dire "
"qu'il n'y avait pas de loi du tout. La tradition légale anglo-américaine "
"tient compte à la fois des législateurs et des jurisprudences, afin de "
"savoir quelles lois doivent gouverner les comportements. Nous appelons "
"<quote>loi positive</quote> les lois passées par le législateur. Nous "
"appelons <quote>loi commune</quote> les jurisprudences. La loi commune "
"définit le cadre dans lequel le législateur passe ses lois. Le "
"législateur, d'ordinaire, ne peut sortir de ce cadre que s'il passe une loi "
"pour en changer. Et donc la vraie question, une fois que le statut avait "
"expiré, était de savoir si la loi commune pouvait protéger un copyright, "
"indépendemment de toute loi positive."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Scottish publishers"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This question was important to the publishers, or "
"<quote>booksellers,</quote> as they were called, because there was growing "
"competition from foreign publishers. The Scottish, in particular, were "
"increasingly publishing and exporting books to England. That competition "
"reduced the profits of the Conger, which reacted by demanding that "
"Parliament pass a law to again give them exclusive control over "
"publishing. That demand ultimately resulted in the Statute of Anne."
msgstr ""
"Cette question était importants pour les éditeurs, ou "
"<quote>libraires</quote>, comme ils étaient appelés, car il y avait une "
"compétition croissante de la part d'éditeurs étrangers. Les Écossais, en "
"particulier, publiaient et exportaient de plus en plus de livres vers "
"l'Angleterre. Cette compétition réduisait les profits des Conger, qui "
"réagirent en demandant au Parlement de passer une loi qui leur rende le "
"contrôle exclusif de la publication. Cette demande aboutit finalement au "
"Statut d'Anne."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "as narrow monopoly right"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Statute of Anne granted the author or <quote>proprietor</quote> of a "
"book an exclusive right to print that book. In an important limitation, "
"however, and to the horror of the booksellers, the law gave the bookseller "
"that right for a limited term. At the end of that term, the copyright "
"<quote>expired,</quote> and the work would then be free and could be "
"published by anyone. Or so the legislature is thought to have believed."
msgstr ""
"Le Statut d'Anne accordait à l'auteur ou au <quote>propriétaire</quote> "
"d'un livre le droit exclusif d'imprimer ce livre. Cependant, au désespoir "
"des libraires, une limitation importante était que la loi n'accordait ce "
"droit au libraire que pour une durée limitée. A la fin de cette durée, le "
"copyright <quote>expirait</quote>, et l'oeuvre devenait libre et pouvait "
"être publiée par n'importe qui. Ou du moins, il semble que c'est ce que le "
"législateur croyait."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Now, the thing to puzzle about for a moment is this: Why would Parliament "
"limit the exclusive right? Not why would they limit it to the particular "
"limit they set, but why would they limit the right <emphasis>at "
"all?</emphasis>"
msgstr ""
"Maintenant, la question à laquelle je souhaite que vous réfléchissiez un "
"moment est la suivante: Pourquoi le Parlement avait-il limité ce droit "
"exclusif&nbsp;? La question n'est pas comment la limite fut choisie, mais "
"pourquoi cette limite <emphasis>existait-elle</emphasis>&nbsp;?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: "
"That play was written by Shakespeare. It was his genius that brought it into "
"the world. He didn't take anybody's property when he created this play "
"(that's a controversial claim, but never mind), and by his creating this "
"play, he didn't make it any harder for others to craft a play. So why is it "
"that the law would ever allow someone else to come along and take "
"Shakespeare's play without his, or his estate's, permission? What reason is "
"there to allow someone else to <quote>steal</quote> Shakespeare's work?"
msgstr ""
"Car les éditeurs, et les auteurs qu'ils représentaient, avaient un argument "
"très fort. Prenons par exemple <citetitle>Romeo et Juliette</citetitle>: "
"Cette pièce a été écrite par Shakespeare. C'est son seul génie qui lui a "
"donné naissance. En créant cette pièce, il n'a pris la propriété de "
"personne (bien que ce point particulier soit sujet de controverses), pas plus "
"qu'il n'a rendu plus difficile la création d'autres pièces. Pourquoi donc "
"la loi autorise-t-elle quelqu'un à prendre un jour la pièce de Shakespeare, "
"sans sa permission ni celle d'un de ses agents? Quelle raison y a-t-il à "
"laisser quelqu'un d'autre <quote>voler</quote> le travail de Shakespeare?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The answer comes in two parts. We first need to see something special about "
"the notion of <quote>copyright</quote> that existed at the time of the "
"Statute of Anne. Second, we have to see something important about "
"<quote>booksellers.</quote>"
msgstr ""
"La réponse tient en deux parties. Premièrement, il nous faut savoir quelque "
"chose de spécial concernant la notion de <quote>copyright</quote> qui "
"existait au temps du Statut d'Anne. Deuxièmement, nous devons comprendre "
"quelque chose d'important au sujet de ces <quote>libraires</quote>."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "usage restrictions attached to"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"First, about copyright. In the last three hundred years, we have come to "
"apply the concept of <quote>copyright</quote> ever more broadly. But in "
"1710, it wasn't so much a concept as it was a very particular right. The "
"copyright was born as a very specific set of restrictions: It forbade others "
"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right "
"to use a particular machine to replicate a particular work. It did not go "
"beyond that very narrow right. It did not control any more generally how a "
"work could be <emphasis>used</emphasis>. Today the right includes a large "
"collection of restrictions on the freedom of others: It grants the author "
"the exclusive right to copy, the exclusive right to distribute, the "
"exclusive right to perform, and so on."
msgstr ""
"Premièrement, au sujet du copyright. Au cours des trois cent dernières "
"années, nous n'avons cessé d'élargir le champ d'application du concept de "
"<quote>droit d'auteur</quote>. Mais en 1710, il ne s'agissait pas tant d'un "
"concept que d'un droit très particulier. Le droit d'auteur est né sous la "
"forme d'un ensemble d'interdictions très spécifiques: Il interdisait aux "
"autres de reproduire un livre. En 1710, le <quote>copy-right</quote> était "
"le droit d'utiliser une machine particulière afin de répliquer un travail "
"particulier. Il n'allait pas plus loin que ce droit très étroit. Il ne "
"contrôlait pas la manière dont une oeuvre pouvait être "
"<emphasis>utilisée</emphasis>. Aujourd'hui ce droit comporte une longue "
"liste de restrictions de la liberté des autres: Il accorde à l'auteur le "
"droit exclusif de copier, le droit exclusif de distribuer, le droit exclusif "
"d'exécuter, etc."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So, for example, even if the copyright to Shakespeare's works were "
"perpetual, all that would have meant under the original meaning of the term "
"was that no one could reprint Shakespeare's work without the permission of "
"the Shakespeare estate. It would not have controlled anything, for example, "
"about how the work could be performed, whether the work could be translated, "
"or whether Kenneth Branagh would be allowed to make his films. The "
"<quote>copy-right</quote> was only an exclusive right to print&mdash;no "
"less, of course, but also no more."
msgstr ""
"Ainsi, par exemple, même si le copyright sur les oeuvres de Shakespeare "
"était éternel, tout ce que celà aurait voulu dire au sens original du "
"terme, c'est que personne n'aurait pu rééditer une oeuvre de Shakespeare "
"sans la permission des ayant-droits. Celà n'aurait en rien contrôlé, par "
"exemple, la manière dont cette oeuvre aurait pu être jouée, le fait qu'on "
"puisse la traduire, ou que Kenneth Branagh soit autorisé à faire ses films. "
"Le <quote>copy-right</quote> n'était qu'un droit exclusif d'imprimer &mdash; "
"rien de moins, bien sûr, mais aussi rien de plus."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Henry VIII, King of England"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "monopoly, copyright as"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Statute of Monopolies (1656)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Even that limited right was viewed with skepticism by the British.  They had "
"had a long and ugly experience with <quote>exclusive rights,</quote> "
"especially <quote>exclusive rights</quote> granted by the Crown. The English "
"had fought a civil war in part about the Crown's practice of handing out "
"monopolies&mdash;especially monopolies for works that already existed. King "
"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to "
"print playing cards. The English Parliament began to fight back against this "
"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting "
"monopolies to patents for new inventions. And by 1710, Parliament was eager "
"to deal with the growing monopoly in publishing."
msgstr ""
"Même ce droit limité était vu avec scepticisme par les Britanniques. Ces "
"derniers avaient eu une expérience longue et douloureuse des <quote>droits "
"exclusifs</quote>, surtout ceux garantis par la Couronne. Les Anglais avaient "
"connu une guerre civile, en partie à cause de la pratique qu'avait la "
"Couronne d'octroyer des monopoles, surtout pour des oeuvres qui existaient "
"déjà. Le roi Henry VIII avait octroyé une patente pour imprimer la Bible, "
"et octroyé à Darcy le monopole d'imprimer des cartes à jouer. Le parlement "
"anglais commença à résister à ces prérogatives de la Couronne. En 1656, "
"il fit passer le Statut des Monopoles, qui limitait les monopoles aux brevets "
"pour les inventions nouvelles. Et en 1710, le parlement était impatient de "
"s'occuper du monopole grandissant de l'édition."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was "
"naturally viewed as a right that should be limited. (However convincing the "
"claim that <quote>it's my property, and I should have it forever,</quote> "
"try sounding convincing when uttering, <quote>It's my monopoly, and I should "
"have it forever.</quote>) The state would protect the exclusive right, but "
"only so long as it benefited society. The British saw the harms from "
"specialinterest favors; they passed a law to stop them."
msgstr ""
"Ainsi le <quote>copy-right; droit de copie</quote>, vu comme un droit "
"monopolistique, était naturellement vu comme un droit qui devait être "
"limité. (Aussi convainquant que soit l'argument <quote>ceci est ma "
"propriété, et devrait le rester pour toujours</quote>, essayez de rester "
"convainquant en articulant <quote>ceci est mon monopole, et devrait le rester "
"pour toujours</quote>.) L'Etat protégeait les droits exclusifs, mais "
"seulement dans la mesure où la société en bénéficiait. Les Anglais "
"voyaient les torts qui résultaient des traitements de faveur; ils avaient "
"passé une loi pour les faire cesser."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Milton, John"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "booksellers, English"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary "
"Property</citetitle> (New York: J. Messner, Inc., 1937), 31."
msgstr ""
"Philip Wittenberg,<citetitle> The Protection and Marketing of Literary "
"Property</citetitle> (New York: J. Messner, Inc., 1937), 31."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Second, about booksellers. It wasn't just that the copyright was a "
"monopoly. It was also that it was a monopoly held by the booksellers.  "
"Booksellers sound quaint and harmless to us. They were not viewed as "
"harmless in seventeenth-century England. Members of the Conger were "
"increasingly seen as monopolists of the worst kind&mdash;tools of the "
"Crown's repression, selling the liberty of England to guarantee themselves a "
"monopoly profit. The attacks against these monopolists were harsh: Milton "
"described them as <quote>old patentees and monopolizers in the trade of "
"book-selling</quote>; they were <quote>men who do not therefore labour in an "
"honest profession to which learning is indetted.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ensuite, à propos des libraires. Le problème n'était pas seulement que le "
"copyright était un monopole. Cela provenait aussi du fait que le monopole "
"était tenu par les libraires. De nos jours, ils nous semblent bizarres et "
"sans dangers. Ils n'étaient pas vus comme inoffensifs dans l'Angleterre du "
"dix-septième siècle. Les membres de la Congrégation étaient de plus en "
"plus vus comme des monopolistes de la pire espèce &mdash; les instruments de "
"la répression de la couronne, vendant la liberté de l'Angleterre pour "
"garantir leur propre profit. Les attaques contre ces monopolistes étaient "
"dures: Milton les décrit comme des <quote>vieux titulaires de brevets et de "
"monopolistes dans le marché de ventes de livres</quote>; ils étaient "
"<quote>des hommes qui ne travaillent donc pas dans une profession honnête "
"dans laquelle l'apprentissage est inutile.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Enlightenment"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "knowledge, freedom of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Many believed the power the booksellers exercised over the spread of "
"knowledge was harming that spread, just at the time the Enlightenment was "
"teaching the importance of education and knowledge spread generally. The "
"idea that knowledge should be free was a hallmark of the time, and these "
"powerful commercial interests were interfering with that idea."
msgstr ""
"Beaucoup croyaient que le pouvoir exercé par les libraires limitait la "
"diffusion du savoir, juste au moment où les Lumières enseignaient "
"l'importance de l'éducation et de la diffusion de la connaissance en "
"général. L'idée que la connaissance devait être libre fut un des jalons "
"de l'époque et ces puissants intérêts commerciaux interféraient avec "
"cette idée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"To balance this power, Parliament decided to increase competition among "
"booksellers, and the simplest way to do that was to spread the wealth of "
"valuable books. Parliament therefore limited the term of copyrights, and "
"thereby guaranteed that valuable books would become open to any publisher to "
"publish after a limited time. Thus the setting of the term for existing "
"works to just twenty-one years was a compromise to fight the power of the "
"booksellers. The limitation on terms was an indirect way to assure "
"competition among publishers, and thus the construction and spread of "
"culture."
msgstr ""
"Pour contrecarrer ce pouvoir, le Parlement décida d'augmenter la "
"compétition parmi les libraires et la manière la plus facile de le faire "
"fut de favoriser la diffusion des livres les plus intéressants. Le Parlement "
"décida donc de limiter la durée des copyrights et, par là même, garantit "
"que les livres intéressants pourraient être ouverts à la publication pour "
"tous les libraires après un temps limité. La mise en place d'un terme de "
"vingt et un ans pour le travail existant fut un compromis pour combattre la "
"puissance des libraires. La limitation sur cette durée étaient une manière "
"indirecte d'assurer la compétition parmi les libraires, donc la construction "
"et la diffusion de la culture."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in perpetuity"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"When 1731 (1710 + 21) came along, however, the booksellers were getting "
"anxious. They saw the consequences of more competition, and like every "
"competitor, they didn't like them. At first booksellers simply ignored the "
"Statute of Anne, continuing to insist on the perpetual right to control "
"publication. But in 1735 and 1737, they tried to persuade Parliament to "
"extend their terms. Twenty-one years was not enough, they said; they needed "
"more time."
msgstr ""
"Néanmoins, en 1731 (1710 + 21), les libraires prirent peur. Ils voyaient les "
"conséquences de plus de compétition, et comme tout compétiteur, ils "
"n'aimaient pas ça. Ils commencèrent par ignorer le Statut d'Anne, en "
"continuant d'insister sur leurs droits perpétuels de contrôle de la "
"publication. Mais en 1735 et 1737, ils tentèrent de persuader le Parlement "
"d'étendre leur durées. Vingt et un ans ne leur suffisaient pas; ils avaient "
"besoin de plus de temps."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Parliament rejected their requests. As one pamphleteer put it, in words that "
"echo today,"
msgstr ""
"Le Parlement rejeta leurs requêtes. Ces mots d'un pamphlétaire de l'époque "
"font écho à la situation actuelle:"

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
msgid ""
"A Letter to a Member of Parliament concerning the Bill now depending in the "
"House of Commons, for making more effectual an Act in the Eighth Year of the "
"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by "
"Vesting the Copies of Printed Books in the Authors or Purchasers of such "
"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)."
msgstr ""
"A Letter to a Member of Parliament concerning the Bill now depending in the "
"House of Commons, for making more effectual an Act in the Eighth Year of the "
"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by "
"Vesting the Copies of Printed Books in the Authors or Purchasers of such "
"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
"Curiae of Tyler T. Ochoa et al., 8,<citetitle> Eldred</citetitle> "
"v.<citetitle> Ashcroft,</citetitle> 537 U.S. 186 (2003) (No. 01-618)."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"I see no Reason for granting a further Term now, which will not hold as well "
"for granting it again and again, as often as the Old ones Expire; so that "
"should this Bill pass, it will in Effect be establishing a perpetual "
"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a "
"great Cramp to Trade, a Discouragement to Learning, no Benefit to the "
"Authors, but a general Tax on the Publick; and all this only to increase the "
"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Je ne vois aucune raison pour accorder une prolongation supplémentaire "
"aujourd'hui, qui ne serait là que pour être prolongée encore et encore, au "
"fur et à mesure que les termes précedents expirent; si cette loi devait "
"passer, elle établirait de fait un monopole perpétuel, une chose justement "
"odieuse au regard de la loi; ce serait une grande entrave au commerce, un "
"découragement de l'apprentissage, sans aucun bénéfice pour les auteurs "
"mais un impôt général sur le public; et tout ceci pour seulement augmenter "
"les gains privés des libraires.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Having failed in Parliament, the publishers turned to the courts in a series "
"of cases. Their argument was simple and direct: The Statute of Anne gave "
"authors certain protections through positive law, but those protections were "
"not intended as replacements for the common law.  Instead, they were "
"intended simply to supplement the common law.  Under common law, it was "
"already wrong to take another person's creative <quote>property</quote> and "
"use it without his permission. The Statute of Anne, the booksellers argued, "
"didn't change that. Therefore, just because the protections of the Statute "
"of Anne expired, that didn't mean the protections of the common law expired: "
"Under the common law they had the right to ban the publication of a book, "
"even if its Statute of Anne copyright had expired. This, they argued, was "
"the only way to protect authors."
msgstr ""
"Ayant échoué au Parlement, les éditeurs se tournèrent vers les tribunaux, "
"dans une série de procès. Leur argument était simple et direct: le Statut "
"d'Anne donnait aux auteurs certaines protections au travers d'une loi mais "
"ces protections n'étaient pas destinées à remplacer la loi habituelle. "
"Elles étaient destinées simplement à compléter la loi habituelle. Sous "
"cette loi, il était déjà interdit de prendre la <quote>propriété</quote> "
"créative d'une autre personne et de l'utiliser sans sa permission. Le Statut "
"d'Anne n'y a rien changé, dirent les libraires. C'est pourquoi, selon eux, "
"lorsque le Statut d'Anne a expiré, cela ne signifiait pas que les "
"protections de la loi habituelle aient expiré: Selon cette loi, ils avaient "
"le droit d'interdire la publication d'un livre, même si le Statut d'Anne "
"avait expiré. C'était, selon eux, la seule manière de protéger les "
"auteurs."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Patterson, Raymond"
msgstr "Patterson, Raymond"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair "
"Use,</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For "
"a wonderfully compelling account, see Vaidhyanathan, 37&ndash;48."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair "
"Use</quote>, <citetitle> Vanderbilt Law Review</citetitle> 40 (1987): 28. Pour "
"une explication merveilleusement convaincante, voir Vaidhyanathan, 37-48."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This was a clever argument, and one that had the support of some of the "
"leading jurists of the day. It also displayed extraordinary chutzpah.  Until "
"then, as law professor Raymond Patterson has put it, <quote>The publishers "
"&hellip; had as much concern for authors as a cattle rancher has for "
"cattle.</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller "
"didn't care squat for the rights of the author.  His concern was the "
"monopoly profit that the author's work gave."
msgstr ""
"C'était un argument astucieux, un de ceux qui avaient le soutien des "
"principaux juristes de l'époque. Il démontrait aussi une extraordinaire "
"perversité. Jusqu'alors, comme l'a écrit le professeur de droit Raymond "
"Patterson, <quote>Les éditeurs ... avaient autant d'égards pour les auteurs "
"qu'un fermier en a pour son bétail.</quote><placeholder type=\"footnote\" "
"id=\"0\"/> Les libraires ne prêtaient aucune attention aux droits des "
"auteurs. Leur seule préoccupation était le profit monopolistique qu'ils "
"pouvaient tirer du travail des auteurs."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Donaldson, Alexander"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"For a compelling account, see David Saunders, <citetitle>Authorship and "
"Copyright</citetitle> (London: Routledge, 1992), 62&ndash;69."
msgstr ""
"Pour une explication convaincante, voir David Saunders,<citetitle> Authorship "
"and Copyright</citetitle> (London: Routledge, 1992), 62-69."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The booksellers' argument was not accepted without a fight.  The hero of "
"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"L'argument des libraires ne fut pas accepté sans dispute. Le principal "
"protagoniste de cette dispute était un libraire écossais nommé Alexander "
"Donaldson.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Boswell, James"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Erskine, Andrew"
msgstr "Erskine, Andrew"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Rose, Mark"
msgstr "Rose, Mark"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard "
"University Press, 1993), 92.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard "
"University Press, 1993), 92.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Ibid., 93."
msgstr "Ibid., 93."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Donaldson was an outsider to the London Conger. He began his career in "
"Edinburgh in 1750. The focus of his business was inexpensive reprints "
"<quote>of standard works whose copyright term had expired,</quote> at least "
"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> "
"Donaldson's publishing house prospered and became <quote>something of a "
"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor "
"Mark Rose writes, was <quote>the young James Boswell who, together with his "
"friend Andrew Erskine, published an anthology of contemporary Scottish poems "
"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Donaldson ne faisait pas partie des Conger de Londres. Il commença sa "
"carrière à Edimbourg en 1750. Son commerce était concentré sur les "
"rééditions bon marché d'<quote>oeuvres standard dont la durée de "
"copyright avait expiré</quote>, du moins selon le Statut d'Anne.<placeholder "
"type=\"footnote\" id=\"0\"/> "
"La maison d'édition de Donaldson prospéra et devint <quote>quelque chose comme "
"un centre pour Ecossais instruits.</quote> <quote>Parmi eux,</quote> écrit le "
"professeur Mark Rose, se trouvait <quote>le jeune James Boswell qui, avec son "
"ami Andrew Erskine, publia avec Donaldson une anthologie de poèmes Écossais "
"contemporains.</quote><placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, "
"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting "
"Borwell)."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> "
"Lyman Ray Patterson, <citetitle>Copyright in Historical "
"Perspective</citetitle>, 167 (citant Borwell)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"When the London booksellers tried to shut down Donaldson's shop in Scotland, "
"he responded by moving his shop to London, where he sold inexpensive "
"editions <quote>of the most popular English books, in defiance of the "
"supposed common law right of Literary Property.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to "
"50 percent, and he rested his right to compete upon the ground that, under "
"the Statute of Anne, the works he was selling had passed out of protection."
msgstr ""
"Quand les libraires de Londres tentèrent de fermer la boutique de Donaldson "
"en Écosse, il répliqua en déménageant sa boutique à Londres, où il "
"vendit des éditions bon marché <quote>des livres anglais les plus "
"populaires, défiant ainsi la loi commune sur la propriété "
"littéraire.</quote><placeholder type=\"footnote\" id=\"0\"/> Ses livres "
"étaient 30 à 50 pour cent moins chers que ceux des Conger, et il justifiait "
"son droit de leur faire compétition par le fait que, selon le statut d'Anne, "
"les oeuvres qu'ils vendait étaient sorties du domaine protégé."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Millar v. Taylor"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The London booksellers quickly brought suit to block <quote>piracy</quote> "
"like Donaldson's. A number of actions were successful against the "
"<quote>pirates,</quote> the most important early victory being "
"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>."
msgstr ""
"Les libraires de Londres donnèrent rapidement suite, afin d'empêcher un tel "
"<quote>piratage</quote>. Un certain nombre d'actions contre les "
"<quote>pirates</quote> réussirent, la plus importante victoire étant celle "
"de <citetitle>Millar</citetitle> contre <citetitle> Taylor.</citetitle>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Thomson, James"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Seasons, The (Thomson)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Taylor, Robert"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law "
"Review</citetitle> 29 (1983): 1152."
msgstr ""
"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,</quote><citetitle> Wayne Law "
"Review</citetitle> 29 (1983): 1152."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Millar was a bookseller who in 1729 had purchased the rights to James "
"Thomson's poem <quote>The Seasons.</quote> Millar complied with the "
"requirements of the Statute of Anne, and therefore received the full "
"protection of the statute. After the term of copyright ended, Robert Taylor "
"began printing a competing volume. Millar sued, claiming a perpetual common "
"law right, the Statute of Anne notwithstanding.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Millar était un libraire, qui en 1729 avait acquis les droits sur le poème "
"<quote>The Seasons</quote> de James Thomson. Millar répondait aux exigences "
"du Statut d'Anne, et reçut donc la protection complète prévue par le "
"statut. Après que la durée du copyright fut écoulée, Robert Taylor "
"commença à imprimer une édition concurrente. Millar le poursuivit, arguant "
"d'un droit perpétuel selon la loi commune, quoi qu'en dise le Statut "
"d'Anne<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Astonishingly to modern lawyers, one of the greatest judges in English "
"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
"the Statute of Anne gave booksellers, it did not, he held, extinguish any "
"common law right. The question was whether the common law would protect the "
"author against subsequent <quote>pirates.</quote> Mansfield's answer was "
"yes: The common law would bar Taylor from reprinting Thomson's poem without "
"Millar's permission. That common law rule thus effectively gave the "
"booksellers a perpetual right to control the publication of any book "
"assigned to them."
msgstr ""
"A l'étonnement des juristes modernes, un des plus grands juges de l'histoire "
"anglaise, Lord Mansfield, approuva les libraires. Quelle que soit la "
"protection accordée par le Statut d'Anne aux libraires, ce dernier "
"n'annulait en aucun cas les droits découlant de la loi commune. La question "
"était de savoir si la loi commune protégeait l'auteur contre les "
"<quote>pirates</quote>. La réponse de Mansfield fut oui: La loi commune "
"empêchait Taylor de réimprimer le poème de Thomson sans la permission de "
"Millar. Cette loi commune donnait donc effectivement aux libraires un droit "
"perpétuel de contrôler la publication de tout livre leur étant assigné."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Considered as a matter of abstract justice&mdash;reasoning as if justice "
"were just a matter of logical deduction from first "
"principles&mdash;Mansfield's conclusion might make some sense. But what it "
"ignored was the larger issue that Parliament had struggled with in 1710: How "
"best to limit the monopoly power of publishers? Parliament's strategy was to "
"offer a term for existing works that was long enough to buy peace in 1710, "
"but short enough to assure that culture would pass into competition within a "
"reasonable period of time. Within twenty-one years, Parliament believed, "
"Britain would mature from the controlled culture that the Crown coveted to "
"the free culture that we inherited."
msgstr ""
"Considéré comme un problème de justice abstraite, en raisonnant comme si "
"la justice n'était qu'affaire de déduction logique en partant de principes "
"de base, la conclusion de Mansfield peut sembler juste. Mais ce qu'elle ne "
"prenait pas en compte, c'était le problème plus vaste que le Parlement "
"avait eu à résoudre en 1710: Comment limiter au mieux le monopole des "
"éditeurs? La stratégie du Parlement avait été d'offrir une durée de "
"protection pour les travaux existants qui était assez longue pour acheter la "
"paix en 1710, mais assez courte pour assurer que la culture passe dans le "
"domaine de la concurrence au bout d'un temps raisonnable. En vingt et un ans, "
"pensait le Parlement, la Grande Bretagne passerait du système de culture "
"contrôlée voulu par la couronne, à la culture libre dont nous avons "
"hérité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The fight to defend the limits of the Statute of Anne was not to end there, "
"however, and it is here that Donaldson enters the mix."
msgstr ""
"Cependant, le combat pour défendre les limites imposées par le Statut "
"d'Anne ne devait pas se terminer là, et c'est ici que Donaldson entre dans "
"la danse."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Beckett, Thomas"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "House of Lords"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "House of Lords vs."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Ibid., 1156."
msgstr "Ibid., 1156."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Millar died soon after his victory, so his case was not appealed. His estate "
"sold Thomson's poems to a syndicate of printers that included Thomas "
"Beckett.<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an "
"unauthorized edition of Thomson's works. Beckett, on the strength of the "
"decision in <citetitle>Millar</citetitle>, got an injunction against "
"Donaldson. Donaldson appealed the case to the House of Lords, which "
"functioned much like our own Supreme Court. In February of 1774, that body "
"had the chance to interpret the meaning of Parliament's limits from sixty "
"years before."
msgstr ""
"Millar mourut peu après sa victoire, il ne fut donc pas fait appel. Son "
"agent vendit les poèmes de Thomson à une association d'imprimeurs, dont "
"Thomas Beckett faisait partie.<placeholder type=\"footnote\" id=\"0\"/> "
"Donaldson publia ensuite une édition non autorisée des oeuvres de Thomson. "
"Beckett, fort de la décision prise dans l'affaire "
"<citetitle>Millar,</citetitle> obtint une injonction à l'encontre de "
"Donaldson. Donaldson fit appel devant la Chambre des Lords, qui fonctionnait "
"comme notre Cour Suprême. En février 1774, cette chambre eut l'occasion "
"d'interpréter la signification des limites décidées par le Parlement "
"soixante ans plus tôt."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Donaldson v. Beckett"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"As few legal cases ever do, <citetitle>Donaldson</citetitle> "
"v. <citetitle>Beckett</citetitle> drew an enormous amount of attention "
"throughout Britain. Donaldson's lawyers argued that whatever rights may have "
"existed under the common law, the Statute of Anne terminated those "
"rights. After passage of the Statute of Anne, the only legal protection for "
"an exclusive right to control publication came from that statute. Thus, they "
"argued, after the term specified in the Statute of Anne expired, works that "
"had been protected by the statute were no longer protected."
msgstr ""
"Fait plutôt rare en matière de loi, l'affaire "
"<citetitle>Donaldson</citetitle> contre <citetitle>Beckett</citetitle> attira "
"une attention immense dans toute la Grande-Bretagne. Les avocats de Donaldson "
"soutinrent que quels que soient les droits qui avaient pu exister sous la loi "
"commune, le Statut d'Anne les rendait obsolètes. Après l'adoption du Statut "
"d'Anne, la seule protection légale pour un droit exclusif de contrôler une "
"publication devait venir de ce statut. Donc, disaient-ils, une fois que la "
"durée specifiée dans le Statut d'Anne était écoulée, les oeuvres qui "
"avait été protégées par ce statut n'étaient plus protégées."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
"the House and voted upon first by the <quote>law lords,</quote> members of "
"special legal distinction who functioned much like the Justices in our "
"Supreme Court. Then, after the law lords voted, the House of Lords generally "
"voted."
msgstr ""
"La Chambre des Lords était une institution étrange. Les questions légales "
"étaient soumises à la Chambre, et les <quote>lords de la loi</quote>, "
"membres d'une distinction spéciale qui fonctionnait beaucoup comme les juges "
"de notre Cour Suprême, votaient en premier. Ensuite, une fois que les lords "
"de la loi avaient voté, la Chambre des Lords votait au complet."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "English legal establishment of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The reports about the law lords' votes are mixed. On some counts, it looks "
"as if perpetual copyright prevailed. But there is no ambiguity about how the "
"House of Lords voted as whole. By a two-to-one majority (22 to 11) they "
"voted to reject the idea of perpetual copyrights.  Whatever one's "
"understanding of the common law, now a copyright was fixed for a limited "
"time, after which the work protected by copyright passed into the public "
"domain."
msgstr ""
"Les rapports sur le vote des lords de la loi sont mitigés. D'après "
"certains, il semble que le copyright perpétuel ait prévalu. Mais il n'y a "
"pas d'ambiguité concernant le vote de la Chambre des Lords au complet. À "
"une majorité des deux tiers (22 contre 11), ils rejetèrent l'idée de "
"copyrights perpétuels. Quelle que soit la manière dont on interprétait la "
"loi commune, un copyright était maintenant fixé pour un temps limité, "
"après lequel l'oeuvre protégée par copyright passait dans le domaine "
"public."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Bacon, Francis"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Bunyan, John"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Johnson, Samuel"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>The public domain.</quote> Before the case of "
"<citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle>, there "
"was no clear idea of a public domain in England. Before 1774, there was a "
"strong argument that common law copyrights were perpetual.  After 1774, the "
"public domain was born. For the first time in Anglo-American history, the "
"legal control over creative works expired, and the greatest works in English "
"history&mdash;including those of Shakespeare, Bacon, Milton, Johnson, and "
"Bunyan&mdash;were free of legal restraint."
msgstr ""
"<quote>Le domaine public.</quote> Avant le procès "
"<citetitle>Donaldson</citetitle> contre <citetitle>Beckett</citetitle>, il "
"n'y avait pas de notion claire de domaine public en Angleterre. Avant 1774, "
"l'idée dominante était que la loi commune sur le copyright était "
"perpétuelle. Après 1774, le domaine public était né. Pour la première "
"fois dans l'histoire anglo-américaine, le contrôle légal sur les "
"créations expirait, et les plus grandes oeuvres de l'histoire anglaise, y "
"compris celles de Shakespeare, Bacon, Milton, Johnson, et Bunyan, étaient "
"libres de contraintes légales."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid "Rose, 97."
msgstr "Rose, 97."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It is hard for us to imagine, but this decision by the House of Lords fueled "
"an extraordinarily popular and political reaction. In Scotland, where most "
"of the <quote>pirate publishers</quote> did their work, people celebrated "
"the decision in the streets. As the <citetitle>Edinburgh "
"Advertiser</citetitle> reported, <quote>No private cause has so much "
"engrossed the attention of the public, and none has been tried before the "
"House of Lords in the decision of which so many individuals were "
"interested.</quote> <quote>Great rejoicing in Edinburgh upon victory over "
"literary property: bonfires and illuminations.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"C'est difficile à imaginer pour nous, mais cette décision de la Chambre des "
"Lords nourrit une réaction populaire et politique extraordinaire. En "
"Écosse, où la plupart des <quote>éditeurs pirates</quote> effectuaient "
"leur travail, les gens fêtèrent cette décision dans les rues. Comme le "
"rapporta l' <citetitle>Edinburgh Advertiser</citetitle>, <quote>Aucune cause "
"privée n'avait à ce point capté l'attention du public, et aucune cause "
"n'avait été défendue devant la Chambre des Lords dont l'issue intéressait "
"autant de gens.</quote> <quote>Grandes réjouissances à Edinburgh après la "
"victoire sur la propriété littéraire: feux de joie et "
"illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"In London, however, at least among publishers, the reaction was equally "
"strong in the opposite direction. The <citetitle>Morning "
"Chronicle</citetitle> reported:"
msgstr ""
"A Londres, cependant, du moins parmi les éditeurs, la réaction fut aussi "
"forte dans la direction opposée. Le <citetitle>Morning Chronicle</citetitle> "
"rapporte:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"By the above decision &hellip; near 200,000 pounds worth of what was "
"honestly purchased at public sale, and which was yesterday thought property "
"is now reduced to nothing. The Booksellers of London and Westminster, many "
"of whom sold estates and houses to purchase Copy-right, are in a manner "
"ruined, and those who after many years industry thought they had acquired a "
"competency to provide for their families now find themselves without a "
"shilling to devise to their successors.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Par la décision précédente... pour environ 200 000 livres de ce qui fut "
"honnêtement acheté lors de ventes publiques, et qui était considéré hier "
"comme de la propriété, est maintenant réduit à néant. Les libraires de "
"Londres et de Westminster, qui pour beaucoup d'entre eux avaient vendu leurs "
"biens et leurs maisons afin d'acheter des Copyrights, se retrouvent en "
"quelque sorte ruinés, et ceux qui après plusieurs années de métier "
"pensaient avoir acquis une compétence à offrir à leur famille se "
"retrouvent sans un centime à offrir à leurs successeurs.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an "
"exaggeration to say that the change was profound. The decision of the House "
"of Lords meant that the booksellers could no longer control how culture in "
"England would grow and develop. Culture in England was thereafter "
"<emphasis>free</emphasis>.  Not in the sense that copyrights would not be "
"respected, for of course, for a limited time after a work was published, the "
"bookseller had an exclusive right to control the publication of that "
"book. And not in the sense that books could be stolen, for even after a "
"copyright expired, you still had to buy the book from someone. But "
"<emphasis>free</emphasis> in the sense that the culture and its growth would "
"no longer be controlled by a small group of publishers. As every free market "
"does, this free market of free culture would grow as the consumers and "
"producers chose. English culture would develop as the many English readers "
"chose to let it develop&mdash; chose in the books they bought and wrote; "
"chose in the memes they repeated and endorsed. Chose in a "
"<emphasis>competitive context</emphasis>, not a context in which the choices "
"about what culture is available to people and how they get access to it are "
"made by the few despite the wishes of the many."
msgstr ""
"<quote>Ruinés</quote> est un peu exagéré. Mais il n'est pas exagéré de "
"dire que le changement fut profond. La décision de la Chambre des Lords "
"signifiait que les libraires ne pourraient plus contrôler la manière dont "
"la culture se développerait en Angleterre. Désormais, la culture en "
"Angleterre était <emphasis>libre</emphasis>. Non pas au sens où les droits "
"d'auteur n'étaient pas respectés, car bien sûr, pour une durée limitée "
"suivant la publication d'une oeuvre, le libraire avait le droit exclusif de "
"contrôler la publication de ce livre. Et non pas au sens où les livres "
"pouvaient être volés, car même après que le copyright avait expiré, il "
"fallait toujours acheter le livre à quelqu'un. Mais "
"<emphasis>libre</emphasis> en ce sens que la culture et sa croissance "
"n'étaient plus contrôlés par un petit groupe d'éditeurs. Comme tout "
"marché libre, ce marché libre de la culture libre croissait selon les choix "
"des consommateurs et des producteurs. La culture anglaise se développait de "
"la manière dont les lecteurs anglais choisissaient de la laisser se "
"développer, à travers les livres qu'ils achetaient et écrivaient, et à "
"travers les idées qu'ils répetaient et adoptaient. Ils choisissaient dans "
"un <emphasis>cadre compétitif</emphasis>, et non pas dans un cadre où les "
"choix concernant quelle culture est disponible, et de quelle manière on y "
"accède, seraient faits par une minorité, à l'encontre des souhaits de la "
"majorité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"At least, this was the rule in a world where the Parliament is antimonopoly, "
"resistant to the protectionist pleas of publishers. In a world where the "
"Parliament is more pliant, free culture would be less protected."
msgstr ""
"Du moins, c'était la règle dans un monde où le Parlement était opposé "
"aux monopoles, et résistait aux plaidoyers protectionnistes des éditeurs. "
"Dans un monde où le Parlement aurait été plus flexible, une culture libre "
"aurait été moins protégée."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Seven: Recorders"
msgstr "Enregistreurs"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "fair use and"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "documentary film"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Else, Jon"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "fair use"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in documentary film"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "fair use of copyrighted material in"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known "
"for his documentaries and has been very successful in spreading his art. He "
"is also a teacher, and as a teacher myself, I envy the loyalty and "
"admiration that his students feel for him. (I met, by accident, two of his "
"students at a dinner party.  He was their god.)"
msgstr ""
"<emphasis role='strong'>Jon Else</emphasis> est un réalisateur. Il est "
"surtout connu pour ses documentaires, et ses oeuvres ont eu beaucoup de "
"succès. C'est aussi un enseignant, et en tant qu'enseignant moi-même, "
"j'envie la loyauté et l'admiration que lui vouent ses étudiants. (J'ai "
"rencontré, par hasard, deux de ses étudiants au cours d'un dîner. Ils le "
"considéraient comme un dieu.)"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Else worked on a documentary that I was involved in. At a break, he told me "
"a story about the freedom to create with film in America today."
msgstr ""
"Else a travaillé sur un documentaire auquel je participais. Pendant une "
"pause, il me raconta une histoire qui parlait de la liberté de création "
"dans les films aux États-Unis aujourd'hui."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Wagner, Richard"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "San Francisco Opera"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The "
"focus was stagehands at the San Francisco Opera.  Stagehands are a "
"particularly funny and colorful element of an opera.  During a show, they "
"hang out below the stage in the grips' lounge and in the lighting loft. They "
"make a perfect contrast to the art on the stage."
msgstr ""
"En 1990, Else travaillait à un documentaire sur la Tétralogie de Wagner. Le "
"sujet du documentaire était les stagehands à l'Opéra de San Francisco. Les "
"stagehands sont une partie particulièrement drôle et cocasse d'un opéra. "
"Pendant une représentation, ils se promènent devant la scène, dans la loge "
"du souffleur et le local d'éclairage. Ils font un contraste parfait avec "
"l'art de la scène"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Simpsons, The"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"During one of the performances, Else was shooting some stagehands playing "
"checkers. In one corner of the room was a television set.  Playing on the "
"television set, while the stagehands played checkers and the opera company "
"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, "
"this touch of cartoon helped capture the flavor of what was special about "
"the scene."
msgstr ""
"Pendant une des représentations, Else filmait des stagehands en train de "
"jouer aux dames. Dans un coin de la salle il y avait un écran de "
"télévision. A l'écran, pendant que les stagehands jouaient aux dames et "
"que l'opéra jouait Wagner, passaient <citetitle>Les Simpson</citetitle>. "
"D'après Else, cette touche de dessin animé permettait de mieux appréhender "
"ce que la scène avait de spécial."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "multiple copyrights associated with"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Years later, when he finally got funding to complete the film, Else "
"attempted to clear the rights for those few seconds of <citetitle>The "
"Simpsons</citetitle>.  For of course, those few seconds are copyrighted; and "
"of course, to use copyrighted material you need the permission of the "
"copyright owner, unless <quote>fair use</quote> or some other privilege "
"applies."
msgstr ""
"Des années plus tard, quand il finit par obtenir un financement pour "
"terminer son film, Else voulut s'acquitter des droits pour ces quelques "
"secondes de <citetitle>Simpson</citetitle>. Car bien sûr, ces quelques "
"secondes sont protégées par copyright; et bien sûr, pour utiliser du "
"contenu sous copyright, il faut la permission du détenteur de copyright, "
"sauf si c'est pour une utilisation privée ou autre cas particulier du même "
"genre."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Gracie Films"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
msgid "Groening, Matt"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office "
"to get permission.  Groening approved the shot. The shot was a "
"four-and-a-halfsecond image on a tiny television set in the corner of the "
"room. How could it hurt? Groening was happy to have it in the film, but he "
"told Else to contact Gracie Films, the company that produces the program."
msgstr ""
"Else appela le bureau du créateur des <citetitle>Simpson</citetitle>, Matt "
"Groening, pour obtenir sa permission. Groening fut d'accord. Il ne s'agissait "
"que de quatre secondes et demie, sur un minuscule écran de télévision dans "
"un coin de la pièce. Quel mal pouvait-il y avoir à celà? Groenig était "
"content d'avoir ces quelques secondes des <citetitle>Simpson</citetitle> dans "
"le film, mais il dit à Else de contacter Gracie Film, la compagnie qui "
"produit l'émission."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
msgid "Fox (film company)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Gracie Films was okay with it, too, but they, like Groening, wanted to be "
"careful. So they told Else to contact Fox, Gracie's parent company.  Else "
"called Fox and told them about the clip in the corner of the one room shot "
"of the film. Matt Groening had already given permission, Else said. He was "
"just confirming the permission with Fox."
msgstr ""
"Chez Gracie Films on fut aussi d'accord, mais comme Groening, on voulut faire "
"attention. On dit donc à Else de contacter la Fox, la maison mère de Gracie "
"Films. Else appela la Fox et leur expliqua l'histoire du clip dans un coin de "
"l'écran. Else dit que Matt Groening avait déjà donné sa permission. Il "
"voulait juste obtenir confirmation de la Fox."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Then, as Else told me, <quote>two things happened. First we discovered "
"&hellip; that Matt Groening doesn't own his own creation&mdash;or at least "
"that someone [at Fox] believes he doesn't own his own creation.</quote> And "
"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to "
"use this four-point-five seconds of &hellip; entirely unsolicited "
"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>"
msgstr ""
"C'est alors que, comme me le dit Else, <quote>deux choses se produisirent. "
"Premièrement nous découvrîmes... que la création de Matt Groening ne lui "
"appartenait pas &mdash; ou du moins que quelqu'un [chez Fox] croyait qu'elle "
"ne lui appartenait pas.</quote> Et deuxièmement, la Fox <quote>voulait dix "
"mille dollars en échange de l'utilisation de ces quatre secondes et demie "
"des <citetitle>Simpson</citetitle>, qui apparaissaient de manière tout à "
"fait fortuite sur un coin de l'écran.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Herrera, Rebecca"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Else was certain there was a mistake. He worked his way up to someone he "
"thought was a vice president for licensing, Rebecca Herrera.  He explained "
"to her, <quote>There must be some mistake here. &hellip; We're asking for "
"your educational rate on this.</quote> That was the educational rate, "
"Herrera told Else. A day or so later, Else called again to confirm what he "
"had been told."
msgstr ""
"Else était certain qu'il y avait erreur. Il réussit à obtenir ce qu'il "
"pensa être la vice présidente pour les questions de licence, Rebecca "
"Herrera. Il lui expliqua <quote>Vous devez faire erreur...nous vous demandons "
"le tarif éducatif.</quote> C'était bien le tarif éducatif, lui répondit "
"Herrera. Un jour plus tard, Else rappela pour obtenir confirmation de ce "
"qu'on lui avait dit."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>I wanted to make sure I had my facts straight,</quote> he told "
"me. <quote>Yes, you have your facts straight,</quote> she said. It would "
"cost $10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the "
"corner of a shot in a documentary film about Wagner's Ring Cycle. And then, "
"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you "
"over to our attorneys.</quote> As an assistant to Herrera told Else later "
"on, <quote>They don't give a shit. They just want the money.</quote>"
msgstr ""
"<quote>Je voulais m'assurer que j'avais bien compris</quote>, me dit il. "
"<quote>Oui, vous avez bien compris</quote>, lui dit-elle. Il en coûterait "
"10.000 dollars d'utiliser le clip des <citetitle>Simpson</citetitle> dans le "
"coin de l'écran d'un documentaire sur la Tétralogie de Wagner. Et puis, "
"d'une manière étonnante, Herrera dit à Else, <quote>Et si vous citez ce "
"que je viens de dire, vous entendrez parler de nos avocats.</quote> Plus "
"tard, un assistant de Herrera dit à Else: <quote>Ils se fichent du reste. "
"Ils veulent l'argent et c'est tout.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Day After Trinity, The"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Else didn't have the money to buy the right to replay what was playing on "
"the television backstage at the San Francisco Opera. To reproduce this "
"reality was beyond the documentary filmmaker's budget. At the very last "
"minute before the film was to be released, Else digitally replaced the shot "
"with a clip from another film that he had worked on, <citetitle>The Day "
"After Trinity</citetitle>, from ten years before."
msgstr ""
"Else n'avait pas de quoi acheter le droit de remontrer ce qui était montré "
"sur la télévision de l'opéra de San Francisco. Montrer cette réalité "
"dépassait le budget du réalisateur. A la dernière minute avant la sortie "
"du film, Else remplaca à l'ordinateur la vue par un extrait d'un autre film "
"sur lequel il avait travaillé dix ans plus tôt, <citetitle>The Day After "
"Trinity</citetitle>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"There's no doubt that someone, whether Matt Groening or Fox, owns the "
"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their "
"property.  To use that copyrighted material thus sometimes requires the "
"permission of the copyright owner. If the use that Else wanted to make of "
"the <citetitle>Simpsons</citetitle> copyright were one of the uses "
"restricted by the law, then he would need to get the permission of the "
"copyright owner before he could use the work in that way. And in a free "
"market, it is the owner of the copyright who gets to set the price for any "
"use that the law says the owner gets to control."
msgstr ""
"<emphasis role='strong'>Il ne fait aucun doute</emphasis> que quelqu'un, que "
"ce soit Matt Groening ou la Fox, est propriétaire des droits sur les "
"<citetitle>Simpson</citetitle>. Ces droits sont leur propriété. Pour "
"utiliser ce contenu protégé, la permission du détenteur des droits est "
"parfois nécessaire. Si l'utilisation que Else voulait faire des "
"<citetitle>Simpson</citetitle> était un des cas restreints par la loi, alors "
"il aurait besoin d'obtenir la permission avant de pouvoir les utiliser de "
"cette manière. Et dans un marché libre, c'est le propriétaire des droits "
"qui fixe le prix de toute utilisation pour laquelle la loi lui accorde le "
"contrôle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"For example, <quote>public performance</quote> is a use of <citetitle>The "
"Simpsons</citetitle> that the copyright owner gets to control. If you take a "
"selection of favorite episodes, rent a movie theater, and charge for tickets "
"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then "
"you need to get permission from the copyright owner. And the copyright owner "
"(rightly, in my view) can charge whatever she wants&mdash;$10 or "
"$1,000,000. That's her right, as set by the law."
msgstr ""
"Par exemple, une <quote>représentation publique</quote> est une utilisation "
"des <quote>Simpson</quote> que le propriétaire des droits peut contrôler. "
"Si vous prenez quelques-uns de vos épisodes favoris, louez un cinéma, et "
"faites payer pour voir <quote>Mes épisodes préférés des "
"<citetitle>Simpson</citetitle></quote>, alors il vous faut la permission du "
"propriétaire des droits. Et ce propriétaire peut (c'est son bon droit, à "
"mon avis) faire payer le montant qu'il lui plaît &mdash; 10 dollars ou un "
"million de dollars. C'est son droit, défini par la loi."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"For an excellent argument that such use is <quote>fair use,</quote> but that "
"lawyers don't permit recognition that it is <quote>fair use,</quote> see "
"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory "
"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file "
"with author), University of Chicago Law School, 5 August 2003."
msgstr ""
"Pour un excellent argument qu'un tel usage est un <quote>usage loyal</quote>, "
"mais que les avocats ne permettent pas la reconnaissance que c'est de "
"l'<quote>usage loyal</quote>, voir Richard A. Posner with William F. Patry, "
"<quote>Fair Use and Statutory Reform in the Wake of<citetitle> "
"Eldred</citetitle> </quote>, University of Chicago Law School, 5 aout 2003."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's "
"use of just 4.5 seconds of an indirect shot of a "
"<citetitle>Simpsons</citetitle> episode is clearly a fair use of "
"<citetitle>The Simpsons</citetitle>&mdash;and fair use does not require the "
"permission of anyone."
msgstr ""
"Mais quand des juristes entendent cette histoire sur Jon Else et la Fox, leur "
"première pensée est <quote>usage loyal</quote><placeholder "
"type=\"footnote\" id=\"0\"/>. L'utilisation par Else de 4.5 secondes d'une "
"vue indirecte d'un épisode des <citetitle>Simpson</citetitle> est clairement "
"un usage loyal des <citetitle>Simpson</citetitle>&mdash; et l'usage loyal ne "
"nécessite pas la permission de qui que ce soit."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's "
"his reply:"
msgstr ""
"J'ai donc demandé à Else pourquoi il ne s'en était pas tout simplement "
"remis à l'<quote>usage loyal</quote>. Voici sa réponse:"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "legal intimidation tactics against"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the "
"gulf between what lawyers find irrelevant in some abstract sense, and what "
"is crushingly relevant in practice to those of us actually trying to make "
"and broadcast documentaries. I never had any doubt that it was "
"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't "
"rely on the concept in any concrete way. Here's why:"
msgstr ""
"Le fiasco des <citetitle>Simpson</citetitle> a été pour moi une leçon sur "
"le fossé qui sépare ce que les avocats jugent sans importance de leur point "
"de vue abstrait, et ce qui en pratique est d'une importance écrasante pour "
"nous autres qui essayons de tourner et diffuser des documentaires. Je n'ai "
"jamais douté qu'il s'agisse d'un <quote>usage clairement loyal</quote> sur "
"le plan purement légal. Mais je ne pouvais pas me reposer là dessus en "
"pratique. Voici pourquoi:"

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
msgid "Errors and Omissions insurance"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
msgid ""
"Before our films can be broadcast, the network requires that we buy Errors "
"and Omissions insurance. The carriers require a detailed <quote>visual cue "
"sheet</quote> listing the source and licensing status of each shot in the "
"film. They take a dim view of <quote>fair use,</quote> and a claim of "
"<quote>fair use</quote> can grind the application process to a halt."
msgstr ""
"1. Avant qu'un film puisse être diffusé, la chaîne nous impose de "
"souscrire à une assurance sur les Erreurs et Omissions. Les assureurs "
"demandent un <quote>bulletin visuel</quote>, qui dresse la liste de chaque "
"séquence du film, sa source et son statut juridique. Ils ont une notion "
"assez restreinte de l'<quote>usage loyal</quote>, et une utilisation en "
"<quote>usage loyal</quote> peut compromettre la demande d'assurance."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
msgid "Lucas, George"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
msgid "<citetitle>Star Wars</citetitle>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
msgid ""
"I probably never should have asked Matt Groening in the first place. But I "
"knew (at least from folklore) that Fox had a history of tracking down and "
"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George "
"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> "
"usage. So I decided to play by the book, thinking that we would be granted "
"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As "
"a documentary producer working to exhaustion on a shoestring, the last thing "
"I wanted was to risk legal trouble, even nuisance legal trouble, and even to "
"defend a principle."
msgstr ""
"2. Je n'aurais probablement jamais dû poser la question à Matt Groening "
"dès le départ. Mais je savais que la Fox avait l'habitude de rechercher et "
"de stopper toute utilisation des <citetitle>Simpson</citetitle> sans licence, "
"tout comme George Lucas se distinguait par sa défense de l'utilisation de "
"<citetitle>Star Wars</citetitle>. Donc j'ai décidé de suivre la loi à la "
"lettre, en pensant que nous obtiendrions une licence gratuite ou presque pour "
"quatre secondes de <citetitle>Simpson</citetitle>. En tant que producteur de "
"documentaires contraint de faire des économies sur les lacets, la dernière "
"chose dont j'avais besoin était de risquer un procès, même en dommages, et "
"même pour défendre un principe."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
msgid ""
"I did, in fact, speak with one of your colleagues at Stanford Law School "
"&hellip; who confirmed that it was fair use. He also confirmed that Fox "
"would <quote>depose and litigate you to within an inch of your life,</quote> "
"regardless of the merits of my claim. He made clear that it would boil down "
"to who had the bigger legal department and the deeper pockets, me or them."
msgstr ""
"3. Il se trouve que j'ai parlé avec un de vos collègues de la Faculté de "
"Droit de Stanford [...] qui m'a confimé qu'il s'agissait d'un usage loyal. "
"Il a aussi confirmé que la Fox <quote>porterait plainte et vous ferait "
"passer la corde au cou</quote>, quels que soit la validité de mes arguments. "
"Il me dit clairement que ce serait celui qui avait le plus d'avocats et les "
"poches les plus profondes qui l'emporterait."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
msgid ""
"The question of fair use usually comes up at the end of the project, when we "
"are up against a release deadline and out of money."
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"In theory, fair use means you need no permission. The theory therefore "
"supports free culture and insulates against a permission culture.  But in "
"practice, fair use functions very differently. The fuzzy lines of the law, "
"tied to the extraordinary liability if lines are crossed, means that the "
"effective fair use for many types of creators is slight. The law has the "
"right aim; practice has defeated the aim."
msgstr ""
"En théorie, usage loyal signifie que l'on peut se passer de permission. Par "
"conséquent la théorie favorise la culture libre, et préserve d'une culture "
"de permissions. Mais en pratique, l'usage loyal fonctionne d'une manière "
"très différente. Le flou des limites légales, combiné à l'énormité des "
"amendes infligées à qui les franchit, fait qu'en pratique l'usage loyal est "
"très restreint dans beaucoup de domaines de la création artistique. La loi "
"vise juste, mais la manière dont elle est appliquée vise ailleurs."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This practice shows just how far the law has come from its "
"eighteenth-century roots. The law was born as a shield to protect "
"publishers' profits against the unfair competition of a pirate. It has "
"matured into a sword that interferes with any use, transformative or not."
msgstr ""
"Cet exemple montre combien la loi s'est éloignée de ses racines du dix- "
"huitième siècle. La loi est née comme bouclier pour protéger les revenus "
"des éditeurs de la compétition déloyale d'un pirate. Elle a grandi comme "
"une épée qui se mêle de tous les usages, transformatifs ou non."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Eight: Transformers"
msgstr "Transformateurs"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Allen, Paul"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Alben, Alex"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working "
"at Starwave, Inc.  Starwave was an innovative company founded by Microsoft "
"cofounder Paul Allen to develop digital entertainment. Long before the "
"Internet became popular, Starwave began investing in new technology for "
"delivering entertainment in anticipation of the power of networks."
msgstr ""
"En 1993, Alex Alben, un avocat, travaillait pour Starwave, Inc. Starwave "
"était une entreprise innovante fondée par Paul Allen, le cofondateur de "
"Microsoft, dans le but de développer du contenu numérique. Bien avant "
"qu'Internet ne devienne populaire, Starwave commença à investir dans de "
"nouvelles technologies permettant la diffusion de contenus que la puissance "
"des réseaux permettait d'anticiper."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "retrospective compilations on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "CD-ROMs, film clips used in"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alben had a special interest in new technology. He was intrigued by the "
"emerging market for CD-ROM technology&mdash;not to distribute film, but to "
"do things with film that otherwise would be very difficult.  In 1993, he "
"launched an initiative to develop a product to build retrospectives on the "
"work of particular actors. The first actor chosen was Clint Eastwood. The "
"idea was to showcase all of the work of Eastwood, with clips from his films "
"and interviews with figures important to his career."
msgstr ""
"Alben s'intéressait tout spécialement aux nouvelles technologies. Il était "
"intrigué par le marché émergent de la technologie du CD-ROM&mdash;non pas "
"pour la distribution des films, mais pour faire des choses avec les films qui "
"serait difficile à réaliser autrement. En 1993, il initia le développement "
"d'un produit servant à produire une rétrospective du travail d'un acteur "
"donné. Le premier acteur choisi fut Clint Eastwood. L'idée était de mettre "
"à l'affiche tout le travail d'Eastwood avec des clips tirés de ses films et "
"des interviews de personnes importantes dans sa carrière."

#. type: Content of: <book><part><chapter><para>
msgid ""
"At that time, Eastwood had made more than fifty films, as an actor and as a "
"director. Alben began with a series of interviews with Eastwood, asking him "
"about his career. Because Starwave produced those interviews, it was free to "
"include them on the CD."
msgstr ""
"À l'époque, Eastwood avait déjà fait plus de cinquante films en tant "
"qu'acteur et réalisateur. Alben commença une série d'interviews avec "
"Eastwood, l'interrogeant sur sa carrière. Puisque c'était Starwave qui "
"produisait ces interviews, la compagnie était libre de les inclure sur son "
"CD."

#. type: Content of: <book><part><chapter><para>
msgid ""
"That alone would not have made a very interesting product, so Starwave "
"wanted to add content from the movies in Eastwood's career: posters, "
"scripts, and other material relating to the films Eastwood made. Most of his "
"career was spent at Warner Brothers, and so it was relatively easy to get "
"permission for that content."
msgstr ""
"Les seules interviews n'auraient pas fait un produit intéressant, alors "
"Starwave voulait ajouter du contenu tiré des films d'Eastwood&nbsp;: des "
"affiches, des scripts, et d'autres choses en rapport avec les films "
"qu'Eastwood avait fait. La majeure partie de sa carrière, Eastwood l'avait "
"passé chez Warner Brothers, et il était très facile d'obtenir la "
"permission d'accès à ce contenu."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Then Alben and his team decided to include actual film clips. <quote>Our "
"goal was that we were going to have a clip from every one of Eastwood's "
"films,</quote> Alben told me. It was here that the problem arose. <quote>No "
"one had ever really done this before,</quote> Alben explained. <quote>No one "
"had ever tried to do this in the context of an artistic look at an actor's "
"career.</quote>"
msgstr ""
"Puis Alben et son équipe decidèrent d'inclure d'authentiques extraits de "
"film. <quote>Notre objectif était d'avoir un extrait de chacun des films "
"d'Eastwood.</quote> me dit Alben. C'est à ce moment-là que le problème se "
"posa. Personne n'avait réellement fait ce que nous faisions à ce moment, "
"expliqua Alben. «Personne n'avait essayé de faire cela dans le contexte "
"d'une oeuvre artistique traitant de la carrière d'un acteur.&nbsp;»"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave.  Slade asked, "
"<quote>Well, what will it take?</quote>"
msgstr ""
"Alben présenta l'idée à Michael Slade, le PDG de Starwave. Slade lui "
"demanda, <quote>Bon, que devrons-nous faire&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
msgid "publicity rights on images of"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Technically, the rights that Alben had to clear were mainly those of "
"publicity&mdash;rights an artist has to control the commercial exploitation "
"of his image.  But these rights, too, burden <quote>Rip, Mix, Burn</quote> "
"creativity, as this chapter evinces.  <placeholder type=\"indexterm\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Techniquement, les droits qu'Alben devait clarifier étaient principalement "
"ceux de publicité&mdash;les droits qu'un artiste a pour contrôler "
"l'exploitation commerciale de son image. Mais ces droits, également, "
"encombrent la créativité <quote>Ripper, Mixer, Graver</quote>, comme le "
"montre ce chapitre. <placeholder type=\"indexterm\" "
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alben replied, <quote>Well, we're going to have to clear rights from "
"everyone who appears in these films, and the music and everything else that "
"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for "
"it.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Alben repondit, <quote>Et bien, nous allons devoir nous assurer d'obtenir "
"l'autorisation de chaque personne qui apparaît dans ces films, de même pour "
"la musique et tout ce que nous voulons utiliser dans ces extraits de "
"film.</quote> Slade lui dit, <quote>Excellent! Faisons cela.</quote> "
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The problem was that neither Alben nor Slade had any idea what clearing "
"those rights would mean. Every actor in each of the films could have a claim "
"to royalties for the reuse of that film. But CD- ROMs had not been specified "
"in the contracts for the actors, so there was no clear way to know just what "
"Starwave was to do."
msgstr ""
"Le problème était que ni Alben ni Slade n'avait la moindre idée de ce qui "
"serait nécessaire à l'obtention des autorisations. Tous les acteurs jouant "
"dans chacun des films auraient pu réclamer des redevances pour la "
"réutilisation d'un film. Cependant, les CD-ROM n'avaient pas été "
"spécifiés dans les contrats avec les acteurs, alors il n'y avait aucun "
"moyen de savoir ce que Starwave allait faire."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I asked Alben how he dealt with the problem. With an obvious pride in his "
"resourcefulness that obscured the obvious bizarreness of his tale, Alben "
"recounted just what they did:"
msgstr ""
"J'ai demandé à Alben comment il avait réglé le problème. Avec une "
"évidente fierté de soi, qui masquait l'évidente bizarreté de son récit, "
"Alben raconta ce qu'ils avaient fait:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"So we very mechanically went about looking up the film clips.  We made some "
"artistic decisions about what film clips to include&mdash;of course we were "
"going to use the <quote>Make my day</quote> clip from <citetitle>Dirty "
"Harry</citetitle>. But you then need to get the guy on the ground who's "
"wiggling under the gun and you need to get his permission.  And then you "
"have to decide what you are going to pay him."
msgstr ""
"Nous avons examiné les extraits de films un par un. Nous avons choisi, en "
"fonction de critères artistiques, quels extraits de film inclure &mdash; "
"bien sûr, nous allions utiliser l'extrait <quote>Make my day</quote> de "
"<citetitle>Dirty Harry</citetitle>. Mais ensuite il fallait trouver le type "
"au sol qui tremble sous le canon, et il fallait sa permission. Et il fallait "
"décider combien nous allions le payer."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"We decided that it would be fair if we offered them the dayplayer rate for "
"the right to reuse that performance. We're talking about a clip of less than "
"a minute, but to reuse that performance in the CD-ROM the rate at the time "
"was about $600.  So we had to identify the people&mdash;some of them were "
"hard to identify because in Eastwood movies you can't tell who's the guy "
"crashing through the glass&mdash;is it the actor or is it the stuntman? And "
"then we just, we put together a team, my assistant and some others, and we "
"just started calling people."
msgstr ""
"Nous avons décidé qu'il serait loyal de leur offrir le tarif de figurant en "
"échange du droit de réutiliser leur travail. Il s'agit d'un extrait de "
"moins d'une minute, mais pour pouvoir réutiliser ce travail dans le CD-ROM, "
"le tarif à l'époque était d'environ 600 dollars. Donc, il nous a fallu "
"identifier les gens. Certains d'entre eux étaient difficile à identifier, "
"parce que dans les films d'Eastwood on ne sait pas toujours qui est le type "
"qui passe à travers la vitre: est-ce l'acteur ou le cascadeur? Et ensuite "
"nous avons monté une équipe, mon assistant et quelques autres, et nous "
"avons commencé à appeler ces gens."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Sutherland, Donald"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Some actors were glad to help&mdash;Donald Sutherland, for example, followed "
"up himself to be sure that the rights had been cleared.  Others were "
"dumbfounded at their good fortune. Alben would ask, <quote>Hey, can I pay "
"you $600 or maybe if you were in two films, you know, $1,200?</quote> And "
"they would say, <quote>Are you for real? Hey, I'd love to get "
"$1,200.</quote> And some of course were a bit difficult (estranged ex-wives, "
"in particular). But eventually, Alben and his team had cleared the rights to "
"this retrospective CD-ROM on Clint Eastwood's career."
msgstr ""
"Certains acteurs étaient heureux de nous aider &mdash;Donald Sutherland, par "
"exemple, s'assura lui-même que tous les droits étaient acquittés. D'autres "
"étaient étonnés de leur chance. Alben leur demandait <quote>Allô, puis-je "
"vous payer 600 dollars, ou peut-être 1.200 si vous apparaissez dans deux "
"films, vous savez?</quote> Et ils disaient <quote>Vous êtes sérieux? Hé, "
"j'aimerais beaucoup 1.200 dollars</quote>. Et d'autres, bien sûr, étaient "
"un peu difficiles (les ex-épouses délaissées, en particulier). Mais "
"finalement, Alben et son équipe avaient acquitté les droits pour ce CD-ROM "
"de rétrospective sur la carrière de Clint Eastwood."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was one <emphasis>year</emphasis> later&mdash;<quote>and even then we "
"weren't sure whether we were totally in the clear.</quote>"
msgstr ""
"C'était une <emphasis>année</emphasis> plus tard&mdash;<quote>et même à "
"ce moment nous n'étions pas sûrs de les avoir tous acquittés.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alben is proud of his work. The project was the first of its kind and the "
"only time he knew of that a team had undertaken such a massive project for "
"the purpose of releasing a retrospective."
msgstr ""
"Alben est fier de son travail. Ce projet était le premier du genre, et à sa "
"connaissance c'était la seule fois où une équipe avait entrepris un effort "
"aussi massif dans le but de sortir une rétrospective."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"Everyone thought it would be too hard. Everyone just threw up their hands "
"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the "
"music, there's the screenplay, there's the director, there's the "
"actors.</quote> But we just broke it down. We just put it into its "
"constituent parts and said, <quote>Okay, there's this many actors, this many "
"directors, &hellip; this many musicians,</quote> and we just went at it very "
"systematically and cleared the rights."
msgstr ""
"Tout le monde pensait que cela serait trop difficile. Tout le monde levait "
"les mains au ciel et disait <quote>Oh, mon dieu, un film, cela fait tellement "
"de copyrights, il y a la musique, la mise en scène, le directeur, les "
"acteurs.</quote> Mais nous l'avons fait. Nous en avons séparé chaque "
"partie, et dit <quote>OK, il y a tant d'acteurs, tant de directeurs, ... tant "
"de musiciens</quote> et nous avons procédé de manière très systématique "
"et nous avons acquitté les droits."

#. type: Content of: <book><part><chapter><para>
msgid ""
"And no doubt, the product itself was exceptionally good. Eastwood loved it, "
"and it sold very well."
msgstr ""
"Et sans aucun doute, le produit lui-même était exceptionnellement bon. "
"Eastwood l'adorait, et il se vendit très bien."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Drucker, Peter"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"U.S. Department of Commerce Office of Acquisition Management, "
"<citetitle>Seven Steps to Performance-Based Services "
"Acquisition</citetitle>, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #22</ulink>."
msgstr ""
"U.S. Department of Commerce Office of Acquisition Management,<citetitle> "
"Seven Steps to Performance-Based Services Acquisition</citetitle>, disponible "
"au lien #22."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But I pressed Alben about how weird it seems that it would have to take a "
"year's work simply to clear rights. No doubt Alben had done this "
"efficiently, but as Peter Drucker has famously quipped, <quote>There is "
"nothing so useless as doing efficiently that which should not be done at "
"all.</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I "
"asked Alben, that this is the way a new work has to be made?"
msgstr ""
"Mais je fis observer à Alben à quel point il semble étrange qu'il ait "
"fallu un an de travail simplement pour acquitter des droits. Sans doute Alben "
"l'avait fait de manière très efficace, mais pour reprendre un mot célèbre "
"de Peter Drucker, <quote>il n'y a rien de plus inutile que de faire "
"efficacement quelque chose qu'on ne devrait pas faire du "
"tout.</quote><placeholder type=\"footnote\" id=\"0\"/> Est-il normal, "
"demandai-je à Alben, que ce soit là la manière dont un travail nouveau "
"doit être réalisé?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"For, as he acknowledged, <quote>very few &hellip; have the time and "
"resources, and the will to do this,</quote> and thus, very few such works "
"would ever be made. Does it make sense, I asked him, from the standpoint of "
"what anybody really thought they were ever giving rights for originally, "
"that you would have to go clear rights for these kinds of clips?"
msgstr ""
"Car, comme il le reconnut, <quote>très peu de gens ... ont le temps et les "
"ressources, et la volonté de faire cela,</quote> et donc, très peu de "
"travaux de ce type seraient jamais réalisés. Est-il normal, lui demandai- "
"je, du point de vue from the standpoint of what anybody really thought they "
"were ever giving rights for originally, that you would have to go clear "
"rights for these kinds of clips?"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"I don't think so. When an actor renders a performance in a movie, he or she "
"gets paid very well. &hellip; And then when 30 seconds of that performance "
"is used in a new product that is a retrospective of somebody's career, I "
"don't think that that person &hellip; should be compensated for that."
msgstr ""
"Je ne pense pas. Quand un acteur joue un rôle dans un film, il ou elle est "
"très bien payée... Et ensuite si 30 secondes de ce rôle sont utilisées "
"dans un nouveau produit qui est une rétrospective sur la carrière de "
"quelqu'un, je ne pense pas que cette personne ... doive être indemnisée "
"pour celà."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Or at least, is this <emphasis>how</emphasis> the artist should be "
"compensated? Would it make sense, I asked, for there to be some kind of "
"statutory license that someone could pay and be free to make derivative use "
"of clips like this? Did it really make sense that a follow-on creator would "
"have to track down every artist, actor, director, musician, and get explicit "
"permission from each? Wouldn't a lot more be created if the legal part of "
"the creative process could be made to be more clean?"
msgstr ""
"Ou du moins, est-ce là la <emphasis>manière</emphasis> dont l'artiste doit "
"être indemnisé? Ne pourrait-il pas y avoir, demandai-je, un système de "
"licences statutaires, que l'on paierait pour être libre de réutiliser ce "
"type d'extraits? Était-il vraiment raisonnable qu'un créateur doive "
"rechercher chaque acteur, directeur, ou musicien qu'il réutilise, pour "
"obtenir leur accord explicite? Est-ce qu'il n'y aurait pas plus de créations "
"si on pouvait simplifier l'aspect légal du processus de création?"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"Absolutely. I think that if there were some fair-licensing "
"mechanism&mdash;where you weren't subject to hold-ups and you weren't "
"subject to estranged former spouses&mdash;you'd see a lot more of this work, "
"because it wouldn't be so daunting to try to put together a retrospective of "
"someone's career and meaningfully illustrate it with lots of media from that "
"person's career. You'd build in a cost as the producer of one of these "
"things. You'd build in a cost of paying X dollars to the talent that "
"performed. But it would be a known cost. That's the thing that trips "
"everybody up and makes this kind of product hard to get off the ground. If "
"you knew I have a hundred minutes of film in this product and it's going to "
"cost me X, then you build your budget around it, and you can get investments "
"and everything else that you need to produce it. But if you say, <quote>Oh, "
"I want a hundred minutes of something and I have no idea what it's going to "
"cost me, and a certain number of people are going to hold me up for "
"money,</quote> then it becomes difficult to put one of these things "
"together."
msgstr ""
"Absolument. Je pense que s'il y avait un système de licences loyales (dans "
"lequel vous ne seriez pas soumis a des chantages ou à des ex-épouses "
"répudiées), nous verrions beaucoup plus de travaux de ce type, car il ne "
"serait pas si décourageant de tenter de monter une rétrospective de la "
"carrière de quelqu'un et de l'illustrer avec des extraits de sa carrière. "
"Si vous étiez le producteur d'une de ces oeuvres, vous auriez a prendre en "
"compte un coût supplémentaire: celui de payer X dollars à l'artiste qui a "
"effectué le travail. Mais ce serait un coût connu. Voila le problème qui "
"empèche tout le monde de travailler et rend ce type de produit difficile à "
"réaliser. Si vous saviez que vous avez cent minutes de film dans ce produit "
"et que cela va vous coûter X, alors vous feriez votre budget en fonction et "
"vous pourriez obtenir des fonds ainsi que tout ce dont vous avez besoin pour "
"le produire. Mais si vous dites <quote>Oh, je veux cent minutes de quelque "
"chose, et je n'ai aucune idée de ce que cela va me coûter et un certain "
"nombre de personnes vont me réclamer de l'argent</quote>, alors il devient "
"difficile de monter tout cela."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alben worked for a big company. His company was backed by some of the "
"richest investors in the world. He therefore had authority and access that "
"the average Web designer would not have. So if it took him a year, how long "
"would it take someone else? And how much creativity is never made just "
"because the costs of clearing the rights are so high?"
msgstr ""
"Alben travaillait pour une grande compagnie. Sa compagnie était soutenue par "
"certains des investisseurs les plus riches au monde. Il avait dont une "
"autorité et des facilités que le réalisateur de sites Web moyen n'a pas. "
"Donc, s'il lui a fallu un an, combien de temps cela aurait-il pris à "
"quelqu'un d'autre? Et combien de créativité est perdue simplement parce que "
"les coûts d'acquittement des droits sont si élevés?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"These costs are the burdens of a kind of regulation. Put on a Republican hat "
"for a moment, and get angry for a bit. The government defines the scope of "
"these rights, and the scope defined determines how much it's going to cost "
"to negotiate them. (Remember the idea that land runs to the heavens, and "
"imagine the pilot purchasing flythrough rights as he negotiates to fly from "
"Los Angeles to San Francisco.)  These rights might well have once made "
"sense; but as circumstances change, they make no sense at all. Or at least, "
"a well-trained, regulationminimizing Republican should look at the rights "
"and ask, <quote>Does this still make sense?</quote>"
msgstr ""
"Ces coûts sont entrainés par un type de régulation. Soyons Républicains "
"pour un instant, et irritons-nous un peu. Le gouvernement définit l'étendue "
"de ces droits, et cette étendue détermine combien il coutera de les "
"négocier. (Souvenez-vous de l'idée que la propriété terrienne s'étend "
"aux cieux, et imaginez le pilote achetant des droits de passage pendant qu'il "
"négocie son vol de Los Angeles à San Francisco.) Ces droits peuvent très "
"bien avoir eu leur raison d'être; mais quand les circonstances changent, "
"celle-ci disparaît. Ou du moins, un républicain bien entrainé et hostile a "
"toute régulation devrait considérer ces droits et demander: <quote>Ceci "
"est-il toujours justifié?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"I've seen the flash of recognition when people get this point, but only a "
"few times. The first was at a conference of federal judges in California.  "
"The judges were gathered to discuss the emerging topic of cyber-law. I was "
"asked to be on the panel. Harvey Saferstein, a well-respected lawyer from an "
"L.A. firm, introduced the panel with a video that he and a friend, Robert "
"Fairbank, had produced."
msgstr ""
"J'ai parfois vu une lueur de reconnaissance quand les gens comprennent cela, "
"mais en quelques occasions seulement. La première fois ce fut lors d'une "
"conférence de juges fédéraux en Californie. Les juges s'étaient "
"rassemblés pour discuter du sujet nouveau de cyber-loi. On me demanda de "
"faire partie du panel. Harvey Saferstein, un juriste d'un cabinet respecte de "
"L.A., présenta au panel une vidéo qu'il avait produite avec un ami, Robert "
"Fairbank."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The video was a brilliant collage of film from every period in the twentieth "
"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> "
"episode.  The execution was perfect, down to the sixty-minute stopwatch. The "
"judges loved every minute of it."
msgstr ""
"La vidéo était un collage brillant de films de chaque période du "
"vingtième siècle, le tout organisé selon l'idee d'un épisode de "
"<citetitle>60 minutes</citetitle>. L'exécution était parfaite, fidèle "
"jusqu'à reproduire le chronomètre de soixante minutes. Les juges en "
"adorèrent chaque minute."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Nimmer, David"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"When the lights came up, I looked over to my copanelist, David Nimmer, "
"perhaps the leading copyright scholar and practitioner in the nation. He had "
"an astonished look on his face, as he peered across the room of over 250 "
"well-entertained judges. Taking an ominous tone, he began his talk with a "
"question: <quote>Do you know how many federal laws were just violated in "
"this room?</quote>"
msgstr ""
"Lorsque les lumières furent allumées, je jetai un oeil vers mon collègue "
"de panel, David Nimmer, peut-être l'expert en copyright le plus en vue dans "
"le pays. Il y avait sur son visage un regard étonné, alors qu'il scrutait "
"cette salle de plus de 250 juges bien divertis. D'une voix sentencieuse, il "
"commença son discours par une question: <quote>Savez-vous combien de lois "
"fédérales viennent d'être violées dans cette pièce?</quote>"

#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Boies, David"
msgstr ""

#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Court of Appeals"
msgstr ""

#. type: Content of: <book><part><chapter><para><indexterm><secondary>
msgid "Ninth Circuit"
msgstr ""

#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Ninth Circuit Court of Appeals"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> For "
"of course, the two brilliantly talented creators who made this film hadn't "
"done what Alben did. They hadn't spent a year clearing the rights to these "
"clips; technically, what they had done violated the law.  Of course, it "
"wasn't as if they or anyone were going to be prosecuted for this violation "
"(the presence of 250 judges and a gaggle of federal marshals "
"notwithstanding). But Nimmer was making an important point: A year before "
"anyone would have heard of the word Napster, and two years before another "
"member of our panel, David Boies, would defend Napster before the Ninth "
"Circuit Court of Appeals, Nimmer was trying to get the judges to see that "
"the law would not be friendly to the capacities that this technology would "
"enable. Technology means you can now do amazing things easily; but you "
"couldn't easily do them legally."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> "
"Car bien évidemment, les deux brillants créateurs de ce film n'avaient pas "
"fait ce qu'Alben avait fait. Ils n'avaient pas passé une année à acquitter "
"les droits de ces extraits; techniquement, ce qu'ils avaient fait violait la "
"loi. Bien sûr, ils n'allaient pas être poursuivis pour cette violation (et "
"ce malgré la présence de 250 juges et d'un troupeau d'officiers de police "
"féderale). Mais Nimmer avait un point important: Une année avant que "
"quiconque entende parler de Napster, et deux ans avant qu'un autre membre du "
"panel, David Boies, ne défende Napster devant la Neuvieme Cour d'Appel, "
"Nimmer essayait de faire voir à ces juges que la loi ne serait pas en accord "
"avec les capacités que cette technologie rendrait possibles. La technologie "
"veut dire que maintenant vous pouvez faire des choses étonnantes facilement; "
"mais vous ne pouvez pas facilement les faire légalement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We live in a <quote>cut and paste</quote> culture enabled by "
"technology. Anyone building a presentation knows the extraordinary freedom "
"that the cut and paste architecture of the Internet created&mdash;in a "
"second you can find just about any image you want; in another second, you "
"can have it planted in your presentation."
msgstr ""
"<emphasis role='strong'>Nous vivons</emphasis> dans une culture du <quote "
">copier-coller</quote>, rendue possible par le technologie. Toute personne "
"qui écrit une présentation connait la liberté extraordinaire que "
"l'architecture copier-coller d'Internet a créée: en une seconde vous pouvez "
"trouver pratiquement n'importe quelle image; en une autre seconde vous l'avez "
"incorporée à votre présentation."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Camp Chaos"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But presentations are just a tiny beginning. Using the Internet and its "
"archives, musicians are able to string together mixes of sound never before "
"imagined; filmmakers are able to build movies out of clips on computers "
"around the world. An extraordinary site in Sweden takes images of "
"politicians and blends them with music to create biting political "
"commentary. A site called Camp Chaos has produced some of the most biting "
"criticism of the record industry that there is through the mixing of Flash! "
"and music."
msgstr ""
"Mais les présentations ne sont qu'un début. En utilisant Internet et ses "
"archives, les musiciens sont capables d'enchaîner des mélanges de sons "
"jamais imaginés auparavant; les réalisateurs de films sont capables de "
"faire des films à partir d'extraits trouvés sur des ordinateurs autour du "
"monde. Un site extraordinaire en Suède prend des images d'hommes politiques "
"et leur ajoute de la musique, pour créer des commentaires politiques "
"mordants. Un site appelé Camp Chaos a produit une des critiques les plus "
"acerbes qui soit de l'industrie du disque, en mélangeant la musique et la "
"technologie Flash."

#. type: Content of: <book><part><chapter><para>
msgid ""
"All of these creations are technically illegal. Even if the creators wanted "
"to be <quote>legal,</quote> the cost of complying with the law is impossibly "
"high. Therefore, for the law-abiding sorts, a wealth of creativity is never "
"made. And for that part that is made, if it doesn't follow the clearance "
"rules, it doesn't get released."
msgstr ""
"Et toutes ces créations sont techniquement illégales. Même si leurs "
"créateurs voulaient respecter la loi, ce qu'il en coûte est impossiblement "
"élevé. Par conséquent, pour ceux qui observent la loi, un trésor de "
"créativité n'est jamais exprimée. Et quant à la partie qui s'exprime, si "
"elle ne suit pas les règles d'acquittement des droits, ses créations ne "
"sortent jamais."

#. type: Content of: <book><part><chapter><para>
msgid ""
"To some, these stories suggest a solution: Let's alter the mix of rights so "
"that people are free to build upon our culture. Free to add or mix as they "
"see fit. We could even make this change without necessarily requiring that "
"the <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, "
"the system could simply make it easy for follow-on creators to compensate "
"artists without requiring an army of lawyers to come along: a rule, for "
"example, that says <quote>the royalty owed the copyright owner of an "
"unregistered work for the derivative reuse of his work will be a flat 1 "
"percent of net revenues, to be held in escrow for the copyright "
"owner.</quote> Under this rule, the copyright owner could benefit from some "
"royalty, but he would not have the benefit of a full property right (meaning "
"the right to name his own price) unless he registers the work."
msgstr ""
"Pour certains, ces histoires suggèrent une solution: Modifions le jeu des "
"droits, de sorte que les gens soient libres de s'inspirer de notre culture. "
"Libres d'ajouter ou de mélanger comme il leur plaît. Nous pourrions même "
"effectuer ce changement sans pour autant imposer que l'usage "
"<quote>libre</quote> soit gratuit. Non, le système pourrait simplement faire "
"qu'il soit facile pour des créateurs d'indemniser les artistes dont ils "
"reprennent le travail sans avoir besoin d'une armée d'avocats avec eux: par "
"exemple, une loi disant <quote>la redevance dûe au détenteur de copyright "
"d'une oeuvre non enregistrée, pour les usages dérivés de cette oeuvre, "
"sera 1 pour cent des revenus nets, à mettre de côté pour le détenteur de "
"copyright</quote>. Sous cette loi, le détenteur de copyright pourrait "
"bénéficier d'une redevance, mais il n'aurait pas le bénéfice d'un droit "
"de propriété totale (ce qui implique le droit de choisir son prix) à moins "
"qu'il ne fasse enregistrer son oeuvre."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Who could possibly object to this? And what reason would there be for "
"objecting? We're talking about work that is not now being made; which if "
"made, under this plan, would produce new income for artists.  What reason "
"would anyone have to oppose it?"
msgstr ""
"Qui pourrait objecter à celà? Et quelle raison y aurait-il d'objecter? Nous "
"parlons de créations qui ne sont même pas réalisées aujourd'hui; et qui, "
"si elles étaient réalisées selon ce plan, génèreraient de nouveaux "
"revenus pour les artistes. Pour quelle raison pourrait-on s'y opposer?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios "
"announced an agreement with Mike Myers, the comic genius of "
"<citetitle>Saturday Night Live</citetitle> and Austin Powers. According to "
"the announcement, Myers and Dream-Works would work together to form a "
"<quote>unique filmmaking pact.</quote> Under the agreement, DreamWorks "
"<quote>will acquire the rights to existing motion picture hits and classics, "
"write new storylines and&mdash;with the use of stateof-the-art digital "
"technology&mdash;insert Myers and other actors into the film, thereby "
"creating an entirely new piece of entertainment.</quote>"
msgstr ""
"<emphasis role='strong'>En février 2003,</emphasis> les studios DreamWorks "
"ont annoncé avoir passé un accord avec Mike Myers, le génie comique de "
"<citetitle>Saturday Night Live</citetitle> et Austin Powers. D'après "
"l'annonce, Myers et DreamWorks allaient travailler ensemble pour former un "
"<quote>pacte unique de réalisation de films.</quote> Selon l'accord, "
"DreamWorks <quote>va acquérir les droits de films célèbres et classiques, "
"écrire de nouveaux scénarios et, en utilisant une technologie numérique de "
"pointe, insérer Myers et d'autres acteurs dans ces films, en créant ainsi "
"un spectacle entièrement nouveau.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The announcement called this <quote>film sampling.</quote> As Myers "
"explained, <quote>Film Sampling is an exciting way to put an original spin "
"on existing films and allow audiences to see old movies in a new light. Rap "
"artists have been doing this for years with music and now we are able to "
"take that same concept and apply it to film.</quote> Steven Spielberg is "
"quoted as saying, <quote>If anyone can create a way to bring old films to "
"new audiences, it is Mike.</quote>"
msgstr ""
"L'annonce appelait ceci faire du <quote>film sampling.</quote> Comme "
"l'expliqua Myers, <quote>Film Sampling est une manière excitante d'ajouter "
"une touche originale à des films existants, et de permettre au public de "
"voir de vieux films sous un jour nouveau. Les artistes de rap ont fait cela "
"pendant des années avec la musique, et bien maintenant nous sommes capables "
"de reprendre le concept et de l'appliquer au cinéma.</quote> Steven "
"Spielberg était cité, disant: <quote>Si quelqu'un peut créer une manière "
"de rendre accessibles de vieux films à un public nouveau, c'est bien "
"Mike.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Spielberg is right. Film sampling by Myers will be brilliant. But if you "
"don't think about it, you might miss the truly astonishing point about this "
"announcement. As the vast majority of our film heritage remains under "
"copyright, the real meaning of the DreamWorks announcement is just this: It "
"is Mike Myers and only Mike Myers who is free to sample. Any general freedom "
"to build upon the film archive of our culture, a freedom in other contexts "
"presumed for us all, is now a privilege reserved for the funny and "
"famous&mdash;and presumably rich."
msgstr ""
"Spielberg a raison. Le Film sampling de Myers sera brillant. Mais si vous n'y "
"pensez pas, vous risquez de manquer le point véritablement étonnant de "
"cette annonce. Alors que l'immense majorité de notre héritage "
"cinématographique reste protégée par le droit d'auteur, le sens véritable "
"de l'annonce de Dreamworks est le suivant: C'est Mike Myers, et seulement "
"Mike Myers, qui est libre de faire du sampling. Toute liberté générale de "
"s'inspirer des archives de notre culture, une liberté qui en d'autres "
"circonstances serait supposée nous appartenir à tous, est maintenant un "
"privilège réservé à ceux qui sont amusants et célèbres &mdash; et "
"riches, on suppose."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This privilege becomes reserved for two sorts of reasons. The first "
"continues the story of the last chapter: the vagueness of <quote>fair "
"use.</quote> Much of <quote>sampling</quote> should be considered "
"<quote>fair use.</quote> But few would rely upon so weak a doctrine to "
"create. That leads to the second reason that the privilege is reserved for "
"the few: The costs of negotiating the legal rights for the creative reuse of "
"content are astronomically high.  These costs mirror the costs with fair "
"use: You either pay a lawyer to defend your fair use rights or pay a lawyer "
"to track down permissions so you don't have to rely upon fair use "
"rights. Either way, the creative process is a process of paying "
"lawyers&mdash;again a privilege, or perhaps a curse, reserved for the few."
msgstr ""
"Ce privilège est réservé pour deux raisons. La première est la "
"continuation de l'histoire du dernier chapitre: le flou lié à la notion "
"d'<quote>usage loyal</quote>. L'essentiel du <quote>sampling</quote> devrait "
"être considéré comme usage loyal. Mais peu de gens s'appuient sur une "
"garantie si faible pour créer. Ceci nous mène à la deuxième raison pour "
"laquelle le privilège est réservé: Les coûts entraînés par les "
"négociations concernant le droit légal de réutiliser une oeuvre sont "
"astronomiquement élevés. Ces coûts réflètent les coûts liés à l'usage "
"loyal: Ou bien vous payez un avocat pour défendre votre droit à l'usage "
"loyal, ou bien vous en payez un pour rechercher toutes les permissions, de "
"sorte que vous n'aurez pas à vous appuyer sur l'usage loyal. D'une manière "
"ou d'une autre, le processus de création consiste à payer des avocats "
"&mdash;encore un privilège, ou peut-être un tourment, réservé à une "
"minorité."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Nine: Collectors"
msgstr "Collectionneurs"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "archives, digital"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "bots"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In April 1996</emphasis>, millions of "
"<quote>bots</quote>&mdash;computer codes designed to <quote>spider,</quote> "
"or automatically search the Internet and copy content&mdash;began running "
"across the Net. Page by page, these bots copied Internet-based information "
"onto a small set of computers located in a basement in San Francisco's "
"Presidio. Once the bots finished the whole of the Internet, they started "
"again. Over and over again, once every two months, these bits of code took "
"copies of the Internet and stored them."
msgstr ""
"<emphasis role='strong'>En Avril 1996,</emphasis> des millions de "
"<quote>bots</quote> (programmes informatiques conçus pour "
"<quote>tisser</quote>, c'est-à-dire parcourir automatiquement Internet et "
"recopier son contenu) commencèrent à parcourir le Net. Page par page, ces "
"<quote>bots</quote> recopièrent l'information trouvée sur Internet sur un "
"petit nombre d'ordinateurs situés dans un sous-sol du Presidio (NdT: "
"quartier historique) de San Francisco. Une fois que les <quote>bots</quote> "
"eurent couvert tout Internet, ils recommencèrent depuis le début. Encore et "
"encore, une fois tous les deux mois, ces programmes effectuaient des copies "
"d'Internet et les archivaient."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Way Back Machine"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"By October 2001, the bots had collected more than five years of copies. And "
"at a small announcement in Berkeley, California, the archive that these "
"copies created, the Internet Archive, was opened to the world. Using a "
"technology called <quote>the Way Back Machine,</quote> you could enter a Web "
"page, and see all of its copies going back to 1996, as well as when those "
"pages changed."
msgstr ""
"En Octobre 2001, les <quote>bots</quote> avaient rassemblé plus de cinq "
"années de copies. Et lors d'une modeste conférence à Berkeley, en "
"Californie, les archives composées de ces copies, les Archives d'Internet, "
"furent mises à disposition du monde. En utilisant une technologie appelée "
"<quote>la Machine à Remonter Dans le Temps</quote> (<quote>the Way Back "
"Machine</quote>), vous pouviez visiter une page Web, et consulter toutes ses "
"copies depuis 1996, et voir quand elle avait été modifiée."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Orwell, George"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This is the thing about the Internet that Orwell would have appreciated.  In "
"the dystopia described in <citetitle>1984</citetitle>, old newspapers were "
"constantly updated to assure that the current view of the world, approved of "
"by the government, was not contradicted by previous news reports."
msgstr ""
"Voila un aspect d'Internet qui aurait plu à Orwell. Dans l'utopie décrite "
"dans <citetitle>1984</citetitle>, les vieux journaux étaient constamment "
"remis à jour, pour s'assurer que la vision présente du monde, approuvée "
"par le gouvernement, n'était pas contredite par les actualités passées."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Thousands of workers constantly reedited the past, meaning there was no way "
"ever to know whether the story you were reading today was the story that was "
"printed on the date published on the paper."
msgstr ""
"Des milliers de travailleurs rééditaient continuellement le passé, de "
"sorte qu'il était impossible de savoir si l'article que vous lisiez "
"aujourd'hui était le même que celui qui avait été imprimé à la date "
"inscrite sur le papier."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It's the same with the Internet. If you go to a Web page today, there's no "
"way for you to know whether the content you are reading is the same as the "
"content you read before. The page may seem the same, but the content could "
"easily be different. The Internet is Orwell's library&mdash;constantly "
"updated, without any reliable memory."
msgstr ""
"Il en va de même avec Internet. Si vous visitez une page Web aujourd'hui, "
"vous n'avez aucun moyen de savoir si le contenu que vous lisez est le même "
"que celui que vous avez lu précédemment. La page peut sembler être la "
"même, mais son contenu pourrait facilement être différent. Internet est la "
"bibliothèque d'Orwell: constamment réécrite, sans aucune mémoire fiable."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "White House press releases"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the "
"White House changes its own press releases without notice. A May 13, 2003, "
"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> "
"That was later changed, without notice, to <quote>Major Combat Operations in "
"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> La tentation demeure, toutefois. Brewster Kahle rapporte que la "
"Maison "
"Blanche change ses propres communiqués de presse sans l'annoncer. Un "
"communiqué de presse du 13 mai 2003 affirmait <quote>Combat Operations in "
"Iraq Have Ended</quote>. Cela fut changé plus tard, sans annonce, en "
"<quote>Major Combat Operations in Iraq Have Ended.</quote> Courriel de "
"Brewster Kahle, 1er décembre 2003."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Until the Way Back Machine, at least. With the Way Back Machine, and the "
"Internet Archive underlying it, you can see what the Internet was. You have "
"the power to see what you remember. More importantly, perhaps, you also have "
"the power to find what you don't remember and what others might prefer you "
"forget.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Du moins, jusqu'à la Machine à Remonter Dans le Temps. Grâce à cette "
"machine, et aux Archives d'Internet, vous pouvez voir ce qu'Internet a été. "
"Vous avez le pouvoir de voir ce dont vous vous souvenez. Et c'est peut-être "
"plus important, vous avez le pouvoir de trouver ce dont vous ne vous souvenez "
"pas, et que d'autres préfèreraient que vous oubliez.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "history, records of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>We take it</emphasis> for granted that we can go "
"back to see what we remember reading. Think about newspapers. If you wanted "
"to study the reaction of your hometown newspaper to the race riots in Watts "
"in 1965, or to Bull Connor's water cannon in 1963, you could go to your "
"public library and look at the newspapers. Those papers probably exist on "
"microfiche. If you're lucky, they exist in paper, too. Either way, you are "
"free, using a library, to go back and remember&mdash;not just what it is "
"convenient to remember, but remember something close to the truth."
msgstr ""
"<emphasis role='strong'>Nous tenons</emphasis> pour acquis que nous pouvons "
"revenir en arrière et voir ce que nous nous souvenons avoir lu. Pensez aux "
"journaux. Si vous voulez étudier la réaction du journal de votre ville "
"natale face aux émeutes raciales à Watts en 1965, ou au canon à eau de "
"Bull Connor en 1963, vous pouvez aller à la bibliothèque municipale et "
"consulter les journaux. Ils existent probablement sur microfiche. Si vous "
"avez de la chance, ils existent aussi sur papier. D'une manière ou d'une "
"autre, vous êtes libres, en utilisant une bibliothèque, de revenir en "
"arrière, et de vous souvenir: pas seulement de ce dont il est commode de se "
"souvenir, mais de quelque chose qui est proche de la vérité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It is said that those who fail to remember history are doomed to repeat "
"it. That's not quite correct. We <emphasis>all</emphasis> forget "
"history. The key is whether we have a way to go back to rediscover what we "
"forget. More directly, the key is whether an objective past can keep us "
"honest. Libraries help do that, by collecting content and keeping it, for "
"schoolchildren, for researchers, for grandma. A free society presumes this "
"knowedge."
msgstr ""
"On dit que ceux qui oublient l'Histoire sont condamnés à la revivre. Ce "
"n'est pas tout à fait vrai. Nous oublions <emphasis>tous</emphasis> "
"l'Histoire. L'essentiel est de savoir si nous avons un moyen de revenir en "
"arrière et de (re)découvrir ce que nous avons oublié. Plus concrètement, "
"l'essentiel est de savoir si un point de vue objectif sur le passé peut nous "
"aider à rester honnêtes. Les bibliothèques nous y aident, en rassemblant "
"du contenu et en le conservant, pour les écoliers, pour les chercheurs, pour "
"nos grand-parents. Une société libre suppose cette connaissance."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Internet was an exception to this presumption. Until the Internet "
"Archive, there was no way to go back. The Internet was the quintessentially "
"transitory medium. And yet, as it becomes more important in forming and "
"reforming society, it becomes more and more important to maintain in some "
"historical form. It's just bizarre to think that we have scads of archives "
"of newspapers from tiny towns around the world, yet there is but one copy of "
"the Internet&mdash;the one kept by the Internet Archive."
msgstr ""
"Internet était une exception à cette règle. Jusqu'aux Archives d'Internet, "
"il n'y avait aucun moyen de revenir en arrière. Internet était le médium "
"éphémère par essence. Et maintenant, alors qu'Internet contribue de plus "
"en plus à construire et réformer la société, il devient de plus en plus "
"important que nous en conservions une forme historique. Il est tout à fait "
"étrange de constater que nous avons pléthore d'archives de journaux de "
"petites villes d'un peu partout dans le monde, mais qu'il n'y a qu'une seule "
"et unique copie d'Internet: celle conservée par les Archives d'Internet."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Brewster Kahle is the founder of the Internet Archive. He was a very "
"successful Internet entrepreneur after he was a successful computer "
"researcher.  In the 1990s, Kahle decided he had had enough business "
"success.  It was time to become a different kind of success. So he launched "
"a series of projects designed to archive human knowledge. The Internet "
"Archive was just the first of the projects of this Andrew Carnegie of the "
"Internet. By December of 2002, the archive had over 10 billion pages, and it "
"was growing at about a billion pages a month."
msgstr ""
"Brewster Kahle est le fondateur des Archives d'Internet. Il eut beaucoup de "
"succès en tant que chercheur en informatique, et plus encore ensuite, en "
"tant qu'entrepreneur d'Internet. Dans les années 90, Kahle décida qu'il "
"avait eu assez de succès en affaires. Il était temps de connaître un autre "
"genre de succès. Il entreprit donc une série de projets destinés à "
"archiver le savoir de l'humanité. Les Archives d'Internet n'étaient que le "
"premier projet de cet Andrew Carnegie de l'Internet. En décembre 2002, les "
"Archives avaient dépassé les 10 milliards de pages, et grossissaient d'un "
"milliard d'autres chaque mois."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Library of Congress"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Television Archive"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Vanderbilt University"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "libraries"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "archival function of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Way Back Machine is the largest archive of human knowledge in human "
"history. At the end of 2002, it held <quote>two hundred and thirty terabytes "
"of material</quote>&mdash;and was <quote>ten times larger than the Library "
"of Congress.</quote> And this was just the first of the archives that Kahle "
"set out to build. In addition to the Internet Archive, Kahle has been "
"constructing the Television Archive. Television, it turns out, is even more "
"ephemeral than the Internet. While much of twentieth-century culture was "
"constructed through television, only a tiny proportion of that culture is "
"available for anyone to see today. Three hours of news are recorded each "
"evening by Vanderbilt University&mdash;thanks to a specific exemption in the "
"copyright law. That content is indexed, and is available to scholars for a "
"very low fee. <quote>But other than that, [television] is almost "
"unavailable,</quote> Kahle told me. <quote>If you were Barbara Walters you "
"could get access to [the archives], but if you are just a graduate "
"student?</quote> As Kahle put it,"
msgstr ""
"La Machine à Remonter Dans le Temps constitue la plus grande archive du "
"savoir humain de l'histoire de l'humanité. Fin 2002, elle contenait "
"<quote>deux cent trente Teraoctets de matériel</quote>, et était <quote>dix "
"fois plus volumineuses que la Bibliothèque du Congrès</quote>. Et ce "
"n'était que la toute première des archives que Kahle projettait d'édifier. "
"En plus des Archives d'Internet, Kahle construisait des Archives "
"Télévisées. La télévision s'avère être encore plus éphémère "
"qu'Internet. Alors qu'une bonne partie de la culture du vingtième siècle a "
"été construite via la télévision, seule une infime partie en est "
"accessible aujourd'hui. Trois heures d'actualités sont enregistrées tous "
"les soirs par l'Université de Vanderbilt &mdash;grâce à une dérogation à "
"la loi sur le copyright. Ce contenu est indexé, et reste accessible aux "
"universitaires pour un coût très raisonnable. <quote>Mais en dehors de "
"ceux-là, la télévision est quasiment inaccessible,</quote> me confia "
"Kahle. <quote>Si vous êtes Barbara Walters, vous avez accès [à ces "
"archives], mais qu'en est-il si vous êtes un simple étudiant&nbsp;?</quote> "
"Ajouta Kahle,"

#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
msgid "Quayle, Dan"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
msgid "60 Minutes"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"Do you remember when Dan Quayle was interacting with Murphy Brown? Remember "
"that back and forth surreal experience of a politician interacting with a "
"fictional television character? If you were a graduate student wanting to "
"study that, and you wanted to get those original back and forth exchanges "
"between the two, the <citetitle>60 Minutes</citetitle> episode that came out "
"after it &hellip; it would be almost impossible. &hellip; Those materials "
"are almost unfindable. &hellip;"
msgstr ""
"Vous rappelez-vous lorsque Dan Quayle conversait avec Murphy Brown? Vous "
"souvenez-vous de cette expérience surréelle d'un homme politique conversant "
"avec un personnage de fiction télévisée? Si vous étiez un étudiant "
"voulant étudier cela, et si vous vouliez obtenir ces échanges entre eux "
"deux, l'épisode de <citetitle>60 Minutes</citetitle> qui sortit après... ce "
"serait presque impossible... Ce matériel est presque introuvable..."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "newspapers"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "archives of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Why is that? Why is it that the part of our culture that is recorded in "
"newspapers remains perpetually accessible, while the part that is recorded "
"on videotape is not? How is it that we've created a world where researchers "
"trying to understand the effect of media on nineteenthcentury America will "
"have an easier time than researchers trying to understand the effect of "
"media on twentieth-century America?"
msgstr ""
"Pourquoi cela&nbsp;? Pourquoi la partie de notre culture qui est sur journaux "
"papier reste-t-elle accessible pour toujours, alors que la partie qui est sur "
"cassettes vidéo ne l'est pas? Comment se fait-il que nous ayons créé un "
"monde où les chercheurs qui voudront comprendre l'influence des médias sur "
"l'Amérique du dix-neuvième siècle auront moins de difficultés que ceux "
"qui voudront comprendre l'influence des médias sur l'Amérique du vingtième "
"siècle&nbsp;?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"In part, this is because of the law. Early in American copyright law, "
"copyright owners were required to deposit copies of their work in "
"libraries.  These copies were intended both to facilitate the spread of "
"knowledge and to assure that a copy of the work would be around once the "
"copyright expired, so that others might access and copy the work."
msgstr ""
"C'est en partie à cause de la loi. Au début de la législation américaine "
"sur le droit d'auteur, les détenteurs de copyright devaient déposer des "
"copies de leur ouvrage en bibliothèque. Ces copies étaient destinées à la "
"fois à faciliter la propagation du savoir, ainsi qu'à s'assurer qu'une "
"copie serait accessible une fois le copyright expiré, pour que d'autres "
"puissent éventuellement lire et copier l'ouvrage."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "archive of"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at "
"the Library of Congress,</quote> <citetitle>Film Library "
"Quarterly</citetitle> 13 nos. 2&ndash;3 (1980): 5; Anthony Slide, "
"<citetitle>Nitrate Won't Wait: A History of Film Preservation in the United "
"States</citetitle> (Jefferson, N.C.: McFarland &amp; Co., 1992), 36."
msgstr ""
"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at "
"the Library of Congress,</quote><citetitle> Film Library "
"Quarterly</citetitle> 13 nos. 2-3 (1980): 5; Anthony Slide,<citetitle> "
"Nitrate Won't Wait: A History of Film Preservation in the United "
"States</citetitle> ( Jefferson, N.C.: McFarland &amp; Co., 1992), 36."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These rules applied to film as well. But in 1915, the Library of Congress "
"made an exception for film. Film could be copyrighted so long as such "
"deposits were made. But the filmmaker was then allowed to borrow back the "
"deposits&mdash;for an unlimited time at no cost. In 1915 alone, there were "
"more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when "
"the copyrights to films expire, there is no copy held by any library. The "
"copy exists&mdash;if it exists at all&mdash;in the library archive of the "
"film company.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ces règles s'appliquaient également aux films. Mais en 1915, la "
"Bibliothèque du Congrès fit une exception pour les films. Les films "
"pouvaient être sous copyright une fois de tels dépôts faits. Mais le "
"cinéaste avait ensuite l'autorisation de réemprunter le film ainsi "
"déposé, sans limite de temps, gratuitement. Rien qu'en 1915, il y avait "
"plus de 5.475 films déposés et <quote>réempruntés.</quote> Donc, quand le "
"copyright d'un film expire, il n'y en a plus aucune copie dans aucune "
"bibliothèque. La copie existe &mdash;si tant est qu'elle existe "
"encore&mdash; dans les archives de la société qui a produit le "
"film.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The same is generally true about television. Television broadcasts were "
"originally not copyrighted&mdash;there was no way to capture the broadcasts, "
"so there was no fear of <quote>theft.</quote> But as technology enabled "
"capturing, broadcasters relied increasingly upon the law. The law required "
"they make a copy of each broadcast for the work to be "
"<quote>copyrighted.</quote> But those copies were simply kept by the "
"broadcasters. No library had any right to them; the government didn't demand "
"them.  The content of this part of American culture is practically invisible "
"to anyone who would look."
msgstr ""
"En général, ceci vaut aussi pour la télévision. A l'origine les "
"émissions de télévision n'étaient pas sous copyright; il n'y avait aucun "
"moyen d'enregistrer ces émissions, il n'y avait donc aucune crainte de "
"<quote>vol</quote>. Mais quand la technologie permit leur capture, les "
"diffuseurs comptèrent de plus en plus sur la législation. La loi exigeait "
"qu'ils fassent une copie de chaque émission pour que l'ouvrage soit "
"<citetitle>copyright</citetitle>é. Mais ces copies était simplement détenues par les "
"diffuseurs. Aucune bibliothèque n'avait de droits dessus; le gouvernement ne "
"les réclamait pas. Le contenu de cette partie de la culture américaine est "
"pratiquement invisible pour quiconque."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Kahle was eager to correct this. Before September 11, 2001, he and his "
"allies had started capturing television. They selected twenty stations from "
"around the world and hit the Record button. After September 11, Kahle, "
"working with dozens of others, selected twenty stations from around the "
"world and, beginning October 11, 2001, made their coverage during the week "
"of September 11 available free on-line.  Anyone could see how news reports "
"from around the world covered the events of that day."
msgstr ""
"Kahle était impatient de changer cela. Avant le 11 septembre 2001, lui et "
"ses alliés avaient commencé à enregistrer la télévision. Ils avaient "
"choisi vingt chaînes du monde entier, et appuyé sur le bouton Enregistrer. "
"A partir du 11 septembre, Kahle, ainsi que des douzaines de collaborateurs, "
"choisirent vingt chaînes du monde entier et mirent en ligne gratuitement la "
"couverture de cette semaine du 11 septembre. Tout le monde pouvait voir "
"comment les journaux télévisés de par le monde avaient couvert cette "
"journée."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Movie Archive"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "archive.org"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Internet Archive"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Duck and Cover film"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "ephemeral films"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Prelinger, Rick"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Kahle had the same idea with film. Working with Rick Prelinger, whose "
"archive of film includes close to 45,000 <quote>ephemeral films</quote> "
"(meaning films other than Hollywood movies, films that were never "
"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle "
"digitize 1,300 films in this archive and post those films on the Internet to "
"be downloaded for free. Prelinger's is a for-profit company. It sells copies "
"of these films as stock footage. What he has discovered is that after he "
"made a significant chunk available for free, his stock footage sales went up "
"dramatically. People could easily find the material they wanted to use. Some "
"downloaded that material and made films on their own. Others purchased "
"copies to enable other films to be made.  Either way, the archive enabled "
"access to this important part of our culture.  Want to see a copy of the "
"<quote>Duck and Cover</quote> film that instructed children how to save "
"themselves in the middle of nuclear attack? Go to archive.org, and you can "
"download the film in a few minutes&mdash;for free."
msgstr ""
"Kahle avait le même projet pour les films. Avec Rick Prelinger, dont les "
"archives cinématographiques contiennent près de 45.000 <quote>films "
"ephémères</quote> (c'est-à-dire des films non produits par Hollywood, et "
"jamais protégés par le droit d'auteur), Kahle mit en place les Archives du "
"Cinéma. Prelinger le laissa numériser 1300 films dans ces archives, et "
"mettre ces films sur Internet, pour qu'ils puissent être téléchargés "
"gratuitement. La sociéte de Prelinger est à but lucratif. Elle vend des "
"copies de ces films sous forme de pellicules. Il fit la découverte suivante: "
"Après en avoir rendu une partie significative librement accessible, ses "
"ventes de pellicules augmentèrent très fortement. Les gens pouvaient "
"trouver facilement le contenu qu'ils voulaient utiliser. Certains "
"téléchargeaient ce contenu et faisaient leurs propres films. D'autres "
"achetaient des copies afin de permettre la création d'autres films. D'une "
"manière ou d'une autre, l'archive rendait possible l'accès à cette part "
"importante de notre culture. Envie de voir une copie du film <quote>Duck and "
"Cover</quote> qui expliquait aux enfants comment se protéger au milieu d'une "
"attaque nucléaire? Allez sur archive.org, et vous pourrez télécharger le "
"film en quelques minutes &mdash; gratuitement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Here again, Kahle is providing access to a part of our culture that we "
"otherwise could not get easily, if at all. It is yet another part of what "
"defines the twentieth century that we have lost to history. The law doesn't "
"require these copies to be kept by anyone, or to be deposited in an archive "
"by anyone. Therefore, there is no simple way to find them."
msgstr ""
"Ici encore, Kahle nous donne accès à une partie de notre culture, que nous "
"ne pourrions pas obtenir facilement d'une autre manière, voire pas du tout. "
"Il s'agit d'une autre partie de ce qui définit le vingtième siècle, et que "
"nous avons abandonnée à l'histoire. La loi ne requiert pas que ces copies "
"soient conservées ou déposées dans une archive par quiconque. Par "
"conséquent, il n'existe pas de moyen simple de les trouver."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The key here is access, not price. Kahle wants to enable free access to this "
"content, but he also wants to enable others to sell access to it. His aim is "
"to ensure competition in access to this important part of our culture.  Not "
"during the commercial life of a bit of creative property, but during a "
"second life that all creative property has&mdash;a noncommercial life."
msgstr ""
"Le point clé ici est l'accès, pas le prix. Kahle veut permettre l'accès "
"libre à ce contenu, mais il veut aussi permettre à d'autres de vendre cet "
"accès. Son but est de s'assurer que la compétition existe parmi ceux qui "
"propose un accès à cette partie importante de notre culture. Pas pendant la "
"vie commerciale d'une création, mais pendant cette seconde vie que possède "
"toute création: sa vie non-commerciale."

#. type: Content of: <book><part><chapter><para>
msgid ""
"For here is an idea that we should more clearly recognize. Every bit of "
"creative property goes through different <quote>lives.</quote> In its first "
"life, if the creator is lucky, the content is sold. In such cases the "
"commercial market is successful for the creator. The vast majority of "
"creative property doesn't enjoy such success, but some clearly does. For "
"that content, commercial life is extremely important. Without this "
"commercial market, there would be, many argue, much less creativity."
msgstr ""
"Car voici une idée que nous devrions identifier plus clairement. Toute "
"création artistique traverse plusieurs <quote>vies</quote>. Au cours de sa "
"première vie, si le créateur est chanceux, le contenu est vendu. Dans ce "
"cas le marché commercial est une réussite pour le créateur. La grande "
"majorité des créations artistiques ne connaissent pas un tel succès, mais "
"c'est le cas de certaines d'entre elles. Pour ces contenus, la vie "
"commerciale est extrêmement importante. Sans ce marché commercial, il y "
"aurait, semble-t-il, beaucoup moins de créations."

#. type: Content of: <book><part><chapter><para>
msgid ""
"After the commercial life of creative property has ended, our tradition has "
"always supported a second life as well. A newspaper delivers the news every "
"day to the doorsteps of America. The very next day, it is used to wrap fish "
"or to fill boxes with fragile gifts or to build an archive of knowledge "
"about our history. In this second life, the content can continue to inform "
"even if that information is no longer sold."
msgstr ""
"Une fois que la vie commerciale d'une création a pris fin, notre tradition a "
"toujours encouragé une seconde vie. Un journal apporte les nouvelles du jour "
"à notre palier de porte. Le jour suivant, il sert à emballer du poisson, ou "
"bien à combler des boîtes contenant des cadeaux fragiles, ou encore à "
"construire une archive de connaissances sur notre histoire. Au cours de cette "
"seconde vie, le contenu peut continuer d'informer, même si cette information "
"n'est plus vendue."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling "
"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter "
"by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>, 5 "
"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, "
"only 2.2 percent were in print in 2002. R. Anthony Reese, <quote>The First "
"Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston "
"College Law Review</citetitle> 44 (2003): 593 n. 51."
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The same has always been true about books. A book goes out of print very "
"quickly (the average today is after about a year<placeholder "
"type=\"footnote\" id=\"0\"/>). After it is out of print, it can be sold in "
"used book stores without the copyright owner getting anything and stored in "
"libraries, where many get to read the book, also for free. Used book stores "
"and libraries are thus the second life of a book. That second life is "
"extremely important to the spread and stability of culture."
msgstr ""
"La même chose a toujours été vraie au sujet des livres. Un livre cesse "
"d'être imprimé très rapidement (aujourd'hui, en moyenne après un an "
"<placeholder type=\"footnote\" id=\"0\"/>. Une fois qu'il a cessé d'être "
"imprimé, il peut être vendu dans des magasins de livres d'occasion, sans "
"que le détenteur de copyright n'obtienne quoi que ce soit, et il peut être "
"conservé dans une bibliothèque, où beaucoup de gens le liront, tout aussi "
"gratuitement. Les librairies d'occasion et les bibliothèques sont donc la "
"seconde vie d'un livre. Cette seconde vie est extrêmement importante pour la "
"diffusion et la stabilité de la culture."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet increasingly, any assumption about a stable second life for creative "
"property does not hold true with the most important components of popular "
"culture in the twentieth and twenty-first centuries. For "
"these&mdash;television, movies, music, radio, the Internet&mdash;there is no "
"guarantee of a second life. For these sorts of culture, it is as if we've "
"replaced libraries with Barnes &amp; Noble superstores. With this culture, "
"what's accessible is nothing but what a certain limited market demands.  "
"Beyond that, culture disappears."
msgstr ""
"Cependant, il devient de plus en plus difficile de croire en une seconde vie "
"stable pour les créations artistiques, et ceci pour les composantes les plus "
"importantes de la culture populaire des vingtième et vingt-et-unième "
"siècles. Pour ces composantes (télévision, films, musique, radio, "
"Internet), il n'y a pas de garantie d'une seconde vie. Pour ces types de "
"culture, c'est comme si nous avions remplacé nos bibliothèques par des "
"magasins Barnes &amp; Noble. Avec cette culture, ce qui est accessible se "
"réduit à ce que demande un certain marché limité. Au delà de cette "
"demande, la culture disparaît."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was "
"economics that made this so. It would have been insanely expensive to "
"collect and make accessible all television and film and music: The cost of "
"analog copies is extraordinarily high. So even though the law in principle "
"would have restricted the ability of a Brewster Kahle to copy culture "
"generally, the real restriction was economics. The market made it impossibly "
"difficult to do anything about this ephemeral culture; the law had little "
"practical effect."
msgstr ""
"<emphasis role='strong'>Pendant la plus grande partie</emphasis> du "
"vingtième siécle, ce sont les conditions économiques qui en ont voulu "
"ainsi. C'eut été une folie coûteuse que de rassembler et de rendre "
"accessibles toutes les émissions de télévision, tous les films et toute la "
"musique existants: Le coût des copies analogiques est extraordinairement "
"élevé. Ainsi donc, bien que la loi eut en principe restreint la capacité "
"d'un Brewster Kahle de copier la culture en géneral, la véritable "
"contrainte était d'ordre économique. Le marché rendait impossible de faire "
"quoi que ce soit contre cet éphémère; la loi n'avait que peu d'effet "
"pratique."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Perhaps the single most important feature of the digital revolution is that "
"for the first time since the Library of Alexandria, it is feasible to "
"imagine constructing archives that hold all culture produced or distributed "
"publicly. Technology makes it possible to imagine an archive of all books "
"published, and increasingly makes it possible to imagine an archive of all "
"moving images and sound."
msgstr ""
"La caractéristique peut-être la plus importante de la révolution "
"numérique est que pour la première fois depuis la Bibliothèque "
"d'Alexandrie, il est possible d'imaginer la construction d'une archive qui "
"contienne toute la culture produite ou distribuée publiquement. La "
"technologie nous permet d'imaginer une archive de tous les livres publiés, "
"et bientôt de toutes les images animées et de tous les sons."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The scale of this potential archive is something we've never imagined "
"before. The Brewster Kahles of our history have dreamed about it; but we are "
"for the first time at a point where that dream is possible. As Kahle "
"describes,"
msgstr ""
"La mesure de cette archive potentielle est quelque chose que nous n'avons "
"jamais imaginé auparavant. Les Brewster Kahle de notre histoire en ont "
"rêvé; mais nous arrivons à un moment où, pour la première fois, ce rêve "
"est devenu possible. Comme le décrit Kahle,"

#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary>
msgid "total number of"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"It looks like there's about two to three million recordings of music.  "
"Ever. There are about a hundred thousand theatrical releases of movies, "
"&hellip; and about one to two million movies [distributed] during the "
"twentieth century. There are about twenty-six million different titles of "
"books. All of these would fit on computers that would fit in this room and "
"be able to be afforded by a small company.  So we're at a turning point in "
"our history. Universal access is the goal. And the opportunity of leading a "
"different life, based on this, is &hellip; thrilling. It could be one of the "
"things humankind would be most proud of. Up there with the Library of "
"Alexandria, putting a man on the moon, and the invention of the printing "
"press."
msgstr ""
"Il semble qu'il y ait quelque deux ou trois millions d'enregistrements de "
"musique. En tout. Il y a environ cent mille films sortis en salle, ... et "
"entre un et deux millions de films [distribués] durant le vingtième "
"siècle. Il y a environ vingt-six millions de titres de livres. Tout cela "
"tiendrait dans des ordinateurs qui tiendraient dans cette salle, et que "
"pourrait s'offrir une petite entreprise. Nous somme donc à un tournant de "
"notre histoire. L'accès universel est le but. Et la possibilité de vivre "
"une vie différente, basée là-dessus, donne... des frissons. Cela pourrait "
"être une des plus grandes fiertés de l'humanité. Avec la bibliothèque "
"d'Alexandrie, le premier homme sur la Lune, et l'invention de la machine à "
"imprimer."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Kahle is not the only librarian. The Internet Archive is not the only "
"archive. But Kahle and the Internet Archive suggest what the future of "
"libraries or archives could be. <emphasis>When</emphasis> the commercial "
"life of creative property ends, I don't know. But it does. And whenever it "
"does, Kahle and his archive hint at a world where this knowledge, and "
"culture, remains perpetually available. Some will draw upon it to understand "
"it; some to criticize it. Some will use it, as Walt Disney did, to re-create "
"the past for the future. These technologies promise something that had "
"become unimaginable for much of our past&mdash;a future "
"<emphasis>for</emphasis> our past. The technology of digital arts could make "
"the dream of the Library of Alexandria real again."
msgstr ""
"Kahle n'est pas le seul libraire. L'Internet Archive n'est pas la seule "
"archive. Mais Kahle et l'Internet Archive suggèrent ce que l'avenir des "
"bibliothèques et des archives pourrait être. <emphasis>Quand</emphasis> "
"s'arrête la vie commerciale d'une œuvre&nbsp;? Je ne sais pas. Mais elle "
"finit par s'arrêter. Et quand elle le fait, Kahle et son archive nous font "
"découvrir un monde dans lequel le savoir et la culture restent disponibles "
"à jamais. Certains s'en inspireront, pour la comprendre; d'autres pour la "
"critiquer. Certains s'en serviront, comme Walt Disney, pour re-créer le "
"passé pour l'avenir. Ces technologies nous promettent quelque chose qui "
"était devenu inimaginable pour l'essentiel de notre passé: un futur "
"<emphasis>pour</emphasis> notre passé. La technologie numérique pourrait "
"réaliser à nouveau le rêve de la Bibliothèque d'Alexandrie."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Technologists have thus removed the economic costs of building such an "
"archive. But lawyers' costs remain. For as much as we might like to call "
"these <quote>archives,</quote> as warm as the idea of a "
"<quote>library</quote> might seem, the <quote>content</quote> that is "
"collected in these digital spaces is also someone's <quote>property.</quote> "
"And the law of property restricts the freedoms that Kahle and others would "
"exercise."
msgstr ""
"Ainsi, la technologie a supprimé le coût économique de la construction "
"d'une telle archive. Mais il reste le coût légal. Car, pour autant que nous "
"puissions appeler de nos voeux ces <quote>archives</quote>, aussi "
"réconfortante que soit l'idée d'une <quote>bibliothèque</quote>, le "
"<quote>contenu</quote> qui est rassemblé dans ces espaces numériques est "
"aussi la <quote>propriété</quote> de quelqu'un. Et la loi sur la "
"propriété restreint les libertés dont Kahle et les autres feraient usage."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Ten: <quote>Property</quote>"
msgstr "<quote>Propriété</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Johnson, Lyndon"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Kennedy, John F."
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of "
"the Motion Picture Association of America since 1966. He first came to "
"Washington, D.C., with Lyndon Johnson's administration&mdash;literally. The "
"famous picture of Johnson's swearing-in on Air Force One after the "
"assassination of President Kennedy has Valenti in the background. In his "
"almost forty years of running the MPAA, Valenti has established himself as "
"perhaps the most prominent and effective lobbyist in Washington."
msgstr ""
"<emphasis role='strong'>Jack Valenti</emphasis> est le président de la "
"Motion Picture Association of America depuis 1966. Il est arrivé pour la "
"première fois à Washington dans les valises de l'administration de Lyndon "
"Johnson. La célèbre photographie de Johnson prêtant serment dans Air Force "
"One après l'assassinat du Président Kennedy montre Valenti à l'arrière- "
"plan. Pendant presque quarante ans passés à la tête de la MPAA, Valenti "
"s'est imposé comme le lobbyiste peut-être le plus en vue et le plus "
"efficace de Washington."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Sony Pictures Entertainment"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "MGM"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Paramount Pictures"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Twentieth Century Fox"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Universal Pictures"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Warner Brothers"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The MPAA is the American branch of the international Motion Picture "
"Association. It was formed in 1922 as a trade association whose goal was to "
"defend American movies against increasing domestic criticism.  The "
"organization now represents not only filmmakers but producers and "
"distributors of entertainment for television, video, and cable. Its board is "
"made up of the chairmen and presidents of the seven major producers and "
"distributors of motion picture and television programs in the United States: "
"Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, Twentieth "
"Century Fox, Universal Studios, and Warner Brothers."
msgstr ""
"La MPAA est la branche américaine de l'International Motion Picture "
"Association. Elle fut formée en 1922 en tant qu'association commerciale dont "
"le but était de défendre les films américains contre des critiques "
"intérieures croissantes. Aujourd'hui l'organisation ne représente pas "
"seulement des metteurs en scène, mais aussi les producteurs et les "
"distributeurs de spectacles pour la télévision, la vidéo, le câble. Son "
"administration est composée des présidents des sept producteurs et "
"distributeurs principaux de films et émissions de télévision aux Etats- "
"Unis: Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, "
"Twentieth Century Fox, Universal Studios, et Warner Brothers."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Valenti is only the third president of the MPAA. No president before him has "
"had as much influence over that organization, or over Washington. As a "
"Texan, Valenti has mastered the single most important political skill of a "
"Southerner&mdash;the ability to appear simple and slow while hiding a "
"lightning-fast intellect. To this day, Valenti plays the simple, humble "
"man. But this Harvard MBA, and author of four books, who finished high "
"school at the age of fifteen and flew more than fifty combat missions in "
"World War II, is no Mr. Smith. When Valenti went to Washington, he mastered "
"the city in a quintessentially Washingtonian way."
msgstr ""
"Valenti n'est que le troisième président de la MPAA. Aucun président avant "
"lui n'avait eu autant d'influence sur cette organisation, ou sur Washington. "
"En bon Texan, Valenti a acquis la maîtrise de l'aptitude politique la plus "
"importante dans le Sud: la capacité à paraître simple et lent, tout en "
"dissimulant une pensée rapide comme l'éclair. A ce jour, Valenti joue à "
"l'homme simple et humble. Mais ce diplômé de Harvard, auteur de quatre "
"livres, qui termina le lycée à quinze ans et effectua plus de cinquante "
"missions aériennes de combat durant la deuxième guerre mondiale, n'est pas "
"Monsieur Tout-Le-Monde. Quand Valenti est allé à Washington, il a compris "
"la quintessence de cette ville."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In defending artistic liberty and the freedom of speech that our culture "
"depends upon, the MPAA has done important good. In crafting the MPAA rating "
"system, it has probably avoided a great deal of speech-regulating harm. But "
"there is an aspect to the organization's mission that is both the most "
"radical and the most important. This is the organization's effort, "
"epitomized in Valenti's every act, to redefine the meaning of "
"<quote>creative property.</quote>"
msgstr ""
"En défendant la liberté artistique et la liberté d'expression sur laquelle "
"repose notre culture, la MPAA a été très bénéfique. En créant son "
"système de notation, la MPAA nous a probablement évité une censure "
"dommageable. Mais il est un aspect de la mission de cette organisation qui "
"est à la fois le plus radical et le plus important: il s'agit de l'effort "
"continuel de cette organisation, incarné par chaque acte de Valenti, pour "
"redéfinir la notion de <quote>propriété créative</quote>."

#. type: Content of: <book><part><chapter><para>
msgid "In 1982, Valenti's testimony to Congress captured the strategy perfectly:"
msgstr ""
"En 1982, le discours de Valenti devant le Congrès illustrait parfaitement "
"cette stratégie:"

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
msgid ""
"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R.  4794, "
"H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on "
"Courts, Civil Liberties, and the Administration of Justice of the Committee "
"on the Judiciary of the House of Representatives, 97th Cong., 2nd "
"sess. (1982): 65 (testimony of Jack Valenti)."
msgstr ""
"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. "
"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, "
"Civil Liberties, and the Administration of Justice of the Committee on the "
"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 "
"(testimony of Jack Valenti)."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"No matter the lengthy arguments made, no matter the charges and the "
"counter-charges, no matter the tumult and the shouting, reasonable men and "
"women will keep returning to the fundamental issue, the central theme which "
"animates this entire debate: <emphasis>Creative property owners must be "
"accorded the same rights and protection resident in all other property "
"owners in the nation</emphasis>. That is the issue.  That is the "
"question. And that is the rostrum on which this entire hearing and the "
"debates to follow must rest.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Aussi longs soient les arguments, quelles que soient les charges et contre- "
"charges, quels que soient les tumultes et les cris, les hommes et femmes "
"raisonnables retourneront toujours à ce problème fondamental, le thème "
"central qui anime tout ce débat: <emphasis>Les détenteurs de propriété "
"intellectuelle doivent obtenir les mêmes droits et protections que tous les "
"autres détenteurs de propriété de la nation</emphasis>. Voilà le "
"problème. Voilà la question. Et c'est sur ce terrain que tout ce plaidoyer, "
"et tous les débats qui s'ensuivront, doivent prendre place<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The strategy of this rhetoric, like the strategy of most of Valenti's "
"rhetoric, is brilliant and simple and brilliant because simple. The "
"<quote>central theme</quote> to which <quote>reasonable men and "
"women</quote> will return is this: <quote>Creative property owners must be "
"accorded the same rights and protections resident in all other property "
"owners in the nation.</quote> There are no second-class citizens, Valenti "
"might have continued. There should be no second-class property owners."
msgstr ""
"La stratégie de cette rhétorique, comme toujours chez Valenti, est "
"brillante et simple, et brillante parce que simple. Le <quote>thème "
"central</quote> auquel les <quote>hommes et femmes raisonnables</quote> "
"retourneront est celui-ci: <quote>Les détenteurs de propriété "
"intellectuelle doivent obtenir les mêmes droits et protections que tous les "
"autres les détenteurs de propriété de la nation</quote>. Valenti aurait pu "
"continuer ainsi: <quote>Il n'y a pas de citoyen de seconde classe. Il ne "
"devrait donc pas y avoir de détenteurs de propriété de seconde "
"classe</quote>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This claim has an obvious and powerful intuitive pull. It is stated with "
"such clarity as to make the idea as obvious as the notion that we use "
"elections to pick presidents. But in fact, there is no more extreme a claim "
"made by <emphasis>anyone</emphasis> who is serious in this debate than this "
"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is "
"perhaps the nation's foremost extremist when it comes to the nature and "
"scope of <quote>creative property.</quote> His views have "
"<emphasis>no</emphasis> reasonable connection to our actual legal tradition, "
"even if the subtle pull of his Texan charm has slowly redefined that "
"tradition, at least in Washington."
msgstr ""
"Cette assertion possède une force d'attraction évidente. Elle est exprimée "
"avec tant de clarté qu'elle rend l'idée évidente, aussi évidente que la "
"notion d'utiliser des élections pour désigner les présidents. Mais en "
"fait, <emphasis>personne</emphasis> parmi les gens qui prennent ce débat au "
"sérieux ne soutient de position plus extrême. Jack Valenti, aussi doux et "
"brillant soit-il, est peut-être le pire extrémiste de la nation lorsqu'il "
"s'agit de la nature et de la portée de la <quote>propriété "
"intellectuelle</quote>. Ses vues n'ont <emphasis>aucun</emphasis> lien "
"raisonnable avec ce qui constitue vraiment notre tradition légale, même si "
"la force discrète de son charme texan a lentement redéfini cette tradition, "
"du moins à Washington."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a "
"bundle of rights that are sometimes associated with a particular "
"object. Thus, my <quote>property right</quote> to my car gives me the right "
"to exclusive use, but not the right to drive at 150 miles an hour. For the "
"best effort to connect the ordinary meaning of <quote>property</quote> to "
"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property "
"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), "
"26&ndash;27."
msgstr ""
"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a "
"bundle of rights that are sometimes associated with a particular object. "
"Thus, my <quote>property right</quote> to my car gives me the right to "
"exclusive use, but not the right to drive at 150 miles an hour. For the best "
"effort to connect the ordinary meaning of <quote>property</quote> to "
"<quote>lawyer talk,</quote> see Bruce Ackerman,<citetitle> Private Property "
"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), "
"26-27."

#. type: Content of: <book><part><chapter><para>
msgid ""
"While <quote>creative property</quote> is certainly <quote>property</quote> "
"in a nerdy and precise sense that lawyers are trained to "
"understand,<placeholder type=\"footnote\" id=\"0\"/> it has never been the "
"case, nor should it be, that <quote>creative property owners</quote> have "
"been <quote>accorded the same rights and protection resident in all other "
"property owners.</quote> Indeed, if creative property owners were given the "
"same rights as all other property owners, that would effect a radical, and "
"radically undesirable, change in our tradition."
msgstr ""
"Alors que la <quote>propriété intellectuelle</quote> est certainement une "
"<quote>propriété</quote>, en un sens besogneux et précis que les juristes "
"ont l'habitude de comprendre <placeholder type=\"footnote\" id=\"0\"/>, il "
"n'a jamais été le cas, et ne devrait pas l'être, que les "
"<quote>détenteurs de propriété intellectuelle</quote> obtiennent "
"<quote>les mêmes droits et protections que tous les autres détenteurs de "
"propriété</quote>. En effet, si les détenteurs de propriété "
"intellectuelle obtenaient les mêmes droits que tous les autres détenteurs "
"de propriété, alors ceci instituerait un changement radical, et "
"radicalement indésirable, dans notre tradition."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Valenti knows this. But he speaks for an industry that cares squat for our "
"tradition and the values it represents. He speaks for an industry that is "
"instead fighting to restore the tradition that the British overturned in "
"1710. In the world that Valenti's changes would create, a powerful few would "
"exercise powerful control over how our creative culture would develop."
msgstr ""
"Valenti le sait. Mais il parle pour une industrie qui se fiche bien de notre "
"tradition et des valeurs qu'elle représente. Il parle pour une industrie qui "
"au contraire se bat pour restaurer la tradition que les Britanniques ont "
"démise en 1710. Dans le monde qui résulterait des changements de Valenti, "
"quelques puissants exerceraient un contrôle strict sur la manière dont "
"notre culture serait développée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I have two purposes in this chapter. The first is to convince you that, "
"historically, Valenti's claim is absolutely wrong. The second is to convince "
"you that it would be terribly wrong for us to reject our history.  We have "
"always treated rights in creative property differently from the rights "
"resident in all other property owners. They have never been the same. And "
"they should never be the same, because, however counterintuitive this may "
"seem, to make them the same would be to fundamentally weaken the opportunity "
"for new creators to create.  Creativity depends upon the owners of "
"creativity having less than perfect control."
msgstr ""
"J'ai deux buts dans ce chapitre. Le premier est de vous convaincre que sur le "
"plan historique, l'assertion de Valenti est absolument fausse. Le second est "
"de vous convaincre qu'il serait terriblement mauvais pour nous de rejetter "
"notre histoire. Nous avons toujours traité les droits sur la propriété des "
"créations différement des droits sur les autres types de propriété. Ils "
"n'ont jamais été pareils aux autres droits. Et ils ne devraient devenir "
"pareils, car, aussi contre-intuitif ceci soit-il, les rendre pareils "
"reviendrait à réduire fondamentalement la possibilité pour les nouveaux "
"créateurs de créer. La créativité tient à ce que ses propriétaires "
"n'aient pas de contrôle absolu sur elle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Organizations such as the MPAA, whose board includes the most powerful of "
"the old guard, have little interest, their rhetoric notwithstanding, in "
"assuring that the new can displace them. No organization does. No person "
"does. (Ask me about tenure, for example.)  But what's good for the MPAA is "
"not necessarily good for America. A society that defends the ideals of free "
"culture must preserve precisely the opportunity for new creativity to "
"threaten the old."
msgstr ""
"Les organisations comme la MPAA, dont les dirigeants comptent parmi les plus "
"puissants de l'arrière-garde, n'ont aucun intérêt, en dépit de leur "
"rhétorique, à faire en sorte que les jeunes puisent les remplacer. Aucune "
"organisation, aucune personne n'a intérêt à cela. (Posez-moi la question "
"au sujet de ma chaire, par exemple.) Mais ce qui est bon pour la MPAA ne "
"l'est pas nécessairement pour l'Amérique. Une société qui défend les "
"idéaux d'une culture libre doit justement préserver la possibilité pour "
"une créativité nouvelle de menacer l'ancienne."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>To get</emphasis> just a hint that there is "
"something fundamentally wrong in Valenti's argument, we need look no further "
"than the United States Constitution itself."
msgstr ""
"<emphasis role='strong'>Pas besoin</emphasis> de chercher bien loin pour se "
"douter que quelque chose ne tourne pas rond dans l'argumentation de Valenti: "
"il nous suffit de lire la Constitution des États-Unis."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The framers of our Constitution loved <quote>property.</quote> Indeed, so "
"strongly did they love property that they built into the Constitution an "
"important requirement. If the government takes your property&mdash;if it "
"condemns your house, or acquires a slice of land from your farm&mdash;it is "
"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay "
"you <quote>just compensation</quote> for that taking. The Constitution thus "
"guarantees that property is, in a certain sense, sacred. It cannot "
"<emphasis>ever</emphasis> be taken from the property owner unless the "
"government pays for the privilege."
msgstr ""
"Les Pères Fondateurs de notre Constitution aimaient la "
"<quote>propriété</quote>. En fait, ils l'aimaient tellement qu'ils ont "
"incorporé à la Constitution une clause importante: si le gouvernement vous "
"prend votre propriété (s'il vous exproprie de votre maison, ou bien s'il "
"aquiert un terrain appartenant à votre ferme), il doit, selon la "
"<quote>Clause des Expropriations</quote> du Cinquième Amendement, vous payer "
"une <quote>compensation juste</quote>. La Constitution garantit donc que la "
"propriété est, en un certain sens, sacrée. Elle ne peut "
"<emphasis>jamais</emphasis> être soustraite à son propriétaire, sauf si le "
"gouvernement paie pour ce privilège."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
"calls <quote>creative property.</quote> In the clause granting Congress the "
"power to create <quote>creative property,</quote> the Constitution "
"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> "
"Congress take back the rights that it has granted and set the "
"<quote>creative property</quote> free to the public domain. Yet when "
"Congress does this, when the expiration of a copyright term "
"<quote>takes</quote> your copyright and turns it over to the public domain, "
"Congress does not have any obligation to pay <quote>just "
"compensation</quote> for this <quote>taking.</quote> Instead, the same "
"Constitution that requires compensation for your land requires that you lose "
"your <quote>creative property</quote> right without any compensation at all."
msgstr ""
"Et pourtant la même constitution parle très différemment à propos de ce "
"que Valenti appelle la <quote>propriété créative</quote>. Dans l'article "
"qui accorde au Congrès le pouvoir de créer la <quote>propriété "
"créative</quote>, la Constitution <emphasis>exige</emphasis> qu'après un "
"<quote>temps limité</quote>, le Congrès abroge les droits qu'il a accordé "
"et mette la <quote>propriété créative</quote> dans le domaine public "
"gratuit. Et quand le Congrès fait cela, quand l'expiration du terme d'un "
"copyright vous en <quote>exproprie</quote> pour le mettre dans le domaine "
"public, le Congrès n'a aucune obligation de payer une <quote>juste "
"indemnité</quote> pour cette <quote>expropriation</quote>. Au contraire, la "
"même constitution qui exige qu'on vous indemnise pour votre terre, exige que "
"vous perdiez votre droit de <quote>propriété créative</quote> sans la "
"moindre compensation."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Constitution thus on its face states that these two forms of property "
"are not to be accorded the same rights. They are plainly to be treated "
"differently. Valenti is therefore not just asking for a change in our "
"tradition when he argues that creative-property owners should be accorded "
"the same rights as every other property-right owner. He is effectively "
"arguing for a change in our Constitution itself."
msgstr ""
"Ainsi, nominalement, la constitution stipule qu'on ne doit pas accorder les "
"mêmes droits à ces deux formes de propriété. Elles doivent simplement "
"être traitées différemment. Valenti ne demande donc pas juste un "
"changement dans notre tradition, quand il soutient que les détenteurs de "
"<quote>propriété créative</quote> devraient obtenir les mêmes privilèges "
"que tout autre détenteur de droit de propriété. Il plaide en effet pour un "
"changement dans notre constitution elle-même."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Arguing for a change in our Constitution is not necessarily wrong.  There "
"was much in our original Constitution that was plainly wrong.  The "
"Constitution of 1789 entrenched slavery; it left senators to be appointed "
"rather than elected; it made it possible for the electoral college to "
"produce a tie between the president and his own vice president (as it did in "
"1800). The framers were no doubt extraordinary, but I would be the first to "
"admit that they made big mistakes. We have since rejected some of those "
"mistakes; no doubt there could be others that we should reject as well. So "
"my argument is not simply that because Jefferson did it, we should, too."
msgstr ""
"Réclamer un changement de notre constitution n'est pas forcément une "
"erreur. Notre constitution originale était mauvaise sur bien des points. La "
"constitution de 1789 a renforcé l'esclavage&nbsp;; elle prévoyait que les "
"sénateurs soient nommés plutôt qu'élus; elle a permis au collège "
"électoral de provoquer une égalité entre le président et son propre vice- "
"président (comme cela s'est produit en 1800). Les Pères Fondateurs étaient "
"sans doute extraordinaires, mais je serais le premier à reconnaître qu'ils "
"ont commis de grosses erreurs. Depuis lors, nous avons corrigé certaines de "
"ces erreurs; il en reste sans doute d'autres, que nous devrons corriger "
"aussi. Ainsi je ne pense pas que si Jefferson a fait une chose, nous devions "
"faire de même."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Instead, my argument is that because Jefferson did it, we should at least "
"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical "
"property types that they were, reject the claim that creative property be "
"given the same rights as all other property? Why did they require that for "
"creative property there must be a public domain?"
msgstr ""
"Au contraire, je pense que si Jefferson a fait quelque chose, nous devrions "
"au moins tenter de comprendre <emphasis>pourquoi</emphasis>. Pourquoi les "
"Pères Fondateurs, défenseurs fanatiques de la propriété privée qu'ils "
"étaient, ont-ils rejeté l'idée que la propriété sur les créations donne "
"les même droits que les autres types de propriétés? Pourquoi ont-ils "
"requis l'existence d'un domaine public pour ce type de propriété?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"To answer this question, we need to get some perspective on the history of "
"these <quote>creative property</quote> rights, and the control that they "
"enabled.  Once we see clearly how differently these rights have been "
"defined, we will be in a better position to ask the question that should be "
"at the core of this war: Not <emphasis>whether</emphasis> creative property "
"should be protected, but how. Not <emphasis>whether</emphasis> we will "
"enforce the rights the law gives to creative-property owners, but what the "
"particular mix of rights ought to be. Not <emphasis>whether</emphasis> "
"artists should be paid, but whether institutions designed to assure that "
"artists get paid need also control how culture develops."
msgstr ""
"Pour répondre à cette question, nous devons prendre du recul sur l'histoire "
"de ces droits de propriété sur les créations, et sur le contrôle qu'ils "
"ont rendu possible. Quand nous verrons clairement comment ces droits ont "
"été définis, nous serons mieux en mesure de poser la question qui devrait "
"être au centre de cette guerre. La question n'est pas "
"<emphasis>si</emphasis> la propriété sur les créations devrait être "
"protégée, mais plutôt de quelle manière. Non pas <emphasis>si</emphasis> "
"nous allons défendre les droits que la loi accorde aux détenteurs de "
"propriétés sur les créations, mais plutôt quel doit être l'équilibre de "
"ces droits. Non pas <emphasis>si</emphasis> les artistes doivent être "
"payés, mais plutôt si les institutions créées pour garantir que les "
"artistes sont payés ont aussi besoin de contrôler la manière dont la "
"culture se développe."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "four modalities of constraint on"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "regulation"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "four modalities of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "as ex post regulation modality"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "as constraint modality"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"To answer these questions, we need a more general way to talk about how "
"property is protected. More precisely, we need a more general way than the "
"narrow language of the law allows. In <citetitle>Code and Other Laws of "
"Cyberspace</citetitle>, I used a simple model to capture this more general "
"perspective. For any particular right or regulation, this model asks how "
"four different modalities of regulation interact to support or weaken the "
"right or regulation. I represented it with this diagram:"
msgstr ""
"Pour répondre à ces questions, nous avons besoin de concepts généraux "
"pour parler de la manière dont la propriété est protégée. Plus "
"précisément, nous avons besoin de concepts plus vastes que ceux que permet "
"le langage juridique. Dans <citetitle>Code et Autres Lois du "
"Cyberespace</citetitle>, j'ai utilisé un modèle simple pour décrire ces "
"concepts. Pour chaque droit ou régulation particulière, ce modèle montre "
"comment quatre modalités différentes interagissent, pour renforcer ou "
"affaiblir ce droit ou cette régulation. J'ai illustré ceci avec le "
"diagramme suivant:"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1331.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"At the center of this picture is a regulated dot: the individual or group "
"that is the target of regulation, or the holder of a right. (In each case "
"throughout, we can describe this either as regulation or as a right.  For "
"simplicity's sake, I will speak only of regulations.)  The ovals represent "
"four ways in which the individual or group might be regulated&mdash; either "
"constrained or, alternatively, enabled. Law is the most obvious constraint "
"(to lawyers, at least). It constrains by threatening punishments after the "
"fact if the rules set in advance are violated. So if, for example, you "
"willfully infringe Madonna's copyright by copying a song from her latest CD "
"and posting it on the Web, you can be punished with a $150,000 fine. The "
"fine is an ex post punishment for violating an ex ante rule. It is imposed "
"by the state.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Au centre de ce diagramme se trouve le point régulé: l'individu ou le "
"groupe qui est la cible du régulation, ou le détenteur d'un droit. (Dans "
"chaque cas tout au long de ce paragraphe, nous pouvons décrire ceci soit "
"comme une régulation, soit comme un droit. Par simplicité, je parlerai "
"seulement de régulations.) Les ovales décrivent quatre manières par "
"lesquelles l'individu ou le groupe peut être régulé&mdash; soit contraint, "
"soit, alternativement, permis. La loi est la contrainte la plus évidente (au "
"moins pour les avocats). Elle contraint en menaçant de sanctions après les "
"faits si les règles définies à l'avance sont violées. Donc si, par "
"exemple, vous violez sciemment le copyright de Madonna en copiant une chanson "
"de son dernier CD et la postez sur le Web, vous pouvez être puni d'une "
"amende de 150.000 dollars. L'amende est une punition à postériori pour la "
"violation d'une règle préexistante. Elle est imposée par l'État. "
"<placeholder type=\"indexter\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "norms, regulatory influence of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Norms are a different kind of constraint. They, too, punish an individual "
"for violating a rule. But the punishment of a norm is imposed by a "
"community, not (or not only) by the state. There may be no law against "
"spitting, but that doesn't mean you won't be punished if you spit on the "
"ground while standing in line at a movie. The punishment might not be harsh, "
"though depending upon the community, it could easily be more harsh than many "
"of the punishments imposed by the state. The mark of the difference is not "
"the severity of the rule, but the source of the enforcement."
msgstr ""
"Les normes sont un autre type de contrainte. Elles aussi punissent un "
"individu pour avoir violé une règle. Mais la punition d'une norme est "
"imposée par la communauté, et non pas (ou pas seulement) par l'État. Il "
"n'y a peut-être pas de loi contre le fait de cracher, mais cela ne veut pas "
"dire que vous ne serez pas puni si vous crachez par terre en faisant la queue "
"au cinéma. La punition n'est peut-être pas dure, ce qui dépend toutefois "
"de la communauté, mais elle pourrait facilement être plus dure que bon "
"nombre de punitions imposées par l'État. Ce qui fait la différence, ce "
"n'est pas la sévérité de la règle, mais la source de son application."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "market constraints"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The market is a third type of constraint. Its constraint is effected through "
"conditions: You can do X if you pay Y; you'll be paid M if you do N. These "
"constraints are obviously not independent of law or norms&mdash;it is "
"property law that defines what must be bought if it is to be taken legally; "
"it is norms that say what is appropriately sold. But given a set of norms, "
"and a background of property and contract law, the market imposes a "
"simultaneous constraint upon how an individual or group might behave."
msgstr ""
"Le marché est un troisième type de contrainte. Sa contrainte est effectuée "
"à travers des conditions: vous pouvez faire X si vous payez Y; vous serez "
"payé M si vous faites N. Ces contraintes ne sont évidemment pas "
"indépendantes des lois et des normes &mdash; c'est la loi de la propriété "
"qui définit ce qui doit être acheté si cela doit être pris pour légal; "
"ce sont les normes qui disent ce qui est vendu de manière appropriée. Mais "
"étant donné un ensemble de normes, et un arrière-plan de lois de "
"propriété et de contrats, le marché impose une contrainte simultanée sur "
"comment un individu ou un groupe peuvent se comporter."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "architecture, constraint effected through"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Finally, and for the moment, perhaps, most mysteriously, "
"<quote>architecture</quote>&mdash;the physical world as one finds "
"it&mdash;is a constraint on behavior.  A fallen bridge might constrain your "
"ability to get across a river. Railroad tracks might constrain the ability "
"of a community to integrate its social life. As with the market, "
"architecture does not effect its constraint through ex post "
"punishments. Instead, also as with the market, architecture effects its "
"constraint through simultaneous conditions. These conditions are imposed not "
"by courts enforcing contracts, or by police punishing theft, but by nature, "
"by <quote>architecture.</quote> If a 500-pound boulder blocks your way, it "
"is the law of gravity that enforces this constraint. If a $500 airplane "
"ticket stands between you and a flight to New York, it is the market that "
"enforces this constraint."
msgstr ""
"Pour finir, et pour le moment, peut-être, plus mystérieusement, "
"l'<quote>architecture</quote> &mdash; le monde physique tel qu'on le trouve "
"&mdash; est une contrainte sur le comportement. Un pont écroulé peut "
"contraindre votre capacité à traverser une rivière. Des voies de chemin de "
"fer peuvent contraindre la capacité d'une communauté à intégrer sa vie "
"sociale. Tout comme le marché, l'architecture n'effectue pas sa contrainte "
"à travers des punitions à posteriori. Au lieu de cela, tout comme le "
"marché, l'architecture effectue ses contraintes à travers des conditions "
"simultanées. Ces conditions ne sont pas imposées par des tribunaux "
"appliquant des contrats, ni par la police punissant le vol, mais par nature, "
"par <quote>architecture</quote>. Si un boulet d'une tonne bloque votre route, "
"c'est la loi de la gravité qui applique cette contrainte. Si un billet "
"d'avion de 500 dollars vous sépare d'un vol pour New York, c'est le marché "
"qui applique cette contrainte."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So the first point about these four modalities of regulation is obvious: "
"They interact. Restrictions imposed by one might be reinforced by "
"another. Or restrictions imposed by one might be undermined by another."
msgstr ""
"Donc la première chose à propos de ces quatre modalités de régulation est "
"évidente&nbsp;: elles interagissent. Les restrictions imposées par une "
"peuvent être renforcées par une autre. Ou les restrictions imposées par "
"une peuvent être sapées par une autre."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The second point follows directly: If we want to understand the effective "
"freedom that anyone has at a given moment to do any particular thing, we "
"have to consider how these four modalities interact.  Whether or not there "
"are other constraints (there may well be; my claim is not about "
"comprehensiveness), these four are among the most significant, and any "
"regulator (whether controlling or freeing)  must consider how these four in "
"particular interact."
msgstr ""
"La deuxième chose suit directement: si nous voulons comprendre la véritable "
"liberté que quiconque possède à un moment donné pour faire une chose "
"particulière, nous devons considérer comment ces quatre modalités "
"interagissent. Qu'il y ait ou non d'autres contraintes (il peut très bien il "
"y en avoir; je ne prétends pas être complet), ces quatre sont parmi les "
"plus importantes, et tout régulateur (que ce soit de contrôle ou de "
"libération) doit considérer comment ces quatre en particulier "
"interagissent."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "driving speed, constraints on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "speeding, constraints on"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"So, for example, consider the <quote>freedom</quote> to drive a car at a "
"high speed. That freedom is in part restricted by laws: speed limits that "
"say how fast you can drive in particular places at particular times. It is "
"in part restricted by architecture: speed bumps, for example, slow most "
"rational drivers; governors in buses, as another example, set the maximum "
"rate at which the driver can drive. The freedom is in part restricted by the "
"market: Fuel efficiency drops as speed increases, thus the price of gasoline "
"indirectly constrains speed. And finally, the norms of a community may or "
"may not constrain the freedom to speed. Drive at 50 mph by a school in your "
"own neighborhood and you're likely to be punished by the neighbors. The same "
"norm wouldn't be as effective in a different town, or at night."
msgstr ""
"Ainsi, par exemple, considérez la <quote>liberté</quote> de conduire une "
"voiture à vitesse élevée. Cette liberté est en partie restreinte par les "
"lois: des limitations de vitesse qui disent à quelle vitesse vous pouvez "
"rouler dans des endroits particuliers à des moments particuliers. Elle est "
"en partie restreinte par l'architecture: des dos d'ânes, par exemple, "
"ralentissent les conducteurs les plus raisonnables; des régulateurs de "
"vitesse dans des bus, un autre exemple, fixent la vitesse maximale à "
"laquelle on peut conduire. Cette liberté est en partie restreinte par le "
"marché: l'efficacité du carburant diminue au fur et à mesure que la "
"vitesse augmente, et donc le prix de l'essence contraint indirectement la "
"vitesse. Conduisez à 100 km/h devant une école dans votre propre voisinage "
"et vous serez vraisemblablement puni par les voisins. La même norme ne "
"serait pas aussi efficace dans une autre ville, ou la nuit."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"By describing the way law affects the other three modalities, I don't mean "
"to suggest that the other three don't affect law. Obviously, they do. Law's "
"only distinction is that it alone speaks as if it has a right "
"self-consciously to change the other three. The right of the other three is "
"more timidly expressed.  See Lawrence Lessig, <citetitle>Code: And Other "
"Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90&ndash;95; "
"Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal "
"of Legal Studies</citetitle>, June 1998."
msgstr ""
"By describing the way law affects the other three modalities, I don't mean to "
"suggest that the other three don't affect law. Obviously, they do. Law's only "
"distinction is that it alone speaks as if it has a right self-consciously to "
"change the other three. The right of the other three is more timidly "
"expressed. See Lawrence Lessig,<citetitle> Code: And Other Laws of "
"Cyberspace</citetitle> (New York: Basic Books, 1999): 90-95; Lawrence Lessig, "
"<quote>The New Chicago School,</quote><citetitle> Journal of Legal "
"Studies,</citetitle> June 1998."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The final point about this simple model should also be fairly clear: While "
"these four modalities are analytically independent, law has a special role "
"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in "
"other words, sometimes operates to increase or decrease the constraint of a "
"particular modality.  Thus, the law might be used to increase taxes on "
"gasoline, so as to increase the incentives to drive more slowly. The law "
"might be used to mandate more speed bumps, so as to increase the difficulty "
"of driving rapidly. The law might be used to fund ads that stigmatize "
"reckless driving. Or the law might be used to require that other laws be "
"more strict&mdash;a federal requirement that states decrease the speed "
"limit, for example&mdash;so as to decrease the attractiveness of fast "
"driving."
msgstr ""
"La dernière chose à propos de ce modèle simple devrait aussi être assez "
"clair: alors que ces quatre modalités sont analytiquement indépendantes, la "
"loi a un rôle spécial dans le fait d'affecter les trois autres<placeholder "
"type=\"footnote\" id=\"0\"/>. La loi, en d'autres termes, opère parfois pour "
"augmenter ou diminuer la contrainte d'une modalité particulière. Ainsi, la "
"loi peut être utilisée pour augmenter les taxes sur l'essence, afin "
"d'augmenter l'incitation à rouler moins vite. La loi peut être utilisée "
"pour faire installer plus de dos d'ânes, afin d'augmenter la difficulté de "
"rouler vite. La loi peut être utilisée pour financer des publicités qui "
"stigmatisent la conduite irrespectueuse. Ou bien la loi peut être utilisée "
"pour requérir que d'autres lois soient plus strictes &mdash; une exigence "
"fédérale pour que les états diminuent la vitesse maximale autorisée, par "
"exemple &mdash; afin de baisser l'attractivité de la conduite rapide."

#. type: Content of: <book><part><chapter><figure>
msgid ""
"<graphic fileref=\"images/1361.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Americans with Disabilities Act (1990)"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Commons, John R."
msgstr "Commons, John R."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Some people object to this way of talking about <quote>liberty.</quote> They "
"object because their focus when considering the constraints that exist at "
"any particular moment are constraints imposed exclusively by the "
"government. For instance, if a storm destroys a bridge, these people think "
"it is meaningless to say that one's liberty has been restrained. A bridge "
"has washed out, and it's harder to get from one place to another. To talk "
"about this as a loss of freedom, they say, is to confuse the stuff of "
"politics with the vagaries of ordinary life.  I don't mean to deny the value "
"in this narrower view, which depends upon the context of the inquiry. I do, "
"however, mean to argue against any insistence that this narrower view is the "
"only proper view of liberty. As I argued in <citetitle>Code</citetitle>, we "
"come from a long tradition of political thought with a broader focus than "
"the narrow question of what the government did when.  John Stuart Mill "
"defended freedom of speech, for example, from the tyranny of narrow minds, "
"not from the fear of government prosecution; John Stuart Mill, <citetitle>On "
"Liberty</citetitle> (Indiana: Hackett Publishing Co., 1978), 19.  John "
"R. Commons famously defended the economic freedom of labor from constraints "
"imposed by the market; John R. Commons, <quote>The Right to Work,</quote> in "
"Malcom Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: "
"Selected Essays</citetitle> (London: Routledge: 1997), 62. The Americans "
"with Disabilities Act increases the liberty of people with physical "
"disabilities by changing the architecture of certain public places, thereby "
"making access to those places easier; 42 <citetitle>United States "
"Code</citetitle>, section 12101 (2000).  Each of these interventions to "
"change existing conditions changes the liberty of a particular group. The "
"effect of those interventions should be accounted for in order to understand "
"the effective liberty that each of these groups might face.  <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
"id=\"3\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"These constraints can thus change, and they can be changed. To understand "
"the effective protection of liberty or protection of property at any "
"particular moment, we must track these changes over time. A restriction "
"imposed by one modality might be erased by another. A freedom enabled by one "
"modality might be displaced by another.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Ces contraintes peuvent ainsi changer, et elle peuvent être changées. Pour "
"comprendre la protection efficace de la liberté ou celle de la propriété "
"à chaque moment, nous devons suivre ces changements au fil du temps. Une "
"restriction imposée par une modalité peut être effacée par une autre. Une "
"liberté permise par une modalité peut être chassée par une "
"autre<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><title>
msgid "Why Hollywood Is Right"
msgstr "Pourquoi Hollywood a raison"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "four regulatory modalities on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The most obvious point that this model reveals is just why, or just how, "
"Hollywood is right. The copyright warriors have rallied Congress and the "
"courts to defend copyright. This model helps us see why that rallying makes "
"sense."
msgstr ""
"Ce que ce modèle révèle de plus évident est simplement pourquoi, ou en "
"quoi, Hollywood a raison. Les défenseurs du copyright ont rallié à leur "
"cause le Congrès et les tribunaux. Ce modèle nous aide à comprendre le "
"sens de ce ralliement."

#. type: Content of: <book><part><chapter><section><para>
msgid "Let's say this is the picture of copyright's regulation before the Internet:"
msgstr ""
"Disons que cette image illustre les règles du copyright avant "
"Internet&nbsp;:"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There is balance between law, norms, market, and architecture. The law "
"limits the ability to copy and share content, by imposing penalties on those "
"who copy and share content. Those penalties are reinforced by technologies "
"that make it hard to copy and share content (architecture) and expensive to "
"copy and share content (market). Finally, those penalties are mitigated by "
"norms we all recognize&mdash;kids, for example, taping other kids' "
"records. These uses of copyrighted material may well be infringement, but "
"the norms of our society (before the Internet, at least) had no problem with "
"this form of infringement."
msgstr ""
"Il y a un équilibre entre la loi, les normes sociales, le marché et "
"l'architecture technique. La loi limite la possibilité de copier et partager "
"du contenu en imposant des pénalités à ceux qui copient et partagent. Ces "
"pénalités sont renforcées par des technologies qui rendent copie et "
"partage difficiles (architecture) et coûteux (marché). Cependant, ces "
"pénalités sont atténuées par des habitudes que nous admettons "
"tous&mdash;par exemple le fait pour des jeunes d'enregistrer les disques de "
"leurs copains. Ces utilisations de contenu sous copyright peuvent bien "
"constituer des infractions, les normes de notre société, du moins avant "
"Internet, ne font pas de ces infractions un problème."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright regulatory balance lost with"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "regulatory balance lost in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "MP3s"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Enter the Internet, or, more precisely, technologies such as MP3s and p2p "
"sharing. Now the constraint of architecture changes dramatically, as does "
"the constraint of the market. And as both the market and architecture relax "
"the regulation of copyright, norms pile on. The happy balance (for the "
"warriors, at least) of life before the Internet becomes an effective state "
"of anarchy after the Internet."
msgstr ""
"Voilà qu'arrive Internet, ou, plus précisément, des technologies comme le "
"format MP3 ou le partage de fichiers (<quote>peer to peer</quote>). Là, les "
"contraintes liées à l'architecture changent radicalement, tout comme celles "
"venant du marché. Et pendant que marché et architecture de concert "
"assouplissent les règles du copyright, les normes renforcent cette tendance. "
"L'équilibre satisfaisant (pour les défenseurs du moins) qui prévalait "
"avant Internet devient de fait un état d'anarchie."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "technology"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "established industries threatened by changes in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Thus the sense of, and justification for, the warriors' response.  "
"Technology has changed, the warriors say, and the effect of this change, "
"when ramified through the market and norms, is that a balance of protection "
"for the copyright owners' rights has been lost. This is Iraq after the fall "
"of Saddam, but this time no government is justifying the looting that "
"results."
msgstr ""
"D'où le sens de la réponse des défenseurs, et sa justification. La "
"technologie a changé, disent ces défenseurs, et la conséquence de ce "
"changement, une fois qu'il s'est diffusé au travers du marché et des "
"normes, est que l'équilibre des protections dont jouissaient les détenteurs "
"de droits a disparu. C'est l'Irak après la chute de Saddam, mais à l'heure "
"actuelle aucun gouvernement ne justifie le pillage qui s'ensuit."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1381.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Commerce, U.S. Department of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "as establishment protectionism"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Neither this analysis nor the conclusions that follow are new to the "
"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce "
"Department (one heavily influenced by the copyright warriors) in 1995, this "
"mix of regulatory modalities had already been identified and the strategy to "
"respond already mapped. In response to the changes the Internet had "
"effected, the White Paper argued (1) Congress should strengthen intellectual "
"property law, (2) businesses should adopt innovative marketing techniques, "
"(3) technologists should push to develop code to protect copyrighted "
"material, and (4) educators should educate kids to better protect copyright."
msgstr ""
"Pas plus cette analyse que les conclusions qui suivent ne sont nouveaux pour "
"les défenseurs. En effet, dans un <quote>livre blanc</quote> préparé par "
"le Département du commerce (un département lourdement influencé par les "
"défenseurs du copyright) en 1995, cette confusion de modalités "
"régulatrices a déjà été identifiée, et la stratégie pour y répondre "
"déjà élaborée. En réponse aux changements apportés par Internet, le "
"livre blanc affirme que (1) le Congrès devrait durcir les lois protégeant "
"la propriété intellectuelle, (2) les entreprises devraient adopter de "
"nouvelles techniques de marketing, (3) les techniciens devraient être "
"incités à développer du code protégeant les contenus, (4) les éducateurs "
"devraient apprendre aux jeunes à mieux respecter le copyright."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "farming"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "steel industry"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This mixed strategy is just what copyright needed&mdash;if it was to "
"preserve the particular balance that existed before the change induced by "
"the Internet. And it's just what we should expect the content industry to "
"push for. It is as American as apple pie to consider the happy life you have "
"as an entitlement, and to look to the law to protect it if something comes "
"along to change that happy life. Homeowners living in a flood plain have no "
"hesitation appealing to the government to rebuild (and rebuild again) when a "
"flood (architecture) wipes away their property (law). Farmers have no "
"hesitation appealing to the government to bail them out when a virus "
"(architecture) devastates their crop. Unions have no hesitation appealing to "
"the government to bail them out when imports (market) wipe out the "
"U.S. steel industry."
msgstr ""
"Cette stratégie composite est juste ce dont le copyright aurait "
"besoin&mdash;s'il s'agissait de préserver cet équilibre particulier qui "
"existait avant le changement apporté par Internet. Et c'est juste ce qu'on "
"peut s'attendre à ce que les industries du contenu exigent. C'est aussi "
"américain que la tarte aux pommes de considérer l'existence agréable dont "
"vous jouissez comme un droit, et d'attendre de la loi qu'elle protège ce "
"droit si quelque chose se produit qui l'altère. Les propriétaires qui "
"habitent dans le lit d'un fleuve n'hésitent pas à en appeler au "
"gouvernement pour reconstruire (et reconstruire encore) leur maison lorsque "
"le fleuve (architecture) déborde sur leur propriété (loi). Les "
"agriculteurs n'hésitent pas à en appeler au gouvernement pour les tirer "
"d'affaire lorsqu'un virus (architecture) dévaste leurs troupeaux. Les "
"syndicats n'hésitent pas à en appeler au gouvernement lorsque les "
"importations (marché) détruisent l'industrie sidérurgique des U.S.A."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Thus, there's nothing wrong or surprising in the content industry's campaign "
"to protect itself from the harmful consequences of a technological "
"innovation. And I would be the last person to argue that the changing "
"technology of the Internet has not had a profound effect on the content "
"industry's way of doing business, or as John Seely Brown describes it, its "
"<quote>architecture of revenue.</quote>"
msgstr ""
"C'est pourquoi il n'y a rien d'anormal ni de surprenant dans la campagne "
"menée par l'industrie du contenu pour se protéger des conséquences "
"néfastes d'une innovation technologique. Et je serais la dernière personne "
"à prétendre que la technologie mouvante d'Internet n'a pas eu un effet "
"profond sur la façon de mener les affaires pour l'industrie du contenu, ou "
"comme le décrit John Seely Brown, sur son <quote>architecture de "
"revenus</quote>."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "railroad industry"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "remote channel changers"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a "
"Bridge?</quote> BusinessWeek online, 2 August 1999, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #23</ulink>. For a more recent "
"analysis of Kodak's place in the market, see Chana R. Schoenberger, "
"<quote>Can Kodak Make Up for Lost Moments?</quote> Forbes.com, 6 October "
"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#24</ulink>."
msgstr ""
"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a "
"Bridge?</quote> BusinessWeek online, 2 August 1999, available at link #23. "
"For a more recent analysis of Kodak's place in the market, see Chana R. "
"Schoenberger, <quote>Can Kodak Make Up for Lost Moments?</quote> Forbes.com, "
"6 October 2003, available at link #24."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But just because a particular interest asks for government support, it "
"doesn't follow that support should be granted. And just because technology "
"has weakened a particular way of doing business, it doesn't follow that the "
"government should intervene to support that old way of doing "
"business. Kodak, for example, has lost perhaps as much as 20 percent of "
"their traditional film market to the emerging technologies of digital "
"cameras.<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the "
"government should ban digital cameras just to support Kodak? Highways have "
"weakened the freight business for railroads. Does anyone think we should ban "
"trucks from roads <emphasis>for the purpose of</emphasis> protecting the "
"railroads? Closer to the subject of this book, remote channel changers have "
"weakened the <quote>stickiness</quote> of television advertising (if a "
"boring commercial comes on the TV, the remote makes it easy to surf), and it "
"may well be that this change has weakened the television advertising "
"market. But does anyone believe we should regulate remotes to reinforce "
"commercial television? (Maybe by limiting them to function only once a "
"second, or to switch to only ten channels within an hour?)"
msgstr ""
"Mais ce n'est pas parce qu'un intérêt particulier demande l'aide du "
"gouvernement que cette aide doit nécessairement être accordée. Et ce n'est "
"pas parce que le changement technologique a affaibli une manière "
"particulière de faire des affaires que le gouvernement doit nécessairement "
"intervenir pour sauver cette ancienne manière de faire des affaires. Kodak, "
"par exemple, a perdu de l'ordre de 20% du marché traditionnel de la "
"pellicule au profit du marché montant des appareils photos "
"numériques<placeholder type=\"footnote\" id=\"0\"/>. Y a-t-il quelqu'un pour "
"penser que le gouvernement devrait interdire les appareils numériques juste "
"pour soutenir Kodak&nbsp;? Les autoroutes ont nuit au transport par rail. Y "
"a-t-il quelqu'un pour penser qu'il faudrait interdire les semi-remorques "
"simplement <quote>dans le but</quote> de protéger le rail&nbsp;? En restant "
"plus près du sujet de ce livre, les télécommandes ont nuit à la "
"publicité télévisée (si un clip ennuyeux passe sur le petit écran, la "
"télécommande rend très facile de zapper), et il se peut bien que ce "
"changement ait nuit au marché de la publicité télévisée. Mais est-ce "
"qu'il y a quelqu'un pour penser qu'il faudrait réglementer l'usage de la "
"télécommande pour soutenir la télévision commerciale&nbsp;? (peut-être "
"en ne permettant de zapper qu'une fois par minute, ou de ne passer que sur "
"dix canaux par heure&nbsp;?)"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "free market, technological changes in"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Brezhnev, Leonid"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Gates, Bill"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "market competition"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, "
"1994), 170&ndash;71."
msgstr ""
"Fred Warshofsky,<citetitle> The Patent Wars</citetitle> (New York: Wiley, "
"1994), 170-71."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The obvious answer to these obviously rhetorical questions is no.  In a free "
"society, with a free market, supported by free enterprise and free trade, "
"the government's role is not to support one way of doing business against "
"others. Its role is not to pick winners and protect them against loss. If "
"the government did this generally, then we would never have any progress. As "
"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software "
"patents, <quote>established companies have an interest in excluding future "
"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative "
"to a startup, established companies also have the means. (Think RCA and FM "
"radio.) A world in which competitors with new ideas must fight not only the "
"market but also the government is a world in which competitors with new "
"ideas will not succeed. It is a world of stasis and increasingly "
"concentrated stagnation. It is the Soviet Union under Brezhnev."
msgstr ""
"La réponse évidente à toutes ces questions, qui ne sont bien sûr que "
"rhétoriques, est évidemment non. Dans une société libre, avec un marché "
"libre, soutenu par des entreprises libres et un commerce libre, le rôle du "
"gouvernement n'est pas de soutenir une manière de faire des affaires au "
"détriment d'une autre. Son rôle n'est pas de choisir un vainqueur et de le "
"protéger de tout échec. Si le gouvernement faisait cela de façon "
"habituelle, nous n'aurions jamais aucun progrès. Comme Bill Gates, le "
"président de Microsoft l'a écrit en 1991, dans une note critiquant les "
"brevets logiciels, <quote>les entreprises établies ont intérêt à évincer "
"leurs futurs concurrents</quote><placeholder type=\"footnote\" id=\"0\"/>. Et "
"en ce qui concerne les start-ups, les entreprises établies ont aussi les "
"moyens de faire cela (songez aux radios RCA et FM). Un monde où des "
"concurrents arrivant avec de nouvelles idées doivent se battre non seulement "
"contre le marché, mais aussi contre le gouvernement, est un monde où les "
"idées nouvelles n'ont aucune chance de succès. C'est un monde qui va vers "
"la stagnation. C'est l'Union soviétique sous Brejnev."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Thus, while it is understandable for industries threatened with new "
"technologies that change the way they do business to look to the government "
"for protection, it is the special duty of policy makers to guarantee that "
"that protection not become a deterrent to progress. It is the duty of policy "
"makers, in other words, to assure that the changes they create, in response "
"to the request of those hurt by changing technology, are changes that "
"preserve the incentives and opportunities for innovation and change."
msgstr ""
"Donc, tandis qu'il est compréhensible que les industries menacées par les "
"nouvelles technologies qui compromettent leurs méthodes commerciales "
"sollicitent la protection du gouvernement, c'est un devoir particulier des "
"politiques de garantir que cette protection ne compromet pas le progrès. "
"C'est le devoir des hommes politiques, en d'autres termes, de garantir que "
"les mesures qu'ils prennent en réponse aux demandes de ceux qui ont été "
"lésés par le changement technologique, sont des mesures qui préservent "
"motivation et opportunités d'innovation."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "speech, freedom of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "constitutional guarantee of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the context of laws regulating speech&mdash;which include, obviously, "
"copyright law&mdash;that duty is even stronger. When the industry "
"complaining about changing technologies is asking Congress to respond in a "
"way that burdens speech and creativity, policy makers should be especially "
"wary of the request. It is always a bad deal for the government to get into "
"the business of regulating speech markets. The risks and dangers of that "
"game are precisely why our framers created the First Amendment to our "
"Constitution: <quote>Congress shall make no law &hellip; abridging the "
"freedom of speech.</quote> So when Congress is being asked to pass laws that "
"would <quote>abridge</quote> the freedom of speech, it should ask&mdash; "
"carefully&mdash;whether such regulation is justified."
msgstr ""
"Dans le contexte des lois qui réglementent l'expression &mdash; ce qui "
"inclut, évidemment, la loi sur le copyright &mdash; ce devoir est encore "
"plus impérieux. Quand l'industrie, se plaignant des changements "
"technologiques, exige du Congrès des mesures qui pèsent sur l'expression et "
"la créativité, les politiciens devraient être particulièrement prudents. "
"C'est toujours une mauvaise pratique pour le gouvernement de réglementer les "
"marchés de l'expression. Les risques encourus à ce jeu là sont "
"précisément ceux pour lesquels les auteurs de notre constitution ont "
"institué le premier amendement&nbsp;: <quote>Le Congrès ne doit édicter "
"aucune loi... restreignant la liberté d'expression</quote>. Ainsi, lorsqu'on "
"demande au Congrès d'examiner une loi qui risque de "
"<quote>restreindre</quote> la liberté d'expression, il devrait examiner - et "
"soigneusement - si une telle réglementation est justifiée."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My argument just now, however, has nothing to do with whether the changes "
"that are being pushed by the copyright warriors are "
"<quote>justified.</quote> My argument is about their effect. For before we "
"get to the question of justification, a hard question that depends a great "
"deal upon your values, we should first ask whether we understand the effect "
"of the changes the content industry wants."
msgstr ""
"L'argument que je vais développer maintenant, n'a rien a voir avec "
"l'hypothèse selon laquelle les changements réclamés par les défenseurs du "
"copyright sont <quote>justifiés</quote>. Cet argument concerne leurs effets. "
"Mais avant d'en venir à la question de la justification, une question "
"difficile qui dépend beaucoup de vos valeurs personnelles, il faut d'abord "
"se demander si nous évaluons bien les conséquences des changements que "
"souhaite l'industrie du contenu."

#. type: Content of: <book><part><chapter><section><para>
msgid "Here's the metaphor that will capture the argument to follow."
msgstr "Voici une métaphore qui illustrera l'argumentation qui suit."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Müller, Paul Hermann"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "DDT"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "insecticide, environmental consequences of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul "
"Hermann Müller won the Nobel Prize for his work demonstrating the "
"insecticidal properties of DDT. By the 1950s, the insecticide was widely "
"used around the world to kill disease-carrying pests. It was also used to "
"increase farm production."
msgstr ""
"En 1873, le DDT a été synthétisé pour la première fois. En 1948, le "
"chimiste suisse Paul Hermann Muller a reçu le prix Nobel pour son travail "
"démontrant les propriétés insecticides du DDT. Dans les années 50, cet "
"insecticide a été très largement utilisé pour combattre les parasites "
"porteurs de maladie, ainsi que pour augmenter la production agricole."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No one doubts that killing disease-carrying pests or increasing crop "
"production is a good thing. No one doubts that the work of Müller was "
"important and valuable and probably saved lives, possibly millions."
msgstr ""
"Personne ne met en doute le fait que supprimer des parasites ou augmenter la "
"production du bétail soit une bonne chose. Personne ne met en doute le fait "
"que le travail de Muller a été de valeur et qu'il a probablement sauvé des "
"vies, peut-être même des millions."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Carson, Rachel"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Silent Spring (Carson)"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "environmentalism"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, "
"which argued that DDT, whatever its primary benefits, was also having "
"unintended environmental consequences. Birds were losing the ability to "
"reproduce.  Whole chains of the ecology were being destroyed."
msgstr ""
"Mais en 1962, Rachel Carson a publié <quote>Printemps silencieux</quote>, "
"qui démontre que le DDT, quels qu'aient été les bienfaits qu'il a "
"apportés au début, a eu aussi des conséquences imprévues sur "
"l'environnement. Les oiseaux ont perdu leur capacité à se reproduire, toute "
"la chaîne écologique a été détruite."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No one set out to destroy the environment. Paul Müller certainly did not aim "
"to harm any birds. But the effort to solve one set of problems produced "
"another set which, in the view of some, was far worse than the problems that "
"were originally attacked. Or more accurately, the problems DDT caused were "
"worse than the problems it solved, at least when considering the other, more "
"environmentally friendly ways to solve the problems that DDT was meant to "
"solve."
msgstr ""
"Personne n'a pour but de détruire l'environnement et Paul Muller n'a "
"certainement jamais voulu faire de mal aux oiseaux. Mais l'effort déployé "
"pour résoudre un ensemble de problèmes a produit un autre ensemble de "
"problèmes, bien plus graves aux yeux de certains que ceux qu'on avait "
"cherché à résoudre en premier lieu. Ou plus précisément, les problèmes "
"causés par le DDT ont été pires que ceux qu'il a résolus, du moins si "
"l'on considère les autres manières, plus écologiques, d'atteindre le but "
"qu'il était censé atteindre."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Boyle, James"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "innovative freedom balanced with fair compensation in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See, for example, James Boyle, <quote>A Politics of Intellectual Property: "
"Environmentalism for the Net?</quote> <citetitle>Duke Law "
"Journal</citetitle> 47 (1997): 87."
msgstr ""
"See, for example, James Boyle, <quote>A Politics of Intellectual Property: "
"Environmentalism for the Net?</quote><citetitle> Duke Law Journal</citetitle> "
"47 (1997): 87."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It is to this image precisely that Duke University law professor James Boyle "
"appeals when he argues that we need an <quote>environmentalism</quote> for "
"culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I "
"want to develop in the balance of this chapter, is not that the aims of "
"copyright are flawed. Or that authors should not be paid for their work. Or "
"that music should be given away <quote>for free.</quote> The point is that "
"some of the ways in which we might protect authors will have unintended "
"consequences for the cultural environment, much like DDT had for the natural "
"environment. And just as criticism of DDT is not an endorsement of malaria "
"or an attack on farmers, so, too, is criticism of one particular set of "
"regulations protecting copyright not an endorsement of anarchy or an attack "
"on authors.  It is an environment of creativity that we seek, and we should "
"be aware of our actions' effects on the environment."
msgstr ""
"C'est précisément à cette image que James Boyle, professeur de droit à "
"l'Université de Duke, fait appel lorsqu'il soutient que nous avons besoin "
"d'une <quote>écologie</quote> de la culture<placeholder type=\"footnote\" "
"id=\"0\"/>. Dans sa perspective, tout comme dans celle que je défend dans ce "
"chapitre, le problème n'est pas que le but du copyright est mauvais, ou que "
"les auteurs ne devraient pas être payés pour leur travail, ou que la "
"musique devrait être distribuée gratuitement. Ce qui compte, c'est que "
"certains des moyens que nous pourrions employer pour protéger les auteurs "
"risquent d'avoir des conséquences imprévisibles pour l'environnement "
"culturel, tout comme le DDT en a eues pour l'environnement naturel. Et, tout "
"comme les critiques faites au DDT ne constituent pas une apologie de la "
"malaria ou une attaque contre les agriculteurs, de même la critique d'un "
"ensemble particulier de mesures de protection du copyright ne constitue pas "
"une apologie de l'anarchie ou une attaque de leurs auteurs. Nous cherchons "
"seulement un environnement favorable à la création, et nous devrions "
"prêter attention aux conséquences de nos actions sur cet environnement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My argument, in the balance of this chapter, tries to map exactly this "
"effect. No doubt the technology of the Internet has had a dramatic effect on "
"the ability of copyright owners to protect their content. But there should "
"also be little doubt that when you add together the changes in copyright law "
"over time, plus the change in technology that the Internet is undergoing "
"just now, the net effect of these changes will not be only that copyrighted "
"work is effectively protected. Also, and generally missed, the net effect of "
"this massive increase in protection will be devastating to the environment "
"for creativity."
msgstr ""
"Mon argumentation, dans le cadre de ce chapitre, tente de cartographier ces "
"conséquences. Il n'y a aucun doute sur le fait qu'Internet a eu un effet "
"spectaculaire sur la capacité des détenteurs de copyright à protéger "
"leurs contenus. Mais il ne devrait non plus y avoir que peu de doute sur le "
"fait que si vous additionnez les changements effectués au fil du temps aux "
"lois concernant le copyright au changement technique qu'Internet subit à "
"l'heure actuelle, le résultat ne se réduira pas à une protection efficace "
"des oeuvres sous copyright. Le résultat de cette augmentation massive de "
"protection sera dévastateur pour l'environnement de la créativité."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In a line: To kill a gnat, we are spraying DDT with consequences for free "
"culture that will be far more devastating than that this gnat will be lost."
msgstr ""
"En une phrase&nbsp;: pour nous débarrasser d'un moustique, nous répandons "
"du DDT, avec des effets sur la culture libre bien plus dévastateurs que ceux "
"qu'aurait causés ce moustique."

#. type: Content of: <book><part><chapter><section><title>
msgid "Beginnings"
msgstr "Débuts"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on creative property"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "copyright purpose established in"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "Progress Clause of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "constitutional purpose of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "constitutional tradition on"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Progress Clause"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"America copied English copyright law. Actually, we copied and improved "
"English copyright law. Our Constitution makes the purpose of <quote>creative "
"property</quote> rights clear; its express limitations reinforce the English "
"aim to avoid overly powerful publishers."
msgstr ""
"L'Amérique a copié les lois anglaises sur le copyright. En fait, nous les "
"avons copiées en les améliorant. Notre constitution rend le but de la "
"<quote>propriété des créations</quote> très clair&nbsp;; les limitations "
"explicites de ces lois renforcent l'intention initiale des anglais d'éviter "
"que les éditeurs aient un pouvoir excessif."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "in constitutional Progress Clause"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The power to establish <quote>creative property</quote> rights is granted to "
"Congress in a way that, for our Constitution, at least, is very odd. Article "
"I, section 8, clause 8 of our Constitution states that:"
msgstr ""
"Le pouvoir d'établir les lois concernant la <quote>propriété des "
"créations</quote> est accordé au Congrès d'une manière qui, pour notre "
"constitution du moins, est très bizarre. L'Article I, section 8, clause 8 de "
"notre Constitution établit que&nbsp;:"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Congress has the power to promote the Progress of Science and useful Arts, "
"by securing for limited Times to Authors and Inventors the exclusive Right "
"to their respective Writings and Discoveries.  We can call this the "
"<quote>Progress Clause,</quote> for notice what this clause does not say. It "
"does not say Congress has the power to grant <quote>creative property "
"rights.</quote> It says that Congress has the power <emphasis>to promote "
"progress</emphasis>. The grant of power is its purpose, and its purpose is a "
"public one, not the purpose of enriching publishers, nor even primarily the "
"purpose of rewarding authors."
msgstr ""
"Le Congrès a le pouvoir de promouvoir le progrès des sciences et techniques "
"en assurant pour un temps limité aux auteurs et inventeurs un droit exclusif "
"sur leurs écrits et découvertes respectifs. Nous pouvons appeler cela une "
"<quote>clause de progrès</quote>, pour mettre en lumière ce que cette "
"clause ne dit pas. Elle ne dit pas que le Congrès a le pouvoir d'accorder "
"des <quote>droits de propriété sur les créations</quote>. Elle dit que le "
"Congrès a le pouvoir de promouvoir le progrès. Son objet est d'accorder un "
"pouvoir, et il s'agit d'un but public, pas le but d'enrichir des éditeurs, "
"ni même initialement de rémunérer les auteurs."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "history of American"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Progress Clause expressly limits the term of copyrights. As we saw in "
"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the "
"English limited the term of copyright so as to assure that a few would not "
"exercise disproportionate control over culture by exercising "
"disproportionate control over publishing. We can assume the framers followed "
"the English for a similar purpose. Indeed, unlike the English, the framers "
"reinforced that objective, by requiring that copyrights extend <quote>to "
"Authors</quote> only."
msgstr ""
"La clause de progrès limite explicitement la durée du copyright. Comme nous "
"l'avons vu au chapitre <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, les anglais ont limité la durée du copyright pour "
"garantir qu'un petit nombre ne puisse pas exercer un contrôle "
"disproportionné sur la culture en ayant un contrôle exagéré sur la "
"publication. Nous pouvons supposer que les auteurs de la Constitution ont "
"imité les anglais dans un but similaire. En fait, contrairement aux anglais, "
"ces auteurs ont renforcé cet objectif en exigeant que le copyright ne "
"s'applique qu'aux <quote>auteurs</quote>."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Senate, U.S."
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "structural checks and balances of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "electoral college"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The design of the Progress Clause reflects something about the "
"Constitution's design in general. To avoid a problem, the framers built "
"structure. To prevent the concentrated power of publishers, they built a "
"structure that kept copyrights away from publishers and kept them short. To "
"prevent the concentrated power of a church, they banned the federal "
"government from establishing a church. To prevent concentrating power in the "
"federal government, they built structures to reinforce the power of the "
"states&mdash;including the Senate, whose members were at the time selected "
"by the states, and an electoral college, also selected by the states, to "
"select the president. In each case, a <emphasis>structure</emphasis> built "
"checks and balances into the constitutional frame, structured to prevent "
"otherwise inevitable concentrations of power."
msgstr ""
"La conception de cette clause de progrès reflète la conception de la "
"Constitution en général. Lorsqu'ils voulaient éviter un problème, ses "
"auteurs ont établi une structure. Pour ne pas concentrer le pouvoir aux "
"mains des éditeurs, ils ont établi une structure qui exclut les éditeurs "
"du copyright et n'accorde qu'une durée brève à celui-ci. Pour ne pas "
"concentrer le pouvoir aux mains d'une église, ils ont interdit au "
"gouvernement de fonder une église. Pour ne pas concentrer le pouvoir aux "
"mains du gouvernement fédéral, ils ont créé des structures qui étendent "
"le pouvoir des états &mdash; ce qui inclut le Sénat dont les membres à "
"cette époque étaient désignés par les états, et un collège électoral, "
"lui aussi désigné par les états, pour choisir le président. Dans chaque "
"cas, il y a une structure qui exerce une surveillance et créé un équilibre "
"dans le cadre constitutionnel, conçue pour éviter une concentration de "
"pouvoir qui serait inévitable autrement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I doubt the framers would recognize the regulation we call "
"<quote>copyright</quote> today. The scope of that regulation is far beyond "
"anything they ever considered. To begin to understand what they did, we need "
"to put our <quote>copyright</quote> in context: We need to see how it has "
"changed in the 210 years since they first struck its design."
msgstr ""
"Je ne pense pas que les auteurs de notre constitution reconnaitraient le "
"règlement que nous appelons <quote>copy-right</quote> (NDT&nbsp;: <quote "
">droit-de-copie</quote>) aujourd'hui. Le champ d'application de ce règlement "
"va bien au delà de tout ce qu'ils ont pu imaginer. Pour commencer à "
"comprendre ce qu'ils ont fait, il faut replacer notre "
"<quote>copyright</quote> dans son contexte&nbsp;: il faut voir en quoi il a "
"changé pendant les 210 années écoulées depuis sa conception."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Some of these changes come from the law: some in light of changes in "
"technology, and some in light of changes in technology given a particular "
"concentration of market power. In terms of our model, we started here:"
msgstr ""
"Certains de ces changements proviennent de la loi&nbsp;: certains pour tenir "
"compte de changements technologiques et certains pour tenir compte de "
"changements technologiques dans le contexte d'une concentration particulière "
"de pouvoir au niveau du marché. Dans le langage de notre modèle, nous "
"sommes partis d'ici&nbsp;:"

#. type: Content of: <book><part><chapter><section><para>
msgid "We will end here:"
msgstr "Nous finirons là&nbsp;:"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1442.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid "Let me explain how."
msgstr "Je vais maintenant m'expliquer."

#. type: Content of: <book><part><chapter><section><title>
msgid "Law: Duration"
msgstr "Loi: durée"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Copyright Act (1790)"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "common law protections of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "balance of U.S. content in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Crosskey, William W."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
"vol. 1, 485&ndash;86: <quote>extinguish[ing], by plain implication of `the "
"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, "
"or were supposed by some to have, under the Common Law</emphasis></quote> "
"(emphasis added).  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When the first Congress enacted laws to protect creative property, it faced "
"the same uncertainty about the status of creative property that the English "
"had confronted in 1774. Many states had passed laws protecting creative "
"property, and some believed that these laws simply supplemented common law "
"rights that already protected creative authorship.<placeholder "
"type=\"footnote\" id=\"0\"/> This meant that there was no guaranteed public "
"domain in the United States in 1790. If copyrights were protected by the "
"common law, then there was no simple way to know whether a work published in "
"the United States was controlled or free. Just as in England, this lingering "
"uncertainty would make it hard for publishers to rely upon a public domain "
"to reprint and distribute works."
msgstr ""
"Lorsque le premier Congrès a édicté des lois pour protéger la propriété "
"des créations, il s'est trouvé en face de la même incertitude concernant "
"le statut de cette propriété auquel les anglais avaient été confrontés "
"en 1774. Beaucoup d'états avaient fait passer des lois protégeant la "
"propriété des créations, et certains pensent que ces lois ne faisaient que "
"compléter les lois ordinaires protégeant déjà la création<placeholder "
"type=\"footnote\" id=\"0\"/>. Ce qui signifie qu'il n'y avait pas de domaine "
"public garanti aux États Unis en 1790. Si les copyrights étaient protégés "
"par la loi commune, alors il n'y avait aucun moyen simple de savoir si une "
"oeuvre publiée aux États Unis était libre ou sous protection. Tout comme "
"en Angleterre, cette incertitude durable empêchait les éditeurs de se "
"reposer sur un domaine public pour la republication et la diffusion des "
"oeuvres."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "federal vs. state"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"That uncertainty ended after Congress passed legislation granting "
"copyrights. Because federal law overrides any contrary state law, federal "
"protections for copyrighted works displaced any state law protections.  Just "
"as in England the Statute of Anne eventually meant that the copyrights for "
"all English works expired, a federal statute meant that any state copyrights "
"expired as well."
msgstr ""
"Cette incertitude a pris fin lorsque le Congrès a voté une législation "
"accordant des copyrights. Comme la loi fédérale a précédence sur toute "
"loi contraire d'un état, les protections fédérales des oeuvres sous "
"copyright annulent toute protection due à la loi d'un état. Tout comme en "
"Angleterre le <quote>statut d'Anne</quote> garantit que les copyrights de "
"toutes les oeuvres anglaises finissent par expirer, une loi fédérale "
"stipulait que tout copyright accordé par un état devait expirer également."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1790, Congress enacted the first copyright law. It created a federal "
"copyright and secured that copyright for fourteen years. If the author was "
"alive at the end of that fourteen years, then he could opt to renew the "
"copyright for another fourteen years. If he did not renew the copyright, his "
"work passed into the public domain."
msgstr ""
"En 1790, le Congrès a édicté la première loi sur le copyright. Il a "
"institué un copyright fédéral et garanti ce copyright pour quatorze ans. "
"Si l'auteur était encore en vie à l'issue de ces quatorze années, alors il "
"pouvait choisir de renouveler ce copyright pour quatorze autres années. S'il "
"ne le renouvelait pas, son oeuvre passait dans le domaine public."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Although 13,000 titles were published in the United States from 1790 to "
"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A "
"History of Book Publishing in the United States</citetitle>, vol. 1, "
"<citetitle>The Creation of an Industry, 1630&ndash;1865</citetitle> (New "
"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only "
"twelve were copyrighted under the 1790 act; William J. Maher, "
"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of "
"1790 in Historical Context</citetitle>, 7&ndash;10 (2002), available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>.  Thus, the "
"overwhelming majority of works fell immediately into the public domain. Even "
"those works that were copyrighted fell into the public domain quickly, "
"because the term of copyright was short. The initial term of copyright was "
"fourteen years, with the option of renewal for an additional fourteen "
"years. Copyright Act of May 31, 1790, §1, 1 stat. 124."
msgstr ""
"Although 13,000 titles were published in the United States from 1790 to 1799, "
"only 556 copyright registrations were filed; John Tebbel,<citetitle> A "
"History of Book Publishing in the United States,</citetitle> vol. "
"1,<citetitle> The Creation of an Industry, 1630-1865</citetitle> (New York: "
"Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only twelve "
"were copyrighted under the 1790 act; William J. Maher,<citetitle> Copyright "
"Term, Retrospective Extension and the Copyright Law of 1790 in Historical "
"Context,</citetitle> 7-10 (2002), available at link #25. Thus, the "
"overwhelming majority of works fell immediately into the public domain. Even "
"those works that were copyrighted fell into the public domain quickly, "
"because the term of copyright was short. The initial term of copyright was "
"fourteen years, with the option of renewal for an additional fourteen years. "
"Copyright Act of May 31, 1790, §1, 1 stat. 124."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"While there were many works created in the United States in the first ten "
"years of the Republic, only 5 percent of the works were actually registered "
"under the federal copyright regime. Of all the work created in the United "
"States both before 1790 and from 1790 through 1800, 95 percent immediately "
"passed into the public domain; the balance would pass into the pubic domain "
"within twenty-eight years at most, and more likely within fourteen "
"years.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Alors que de nombreuses oeuvres ont été créées aux États Unis pendant "
"les dix premières années de la république, seulement 5 pour cent de ces "
"oeuvres étaient en fait enregistrées sous le régime du copyright "
"fédéral. De toutes les oeuvres créées aux États Unis avant 1790 et de "
"1790 à 1800, 95 pour cent sont passées immédiatement dans le domaine "
"public&nbsp;; le domaine public a eu un poids prépondérant pendant vingt "
"huit ans au moins, et probablement pendant quarante ans<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This system of renewal was a crucial part of the American system of "
"copyright. It assured that the maximum terms of copyright would be granted "
"only for works where they were wanted. After the initial term of fourteen "
"years, if it wasn't worth it to an author to renew his copyright, then it "
"wasn't worth it to society to insist on the copyright, either."
msgstr ""
"Ce système de renouvellement constituait une pièce critique du système "
"américain de copyright. Il garantissait que la durée maximum du copyright "
"serait accordée uniquement lorsque c'était souhaitable. À l'issue de la "
"période initiale de quatorze ans, si l'auteur ne prenait pas la peine de "
"renouveler le copyright, alors ce n'était pas la peine que la société "
"maintienne le copyright non plus."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Few copyright holders ever chose to renew their copyrights. For instance, of "
"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For "
"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on "
"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), "
"618. For a more recent and comprehensive analysis, see William M. Landes and "
"Richard A.  Posner, <quote>Indefinitely Renewable Copyright,</quote> "
"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, "
"498&ndash;501, and accompanying figures."
msgstr ""
"Few copyright holders ever chose to renew their copyrights. For instance, of "
"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For "
"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
"<quote>Study No. 31: Renewal of Copyright,</quote><citetitle> Studies on "
"Copyright,</citetitle> vol. 1 (New York: Practicing Law Institute, 1963), "
"618. For a more recent and comprehensive analysis, see William M. Landes and "
"Richard A. Posner, <quote>Indefinitely Renewable "
"Copyright,</quote><citetitle> University of Chicago Law Review</citetitle> 70 "
"(2003): 471, 498-501, and accompanying figures."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Fourteen years may not seem long to us, but for the vast majority of "
"copyright owners at that time, it was long enough: Only a small minority of "
"them renewed their copyright after fourteen years; the balance allowed their "
"work to pass into the public domain.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Quatorze ans ne semblent peut-être pas une longue période de temps pour "
"nous, mais pour la grande majorité des détenteurs de copyright à cette "
"époque, c'était bien assez long&nbsp;: seule une petite minorité d'entre "
"eux renouvelait leur copyright&nbsp;; la mesure permettait que leur travail "
"passe dans le domaine public<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "See Ringer, ch. 9, n. 2."
msgstr "See Ringer, ch. 9, n. 2."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Even today, this structure would make sense. Most creative work has an "
"actual commercial life of just a couple of years. Most books fall out of "
"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that "
"happens, the used books are traded free of copyright regulation. Thus the "
"books are no longer <emphasis>effectively</emphasis> controlled by "
"copyright. The only practical commercial use of the books at that time is to "
"sell the books as used books; that use&mdash;because it does not involve "
"publication&mdash;is effectively free."
msgstr ""
"Encore aujourd'hui, cette structure serait pertinente. La plupart des "
"créations n'a qu'une vie commerciale de quelques années. La plupart des "
"livres sont épuisés en moins d'un an<placeholder type=\"footnote\" "
"id=\"0\"/>. Lorsque cela se produit, la vente des livres d'occasion n'est "
"plus soumise aux règles du copyright. Ainsi les livres ne sont plus en fait "
"sous le contrôle du copyright. Le seul usage commercial de ces livres est la "
"vente de livres d'occasion&nbsp;; cet usage &mdash; qui n'implique pas de "
"publication &mdash; est libre en effet."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "copyright terms extended by"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "term extensions in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the first hundred years of the Republic, the term of copyright was "
"changed once. In 1831, the term was increased from a maximum of 28 years to "
"a maximum of 42 by increasing the initial term of copyright from 14 years to "
"28 years. In the next fifty years of the Republic, the term increased once "
"again. In 1909, Congress extended the renewal term of 14 years to 28 years, "
"setting a maximum term of 56 years."
msgstr ""
"Au cours des cent premières années de la République, la durée du "
"copyright a changé une fois. En 1831, cette durée est passée d'un maximum "
"de 28 ans à un maximum de 42 ans en augmentant la durée initiale du "
"copyright de 14 à 28 ans. Dans les cinquante ans qui ont suivi, cette durée "
"a augmenté une nouvelle fois. En 1909, le Congrès a étendu la durée de la "
"période de renouvellement de 14 à 28 ans, portant la durée maximum à 56 "
"ans."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "future patents vs. future copyrights in"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Then, beginning in 1962, Congress started a practice that has defined "
"copyright law since. Eleven times in the last forty years, Congress has "
"extended the terms of existing copyrights; twice in those forty years, "
"Congress extended the term of future copyrights. Initially, the extensions "
"of existing copyrights were short, a mere one to two years.  In 1976, "
"Congress extended all existing copyrights by nineteen years.  And in 1998, "
"in the Sonny Bono Copyright Term Extension Act, Congress extended the term "
"of existing and future copyrights by twenty years."
msgstr ""
"Puis, au début de 1962, le Congrès a adopté une pratique qui a servi "
"depuis à définir la loi sur le copyright. Onze fois durant les quarante "
"dernières années, le Congrès a augmenté la durée de copyrights "
"existants&nbsp;; deux fois durant cette période, il a allongé la durée de "
"futurs copyrights. Au début, ces allongements étaient courts, de l'ordre de "
"un à deux ans. En 1976, le congrès a allongé tous les copyrights existants "
"de dix neuf ans. Et en 1998, avec le <quote>Sonny Bono Copyright Term "
"Extension Act</quote>, il a allongé la durée des copyrights existants et "
"futurs de vingt ans."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "patents"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in public domain"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The effect of these extensions is simply to toll, or delay, the passing of "
"works into the public domain. This latest extension means that the public "
"domain will have been tolled for thirty-nine out of fifty-five years, or 70 "
"percent of the time since 1962. Thus, in the twenty years after the Sonny "
"Bono Act, while one million patents will pass into the public domain, zero "
"copyrights will pass into the public domain by virtue of the expiration of a "
"copyright term."
msgstr ""
"L'effet de ces allongements est simplement de pénaliser, ou de retarder, le "
"passage des oeuvres dans le domaine public. Ce dernier allongement signifie "
"que le domaine public a été pénalisé de trente neuf ans à partir de "
"cinquante cinq ans, ce qui fait une augmentation de 70 pour cent depuis 1962. "
"Donc, pendant les vingt ans qui s'écouleront après l'édiction du "
"<quote>Sonny Bono Act</quote>, tandis qu'un million de brevets tomberont dans "
"le domaine public, aucun copyright n'arrivera à l'expiration de sa durée "
"légale."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The effect of these extensions has been exacerbated by another, "
"little-noticed change in the copyright law. Remember I said that the framers "
"established a two-part copyright regime, requiring a copyright owner to "
"renew his copyright after an initial term. The requirement of renewal meant "
"that works that no longer needed copyright protection would pass more "
"quickly into the public domain. The works remaining under protection would "
"be those that had some continuing commercial value."
msgstr ""
"L'effet de ces allongements a encore été exagéré par un autre changement, "
"peu remarqué de la loi sur le copyright. Souvenez-vous, j'ai dit que les "
"initiateurs de la loi avaient prévu un régime en deux temps, obligeant un "
"détenteur de copyright à le renouveler à l'issue de sa durée initiale. "
"Cette exigence de renouvellement permettait que les oeuvres pour lesquelles "
"la protection du copyright n'était plus nécessaire passent plus vite dans "
"le domaine public. Les oeuvres restant protégées étant celles qui "
"continuaient d'avoir une valeur commerciale."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "of natural authors vs. corporations"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "corporations"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright terms for"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The United States abandoned this sensible system in 1976. For all works "
"created after 1978, there was only one copyright term&mdash;the maximum "
"term. For <quote>natural</quote> authors, that term was life plus fifty "
"years. For corporations, the term was seventy-five years. Then, in 1992, "
"Congress abandoned the renewal requirement for all works created before "
"1978. All works still under copyright would be accorded the maximum term "
"then available. After the Sonny Bono Act, that term was ninety-five years."
msgstr ""
"Les États Unis ont abandonné ce système raisonnable en 1976. Pour les "
"oeuvres créées après 1978, il n'a plus existé qu'une seule durée du "
"copyright &mdash; la durée maximale. Pour des auteurs personnes physiques, "
"cette durée était de cinquante ans après leur mort. Pour les entreprises, "
"cette durée était de soixante quinze ans. Puis, en 1992, le Congrès a "
"abandonné l'exigence de renouvellement pour toutes les oeuvres créées "
"avant 1978. A toutes les oeuvres encore sous copyright était accordé la "
"durée maximale possible. Après le Sonny Bono Act, cette durée était de "
"quatre vingt quinze ans."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This change meant that American law no longer had an automatic way to assure "
"that works that were no longer exploited passed into the public domain. And "
"indeed, after these changes, it is unclear whether it is even possible to "
"put works into the public domain. The public domain is orphaned by these "
"changes in copyright law. Despite the requirement that terms be "
"<quote>limited,</quote> we have no evidence that anything will limit them."
msgstr ""
"Ce changement faisait que la loi américaine n'avait plus aucun moyen de "
"garantir automatiquement que les oeuvres n'étant plus exploitées tombent "
"dans le domaine public. Le domaine public est devenu orphelin après ces "
"changements de législation. Malgré l'exigence d'avoir une durée limitée, "
"nous n'avons aucune preuve que quelque chose la limitera."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"These statistics are understated. Between the years 1910 and 1962 (the first "
"year the renewal term was extended), the average term was never more than "
"thirty-two years, and averaged thirty years. See Landes and Posner, "
"<quote>Indefinitely Renewable Copyright,</quote> loc. cit."
msgstr ""
"These statistics are understated. Between the years 1910 and 1962 (the first "
"year the renewal term was extended), the average term was never more than "
"thirty-two years, and averaged thirty years. See Landes and Posner, "
"<quote>Indefinitely Renewable Copyright,</quote> loc. cit."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The effect of these changes on the average duration of copyright is "
"dramatic. In 1973, more than 85 percent of copyright owners failed to renew "
"their copyright. That meant that the average term of copyright in 1973 was "
"just 32.2 years. Because of the elimination of the renewal requirement, the "
"average term of copyright is now the maximum term.  In thirty years, then, "
"the average term has tripled, from 32.2 years to 95 years.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"L'effet de ces changements sur la durée moyenne du copyright est "
"considérable. En 1973, plus de 85 pour cent des détenteurs de copyright "
"négligeaient de le renouveler, ce qui fait que la durée moyenne du "
"copyright en 1973 n'était que 32,2 ans. Par suite de la suppression de "
"l'exigence de renouvellement, la durée moyenne du copyright est la durée "
"maximale. En trente ans, la durée moyenne a triplé, passant de 32,2 ans à "
"95 ans<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><title>
msgid "Law: Scope"
msgstr "Loi: étendue"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "scope of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The <quote>scope</quote> of a copyright is the range of rights granted by "
"the law.  The scope of American copyright has changed dramatically. Those "
"changes are not necessarily bad. But we should understand the extent of the "
"changes if we're to keep this debate in context."
msgstr ""
"L'<quote>étendue</quote> d'un copyright est l'éventail des droits accordés "
"par la loi. L'étendue du copyright américain a changé de façon "
"spectaculaire. Ces changements ne sont pas forcément mauvais, mais il faut "
"en comprendre l'importance si nous voulons garder cette discussion dans son "
"contexte."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "historical shift in copyright coverage of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1790, that scope was very narrow. Copyright covered only <quote>maps, "
"charts, and books.</quote> That means it didn't cover, for example, music or "
"architecture. More significantly, the right granted by a copyright gave the "
"author the exclusive right to <quote>publish</quote> copyrighted works. That "
"means someone else violated the copyright only if he republished the work "
"without the copyright owner's permission. Finally, the right granted by a "
"copyright was an exclusive right to that particular book. The right did not "
"extend to what lawyers call <quote>derivative works.</quote> It would not, "
"therefore, interfere with the right of someone other than the author to "
"translate a copyrighted book, or to adapt the story to a different form "
"(such as a drama based on a published book)."
msgstr ""
"En 1970, cette étendue était très restreinte. Le copyright couvrait "
"uniquement <quote>les cartes, les graphiques et les livres</quote>. Cela ne "
"concernait donc pas, par exemple, la musique ou l'architecture. Plus "
"précisément, le copyright donnait à l'auteur le droit exclusif de "
"<quote>publier</quote> l'oeuvre sous copyright. Ce qui veut dire que "
"quelqu'un ne violait le copyright que s'il rééditait l'oeuvre sans la "
"permission du détenteur du copyright. Enfin, le droit accordé par le "
"copyright était un droit exclusif sur un livre bien précis. Ce droit ne "
"s'étendait pas à ce que les juristes appellent <quote>les travaux "
"dérivés</quote>. Par conséquent, il n'interférait pas avec le droit de "
"n'importe qui en dehors de l'auteur de traduire un livre sous copyright, ou "
"d'adapter l'histoire à un autre mode de présentation (comme une pièce de "
"théâtre basée sur un livre publié)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This, too, has changed dramatically. While the contours of copyright today "
"are extremely hard to describe simply, in general terms, the right covers "
"practically any creative work that is reduced to a tangible form. It covers "
"music as well as architecture, drama as well as computer programs. It gives "
"the copyright owner of that creative work not only the exclusive right to "
"<quote>publish</quote> the work, but also the exclusive right of control "
"over any <quote>copies</quote> of that work. And most significant for our "
"purposes here, the right gives the copyright owner control over not only his "
"or her particular work, but also any <quote>derivative work</quote> that "
"might grow out of the original work. In this way, the right covers more "
"creative work, protects the creative work more broadly, and protects works "
"that are based in a significant way on the initial creative work."
msgstr ""
"Cela aussi a changé considérablement. Tandis qu'il est très difficile de "
"le décrire en des termes simples et généraux, ce droit couvre pratiquement "
"toute oeuvre qui prend une forme tangible. Il couvre aussi bien la musique "
"que l'architecture, le théâtre que les programmes d'ordinateur. Il donne au "
"détenteur du copyright non seulement le droit exclusif de "
"<quote>publier</quote> l'oeuvre, mais aussi celui contrôler toute "
"<quote>copie</quote> de cette oeuvre. Le plus important en ce qui concerne "
"notre propos actuel est que le droit donne au détenteur du copyright tout "
"contrôle non seulement sur son oeuvre proprement dite, mais aussi sur toute "
"<quote>oeuvre dérivée</quote>. De cette façon, le droit protège plus de "
"créations, les protègent de façon plus complète et protègent les oeuvres "
"basées de façon significative sur la création initiale."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "marking of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "formalities"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "registration requirement of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"At the same time that the scope of copyright has expanded, procedural "
"limitations on the right have been relaxed. I've already described the "
"complete removal of the renewal requirement in 1992. In addition to the "
"renewal requirement, for most of the history of American copyright law, "
"there was a requirement that a work be registered before it could receive "
"the protection of a copyright. There was also a requirement that any "
"copyrighted work be marked either with that famous &copy; or the word "
"<emphasis>copyright</emphasis>. And for most of the history of American "
"copyright law, there was a requirement that works be deposited with the "
"government before a copyright could be secured."
msgstr ""
"En même temps que le champ du copyright s'est étendu, les limitations "
"restreignant les procédures se sont assouplies. Je viens de décrire la "
"suppression complète de l'exigence de renouvellement en 1992. En plus de "
"cette exigence de renouvellement, pendant la plus grande partie de l'histoire "
"de la loi américaine sur le copyright, il y a eu l'exigence que l'oeuvre "
"soit enregistrée avant de jouir de la protection. Il y a eu également "
"l'exigence que toute oeuvre sous copyright soit marquée du fameux (C) ou du "
"mot <quote>copyright</quote>. Et pendant tout ce temps, on a exigé que les "
"oeuvres soient placées en dépôt auprès du gouvernement avant que le "
"copyright puisse être garanti."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The reason for the registration requirement was the sensible understanding "
"that for most works, no copyright was required. Again, in the first ten "
"years of the Republic, 95 percent of works eligible for copyright were never "
"copyrighted. Thus, the rule reflected the norm: Most works apparently didn't "
"need copyright, so registration narrowed the regulation of the law to the "
"few that did. The same reasoning justified the requirement that a work be "
"marked as copyrighted&mdash;that way it was easy to know whether a copyright "
"was being claimed. The requirement that works be deposited was to assure "
"that after the copyright expired, there would be a copy of the work "
"somewhere so that it could be copied by others without locating the original "
"author."
msgstr ""
"La raison pour cette obligation d'enregistrement était la compréhension "
"sensible que pour la plupart des oeuvres, aucun copyright n'était requis. "
"Une fois encore, pendant les dix premières années de la République, 95 "
"pour cent des oeuvres éligibles au copyright ne furent jamais mises sous "
"copyright. Ainsi, la règle fut le reflet de la norme: la plupart des oeuvres "
"n'avaient apparemment pas besoin de copyright, donc l'enregistrement limitait "
"la régulation de la loi aux quelques qui le faisaient. Le même raisonnement "
"justifiait l'exigence qu'une oeuvre devait être marquée comme étant sous "
"copyright &mdash; il était ainsi facile de savoir si un copyright était "
"revendiqué. L'exigence que les oeuvres soient déposées était d'assurer "
"qu'une fois le copyright expiré, il y aurait une copie de l'oeuvre quelque "
"part afin qu'elle puisse être copiée par d'autres sans avoir à localiser "
"l'auteur original."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "European"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"All of these <quote>formalities</quote> were abolished in the American "
"system when we decided to follow European copyright law. There is no "
"requirement that you register a work to get a copyright; the copyright now "
"is automatic; the copyright exists whether or not you mark your work with a "
"&copy;; and the copyright exists whether or not you actually make a copy "
"available for others to copy."
msgstr ""
"Toutes ces <quote>formalités</quote> furent abolies dans le système "
"américain quand nous avons décidé de suivre la loi de copyright "
"européenne. Il n'y a pas d'obligation que vous enregistriez une oeuvre pour "
"obtenir un copyright; le copyright est maintenant automatique; le copyright "
"existe que vous marquiez ou non votre oeuvre avec un (C); et le copyright "
"existe que vous rendiez disponible ou non une copie à d'autres pour qu'ils "
"la reproduisent."

#. type: Content of: <book><part><chapter><section><para>
msgid "Consider a practical example to understand the scope of these differences."
msgstr ""
"Considérez un exemple pratique pour comprendre la portée de ces "
"différences."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the "
"Creation of American Literature,</quote> 29 <citetitle>New York University "
"Journal of International Law and Politics</citetitle> 255 (1997), and James "
"Gilraeth, ed., Federal Copyright Records, 1790&ndash;1800 (U.S. G.P.O., "
"1987)."
msgstr ""
"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the "
"Creation of American Literature,</quote> 29<citetitle> New York University "
"Journal of International Law and Politics</citetitle> 255 (1997), and James "
"Gilraeth, ed., Federal Copyright Records, 1790-1800 (U.S. G.P.O., 1987)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If, in 1790, you wrote a book and you were one of the 5 percent who actually "
"copyrighted that book, then the copyright law protected you against another "
"publisher's taking your book and republishing it without your "
"permission. The aim of the act was to regulate publishers so as to prevent "
"that kind of unfair competition. In 1790, there were 174 publishers in the "
"United States.<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act "
"was thus a tiny regulation of a tiny proportion of a tiny part of the "
"creative market in the United States&mdash;publishers."
msgstr ""
"Si, en 1970, vous aviez écrit un livre et que vous étiez un des 5 pour cent "
"qui ont réellement placé ce livre sous copyright, alors la loi du copyright "
"vous protégeait contre d'autres éditeurs voulant prendre votre livre et le "
"rééditer sans votre permission. Le but de cet acte était de réguler les "
"éditeurs afin d'empêcher ce type de compétition injuste. En 1790, il y "
"avait 174 éditeurs aux États-Unis<placeholder type=\"footnote\" id=\"0\"/>. "
"La loi sur le copyright était donc une réglementation minuscule d'une "
"proportion minuscule d'une part minuscule du marché créatif des États-Unis "
"&mdash; les éditeurs."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The act left other creators totally unregulated. If I copied your poem by "
"hand, over and over again, as a way to learn it by heart, my act was totally "
"unregulated by the 1790 act. If I took your novel and made a play based upon "
"it, or if I translated it or abridged it, none of those activities were "
"regulated by the original copyright act. These creative activities remained "
"free, while the activities of publishers were restrained."
msgstr ""
"La loi laissait les autres créateurs totalement déréglementés. Si je "
"copiais votre poème à la main, encore et encore, afin de l'apprendre par "
"coeur, mon acte serait totalement non régulé par la loi de 1970. Si je "
"prenais votre nouvelle et en faisait une pièce de théatre, ou si je la "
"traduisait ou l'abrégeait, aucune de ces activités ne serait régulée par "
"la loi sur le copyright. Ces activités créatives resteraient libres, tandis "
"que les activités des éditeurs seraient restreintes."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Today the story is very different: If you write a book, your book is "
"automatically protected. Indeed, not just your book. Every e-mail, every "
"note to your spouse, every doodle, <emphasis>every</emphasis> creative act "
"that's reduced to a tangible form&mdash;all of this is automatically "
"copyrighted.  There is no need to register or mark your work. The protection "
"follows the creation, not the steps you take to protect it."
msgstr ""
"Aujourd'hui, l'histoire est très différente: si vous écrivez un livre, "
"votre livre est automatiquement protégé. En effet, pas seulement votre "
"livre. Chaque courriel, chaque note de votre conjoint, chaque griffonnage, "
"<emphasis>chaque</emphasis> acte créatif qui est réduit à une forme "
"tangible &mdash; tout ceci est automatiquement placé sous copyright. Il n'y "
"a pas besoin d'enregistrer ou de marquer votre travail. La protection est une "
"conséquence de la création, et non pas des étapes que vous effectuez pour "
"la protéger."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"That protection gives you the right (subject to a narrow range of fair use "
"exceptions) to control how others copy the work, whether they copy it to "
"republish it or to share an excerpt."
msgstr ""
"Cette protection vous donne le droit (sujet à une portée limitée "
"d'exceptions de type usage loyal) de contrôler comment les autres copient "
"votre oeuvre, qu'ils la copient pour la rééditer ou pour en partager un "
"extrait."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"That much is the obvious part. Any system of copyright would control "
"competing publishing. But there's a second part to the copyright of today "
"that is not at all obvious. This is the protection of <quote>derivative "
"rights.</quote> If you write a book, no one can make a movie out of your "
"book without permission. No one can translate it without permission.  "
"CliffsNotes can't make an abridgment unless permission is granted. All of "
"these derivative uses of your original work are controlled by the copyright "
"holder. The copyright, in other words, is now not just an exclusive right to "
"your writings, but an exclusive right to your writings and a large "
"proportion of the writings inspired by them."
msgstr ""
"Tout ceci est la partie évidente. N'importe quel système de droit d'auteur "
"contrôlerait la publication concurrente. Mais il y a une seconde partie dans "
"le copyright d'aujourd'hui qui n'est pas du tout évidente. C'est la "
"protection des <quote>droits dérivés</quote>. Si vous écrivez un livre, "
"personne ne peut en faire un film sans permission. Personne ne peut le "
"traduire sans permission. CliffsNotes (NdT: une série de livres scolaires "
"analysant des oeuvres littéraires) ne pourrait pas en faire un résumé à "
"moins que la permission en soit accordée. Le copyright, en d'autres termes, "
"est maintenant non seulement un droit exclusif sur vos écrits, mais un droit "
"exclusif sur vos écrits et une grande proportion des écrits inspirés par "
"eux."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It is this derivative right that would seem most bizarre to our framers, "
"though it has become second nature to us. Initially, this expansion was "
"created to deal with obvious evasions of a narrower copyright.  If I write a "
"book, can you change one word and then claim a copyright in a new and "
"different book? Obviously that would make a joke of the copyright, so the "
"law was properly expanded to include those slight modifications as well as "
"the verbatim original work."
msgstr ""
"C'est ce droit dérivatif qui semblerait le plus bizarre à nos "
"législateurs, bien qu'il soit devenu comme une seconde nature pour nous. À "
"l'origine, cette expansion a été créée pour avoir affaire aux "
"contournements évidents d'un copyright plus étroit. Si j'écris un livre, "
"pouvez-vous changer un mot et revendiquer un copyright sur un livre nouveau "
"et différent? Évidemment cela serait une blague pour le copyright, et donc "
"la loi a été correctement étendue pour inclure ces légères modifications "
"au même titre que les oeuvres originales mot pour mot."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal "
"Affairs</citetitle>, July/August 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #26</ulink>.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Jonathan Zittrain, <quote>The Copyright Cage</quote>, <citetitle> Legal "
"Affairs</citetitle>, juillet/août 2003, disponible par le link #26. "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In preventing that joke, the law created an astonishing power within a free "
"culture&mdash;at least, it's astonishing when you understand that the law "
"applies not just to the commercial publisher but to anyone with a "
"computer. I understand the wrong in duplicating and selling someone else's "
"work. But whatever <emphasis>that</emphasis> wrong is, transforming someone "
"else's work is a different wrong. Some view transformation as no wrong at "
"all&mdash;they believe that our law, as the framers penned it, should not "
"protect derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> "
"Whether or not you go that far, it seems plain that whatever wrong is "
"involved is fundamentally different from the wrong of direct piracy."
msgstr ""
"En empêchant cette blague, la loi a créé un pouvoir étonnant à "
"l'intérieur d'une culture libre &mdash; tout du moins, c'est étonnnant "
"quand vous comprenez que la loi s'applique pas uniquement à l'éditeur "
"commercial mais aussi à n'importe qui possédant un ordinateur. Je comprends "
"le tort qu'il y a dans la duplication et la revente de l'oeuvre de quelqu'un "
"d'autre. Certains voient la transformation comme n'étant pas mauvaise du "
"tout &mdash; ils croient que notre loi, tels que les législateurs l'ont "
"écrite, ne devrait pas du tout protéger les droits dérivatifs<placeholder "
"type=\"footnote\" id=\"0\"/>. Que vous alliez ou non aussi loin, il semble "
"simple que quel que soit le tort causé, il est fondamentalement différent "
"du tort de la piraterie directe."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Rubenfeld, Jeb"
msgstr "Rubenfeld, Jeb"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Professor Rubenfeld has presented a powerful constitutional argument about "
"the difference that copyright law should draw (from the perspective of the "
"First Amendment) between mere <quote>copies</quote> and derivative "
"works. See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's "
"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 "
"(2002): 1&ndash;60 (see especially pp. 53&ndash;59).  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Yet copyright law treats these two different wrongs in the same way. I can "
"go to court and get an injunction against your pirating my book. I can go to "
"court and get an injunction against your transformative use of my "
"book.<placeholder type=\"footnote\" id=\"0\"/> These two different uses of "
"my creative work are treated the same."
msgstr ""
"Et pourtant la loi du copyright traite ces deux torts différents de la même "
"manière. Je peux aller devant les tribunaux et obtenir une injonction contre "
"votre piratage de mon livre. Je peux aller devant les tribunaux et obtenir "
"une injonction contre votre usage transformatif de mon livre<placeholder "
"type=\"footnote\" id=\"0\"/>. Ces deux différents usages de mon oeuvre "
"créative sont traitées de la même manière."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This again may seem right to you. If I wrote a book, then why should you be "
"able to write a movie that takes my story and makes money from it without "
"paying me or crediting me? Or if Disney creates a creature called "
"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse "
"toys and be the one to trade on the value that Disney originally created?"
msgstr ""
"Ceci encore peut vous sembler juste. Si j'ai écrit un livre, alors pourquoi "
"auriez-vous le droit d'écrire un film qui reprend mon histoire et gagne de "
"l'argent dessus sans me payer ou me donner crédit? Ou si Disney crée une "
"créature appelée <quote>Mickey Mouse</quote>, pourquoi auriez-vous le droit "
"de fabriquer des jouets Mickey Mouse et d'être la personne qui fait commerce "
"sur la valeur que Disney a originellement créée&nbsp;?"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These are good arguments, and, in general, my point is not that the "
"derivative right is unjustified. My aim just now is much narrower: simply to "
"make clear that this expansion is a significant change from the rights "
"originally granted."
msgstr ""
"Ce sont de bons arguments, et, en général, mon idée n'est pas que les "
"droits dérivatifs soient injustifiés. Mon but est en ce moment bien plus "
"étroit&nbsp;: il est de simplement clarifier que cette expansion est un "
"changement important des droits originellement accordés."

#. type: Content of: <book><part><chapter><section><title>
msgid "Law and Architecture: Reach"
msgstr "Loi et Architecture: Atteinte"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copies as core issue of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"This is a simplification of the law, but not much of one. The law certainly "
"regulates more than <quote>copies</quote>&mdash;a public performance of a "
"copyrighted song, for example, is regulated even though performance per se "
"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section "
"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; "
"17 <citetitle>United States Code</citetitle>, section 112(a). But the "
"presumption under the existing law (which regulates <quote>copies;</quote> "
"17 <citetitle>United States Code</citetitle>, section 102) is that if there "
"is a copy, there is a right."
msgstr ""
"This is a simplification of the law, but not much of one. The law certainly "
"regulates more than <quote>copies</quote>&mdash;a public performance of a "
"copyrighted song, for example, is regulated even though performance per se "
"doesn't make a copy; 17<citetitle> United States Code,</citetitle> section "
"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; "
"17<citetitle> United States Code,</citetitle> section 112(a). But the "
"presumption under the existing law (which regulates <quote>copies;</quote> "
"17<citetitle> United States Code,</citetitle> section 102) is that if there "
"is a copy, there is a right. (retour au texte)&lt;/p&gt;"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Whereas originally the law regulated only publishers, the change in "
"copyright's scope means that the law today regulates publishers, users, and "
"authors. It regulates them because all three are capable of making copies, "
"and the core of the regulation of copyright law is copies.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Alors qu'à l'origine la loi régulait seulement les éditeurs, le changement "
"dans l'étendue du copyright signifie que la loi régule aujourd'hui les "
"éditeurs, les utilisateurs et les auteurs. Elle les régule car tous trois "
"sont capables de faire des copies, et le coeur de la régulation de la loi du "
"coyright est la copie<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "other property rights vs."
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>Copies.</quote> That certainly sounds like the obvious thing for "
"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's "
"argument at the start of this chapter, that <quote>creative property</quote> "
"deserves the <quote>same rights</quote> as all other property, it is the "
"<emphasis>obvious</emphasis> that we need to be most careful about. For "
"while it may be obvious that in the world before the Internet, copies were "
"the obvious trigger for copyright law, upon reflection, it should be obvious "
"that in the world with the Internet, copies should <emphasis>not</emphasis> "
"be the trigger for copyright law. More precisely, they should not "
"<emphasis>always</emphasis> be the trigger for copyright law."
msgstr ""
"<quote>Copie</quote>. Cela sonne certainement comme l'évidence même que "
"c'est ce que la loi du <emphasis>copy</emphasis>right doit réguler. Mais "
"comme avec l'argument de Jack Valenti au début de ce chapitre, que la "
"<quote>propriété créative</quote> mérite les <quote>mêmes droits</quote> "
"que toutes les autres propriétés, c'est le mot "
"<emphasis>évident</emphasis> auquel nous devons faire le plus attention. Car "
"tandis qu'il peut être évident que dans le monde avant Internet, les copies "
"étaient le déclencheur évident de la loi du copyright, à la réflexion, "
"il devrait être évident que dans le monde avec Internet, les copies "
"<emphasis>ne</emphasis> devraient <emphasis>pas</emphasis> être le "
"déclencheur de la loi du copyright. Plus précisément, elles ne devraient "
"pas <emphasis>toujours</emphasis> l'être."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Thus, my argument is not that in each place that copyright law extends, we "
"should repeal it. It is instead that we should have a good argument for its "
"extending where it does, and should not determine its reach on the basis of "
"arbitrary and automatic changes caused by technology."
msgstr ""
"Thus, my argument is not that in each place that copyright law extends, we "
"should repeal it. It is instead that we should have a good argument for its "
"extending where it does, and should not determine its reach on the basis of "
"arbitrary and automatic changes caused by technology."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is perhaps the central claim of this book, so let me take this very "
"slowly so that the point is not easily missed. My claim is that the Internet "
"should at least force us to rethink the conditions under which the law of "
"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> "
"because it is clear that the current reach of copyright was never "
"contemplated, much less chosen, by the legislators who enacted copyright "
"law."
msgstr ""
"C'est peut-être la revendication centrale de ce livre, donc laissez-moi m'y "
"prendre très lentement afin que l'idée ne soit pas facilement manquée. Mon "
"argument est qu'Internet devrait au moins nous forcer à repenser les "
"conditions sous lesquelles la loi du copyright s'applique "
"automatiquement<placeholder type=\"footnote\" id=\"0\"/>, car il est clair "
"que l'étendue actuelle du copyright n'a jamais été envisagée, et encore "
"moins choisie, par les législateurs qui ont ordonné la loi du copyright."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We can see this point abstractly by beginning with this largely empty "
"circle."
msgstr ""
"Nous pouvons voir cette idée de manière abstraite en commençant par ce "
"cercle en grande partie vide."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1521.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "three types of uses of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright applicability altered by technology of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright intent altered by"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Think about a book in real space, and imagine this circle to represent all "
"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated "
"by copyright law, because the uses don't create a copy. If you read a book, "
"that act is not regulated by copyright law. If you give someone the book, "
"that act is not regulated by copyright law. If you resell a book, that act "
"is not regulated (copyright law expressly states that after the first sale "
"of a book, the copyright owner can impose no further conditions on the "
"disposition of the book). If you sleep on the book or use it to hold up a "
"lamp or let your puppy chew it up, those acts are not regulated by copyright "
"law, because those acts do not make a copy."
msgstr ""
"Pensez à un livre dans l'espace réel, et imaginez ce cercle comme "
"représentant toutes ses <emphasis>utilisations</emphasis> potentielles. La "
"plupart d'entre elles sont non régulées par la loi du copyright, car elles "
"ne créent pas de copie. Si vous lisez un livre, cet acte n'est pas régulé "
"par la loi du copyright. Si vous donnez le livre à quelqu'un, cette acte "
"n'est pas régulé par la loi du copyright. Si vous revendez un livre, cet "
"acte n'est pas régulé (la loi du copyright stipule expressément qu'après "
"la première vente d'un livre, le détenteur du copyright ne peut pas imposer "
"davantage de conditions sur la mise à disposition de ce livre). Si vous "
"dormez sur le livre ou l'utilisez pour surélever une lampe ou laissez votre "
"chiot le mordiller, ces actes ne sont pas régulés par la loi du copyright, "
"car ces actes ne créent pas de copie."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1531.png\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Obviously, however, some uses of a copyrighted book are regulated by "
"copyright law. Republishing the book, for example, makes a copy. It is "
"therefore regulated by copyright law. Indeed, this particular use stands at "
"the core of this circle of possible uses of a copyrighted work. It is the "
"paradigmatic use properly regulated by copyright regulation (see diagram in "
"figure <xref xrefstyle=\"template:%n\" linkend=\"fig-1541\"/>)."
msgstr ""
"Évidemment, toutefois, certaines utilisations d'un livre sous copyright sont "
"régulées par la loi du copyright. Rééditer ce livre, par exemple, crée "
"une copie. Cela est donc régulé par la loi du copyright. En effet, cet "
"usage particulier se tient au coeur du cercle des usages possibles d'une "
"oeuvre sous copyright. C'est l'utilisation paradigmatique correctement "
"régulée par la régulation du copyright (voir le premier diagramme "
"<xref xrefstyle=\"template:%n\" linkend=\"fig-1541\"/>)."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1541.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally, there is a tiny sliver of otherwise regulated copying uses that "
"remain unregulated because the law considers these <quote>fair uses.</quote>"
msgstr ""
"Enfin, il existe une minuscule bande d'usages autrement régulés qui restent "
"non régulés car la loi les considère comme de l'<quote>usage loyal</quote>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These are uses that themselves involve copying, but which the law treats as "
"unregulated because public policy demands that they remain unregulated.  You "
"are free to quote from this book, even in a review that is quite negative, "
"without my permission, even though that quoting makes a copy. That copy "
"would ordinarily give the copyright owner the exclusive right to say whether "
"the copy is allowed or not, but the law denies the owner any exclusive right "
"over such <quote>fair uses</quote> for public policy (and possibly First "
"Amendment) reasons."
msgstr ""
"Ce sont des utilisations qui elles-même impliquent la copie, mais que la loi "
"traite comme non régulées parce que la politique publique exige qu'elles "
"restent non régulées. Vous êtes libre de tirer des citations de ce livre, "
"même pour une chronique plutôt négative, sans ma permission, malgré que "
"citer crée une copie. Cette copie donnerait normalement au détenteur du "
"copyright les droits exclusifs de dire si la copie est permise ou pas, mais "
"la loi refuse au détenteur tout doit exclusif sur de tels <quote>usages "
"loyaux</quote> en raison de la politique publique (et probablement du Premier "
"Amendement)."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1542.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In real space, then, the possible uses of a book are divided into three "
"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that "
"are nonetheless deemed <quote>fair</quote> regardless of the copyright "
"owner's views."
msgstr ""
"Dans l'espace réel, donc, les utilisations possibles d'un livre sont "
"divisées en trois sortes: (1) utilisations non régulées, (2) utilisations "
"régulées et (3) utilisations régulées qui sont néanmois considérées "
"comme <quote>justes</quote> sans se soucier de l'opinion du détenteur du "
"copyright."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on Internet"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "Internet burdens on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"I don't mean <quote>nature</quote> in the sense that it couldn't be "
"different, but rather that its present instantiation entails a copy. Optical "
"networks need not make copies of content they transmit, and a digital "
"network could be designed to delete anything it copies so that the same "
"number of copies remain."
msgstr ""
"I don't mean <quote>nature</quote> in the sense that it couldn't be "
"different, but rather that its present instantiation entails a copy. Optical "
"networks need not make copies of content they transmit, and a digital network "
"could be designed to delete anything it copies so that the same number of "
"copies remain."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Enter the Internet&mdash;a distributed, digital network where every use of a "
"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> "
"And because of this single, arbitrary feature of the design of a digital "
"network, the scope of category 1 changes dramatically. Uses that before were "
"presumptively unregulated are now presumptively regulated. No longer is "
"there a set of presumptively unregulated uses that define a freedom "
"associated with a copyrighted work. Instead, each use is now subject to the "
"copyright, because each use also makes a copy&mdash;category 1 gets sucked "
"into category 2. And those who would defend the unregulated uses of "
"copyrighted work must look exclusively to category 3, fair uses, to bear the "
"burden of this shift."
msgstr ""
"Arrive Internet &mdash; un réseau distribué et numérique où chaque "
"utilisation d'une oeuvre sous copyright produit une copie<placeholder "
"type=\"footnote\" id=\"0\"/>. Et à cause de cette seule et arbitraire "
"caractéristique de la conception d'un réseau numérique, l'étendue de la "
"catégorie 1 change nettement. Des usages qui étaient auparavant présumés "
"non régulés sont maintenant présumés régulés. Il n'y a plus un ensemble "
"d'usages présumés non régulés qui définissent uen liberté associée à "
"une oeuvre sous copyright. Au lieu de cela, chaque usage est maintenant "
"soumis au copyright, parce que chaque usage crée également une copie "
"&mdash; la catégorie 1 se fait avaler par la catégorie 2. Et ceux qui "
"défendianet les utilisations non régulées d'oeuvres sous copyright doivent "
"regarder exclusivement la catégorie 3, les usages loyaux, pour supporter le "
"fardeau de ce changement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"So let's be very specific to make this general point clear. Before the "
"Internet, if you purchased a book and read it ten times, there would be no "
"plausible <emphasis>copyright</emphasis>-related argument that the copyright "
"owner could make to control that use of her book. Copyright law would have "
"nothing to say about whether you read the book once, ten times, or every "
"night before you went to bed. None of those instances of "
"use&mdash;reading&mdash; could be regulated by copyright law because none of "
"those uses produced a copy."
msgstr ""
"Soyons donc très spécifiques pour clarifier cette idée générale. Avant "
"Internet, si vous achetiez un livre et le lisiez dix fois, il n'y avait pas "
"d'argument plausible lié au <emphasis>copyright</emphasis> selon lequel le "
"détenteur du copyright pouvait effectuer le contrôle de l'utilisation de "
"son livre. La loi du copyright n'aurait rien eu à dire à propos de si vous "
"lisiez le livre une fois, dix fois ou chaque soir avant de vous coucher. "
"Aucune de ces instances d'utilisation &mdash; la lecture &mdash; ne pouvait "
"être régulée par la loi du copyright car aucune de ces utilisations ne "
"produisait de copie."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "e-books"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "technological developments and"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But the same book as an e-book is effectively governed by a different set of "
"rules. Now if the copyright owner says you may read the book only once or "
"only once a month, then <emphasis>copyright law</emphasis> would aid the "
"copyright owner in exercising this degree of control, because of the "
"accidental feature of copyright law that triggers its application upon there "
"being a copy. Now if you read the book ten times and the license says you "
"may read it only five times, then whenever you read the book (or any portion "
"of it) beyond the fifth time, you are making a copy of the book contrary to "
"the copyright owner's wish."
msgstr ""
"Mais ce même livre en tant que livre électronique est efficacement "
"réglemeté par un ensemble différent de règles. Maintenant si le "
"détenteur du copyright dit que vous pouvez lire le livre seulement une fois "
"ou seulement une fois par mois, alors la <emphasis>loi du copyright' aiderait "
"le détenteur du copyright à exercer ce degré de contrôle, à cause de la "
"caractéristique accidentelle de la loi du copyright qui déclenche son "
"application selon qu'il y ait une copie. Maintenant si vous lisez le livre "
"dix fois et que la licence dit que vous ne pouvez le lire que cinq fois, "
"alors à chaque fois que vous lisez le livre (ou n'importe quelle partie de "
"lui) au-delà de la cinquième fois, vous faites une copie du livre "
"contrairement à la volonté du détenteur du copyright.</emphasis>"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1551.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There are some people who think this makes perfect sense. My aim just now is "
"not to argue about whether it makes sense or not. My aim is only to make "
"clear the change. Once you see this point, a few other points also become "
"clear:"
msgstr ""
"Il y a certaines personnes qui pensent que c'est parfaitement sensé. Mon but "
"en ce moment n'est pas de discuter si cela est sensé ou pas. Mon but est "
"seulement de clarifier le changement. Une fois que vous voyez cette idée, "
"quelques autres idées deviennent également claires:"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"First, making category 1 disappear is not anything any policy maker ever "
"intended. Congress did not think through the collapse of the presumptively "
"unregulated uses of copyrighted works. There is no evidence at all that "
"policy makers had this idea in mind when they allowed our policy here to "
"shift. Unregulated uses were an important part of free culture before the "
"Internet."
msgstr ""
"Tout d'abord, faire disparaitre la catégorie 1 n'a jamais été voulu par "
"quelconque décideur. Le congrès n'a pas pensé à travers l'écroulement "
"des utilisations présumées non régulées des oeuvres sous copyright. Il "
"n'y a aucune preuve que les décideurs avaient cette idée en tête quand ils "
"ont permis à notre politique, dont il est ici question, de changer. Les "
"utilisations non régulées étaient une partie importante de la culture "
"libre avant Internet."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Second, this shift is especially troubling in the context of transformative "
"uses of creative content. Again, we can all understand the wrong in "
"commercial piracy. But the law now purports to regulate "
"<emphasis>any</emphasis> transformation you make of creative work using a "
"machine. <quote>Copy and paste</quote> and <quote>cut and paste</quote> "
"become crimes. Tinkering with a story and releasing it to others exposes the "
"tinkerer to at least a requirement of justification.  However troubling the "
"expansion with respect to copying a particular work, it is extraordinarily "
"troubling with respect to transformative uses of creative work."
msgstr ""
"Deuxièmement, ce changement est particulièrement troublant dans le contexte "
"des utilisations transformatrices de contenu créatif. Encore une fois, nous "
"pouvons tous comprendre le mal dans le piratage comemrcial. Mais la loi "
"prétend maintenant réguler <emphasis>n'importe quelle</emphasis> "
"transformation que vous faites d'une oeuvre créative en utilisant une "
"machine. Le <quote>copier coller</quote> et le <quote>couper coller</quote> "
"deviennent des crimes. Bricoler une histoire et la diffuser à d'autres "
"expose le bricoleur à au moins une condition de justification. Aussi "
"troublante soit cette expansion en ce qui concerne la copie d'une oeuvre "
"particulière, elle est extraordinairement troublante en ce qui concerne les "
"usages transformatifs d'une oeuve créative."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "fair use vs."
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Third, this shift from category 1 to category 2 puts an extraordinary burden "
"on category 3 (<quote>fair use</quote>) that fair use never before had to "
"bear.  If a copyright owner now tried to control how many times I could read "
"a book on-line, the natural response would be to argue that this is a "
"violation of my fair use rights. But there has never been any litigation "
"about whether I have a fair use right to read, because before the Internet, "
"reading did not trigger the application of copyright law and hence the need "
"for a fair use defense. The right to read was effectively protected before "
"because reading was not regulated."
msgstr ""
"Troisièmement, ce changement de la catégorie 1 en catégorie 2 pose un "
"fardeau extraordinaire sur la catégorie 3 (<quote>usage loyal</quote>) que "
"l'usage loyal n'avait jamais eu à supporter auparavant. Si un détenteur de "
"copyright essayait maintenant de contrôler combien de fois je peux lire un "
"livre en ligne, la réponse naturelle serait d'affirmer que c'est une "
"violation de mes droits d'usage loyal. Mais il n'y a jamais eu de litige à "
"propos de si j'ai un droit d'usage loyal de lire, car avant Internet, le fait "
"de lire ne déclenchait pas l'application de la loi du copyright et ainsi de "
"défense contre l'usage loyal. Le droit de lire était effectivement "
"protégé auparavant car lire n'était pas régulé."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This point about fair use is totally ignored, even by advocates for free "
"culture. We have been cornered into arguing that our rights depend upon fair "
"use&mdash;never even addressing the earlier question about the expansion in "
"effective regulation. A thin protection grounded in fair use makes sense "
"when the vast majority of uses are <emphasis>unregulated</emphasis>. But "
"when everything becomes presumptively regulated, then the protections of "
"fair use are not enough."
msgstr ""
"Cette idée à propos d'usage loyal est totalement ignorée, même par les "
"défenseurs de la culture libre. Nous avons été coincés dans la discussion "
"que nos droits ne dépendent pas de l'usage loyal &mdash; sans jamais même "
"adresser la question précédentes à propos de l'expansion dans la "
"régulation effective. Une protection mince ancrée dans l'usage loyal a du "
"sens quand la majorité des utilisations est <emphasis>non "
"régulée</emphasis>. Mais quand tout devient présumé régulé, alors les "
"protections de l'usage loyal ne suffisent pas."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Video Pipeline"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "film industry"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "trailer advertisements of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The case of Video Pipeline is a good example. Video Pipeline was in the "
"business of making <quote>trailer</quote> advertisements for movies "
"available to video stores. The video stores displayed the trailers as a way "
"to sell videos. Video Pipeline got the trailers from the film distributors, "
"put the trailers on tape, and sold the tapes to the retail stores."
msgstr ""
"Le cas de Video Pipeline est un bon exemple. Vide Pipeline était dans les "
"affaires de faire des publicités <quote>bandes annonces</quote> pour des "
"films disponibles dans les magasins de vidéos. Les magasins de vidéos "
"diffusaient les bandes annonces comme moyen de vendre les vidéos. Video "
"Pipeline a obtenu les bandes anonces des distributeurs de films, mis les "
"bandes annonces sur bande, et vendu les bandes aux magasins."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "browsing"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The company did this for about fifteen years. Then, in 1997, it began to "
"think about the Internet as another way to distribute these previews.  The "
"idea was to expand their <quote>selling by sampling</quote> technique by "
"giving on-line stores the same ability to enable <quote>browsing.</quote> "
"Just as in a bookstore you can read a few pages of a book before you buy the "
"book, so, too, you would be able to sample a bit from the movie on-line "
"before you bought it."
msgstr ""
"L'entreprise a fait ceci pendant environ quinze ans. Puis, en 1997, elle "
"commença à penser à Internet en tant qu'autre moyen de distribuer ces "
"aperçus. L'idée était d'étendre leur technique de <quote>vente par "
"échantillon</quote> en donnant aux magasins en ligne la même possibilité "
"de permettre la <quote>navigation</quote>. Tout comme dans une librairie vous "
"pouvez lire quelques pages d'un livre avant de l'acheter, donc, vous pourriez "
"aussi voir un bout du film en ligne avant de l'acheter."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1998, Video Pipeline informed Disney and other film distributors that it "
"intended to distribute the trailers through the Internet (rather than "
"sending the tapes) to distributors of their videos. Two years later, Disney "
"told Video Pipeline to stop. The owner of Video Pipeline asked Disney to "
"talk about the matter&mdash;he had built a business on distributing this "
"content as a way to help sell Disney films; he had customers who depended "
"upon his delivering this content. Disney would agree to talk only if Video "
"Pipeline stopped the distribution immediately.  Video Pipeline thought it "
"was within their <quote>fair use</quote> rights to distribute the clips as "
"they had. So they filed a lawsuit to ask the court to declare that these "
"rights were in fact their rights."
msgstr ""
"En 1998, Video Pipeline informa Disney et d'autres distributeurs de film "
"qu'elle avait l'intention de distribuer les bandes annonces sur Internet "
"(plutôt qu'en envoyant des bandes) aux distributeurs de leurs vidéos. Deux "
"ans plus tard, Disney demanda à Video Pipeline d'arrêter. Le propriétaire "
"de Video Pipeline demanda à Disney de parler de ce sujet &mdash; il avait "
"construit une activité sur la distribution de ce contenu comme un moyen "
"d'auder Disney à vendre ses films; il avait des clients qui dépendaient de "
"sa diffusion de contenu. Disney acceptait de parler seulemetn si Video "
"Pipeline arrêtait la distribution immédiatement. Video Pipeline pensait que "
"cela faisait partie de leurs droits d'usage loyal de distribuer des extraits "
"comme ils le faisaient. Donc ils intentèrent un procès pour demander à la "
"cour de déclarer que ces droits étaient en fait leurs droits."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "willful infringement findings in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "willful infringement"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Disney countersued&mdash;for $100 million in damages. Those damages were "
"predicated upon a claim that Video Pipeline had <quote>willfully "
"infringed</quote> on Disney's copyright. When a court makes a finding of "
"willful infringement, it can award damages not on the basis of the actual "
"harm to the copyright owner, but on the basis of an amount set in the "
"statute. Because Video Pipeline had distributed seven hundred clips of "
"Disney movies to enable video stores to sell copies of those movies, Disney "
"was now suing Video Pipeline for $100 million."
msgstr ""
"Disney a contrepoursuivi en justice&mdash;pour 100 millions de dollars de "
"dommages et intérêts. Ces dommages et intérêts ont été basés sur une "
"revendication que Video Pipeline avait <quote>obstinément violé</quote> le "
"copyright de Disney. Quand un tribunal fait une découverte d'infraction "
"obstinée, il peut accorder des dommages et intérêts non pas sur la base du "
"mal réel au détenteur du copyright, mais sur la base d'une quantité "
"spécifiée dans la loi. Parce que Vide Pipeline avait diffusé sept cent "
"extraits de films Disney pour permettre aux magasins de vidéos de vendre des "
"copies de ces films, Disney poursuivait désormais Video Pipeline pour 100 "
"milliosn de dollars."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Disney has the right to control its property, of course. But the video "
"stores that were selling Disney's films also had some sort of right to be "
"able to sell the films that they had bought from Disney. Disney's claim in "
"court was that the stores were allowed to sell the films and they were "
"permitted to list the titles of the films they were selling, but they were "
"not allowed to show clips of the films as a way of selling them without "
"Disney's permission."
msgstr ""
"Disney a le droit de contrôler sa propriété, bien sûr. Mais les magasins "
"de vidéos qui vendaient les films de Disney avaient également quelque sorte "
"de droit de pouvoir vendre les films qu'ils avaient acheté à Disney. La "
"revendication de Disney au tribunal était que les magasins étaient "
"autorisés à vendre les films et étianent autorisés à lister les titres "
"des films qu'ils vendaient, mais n'étaient pas autorisés à montrer des "
"extraits des films dans le but de les vendre sans la permission de Disney."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "first-sale doctrine"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Now, you might think this is a close case, and I think the courts would "
"consider it a close case. My point here is to map the change that gives "
"Disney this power. Before the Internet, Disney couldn't really control how "
"people got access to their content. Once a video was in the marketplace, the "
"<quote>first-sale doctrine</quote> would free the seller to use the video as "
"he wished, including showing portions of it in order to engender sales of "
"the entire movie video. But with the Internet, it becomes possible for "
"Disney to centralize control over access to this content. Because each use "
"of the Internet produces a copy, use on the Internet becomes subject to the "
"copyright owner's control. The technology expands the scope of effective "
"control, because the technology builds a copy into every transaction."
msgstr ""
"Maintenant, vous pensez peut-être que c'est un cas proche, et je pense que "
"les tribunaux le considérerait comme un cas proche. Je vais ici "
"cartographier le changement qui donne ce pouvoir à Disney. Avant Internet, "
"Disney ne pouvait pas vraiment contrôler comment les gens ont accès à son "
"contenu. Une fois qu'une vidéo était sur le marché, la <quote>doctrine de "
"la première vente</quote> donnait au vendeur la liberté d'utiliser la "
"vidéo comme il le désirait, incluant le fait de montrer des portions d'elle "
"afin d'engendrer des ventes de la vidéo complète. Mais avec Internet, il "
"devient possible à Disney de centraliser le contrôle sur l'accès à ce "
"contenu. Parce que chaque utilisation d'Internet produit une copie, "
"l'utilisation sur Internet devient soumise au contrôle du détenteur du "
"copyright. La technologie étend la portée du contrôle efficace, parce que "
"la technologie construit une copie dans chaque transaction."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Barnes &amp; Noble"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No doubt, a potential is not yet an abuse, and so the potential for control "
"is not yet the abuse of control. Barnes &amp; Noble has the right to say you "
"can't touch a book in their store; property law gives them that right.  But "
"the market effectively protects against that abuse. If Barnes &amp; Noble "
"banned browsing, then consumers would choose other bookstores.  Competition "
"protects against the extremes. And it may well be (my argument so far does "
"not even question this) that competition would prevent any similar danger "
"when it comes to copyright. Sure, publishers exercising the rights that "
"authors have assigned to them might try to regulate how many times you read "
"a book, or try to stop you from sharing the book with anyone. But in a "
"competitive market such as the book market, the dangers of this happening "
"are quite slight."
msgstr ""
"Sans doute, une possibilité n'est pas encore un abus, et donc la "
"possibilité de contrôle n'est pas encore un abus de contrôle. Barnes &amp; "
"Noble (NdT: une chaine de librairies) a le droit de dire que vous ne pouvez "
"pas toucher un livre sur un étalage dans leur boutique; la loi de "
"propriété leur donne ce droit. Mais le marché protège efficacement contre "
"cet abus. Si Barnes &amp; Noble bannissait le feuilletage, alors les clients "
"choisiraient d'autres librairies. La compétition protège contre les "
"extrèmes. Et il se peut même (mon argument jusqu'à présent ne remet même "
"pas cela en question) que la compétition empêcherait n'importe quel danger "
"similaire quand il s'agit de copyright. Bien sûr, les éditeurs exerçant "
"les droits que les auteurs leur ont donné peuvent essayer de réguler "
"combien de fois vous lisez un livre, ou essayez de vous empêcher de partager "
"le livre avec quiconque. Mais dans un marché compétitif tel que le marché "
"du livre, le danger que cela arrive est assez léger."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Again, my aim so far is simply to map the changes that this changed "
"architecture enables. Enabling technology to enforce the control of "
"copyright means that the control of copyright is no longer defined by "
"balanced policy. The control of copyright is simply what private owners "
"choose. In some contexts, at least, that fact is harmless. But in some "
"contexts it is a recipe for disaster."
msgstr ""
"Une fois de plus, mon but jusqu'à présent est simplement de cartographier "
"les changements que cette architecture modifiée permet. Permettre à la "
"technologie d'appliquer le contrôle du copyright signifie que le contrôle "
"du copyright n'est plus défini par une politique équilibrée. Le contrôle "
"du copyright est simplement ce que les propriétaires privés choisissent. "
"Dans certains contextes, au moins, ce fait est inoffensif. Mais dans certains "
"contextes, c'est une recette pour le désastre."

#. type: Content of: <book><part><chapter><section><title>
msgid "Architecture and Law: Force"
msgstr "Architecture et Loi: Force"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The disappearance of unregulated uses would be change enough, but a second "
"important change brought about by the Internet magnifies its "
"significance. This second change does not affect the reach of copyright "
"regulation; it affects how such regulation is enforced."
msgstr ""
"La disparition des utilisations non régulées serait déjà un changement "
"assez grand, mais un second changement important provoqué par Internet "
"amplifie sa signification. Ce second changement n'affecte pas la portée de "
"la régulation du copyright; il affecte comment une telle régulation est "
"appliquée."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "technology as automatic enforcer of"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright enforcement controlled by"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the world before digital technology, it was generally the law that "
"controlled whether and how someone was regulated by copyright law.  The law, "
"meaning a court, meaning a judge: In the end, it was a human, trained in the "
"tradition of the law and cognizant of the balances that tradition embraced, "
"who said whether and how the law would restrict your freedom."
msgstr ""
"Dans le monde d'avant la technologie numérique, c'était généralement la "
"loi qui contrôlait si quelqu'un était régulé par la loi du copyright. La "
"loi, ce qui signifie une cour, ce qui signifie un juge: à la fin, c'était "
"un humain, entrainé dans la tradition de la loi et conscient des équilibres "
"que la tradition embrassait, qui disait si et comment une loi restreignait "
"votre liberté."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Casablanca"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Marx Brothers"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See David Lange, <quote>Recognizing the Public Domain,</quote> "
"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): "
"172&ndash;73."
msgstr ""
"See David Lange, <quote>Recognizing the Public Domain,</quote><citetitle> Law "
"and Contemporary Problems</citetitle> 44 (1981): 172-73."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There's a famous story about a battle between the Marx Brothers and Warner "
"Brothers. The Marxes intended to make a parody of "
"<citetitle>Casablanca</citetitle>. Warner Brothers objected. They wrote a "
"nasty letter to the Marxes, warning them that there would be serious legal "
"consequences if they went forward with their plan.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Il y a une histoire célèbre à propos d'une bataille entre les Marx "
"Brothers et Warner Brothers. Les Marx prévoyaient de faire une parodie de "
"<citetitle>Casablanca</citetitle>. Warner Brothers objecta. Ils écrivirent "
"une lettre menaçante aux Marx, les avertissant qu'il y aurait de graves "
"conséquences légales si ils continuaient avec leur projet<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 1&ndash;3."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. Voir aussi Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 1-3."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
"that the Marx Brothers <quote>were brothers long before you "
"were.</quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers "
"therefore owned the word <citetitle>brothers</citetitle>, and if Warner "
"Brothers insisted on trying to control <citetitle>Casablanca</citetitle>, "
"then the Marx Brothers would insist on control over "
"<citetitle>brothers</citetitle>."
msgstr ""
"Cela a amené les Marx Brothers à répondre de la sorte. Ils avertirent "
"Warner Brothers que les Marx Brothers <quote>étaient frères bien avant que "
"vous le soyiez</quote>.<placeholder type=\"footnote\" id=\"0\"/> Les Marx "
"Brothers possédaient ainsi le mot <citetitle>brothers</citetitle>, et si "
"Warner Brothers insistait pour essayer de contrôler "
"<citetitle>Casablanca</citetitle>, alors les Marx Brother insisteraient pour "
"avoir le contrôle sur <citetitle>brothers</citetitle>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"An absurd and hollow threat, of course, because Warner Brothers, like the "
"Marx Brothers, knew that no court would ever enforce such a silly "
"claim. This extremism was irrelevant to the real freedoms anyone (including "
"Warner Brothers) enjoyed."
msgstr ""
"Une menace absurde et creuse, bien sûr, parce que Warner Brothers, comme les "
"Marx Brothers, savait qu'aucun tribunal n'appliquerait jamais une telle "
"demande. Cette extrémisme était sans rapport avec les réelles libertés "
"dont quiconque (y compris Warner Brothers) jouissait."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"On the Internet, however, there is no check on silly rules, because on the "
"Internet, increasingly, rules are enforced not by a human but by a machine: "
"Increasingly, the rules of copyright law, as interpreted by the copyright "
"owner, get built into the technology that delivers copyrighted content. It "
"is code, rather than law, that rules. And the problem with code regulations "
"is that, unlike law, code has no shame. Code would not get the humor of the "
"Marx Brothers. The consequence of that is not at all funny."
msgstr ""
"Sur Internet, toutefois, il n'y a pas de vérification sur les règles "
"idiotes, parce que sur Internet, de plus en plus, les règles sont "
"appliquées non pas par un humain mais par une machine: de plus en plus, les "
"règles de la loi du copyright, telles qu'interprétées par le détenteur du "
"copyright, sont construites dans la technologie que délivre le contenu sous "
"copyright. C'est le code, plutôt que la loi, qui règne. Et le problème "
"avec les régulations par le code est que, contrairement à la loi, le code "
"n'a pas de honte. Le code n'aurait pas compris l'humour des Marx Brothers. La "
"conséquence de ceci n'est pas drôle du tout."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Adobe eBook Reader"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid "Consider the life of my Adobe eBook Reader."
msgstr ""
"Considérez la vie de mon Adobe eBook Reader (NdT: lecteur de livre "
"électronique Adobe)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"An e-book is a book delivered in electronic form. An Adobe eBook is not a "
"book that Adobe has published; Adobe simply produces the software that "
"publishers use to deliver e-books. It provides the technology, and the "
"publisher delivers the content by using the technology."
msgstr ""
"Un e-book est un livre livré sous forme électronique. Un Adobe eBook n'est "
"pas un livre qu'Adobe a édité; Adobe produit simplement le logiciel que les "
"éditeurs utilisent pour livrer les e-books. Elle fournit la technologie, et "
"les éditeurs livrent le contenu en utilisant la technologie."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/example-adobe-ebook-reader.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
"<graphic fileref=\"images/example-adobe-ebook-reader.png\" align=\"center\" "
"width=\"50%\"></graphic>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-example-adobe-ebook-reader\"/> is a picture of an old version "
"of my Adobe eBook Reader."
msgstr ""
"Dans la figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-example-adobe-ebook-reader\"/> se trouve une image d'une vieille version de mon Adobe "
"eBook Reader."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"As you can see, I have a small collection of e-books within this e-book "
"library. Some of these books reproduce content that is in the public domain: "
"<citetitle>Middlemarch</citetitle>, for example, is in the public domain.  "
"Some of them reproduce content that is not in the public domain: My own book "
"<citetitle>The Future of Ideas</citetitle> is not yet within the public "
"domain.  Consider <citetitle>Middlemarch</citetitle> first. If you click on "
"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy "
"cover, and then a button at the bottom called Permissions."
msgstr ""
"Comme vous pouvez le voir, j'ai une petite collection d'e-books dans cette "
"bibliothèque d'e-books. Certains de ces livres reproduisent du contenu qui "
"est dans le domaine public: <citetitle>Middlemarch</citetitle>, par exemple, "
"est dans le domaien public. Certains d'entre eux reproduisent du contenu qui "
"n'est pas dans le domaine public: mon propre livre <citetitle>L'avenir des "
"idées</citetitle> n'est pas encore dans le domaine public. Considérez "
"<citetitle>Middlemarch</citetitle> d'abord. Si vous cliquez sur ma copie "
"e-book de <citetitle>Middlemarch</citetitle>, vous verrez une jolie "
"couverture, et puis un bouton en bas appelé Permissions."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If you click on the Permissions button, you'll see a list of the permissions "
"that the publisher purports to grant with this book."
msgstr ""
"Si vous cliquez sur le bouton Permissions, vous allez voir une liste des "
"permissions que l'éditeur prétend accorder avec ce livre."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1612.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"According to my eBook Reader, I have the permission to copy to the clipboard "
"of the computer ten text selections every ten days. (So far, I've copied no "
"text to the clipboard.)  I also have the permission to print ten pages from "
"the book every ten days. Lastly, I have the permission to use the Read Aloud "
"button to hear <citetitle>Middlemarch</citetitle> read aloud through the "
"computer."
msgstr ""
"D'après mon eBook Reader, j'ai la permission de copier dans le presse- "
"papiers de l'ordinateur dix sélections de texte tous les dix jours. "
"(Jusqu'à présent, je n'ai copié aucun texte dans le presse-papiers). J'ai "
"également la permission d'imprimer dix pages du livre tous les dix jours. "
"Pour finir, j'ai la permission d'utiliser le bouton Read Aloud (NdT: lire à "
"voix haute) pour entendre <citetitle>Middlemarch</citetitle> lu par "
"l'ordinateur."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Aristotle"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "<citetitle>Politics</citetitle>, (Aristotle)"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Here's the e-book for another work in the public domain (including the "
"translation): Aristotle's <citetitle>Politics</citetitle>."
msgstr ""
"Voici le e-book d'une autre oeuvre dans le domaine public (y compris les "
"traductions)&nbsp;: <citetitle>La Politique\" d'Aristote.</citetitle>"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/aristotele-ebook.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"According to its permissions, no printing or copying is permitted at "
"all. But fortunately, you can use the Read Aloud button to hear the book."
msgstr ""
"D'après ses permissions, aucune impression ni copie n'est permise du tout. "
"Mais heureusement, vous pouvez utiliser le bouton Read Aloud pour écouter ce "
"livre."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1622.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Future of Ideas, The (Lessig)"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Lessig, Lawrence"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally (and most embarrassingly), here are the permissions for the original "
"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:"
msgstr ""
"Enfin (et c'est le plus honteux), voici les permissions pour la version "
"e-book originale de mon dernier livre, <citetitle>L'avenir des "
"idées</citetitle>:"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1631.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid "No copying, no printing, and don't you dare try to listen to this book!"
msgstr ""
"Pas de copie, pas d'impression, et ne vous avisez pas d'essayer d'écouter ce "
"livre!"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"In principle, a contract might impose a requirement on me. I might, for "
"example, buy a book from you that includes a contract that says I will read "
"it only three times, or that I promise to read it three times. But that "
"obligation (and the limits for creating that obligation) would come from the "
"contract, not from copyright law, and the obligations of contract would not "
"necessarily pass to anyone who subsequently acquired the book."
msgstr ""
"In principle, a contract might impose a requirement on me. I might, for "
"example, buy a book from you that includes a contract that says I will read "
"it only three times, or that I promise to read it three times. But that "
"obligation (and the limits for creating that obligation) would come from the "
"contract, not from copyright law, and the obligations of contract would not "
"necessarily pass to anyone who subsequently acquired the book."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Now, the Adobe eBook Reader calls these controls "
"<quote>permissions</quote>&mdash; as if the publisher has the power to "
"control how you use these works.  For works under copyright, the copyright "
"owner certainly does have the power&mdash;up to the limits of the copyright "
"law. But for work not under copyright, there is no such copyright "
"power.<placeholder type=\"footnote\" id=\"0\"/> When my e-book of "
"<citetitle>Middlemarch</citetitle> says I have the permission to copy only "
"ten text selections into the memory every ten days, what that really means "
"is that the eBook Reader has enabled the publisher to control how I use the "
"book on my computer, far beyond the control that the law would enable."
msgstr ""
"Maitenant, le Adobe eBook Reader appelle ces contrôles "
"<quote>permissions</quote>&mdash;comme si l'éditeur avait le pouvoir de "
"contrôler comment vous utilisez ces oeuvres. Pour des oeuvres soumises au "
"copyright, le détenteur du copyright possède certainement le "
"pouvoir&mdash;dans les limites de la loi du copyright. Mais pour des oeuvres "
"non soumises au copyright, il n'existe pas de pouvoir de "
"copyright<placeholder type=\"footnote\" id=\"0\"/>. Quand mon e-book de "
"<citetitle>Middlemarch</citetitle> dit que j'ai la permission de copier "
"seulement dix sélections de texte dans la mémoire tous les dix jours, ce "
"que cela veut réellement dire est que le eBook Reader a permis à l'éditeur "
"de contrôler comment j'utilise le livre sur mon ordinateur, bien au-delà du "
"contrôle que la loi permettrait."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The control comes instead from the code&mdash;from the technology within "
"which the e-book <quote>lives.</quote> Though the e-book says that these are "
"permissions, they are not the sort of <quote>permissions</quote> that most "
"of us deal with. When a teenager gets <quote>permission</quote> to stay out "
"till midnight, she knows (unless she's Cinderella) that she can stay out "
"till 2 A.M., but will suffer a punishment if she's caught. But when the "
"Adobe eBook Reader says I have the permission to make ten copies of the text "
"into the computer's memory, that means that after I've made ten copies, the "
"computer will not make any more. The same with the printing restrictions: "
"After ten pages, the eBook Reader will not print any more pages.  It's the "
"same with the silly restriction that says that you can't use the Read Aloud "
"button to read my book aloud&mdash;it's not that the company will sue you if "
"you do; instead, if you push the Read Aloud button with my book, the machine "
"simply won't read aloud."
msgstr ""
"Au lieu de cela, le contrôle vient du code&mdash;de la technologie à "
"l'intérieur de laquelle <quote>vit</quote> le livre électronique. Bien que "
"le e-book dise que ce sont des permissions, ce ne sont pas la sorte de "
"<quote>permissions</quote> à laquelle la plupart d'entre nous avons affaire. "
"Quand une adolescente obtient la <quote>permission</quote> de sortir jusqu'à "
"minuit, elle sait (à moins d'être Cendrillon) qu'elle peut sortir jusqu'à "
"deux heures du matin, mais qu'elle subira une sanction si elle se fait "
"prendre. Mais quans le Adobe eBook Reader dit que j'ai la permission de faire "
"dix copies du texte dans la mémoire de l'ordinateur, cela signifie qu'après "
"dix copies, l'ordinateur n'en fera pas plus. Pareil pour les restrictions "
"d'impression: après dix pages, le eBook Reader n'en imprimera pas plus. "
"C'est la même chose pour la restriction idiote qui dit que vous ne pouvez "
"pas utiliser le bouton Read Aloud pour lire mon livre à voix haute&mdash;ce "
"n'est pas que l'entreprise vous poursuivera en justice si vous le faites; à "
"la place, si vous appuyez sur le bouton Read Aloud avec mon livre, la machine "
"ne lira simplement pas à voix haute."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"These are <emphasis>controls</emphasis>, not permissions. Imagine a world "
"where the Marx Brothers sold word processing software that, when you tried "
"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from "
"the sentence."
msgstr ""
"Ce sont des <emphasis>contrôles</emphasis>, pas des permissions. Imaginez un "
"monde où les Marx Brothers vendraient un logiciel de traitement de texte "
"qui, quand vous tenteriez de taper <quote>Warner Brothers</quote>, effacerait "
"<quote>Brothers</quote> de la phrase."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is the future of copyright law: not so much copyright "
"<emphasis>law</emphasis> as copyright <emphasis>code</emphasis>. The "
"controls over access to content will not be controls that are ratified by "
"courts; the controls over access to content will be controls that are coded "
"by programmers. And whereas the controls that are built into the law are "
"always to be checked by a judge, the controls that are built into the "
"technology have no similar built-in check."
msgstr ""
"C'est l'avenir de la loi du copyright: ce n'est pas tant la "
"<emphasis>loi</emphasis> du copyright que le <emphasis>code</emphasis> du "
"copyright. Les contrôles sur l'accès au contenu ne seront pas des "
"contrôles ratifiés par les tribunaux; les contrôles sur l'accès au "
"contenu seront les contrôles qui seton codés par les programmeurs. Et alors "
"que les contrôles qui sont construits dans la loi sont toujours amenés à "
"être vérifiés par un juge, les contrôles qui sont construits dans la "
"technologie n'ont pas de vérification incorporée similaire."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"How significant is this? Isn't it always possible to get around the controls "
"built into the technology? Software used to be sold with technologies that "
"limited the ability of users to copy the software, but those were trivial "
"protections to defeat. Why won't it be trivial to defeat these protections "
"as well?"
msgstr ""
"Quelle est l'importance de ceci? N'est-il pas toujours possible de contourner "
"les contrôles construits dans la technologie? Auparavant, le logiciel était "
"vendu avec des technologies qui limitaient la capacité des utilisateurs à "
"le copier, mais c'étaient des protections triviales à défaire. Pourquoi ne "
"sera-t-il pas trivial de défaire ces protections aussi?"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We've only scratched the surface of this story. Return to the Adobe eBook "
"Reader."
msgstr ""
"Nous n'avons fait qu'égratigner la surface de cette histoire. Retournez à "
"l'Adobe eBook Reader."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Alice's Adventures in Wonderland (Carroll)"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "e-book restrictions on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Early in the life of the Adobe eBook Reader, Adobe suffered a public "
"relations nightmare. Among the books that you could download for free on the "
"Adobe site was a copy of <citetitle>Alice's Adventures in "
"Wonderland</citetitle>.  This wonderful book is in the public domain. Yet "
"when you clicked on Permissions for that book, you got the following report:"
msgstr ""
"Plus tôt dans la vie de l'Adobe eBook Reader, Adobe souffrait de relations "
"publiques cauchemardesques. Parmi les livres que vous pouviez télécharger "
"gratuitement sur le site de Adobe figurait une copie d' <citetitle>Alice au "
"pays des merveilles</citetitle>. Ce merveilleux livre est dans le domaine "
"public. Pourtant quand vous cliquiez sur Permissions pour ce livre, vous "
"aviez le message suivant:"

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/1641.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Here was a public domain children's book that you were not allowed to copy, "
"not allowed to lend, not allowed to give, and, as the "
"<quote>permissions</quote> indicated, not allowed to <quote>read "
"aloud</quote>!"
msgstr ""
"Voici un livre pour enfants du domaine public que vous n'êtes pas autorisé "
"à copier, ni autorisé à prêter, ni autorisé à donner, et, comme "
"l'indiquent les <citetitle>permissions</citetitle>, ni autorisé à <quote>lire à voix "
"haute</quote>!"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The public relations nightmare attached to that final permission.  For the "
"text did not say that you were not permitted to use the Read Aloud button; "
"it said you did not have the permission to read the book aloud. That led "
"some people to think that Adobe was restricting the right of parents, for "
"example, to read the book to their children, which seemed, to say the least, "
"absurd."
msgstr ""
"Le cauchemar des relations publiques était attaché à cette dernière "
"permission. Parce que le texte ne disait pas que vous n'étiez pas autorisé "
"à utiliser le bouton Read Aloud; il disait que vous n'aviez pas la "
"permission de lire le livre à voix haute. Cela a amené certaines personnes "
"à penser qu'Adobe restreignait le droit des parents, par exemple, de lire le "
"livre à leurs enfants, ce qui semblait, c'est le moins qu'on puisse dire, "
"absurde."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Adobe responded quickly that it was absurd to think that it was trying to "
"restrict the right to read a book aloud. Obviously it was only restricting "
"the ability to use the Read Aloud button to have the book read aloud. But "
"the question Adobe never did answer is this: Would Adobe thus agree that a "
"consumer was free to use software to hack around the restrictions built into "
"the eBook Reader? If some company (call it Elcomsoft) developed a program to "
"disable the technological protection built into an Adobe eBook so that a "
"blind person, say, could use a computer to read the book aloud, would Adobe "
"agree that such a use of an eBook Reader was fair? Adobe didn't answer "
"because the answer, however absurd it might seem, is no."
msgstr ""
"Adobe répondit rapidement qu'il était absurde de penser qu'elle essayait de "
"restreindre le droit de lire un livre à voix haute. <citetitle>[Note: Quelle ironie "
"intéressante pour Adobe de dire qu'il est <quote>absurde</quote> de "
"restreindre un livre d'être lu à voix haute quand elle construit exactement "
"cette capacité dans ses logiciels.]</citetitle> Évidemment c'était seulement "
"restreindre la capacité d'utiliser le bouton Read Aloud pour avoir le livre "
"lu à voix haute. Mais la question à laquelle Adobe n'a jamais répondu est "
"celle-ci: est-ce que Adobe est donc d'accord pour qu'un client soit libre "
"d'utiliser son logiciel pour bricoler autour des restrictions construites "
"dans l'eBook Reader? Si quelque entreprise (appelons-la Elcomsoft) "
"développait un programme pour désactiver la protection technologique "
"construite dans un Adobe eBook afin qu'ile personne aveugle, disons, puisse "
"utiliser un ordinateur pour lire le livre à voix haute, est ce que Adobe "
"serait d'accord qu'un tel usage de l'eBook Reader soit juste? Adobe n'a pas "
"répondu parce que la réponse, aussi absurde puisse-t-elle paraître, est "
"non."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The point is not to blame Adobe. Indeed, Adobe is among the most innovative "
"companies developing strategies to balance open access to content with "
"incentives for companies to innovate. But Adobe's technology enables "
"control, and Adobe has an incentive to defend this control.  That incentive "
"is understandable, yet what it creates is often crazy."
msgstr ""
"Ce n'est pas pour dire du mal d'Adobe. En effet, Adobe est parmi les "
"entreprises les plus innovantes, développant des stratégies pour "
"équilibrer l'accès ouvert au contenu avec des incitations pour que des "
"entreprises innovent. Mais la technologie d'Adobe permet le contrôle, et "
"Adobe a une motivation pour défendre ce contrôle. Cette motivation est "
"compréhensible, mais ce qu'elle crée est parfois délirant."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"To see the point in a particularly absurd context, consider a favorite story "
"of mine that makes the same point."
msgstr ""
"Pour voir cette idée dans un contexte particulièrement absurde, considérez "
"une de mes histoires préférées sur la même idée."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Aibo robotic dog"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "robotic dog"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Sony"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "Aibo robotic dog produced by"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo "
"learns tricks, cuddles, and follows you around. It eats only electricity and "
"that doesn't leave that much of a mess (at least in your house)."
msgstr ""
"Considérez le chien robotique de Sony nommé <quote>Aibo</quote>. L'Aibo "
"apprend des tours, fait des câlins et vous suit. Il ne mange que ne "
"l'électricité et ne fait pas tant de dégâts que ça (au moins dans votre "
"maison)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Aibo is expensive and popular. Fans from around the world have set up "
"clubs to trade stories. One fan in particular set up a Web site to enable "
"information about the Aibo dog to be shared. This fan set up aibopet.com "
"(and aibohack.com, but that resolves to the same site), and on that site he "
"provided information about how to teach an Aibo to do tricks in addition to "
"the ones Sony had taught it."
msgstr ""
"L'Aibo est cher et populaire. Des fans du monde entier ont monté des clubs "
"pour échanger des histoires. Un fan en particulier a monté un site Web pour "
"permettre de partager des informations sur le chien Aibo. Ce fan a monté "
"aibopet.org (et aibohack.org, mais celui-ci mêne au même site), et sur ce "
"site il a fourni des informations sur comment apprendre à un Aibo à faire "
"des tours en plus de ceux que Sony lui a appris."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>Teach</quote> here has a special meaning. Aibos are just cute "
"computers.  You teach a computer how to do something by programming it "
"differently.  So to say that aibopet.com was giving information about how to "
"teach the dog to do new tricks is just to say that aibopet.com was giving "
"information to users of the Aibo pet about how to hack their computer "
"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)."
msgstr ""
"<quote>Apprendre</quote> a ici un sens spécial. Les Aibos sont juste des "
"ordinateurs mignons. Vous apprenez à un ordinateur à faire quelque chose en "
"le programmant différemment. Donc, dire qu'aibopet.com donnait des "
"informations sur comment apprendre au chien à faire de nouveaux tours est "
"juste une manière de dire qu'aibopet.com donnait aux utilisateurs de "
"l'animal de compagnie Aibo l'information sur comment hacker (NdT: bricoler) "
"leur <quote>chien</quote>-ordinateur pour lui faire faire de nouveaux tours "
"(d'où le nom aibohack.com)."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "hacks"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If you're not a programmer or don't know many programmers, the word "
"<citetitle>hack</citetitle> has a particularly unfriendly "
"connotation. Nonprogrammers hack bushes or weeds. Nonprogrammers in horror "
"movies do even worse. But to programmers, or coders, as I call them, "
"<citetitle>hack</citetitle> is a much more positive "
"term. <citetitle>Hack</citetitle> just means code that enables the program "
"to do something it wasn't originally intended or enabled to do. If you buy a "
"new printer for an old computer, you might find the old computer doesn't "
"run, or <quote>drive,</quote> the printer. If you discovered that, you'd "
"later be happy to discover a hack on the Net by someone who has written a "
"driver to enable the computer to drive the printer you just bought."
msgstr ""
"Si vous n'êtes pas programmeur ou ne connaissez pas beaucoup de "
"programmeurs, le verbe <citetitle>hacker</citetitle> (NdT: en anglais, "
"tailler ou découper) a une connotation particulièrement peu amicale. Les "
"non-programmeurs taillent des buissons ou la mauvaise herbe. Les non- "
"programmeurs dans des films d'horreur font encore pire. Mais pour les "
"programmeurs, ou codeurs, comme je les appelle, <citetitle>hacker</citetitle> "
"est un terme bien plus positif. Un <citetitle>hack</citetitle> veut juste "
"dire du code qui permet au programme de faire quelque chose qu'il n'était "
"pas prévu ou permis de faire. Si vous achetez une nouvelle imprimante pour "
"un vieil ordinateur, vous verrez peut-être que le vieil ordinateur ne fait "
"pas marcher, ou ne <citetitle>pilote</citetitle> pas, l'imprimante. Si vous "
"découvrez ceci, vous seriez plus tard content de découvrir un "
"<quote>hack</quote> sur le Net fait par quelqu'un qui a écrit un pilote pour "
"permettre à l'ordinateur de contrôler l'imprimante que vous venez "
"d'acheter."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Some hacks are easy. Some are unbelievably hard. Hackers as a community like "
"to challenge themselves and others with increasingly difficult "
"tasks. There's a certain respect that goes with the talent to hack "
"well. There's a well-deserved respect that goes with the talent to hack "
"ethically."
msgstr ""
"Certains hacks sont faciles. D'autres sont incroyablement difficiles. Les "
"hackeurs en tant que communauté aiment se défier eux-mêmes et mutuellement "
"avec des tâches de plus en plus difficiles. Il y a un certain respect qui va "
"avec le talent de bien hacker. C'est un respect bien mérité qui va avec le "
"talent de hacker éthiquement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Aibo fan was displaying a bit of both when he hacked the program and "
"offered to the world a bit of code that would enable the Aibo to dance "
"jazz. The dog wasn't programmed to dance jazz. It was a clever bit of "
"tinkering that turned the dog into a more talented creature than Sony had "
"built."
msgstr ""
"Le fan de Aibo montrait un peu peu des deux quand il a hacké le programme et "
"offert au monde un morceau de code qui permettait à l'Aibo de dansr le jazz. "
"Le chien n'était pas programmé pour danser le jazz. C'était un bout "
"intelligent de bricolage qui a transformé le chien en une créature plus "
"talentueuse que celle que Sony avait construite."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I've told this story in many contexts, both inside and outside the United "
"States. Once I was asked by a puzzled member of the audience, is it "
"permissible for a dog to dance jazz in the United States? We forget that "
"stories about the backcountry still flow across much of the world. So let's "
"just be clear before we continue: It's not a crime anywhere (anymore) to "
"dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it "
"be a crime (though we don't have a lot to go on here) to teach your robot "
"dog to dance jazz. Dancing jazz is a completely legal activity. One imagines "
"that the owner of aibopet.com thought, <emphasis>What possible problem could "
"there be with teaching a robot dog to dance?</emphasis>"
msgstr ""
"J'ai raconté cette histoire dans de nombreux contextes, à la fois dans et "
"en dehors des États-Unis. Une fois, un membre du public interloqué m'a "
"demandé s'il était permis pour un chien de danser le jazz aux États-Unis? "
"Nous oublions que les histoires sur l'arrière-pays font toujours le tour "
"d'une grande partie du monde. Soyons donc simplement clairs avant de "
"continuer: ce n'est (plus maintenant) un crime nulle part de danser le jazz. "
"Ce n'est pas non plus un crime d'apprendre à votre chien de danser le jazz. "
"Cela ne devrait pas non plus être un crime (quoique nous n'avons pas "
"beaucoup de quoi continuer ici) d'apprendre à votre chien à danser le jazz. "
"Danser le jazz est une activité complètement légale. On imagine que le "
"propriétaire d'aibopet.com a pensé: <emphasis>quels problèmes potentiels "
"pourraient-ils y avoir à apprendre à un chien robot à danser?</emphasis>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "government case against"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Let's put the dog to sleep for a minute, and turn to a pony show&mdash; not "
"literally a pony show, but rather a paper that a Princeton academic named Ed "
"Felten prepared for a conference. This Princeton academic is well known and "
"respected. He was hired by the government in the Microsoft case to test "
"Microsoft's claims about what could and could not be done with its own "
"code. In that trial, he demonstrated both his brilliance and his "
"coolness. Under heavy badgering by Microsoft lawyers, Ed Felten stood his "
"ground. He was not about to be bullied into being silent about something he "
"knew very well."
msgstr ""
"Mettons le chien en sourdine une minute, et tournons-nous vers un spectacle "
"de poney&mdash;pas littéralement un spectacle de poney, mais plutôt un "
"papier qu'un universitaire de Princeton nommé Ed Felten a écrit pour une "
"conférence. Cet universitaire de Princeton est bien connu et respecté. Il a "
"été embauché par le gouvernement dans l'affaire Microsoft pour évaluer "
"les affirmations de Microsoft à propos de ce qui pouvait et ne pouvait pas "
"être fait avec son propre code. Dans ce procès, il a fait preuve à la fois "
"de sa grande intelligence et de sa décontraction. Soumis à un lourd "
"harcèlement de la part des avocats de Microsoft, Ed Felten a maintenu son "
"point de vue. On n'allait pas le museler par la force sur quelque chose qu'il "
"connaissait très bien."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Electronic Frontier Foundation"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to "
"Science,</quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan "
"I. Koerner, <quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog "
"New Tricks,</quote> <citetitle>American Prospect</citetitle>, January 2002; "
"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> "
"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 "
"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech "
"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, "
"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic "
"Frontier Foundation, <quote>Frequently Asked Questions about "
"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> "
"Legal Case,</quote> available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #27</ulink>.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But Felten's bravery was really tested in April 2001.<placeholder "
"type=\"footnote\" id=\"0\"/> He and a group of colleagues were working on a "
"paper to be submitted at conference.  The paper was intended to describe the "
"weakness in an encryption system being developed by the Secure Digital Music "
"Initiative as a technique to control the distribution of music."
msgstr ""
"Mais la bravoure de Felten a été réellement mise à mal en avril "
"2001<placeholder type=\"footnote\" id=\"0\"/>. Lui et un groupe de collègues "
"étaient en train de travailler sur un papier qui allait être soumis à "
"conférence. Ce papier était destiné à décrire les faiblesses dans un "
"système de chiffrement en cours de développement par Secure Digital Music "
"Initiative en tant que technique pour contrôler la distribution de la "
"musique."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The SDMI coalition had as its goal a technology to enable content owners to "
"exercise much better control over their content than the Internet, as it "
"originally stood, granted them. Using encryption, SDMI hoped to develop a "
"standard that would allow the content owner to say <quote>this music cannot "
"be copied,</quote> and have a computer respect that command.  The technology "
"was to be part of a <quote>trusted system</quote> of control that would get "
"content owners to trust the system of the Internet much more."
msgstr ""
"La coalition SDMI avait pour but une technologie visant à permettre aux "
"détenteurs de contenu d'exercer bien mieux le contrôle sur leur contenu que "
"ce qu'Internet, tel qu'il était à l'origine, leur accordait. En utilisant "
"le chiffrement, SDMI espérait développer un standard qui permettrait au "
"détenteur de contenu de dire <quote>cette musique ne peut pas être "
"copiée</quote>, et d'avoir un ordinateur qui respecterait cette commande. La "
"technologie devait faire partie d'un <quote>système éprouvé</quote> de "
"contrôle qui ferait que les détenteurs de contenu feraient bien plus "
"confiance au système d'Internet."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When SDMI thought it was close to a standard, it set up a competition.  In "
"exchange for providing contestants with the code to an SDMI-encrypted bit of "
"content, contestants were to try to crack it and, if they did, report the "
"problems to the consortium."
msgstr ""
"Quand SDMI pensa qu'elle était proche d'un standard, elle monta une "
"compétition. En échange de fournir aux participants le code d'un morceau de "
"contenu chiffré à la SDMI, les participants essayeraient de le faire sauter "
"et, si ils réuississaient, rapporteraient les problèmes au consortium."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Felten and his team figured out the encryption system quickly. He and the "
"team saw the weakness of this system as a type: Many encryption systems "
"would suffer the same weakness, and Felten and his team thought it "
"worthwhile to point this out to those who study encryption."
msgstr ""
"Felten et son équipe trouvèrent rapidement le système de chiffrement. Lui "
"et son équipe virent la faiblesse de ce système en tant que type: de "
"nombreux systèmes de chiffrement souffraient de la même faiblesse, et "
"Felten et son équipe pensait que cela vaudrait le coup de le faire remarquer "
"à ceux qui étudient le chiffrement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Let's review just what Felten was doing. Again, this is the United "
"States. We have a principle of free speech. We have this principle not just "
"because it is the law, but also because it is a really great idea. A "
"strongly protected tradition of free speech is likely to encourage a wide "
"range of criticism. That criticism is likely, in turn, to improve the "
"systems or people or ideas criticized."
msgstr ""
"Passons en revue ce que Felten était en train de faire. Encore une fois, ce "
"sont les États-Unis. Nous avons un principe de liberté d'expression. Nous "
"avons ce principe pas juste parce que c'est la loi, mais aussi parce que "
"c'est une idée vraiment bonne. Une tradition de liberté d'expression "
"fortement protégée a des chances d'encourager une large palette de "
"critiques. Cette critique a des chances, en échange, d'améliorer les "
"systèmes ou les gens ou les idées critiquées."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"What Felten and his colleagues were doing was publishing a paper describing "
"the weakness in a technology. They were not spreading free music, or "
"building and deploying this technology. The paper was an academic essay, "
"unintelligible to most people. But it clearly showed the weakness in the "
"SDMI system, and why SDMI would not, as presently constituted, succeed."
msgstr ""
"Ce que Felten et ses collègues étaient en train de faire était la "
"publication d'un papier décrivant la faiblesse dans une technologie. Ils ne "
"diffusaient pas de musique gratuite, ni ne construisaient ou ne déployaient "
"cette technologie. Le papier était un essai académique, inintelligible pour "
"la plupart des gens. Mais il montrait clairement la faiblesse dans le "
"système SDMI, et pourquoi SDMI, comme présentément constitué, ne "
"réussirait pas."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"What links these two, aibopet.com and Felten, is the letters they then "
"received. Aibopet.com received a letter from Sony about the aibopet.com "
"hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:"
msgstr ""
"Ce qui lie ces deux-là, aibopet.com et Felten, sont les lettres qu'ils ont "
"reçues. Aibopet.com a reçu une lettre de Sony à propos du hack de "
"aibopet.com. Bien qu'un chien dansant le jazz soit parfaitement légal, Sony "
"écrivit:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Your site contains information providing the means to circumvent AIBO-ware's "
"copy protection protocol constituting a violation of the anti-circumvention "
"provisions of the Digital Millennium Copyright Act."
msgstr ""
"Votre site contient de l'information fournissant les moyens de passer outre "
"le protocole de protection contre la copie du produit AIBO, constituant une "
"violation des dispositions du Digital Millennium Copyright Act."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"And though an academic paper describing the weakness in a system of "
"encryption should also be perfectly legal, Felten received a letter from an "
"RIAA lawyer that read:"
msgstr ""
"Et bien qu'un paper académique décrivant la faiblesse dans un système de "
"chiffrement devrait également être parfaitement légal, Felten a reçu une "
"lettre d'un avocat de la RIAA disant:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Any disclosure of information gained from participating in the Public "
"Challenge would be outside the scope of activities permitted by the "
"Agreement and could subject you and your research team to actions under the "
"Digital Millennium Copyright Act (<quote>DMCA</quote>)."
msgstr ""
"Toute divulgation d'information obtenue de la participation au Public "
"Challenge serait hors du champ des activités permises par l'Accord et "
"pourrait vous exposer vous et votre équipe de recherche à des actions sous "
"le Digital Millennium Copyright Act (<quote>DMCA</quote>)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In both cases, this weirdly Orwellian law was invoked to control the spread "
"of information. The Digital Millennium Copyright Act made spreading such "
"information an offense."
msgstr ""
"Dans les deux cas, cette loi étrangement orwellienne était invoquée pour "
"contrôler la diffusion de l'information. Le Digital Millennium Copyright Act "
"faisait de la diffusion de telles informations une offense."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The DMCA was enacted as a response to copyright owners' first fear about "
"cyberspace. The fear was that copyright control was effectively dead; the "
"response was to find technologies that might compensate.  These new "
"technologies would be copyright protection technologies&mdash; technologies "
"to control the replication and distribution of copyrighted material. They "
"were designed as <emphasis>code</emphasis> to modify the original "
"<emphasis>code</emphasis> of the Internet, to reestablish some protection "
"for copyright owners."
msgstr ""
"Le DMCA a été ordonné comme réponse à la première peur des détenteurs "
"de copyright concernant le cyberespace. La peur était que l'efficacité du "
"contrôle du copyright soit morte; la réponse était de trouver des "
"technologies qui pourraient compenser. Ces nouvelles technologies seraient "
"des technologies de protection de copyright&mdash;des technologies pour "
"contrôles la réplication et la distribution de choses sous copyright. Elles "
"étianet conçues comme <emphasis>code</emphasis> pour modifier le "
"<emphasis>code</emphasis> original d'Internet, pour réétablir quelque "
"protection pour les détenteurs de copyright."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The DMCA was a bit of law intended to back up the protection of this code "
"designed to protect copyrighted material. It was, we could say, "
"<emphasis>legal code</emphasis> intended to buttress <emphasis>software "
"code</emphasis> which itself was intended to support the <emphasis>legal "
"code of copyright</emphasis>."
msgstr ""
"Le DMCA était un morceau de loi destiné à confirmer la protection de ce "
"code conçu pour protéger le contenu sous copyright. C'était, on pourrait "
"dire, du <emphasis>code légal</emphasis> destiné à soutenir le "
"<emphasis>code logiciel</emphasis> qui lui-même était destiné à soutenir "
"le <emphasis>code légal du copyright</emphasis>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But the DMCA was not designed merely to protect copyrighted works to the "
"extent copyright law protected them. Its protection, that is, did not end at "
"the line that copyright law drew. The DMCA regulated devices that were "
"designed to circumvent copyright protection measures. It was designed to ban "
"those devices, whether or not the use of the copyrighted material made "
"possible by that circumvention would have been a copyright violation."
msgstr ""
"Mais le DMCA n'a pas été conçu pour simplement protéger les oeuvres sous "
"copyright dans la même mesure que la loi du copyright les protégeait. Sa "
"protection, pour ainsi dire, ne s'est pas arrêtée à la ligne que la loi du "
"copyright avait tracée.  Le DMCA régulait des systèmes qui étaient "
"conçus pour contourner des mesures de protection de copyright. Il était "
"conçu pour bannir ces systèmes, que l'utilisation du contenu sous copyright "
"rendue possible par ce contournement soit une violation du copyright ou pas."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Aibopet.com and Felten make the point. The Aibo hack circumvented a "
"copyright protection system for the purpose of enabling the dog to dance "
"jazz. That enablement no doubt involved the use of copyrighted material. But "
"as aibopet.com's site was noncommercial, and the use did not enable "
"subsequent copyright infringements, there's no doubt that aibopet.com's hack "
"was fair use of Sony's copyrighted material. Yet fair use is not a defense "
"to the DMCA. The question is not whether the use of the copyrighted material "
"was a copyright violation. The question is whether a copyright protection "
"system was circumvented."
msgstr ""
"Et justement, il y a Aibopet.com et Felten. Le hack du Aibo contournait un "
"système de protection de copyright dans le but de permettre au chien de "
"danser le jazz. Cette activation a sans doute impliqué l'utilisation de "
"matériel sous copyright. Mais comme le site d'aibopet.com était non- "
"commercial, et que l'utilisation ne permettait pas de violations ultérieures "
"de copyright, il n'y a pas de doute que le hack d'aibopet.com était de "
"l'usage loyal du matériel sous copyright de Sony. Pourtant l'usage loyal "
"n'est pas une défense contre le DMCA. La question n'est pas si l'utilisation "
"de matériel sous copyright est une violation du copyright. La question est "
"si un système de protection de copyright a été contourné."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The threat against Felten was more attenuated, but it followed the same line "
"of reasoning. By publishing a paper describing how a copyright protection "
"system could be circumvented, the RIAA lawyer suggested, Felten himself was "
"distributing a circumvention technology.  Thus, even though he was not "
"himself infringing anyone's copyright, his academic paper was enabling "
"others to infringe others' copyright."
msgstr ""
"La menace contre Felten était plus atténuée, mais elle suivait la même "
"ligne de raisonnement. En publiant un papier décrivant comment un système "
"de protection de copyright pouvait être contourné, suggéra l'avocat de la "
"RIAA, Felten lui-même était en train de distribuer une technologie de "
"contournement. Ainsi, même si il ne violait pas lui-même le copyright de "
"personne, son papier académique permettait à d'autres de violer le "
"copyright d'autres."

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
msgid "Rogers, Fred"
msgstr "Rogers, Fred"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Conrad, Paul"
msgstr "Conrad, Paul"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The bizarreness of these arguments is captured in a cartoon drawn in 1981 by "
"Paul Conrad. At that time, a court in California had held that the VCR could "
"be banned because it was a copyright-infringing technology: It enabled "
"consumers to copy films without the permission of the copyright owner. No "
"doubt there were uses of the technology that were legal: Fred Rogers, aka "
"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified "
"in that case that he wanted people to feel free to tape Mr. Rogers' "
"Neighborhood.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"La bizzarerie de ces arguments est capturée dans une caricature dessinée en "
"1981 par Paul Conrad. À cette époque, un tribunal de Californie avait "
"affirmé que le magnétoscope pouvait être interdit car il était une "
"technologie d'enfreignement du copyright: il permettait aux consommateurs de "
"copier des filsm sans la permission du détenteur du copyright. Il y avait "
"sans doute des utilisations de la technologie qui était légales: Fred "
"Rogers, alias <quote>Mr. Rogers</quote>, par exemple, avait témoigné dans "
"cette affaire qu'il voulait que les gens se sentent libres d'enregistrer "
"<citetitle>Mr. Roger's Neighborhood</citetitle>. <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of "
"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., "
"464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the "
"VCR. See James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, "
"and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, 1987), "
"270&ndash;71.  <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Some public stations, as well as commercial stations, program the "
"<quote>Neighborhood</quote> at hours when some children cannot use it. I "
"think that it's a real service to families to be able to record such "
"programs and show them at appropriate times. I have always felt that with "
"the advent of all of this new technology that allows people to tape the "
"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the "
"<quote>Neighborhood</quote> because that's what I produce, that they then "
"become much more active in the programming of their family's television "
"life. Very frankly, I am opposed to people being programmed by others. My "
"whole approach in broadcasting has always been <quote>You are an important "
"person just the way you are. You can make healthy decisions.</quote> Maybe "
"I'm going on too long, but I just feel that anything that allows a person to "
"be more active in the control of his or her life, in a healthy way, is "
"important.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Certaines chaines publiques, aussi bien que des chaines commerciales, "
"diffusent le <quote>Neighborhood</quote> à des heures où certains enfants "
"ne peuvent pas l'utiliser. Je pense que c'est un vrai service aux familles "
"que d'être capable d'enregistrer de tels programmes et de les montrer à des "
"heures appropriées. J'ai toujours pensé qu'avec la venue de toute cette "
"nouvelle technologie qui permet aux gens d'enregistrer le "
"<quote>Neighborhood</quote> sans avoir à la regarder, et je parle du "
"<quote>Neighborhood</quote> parce que c'est ce que je produis, qu'elles "
"deviendraient bien plus actives dans la programmation de leur vie "
"télévisuelle familiale. Très franchement, je suis opposé au fait que des "
"gens soient programmés par d'autres. Mon approche globale des émissions a "
"toujours été que <quote>Vous êtes une personne importante simplement comme "
"vous êtes. Vous pouvez prendre des décisions saines</quote>. Peut-être que "
"je m'étends, mais je pense simplement que tout ce qui permet à une personne "
"d'être plus active dans le contrôle de sa vie, de manière saine, est "
"important<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Even though there were uses that were legal, because there were some uses "
"that were illegal, the court held the companies producing the VCR "
"responsible."
msgstr ""
"Même si il y avait des utilisations qui étaient légales, parce que "
"certaines d'entre elles étaient illégales, le tribunal a tenu pour "
"responsables les entreprises produisant le magnétoscope."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This led Conrad to draw the cartoon in figure <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-1711-vcr-handgun-cartoonfig\"/>, "
"which we can adopt to the DMCA.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Ce qui amena Conrad à dessiner le dessin de la figure <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-1711-vcr-handgun-cartoonfig\"/>, que "
"nous pouvons adapter au DMCA. <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid "No argument I have can top this picture, but let me try to get close."
msgstr ""
"Aucun argument que je puisse avoir ne peut surpasser cette image, mais "
"laissez-moi essayer de m'y approcher."

#. type: Content of: <book><part><chapter><section><figure><title>
msgid ""
"&mdash; On which item have the courts ruled that manufacturers and retailers "
"be held responsible for having supplied the equipment?"
msgstr ""

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" "
"width=\"65%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The anticircumvention provisions of the DMCA target copyright circumvention "
"technologies. Circumvention technologies can be used for different "
"ends. They can be used, for example, to enable massive pirating of "
"copyrighted material&mdash;a bad end. Or they can be used to enable the use "
"of particular copyrighted materials in ways that would be considered fair "
"use&mdash;a good end."
msgstr ""
"Les dispositions anti-contournement du DMCA visent les technologies de "
"contournement de copyright. Les technologies de contournement peuvent être "
"utilisées à des fins différentes. Elles peuvent être utilisées, par "
"exemple, pour permettre le piratage massif de matériel sous "
"copyright&mdash;une mauvaise fin. Ou elles peuvent être utilisées pour "
"permettre l'utilisation de certains matériels sous copyright selon des "
"manières qui seraient considérées comme de l'usage loyal&mdash;une bonne "
"fin."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "handguns"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"A handgun can be used to shoot a police officer or a child. Most would agree "
"such a use is bad. Or a handgun can be used for target practice or to "
"protect against an intruder. At least some would say that such a use would "
"be good. It, too, is a technology that has both good and bad uses."
msgstr ""
"Un pistolet peut être utilisé pour tuer un policier ou un enfant. Les "
"plupart des gens acquiescerait qu'un tel usage est mauvais. Ou un pistolet "
"peut être utilisé pour s'entrainer au tir ou à se protéger contre un "
"intrus. Au moins quelques personnes diraient que de tels usages seraient "
"bons. C'est, aussi, une technologie qui a à la fois des bons et des mauvais "
"usages."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The obvious point of Conrad's cartoon is the weirdness of a world where guns "
"are legal, despite the harm they can do, while VCRs (and circumvention "
"technologies) are illegal. Flash: <emphasis>No one ever died from copyright "
"circumvention</emphasis>. Yet the law bans circumvention technologies "
"absolutely, despite the potential that they might do some good, but permits "
"guns, despite the obvious and tragic harm they do."
msgstr ""
"L'idée évidente du dessin de Conrad est l'étrangeté d'un monde où les "
"pistolets sont légaux, malgré les dommages qu'ils peuvent faire, alors que "
"les magnétoscopes (et les technologies de contournement) sont illégaux. "
"Flash: <emphasis>Personne n'est jamais mort à cause d'un contournement de "
"copyright.</emphasis> Et pourtant la loi bannit absolument les technologies "
"de contournement, malgré le potentiel qu'elles peuvent apporter du bien, "
"mais autorise les pistolets, malgré les dommages évidents et tragiques "
"qu'ils font."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Aibo and RIAA examples demonstrate how copyright owners are changing the "
"balance that copyright law grants. Using code, copyright owners restrict "
"fair use; using the DMCA, they punish those who would attempt to evade the "
"restrictions on fair use that they impose through code. Technology becomes a "
"means by which fair use can be erased; the law of the DMCA backs up that "
"erasing."
msgstr ""
"Les exemples de l'Aibo et de la RIAA démontrent comment les détenteurs de "
"copyright sont en train de changer l'équilibre qu'octroie la loi du "
"copyright. En utilisant du code, les détenteurs de copyright restreignent "
"l'usage loyal; en utilisant le DMCA, ils punissent ceux qui tentent "
"d'échapper aux restrictions sur l'usage loyal qu'ils imposent à travers le "
"code. La technologie devient un moyen par lequel l'usage loyal peut être "
"effacé; la loi du DMCA soutient cet effacement."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The "
"controls built into the technology of copy and access protection become "
"rules the violation of which is also a violation of the law. In this way, "
"the code extends the law&mdash;increasing its regulation, even if the "
"subject it regulates (activities that would otherwise plainly constitute "
"fair use) is beyond the reach of the law. Code becomes law; code extends the "
"law; code thus extends the control that copyright owners effect&mdash;at "
"least for those copyright holders with the lawyers who can write the nasty "
"letters that Felten and aibopet.com received."
msgstr ""
"C'est ainsi que le <emphasis>code</emphasis> devient la "
"<emphasis>loi</emphasis>. Les contrôles incorporés dans la technologie de "
"protection contre la copie et l'accès deviennent des règles dont la "
"violation est également une violation de la loi. De cette manière, le code "
"étend la loi&mdash;en augmentant sa régulation, même si le sujet qu'il "
"régule (des activités qui constitueraient autrement simplement de l'usage "
"loyal) est au-delà de la portée de la loi. Le code devient la loi; le code "
"étend la loi; le codé étend ainsi le contrôle que les détenteurs de "
"copyright effectuent&mdash;au moins pour les détenteurs de copyright qui ont "
"des avocats pouvant écrire les lettres menaçantes que Felten et aibopet.com "
"ont reçues."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There is one final aspect of the interaction between architecture and law "
"that contributes to the force of copyright's regulation. This is the ease "
"with which infringements of the law can be detected. For contrary to the "
"rhetoric common at the birth of cyberspace that on the Internet, no one "
"knows you're a dog, increasingly, given changing technologies deployed on "
"the Internet, it is easy to find the dog who committed a legal wrong. The "
"technologies of the Internet are open to snoops as well as sharers, and the "
"snoops are increasingly good at tracking down the identity of those who "
"violate the rules."
msgstr ""
"Il y a un dernier aspect de l'interaction entre l'architecture et la loi qui "
"contribue à la force de la régulation du copyright. C'est l'aisance avec "
"laquelle les infractions de la loi peuvent être détectées. Car "
"contrairement à la réthorique commune à la naissance du cyberespace qui "
"dit que sur Internet, personne ne sait que vous êtes un chien, de plus en "
"plus, selon les technologies changeantes déployées sur Internet, il est "
"facile de trouver le chien qui a commis le tort légal. Les technologies "
"d'Internet son ouvertes aux fureteurs aussi bien qu'aux partageurs, et les "
"fureteurs sont de plus en plus meilleurs pour rechercher l'identité de ceux "
"qui violent les règles."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal "
"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> "
"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 "
"(1997): 651."
msgstr ""
"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal "
"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote><citetitle> "
"Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 (1997): 651."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan "
"club. You gathered every month to share trivia, and maybe to enact a kind of "
"fan fiction about the show. One person would play Spock, another, Captain "
"Kirk. The characters would begin with a plot from a real story, then simply "
"continue it.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Par exemple, imaginez que vous feriez partie d'un fan club de <citetitle>Star "
"Trek</citetitle>. Vous vous rassembleriez chaque mois pour partager des "
"anecdotes, et peut-êtes monteriez une sorte de fiction de fan sur la série. "
"Une personne jouerait Spock, une autre Capitaint Kirk. Les personnages "
"commenceraient avec une trame issue d'une vraie histoire, et la "
"continueraient simplement<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Before the Internet, this was, in effect, a totally unregulated activity.  "
"No matter what happened inside your club room, you would never be interfered "
"with by the copyright police. You were free in that space to do as you "
"wished with this part of our culture. You were allowed to build on it as you "
"wished without fear of legal control."
msgstr ""
"Avant Internet, c'était, dans le fond, une activité totalement "
"non-régulée. Peu importe ce qui se passait dans la salle de votre club, la "
"police du copyright ne vous aurait jamais dérangé. Vous seriez libre dans "
"cet espace pour faire ce qui vous désireriez avec cette partie de notre "
"culture. Vous aurez le droit de l'utiliser comme vous le dérireriez sans "
"crainte du contrôle légal."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But if you moved your club onto the Internet, and made it generally "
"available for others to join, the story would be very different. Bots "
"scouring the Net for trademark and copyright infringement would quickly find "
"your site. Your posting of fan fiction, depending upon the ownership of the "
"series that you're depicting, could well inspire a lawyer's threat. And "
"ignoring the lawyer's threat would be extremely costly indeed.  The law of "
"copyright is extremely efficient. The penalties are severe, and the process "
"is quick."
msgstr ""
"Mais si vous déplaciez votre club sur Internet, et le rendiez disponible "
"généralement aux nouvelles candidatures, cela se passerait très "
"différemment. Des robots parcourant le Net à la recherche d'infractions aux "
"marques et au copyright trouveraient rapidement votre site. Vos écrits de "
"fiction, en fonction de la propriété des séries que vous dépeignez, "
"pourrait bien inspirer une menace d'avocat. Et ignorer la menace de l'avocat "
"serait en effet extrèmement couteux. La loi du copyright est extrèmement "
"efficace. Les peines sont sévères, et le procédé est rapide."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This change in the effective force of the law is caused by a change in the "
"ease with which the law can be enforced. That change too shifts the law's "
"balance radically. It is as if your car transmitted the speed at which you "
"traveled at every moment that you drove; that would be just one step before "
"the state started issuing tickets based upon the data you transmitted. That "
"is, in effect, what is happening here."
msgstr ""
"Ce changement dans la force efficace de la loi est causé par un changement "
"dans la facilité avec laquelle la loi peut être appliquée. Ce changement "
"modifie également l'équilibre de la loi de manière radicale. C'est comme "
"si votre voiture transmettait la vitesse à laquelle vous roulez à chaque "
"moment de votre conduite; cela serait la dernière étape avant que l'État "
"ne commence à imprimer des amendes selon les donnez que vous envoyez. C'est, "
"en réalité, ce qui est en train de se passer ici."

#. type: Content of: <book><part><chapter><section><title>
msgid "Market: Concentration"
msgstr "Marché: Concentration"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"So copyright's duration has increased dramatically&mdash;tripled in the past "
"thirty years. And copyright's scope has increased as well&mdash;from "
"regulating only publishers to now regulating just about everyone. And "
"copyright's reach has changed, as every action becomes a copy and hence "
"presumptively regulated. And as technologists find better ways to control "
"the use of content, and as copyright is increasingly enforced through "
"technology, copyright's force changes, too. Misuse is easier to find and "
"easier to control. This regulation of the creative process, which began as a "
"tiny regulation governing a tiny part of the market for creative work, has "
"become the single most important regulator of creativity there is. It is a "
"massive expansion in the scope of the government's control over innovation "
"and creativity; it would be totally unrecognizable to those who gave birth "
"to copyright's control."
msgstr ""
"La durée du copyright a augmenté de manière considérable – triplement "
"durant les trente dernières années.  L'étendue du copyright a augmenté "
"aussi – partant d'un contrôle des éditeurs pour maintenant contrôler "
"tout le monde. L'atteinte au copyright a changé, comme toute action devient "
"une copie elle est susceptible d'être réglementée. Comme les techniciens "
"proposent de meilleurs dispositifs pour contrôler l'usage du contenu et "
"comme le copyright est renforcé par la technologie, la force du copyright "
"change aussi. Le mauvais usage est plus facile à trouver et à contrôler. "
"Cette régulation du processus de création qui commençait comme une petite "
"régulation s'adressant à une parcelle du marché de la création, est "
"devenue le régulateur principal de la création. C'est une extension massive "
"de l'étendue du contrôle gouvernemental sur l'innovation et la "
"créativité; qui serait totalement méconnaissable pour ceux qui créèrent "
"le copyright."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Still, in my view, all of these changes would not matter much if it weren't "
"for one more change that we must also consider. This is a change that is in "
"some sense the most familiar, though its significance and scope are not well "
"understood. It is the one that creates precisely the reason to be concerned "
"about all the other changes I have described."
msgstr ""
"De mon point de vue, ces changements seraient sans importance, s'il n'y avait "
"un changement supplémentaire que nous devions aussi considérer. C'est d'un "
"changement qui d'une certaine manière nous est très familier même si sa "
"signification et sa portée ne sont pas bien comprises. Il s'agit d'un "
"changement qui crée précisément la raison pour laquelle nous devons nous "
"sentir concernés par toutes les évolutions que j'ai citées."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is the change in the concentration and integration of the media.  In "
"the past twenty years, the nature of media ownership has undergone a radical "
"alteration, caused by changes in legal rules governing the media.  Before "
"this change happened, the different forms of media were owned by separate "
"media companies. Now, the media is increasingly owned by only a few "
"companies. Indeed, after the changes that the FCC announced in June 2003, "
"most expect that within a few years, we will live in a world where just "
"three companies control more than 85 percent of the media."
msgstr ""
"C'est le changement dans la concentration et l'intégration des média. Dans "
"les vingt dernières années, la nature de la propriété du média a subi "
"une transformation radicale, provoquée par le changement des lois concernant "
"les média. Avant que ce changement survienne, les différentes formes de "
"média étaient la propriété de sociétés différentes. Maintenant, les "
"média sont entre les mains de quelques sociétés. Vraiment, depuis les "
"changements annoncés en juin 2003 par la FCC, la plupart s'attendent à ce "
"que d'ici quelques années 85% des média soient contrôlés par seulement "
"trois sociétés."

#. type: Content of: <book><part><chapter><section><para>
msgid "These changes are of two sorts: the scope of concentration, and its nature."
msgstr ""
"Ces changements ont deux aspects&nbsp;: l'étendue de la concentration et sa "
"nature."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "BMG"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "EMI"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "McCain, John"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Universal Music Group"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Warner Music Group"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"FCC Oversight: Hearing Before the Senate Commerce, Science and "
"Transportation Committee, 108th Cong., 1st sess. (22 May 2003)  (statement "
"of Senator John McCain)."
msgstr ""
"FCC Oversight: Hearing Before the Senate Commerce, Science and Transportation "
"Committee, 108th Cong., 1st sess. (22 May 2003) (statement of Senator John "
"McCain)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to "
"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002."
msgstr ""
"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to "
"Slide,</quote><citetitle> New York Times,</citetitle> 23 December 2002."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> "
"<citetitle>Charleston Gazette</citetitle>, 31 May 2003."
msgstr ""
"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote><citetitle> "
"Charleston Gazette,</citetitle> 31 May 2003."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Changes in scope are the easier ones to describe. As Senator John McCain "
"summarized the data produced in the FCC's review of media ownership, "
"<quote>five companies control 85 percent of our media "
"sources.</quote><placeholder type=\"footnote\" id=\"0\"/> The five recording "
"labels of Universal Music Group, BMG, Sony Music Entertainment, Warner Music "
"Group, and EMI control 84.8 percent of the U.S. music market.<placeholder "
"type=\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe "
"programming to 74 percent of the cable subscribers "
"nationwide.</quote><placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
"Les changements concernant l'étendue sont les plus faciles à décrire. "
"Comme l'a résumé le sénateur John McCain les statistiques sur la "
"propriété des média présentées dans le rapport à la FCC, <quote>cinq "
"sociétés contrôlent 85% de nos sources media</quote><placeholder "
"type=\"footnote\" id=\"0\"/>. "
"Les cinq labels Universal Music Group, BMG, Sony Music Entertainment, Warner "
"Music Group, et EMI contrôlent 84,8% du marché musical américain. <placeholder "
"type=\"footnote\" id=\"1\"/> Les <quote>cinq plus grands opérateurs du câble "
"drainent jusqu'à 74% des abonnés au niveau national.</quote> <placeholder "
"type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The story with radio is even more dramatic. Before deregulation, the "
"nation's largest radio broadcasting conglomerate owned fewer than "
"seventy-five stations. Today <emphasis>one</emphasis> company owns more than "
"1,200 stations.  During that period of consolidation, the total number of "
"radio owners dropped by 34 percent. Today, in most markets, the two largest "
"broadcasters control 74 percent of that market's revenues. Overall, just "
"four companies control 90 percent of the nation's radio advertising "
"revenues."
msgstr ""
"L'histoire de la radio est encore plus dramatique. Avant la dérégulation, "
"les plus grandes compagnies de radio possédaient moins de soixante quinze "
"stations. Aujourd'hui une compagnie possède plus de 1200 stations. Durant "
"cette période de concentration, le nombre de possesseurs de stations de "
"radio a chuté de 34%. Aujourd'hui, sur la plupart des marchés, les deux "
"acteurs principaux contrôlent 74% des revenus. Globalement, quatre "
"compagnies drainent 90% des revenus nationaux de la publicité radio."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Newspaper ownership is becoming more concentrated as well.  Today, there are "
"six hundred fewer daily newspapers in the United States than there were "
"eighty years ago, and ten companies control half of the nation's "
"circulation. There are twenty major newspaper publishers in the United "
"States. The top ten film studios receive 99 percent of all film revenue. The "
"ten largest cable companies account for 85 percent of all cable "
"revenue. This is a market far from the free press the framers sought to "
"protect. Indeed, it is a market that is quite well protected&mdash; by the "
"market."
msgstr ""
"La concentration dans la possession des journaux a eu lieu aussi. "
"Aujourd'hui, il y a six cents fois moins de quotidiens aux États Unis qu'il "
"y a quatre vingt ans, et dix compagnies contrôlent la moitié des tirages. "
"Il y a vingt éditeurs de journaux importants aux États Unis. Les dix "
"premiers studio de cinéma drainent 99% des revenus cinématographiques. Les "
"dix principales compagnies de câble comptabilisent 85% des revenus du "
"secteur. C'est un marché très éloigné de la presse libre que les "
"rédacteurs de la constitution pensaient protéger. En fait, c'est un marché "
"qui est entièrement protégé – par le marché."

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
msgid "Fallows, James"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Concentration in size alone is one thing. The more invidious change is in "
"the nature of that concentration. As author James Fallows put it in a recent "
"article about Rupert Murdoch,"
msgstr ""
"La concentration est une chose. Le changement le plus insidieux concerne la "
"nature de cette concentration. Comme James Fallows le soulignait dans un "
"article récent sur Rupert Murdoch,"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic "
"Monthly</citetitle> (September 2003): 89.  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
"James Fallows, <quote>The Age of Murdoch</quote>, <citetitle>Atlantic "
"Monthly</citetitle> (septembre 2003): 89. <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Murdoch's companies now constitute a production system unmatched in its "
"integration. They supply content&mdash;Fox movies &hellip; Fox TV shows "
"&hellip; Fox-controlled sports broadcasts, plus newspapers and books. They "
"sell the content to the public and to advertisers&mdash;in newspapers, on "
"the broadcast network, on the cable channels. And they operate the physical "
"distribution system through which the content reaches the "
"customers. Murdoch's satellite systems now distribute News Corp. content in "
"Europe and Asia; if Murdoch becomes DirecTV's largest single owner, that "
"system will serve the same function in the United States.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Les Sociétés du groupe Murdoch constituent un système de production "
"inégalé dans son intégration. Elles fournissent le contenu "
"Fox-&mdash;cinéma...-Fox TV shows... -Fox diffusion sportive, plus des "
"quotidiens et des livres. Elles vendent le contenu au public et aux "
"annonceurs dans les journaux, sur les ondes et les réseaux câblés. Elles "
"gèrent le système de distribution physique qui véhicule le contenu "
"jusqu'aux clients. Le système de satellites de Murdoch diffuse maintenant "
"News Corp en Europe et en Asie; si Murdoch devient l'unique propriétaire du "
"plus grand système de télévision directe, ce système servira la même "
"fonction aux États Unis <placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The pattern with Murdoch is the pattern of modern media. Not just large "
"companies owning many radio stations, but a few companies owning as many "
"outlets of media as possible. A picture describes this pattern better than a "
"thousand words could do:"
msgstr ""
"Le modèle de Murdoch c'est le modèle des média modernes. Pas simplement "
"quelques compagnies possédant beaucoup de radio, mais quelques compagnies "
"possédant autant de variétés de média que possible. Un dessin décrit "
"mieux ce modèle que des milliers de mots."

#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"<graphic fileref=\"images/pattern-modern-media-ownership.png\" "
"align=\"center\" width=\"100%\"></graphic>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Does this concentration matter? Will it affect what is made, or what is "
"distributed? Or is it merely a more efficient way to produce and distribute "
"content?"
msgstr ""
"Est-ce que cette concentration importe&nbsp;? Affecte-t-elle le contenu ou ce "
"qui est distribué&nbsp;? Ou s'agit-il simplement d'un moyen plus efficace de "
"produire et distribuer du contenu&nbsp;?"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My view was that concentration wouldn't matter. I thought it was nothing "
"more than a more efficient financial structure. But now, after reading and "
"listening to a barrage of creators try to convince me to the contrary, I am "
"beginning to change my mind."
msgstr ""
"Mon point de vue était que la concentration ne devrait pas déranger. Je "
"pensais qu'il ne s'agissait que d'une structure financière plus efficace. "
"Mais maintenant, après avoir lu et écouté un ensemble de créateurs "
"essayant de me convaincre du contraire, je commence à changer d'avis."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Here's a representative story that begins to suggest how this integration "
"may matter."
msgstr "Voici une histoire qui suggère comment cette concentration peut jouer."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Lear, Norman"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "All in the Family"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1969, Norman Lear created a pilot for <citetitle>All in the "
"Family</citetitle>. He took the pilot to ABC. The network didn't like it. It "
"was too edgy, they told Lear. Make it again. Lear made a second pilot, more "
"edgy than the first. ABC was exasperated. You're missing the point, they "
"told Lear.  We wanted less edgy, not more."
msgstr ""
"En 1969, Norman Lear créa un film pilote pour All in the Family. Il le "
"présenta à ABC. Il n'a pas plu au réseau. Il dit à Lear que c'était trop "
"crispé, refaite le. Lear le refit encore plus crispé que le premier. ABC "
"était exaspéré. Vous avez raté lui dire-t-il. Nous le voulions moins "
"crispé, pas davantage."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum "
"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> "
"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available "
"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the "
"Lear story, not included in the prepared remarks, see <ulink "
"url=\"http://free-culture.cc/notes/\">link #29</ulink>)."
msgstr ""
"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum "
"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> St. "
"Louis, Missouri, 3 April 2003 (transcript of prepared remarks available at "
"link #28; for the Lear story, not included in the prepared remarks, see link "
"#29)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Rather than comply, Lear simply took the show elsewhere. CBS was happy to "
"have the series; ABC could not stop Lear from walking.  The copyrights that "
"Lear held assured an independence from network control.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Plutôt que de se lamenter, Lear a proposé le spectacle ailleurs. CBS était "
"heureux d'avoir la série; ABC ne pouvait pas l'en empêcher. Le copyright de "
"Lear a assuré son indépendance vis à vis du contrôle du "
"réseau<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The network did not control those copyrights because the law forbade the "
"networks from controlling the content they syndicated. The law required a "
"separation between the networks and the content producers; that separation "
"would guarantee Lear freedom. And as late as 1992, because of these rules, "
"the vast majority of prime time television&mdash;75 percent of it&mdash;was "
"<quote>independent</quote> of the networks."
msgstr ""
"Le réseau ne contrôlait pas ces copyrights car la loi interdisait aux "
"réseaux de contrôler les contenus qu'ils diffusaient. La loi imposait une "
"séparation entre les réseaux et les producteurs de contenu; cette "
"séparation garantissait la liberté de Lear. Et jusqu'en 1992, à cause de "
"ces règles, la grande majorité des émissions de grande écoute – 75% – "
"était indépendante des réseaux."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
"Ownership Before the Senate Commerce Committee, 108th Cong., 1st "
"sess. (2003) (testimony of Gene Kimmelman on behalf of Consumers Union and "
"the Consumer Federation of America), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #30</ulink>. Kimmelman quotes "
"Victoria Riskin, president of Writers Guild of America, West, in her Remarks "
"at FCC En Banc Hearing, Richmond, Virginia, 27 February 2003."
msgstr ""
"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media Ownership "
"Before the Senate Commerce Committee, 108th Cong., 1st sess. (2003) "
"(testimony of Gene Kimmelman on behalf of Consumers Union and the Consumer "
"Federation of America), available at link #30. Kimmelman quotes Victoria "
"Riskin, president of Writers Guild of America, West, in her Remarks at FCC En "
"Banc Hearing, Richmond, Virginia, 27 February 2003."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1994, the FCC abandoned the rules that required this independence.  After "
"that change, the networks quickly changed the balance.  In 1985, there were "
"twenty-five independent television production studios; in 2002, only five "
"independent television studios remained. <quote>In 1992, only 15 percent of "
"new series were produced for a network by a company it controlled. Last "
"year, the percentage of shows produced by controlled companies more than "
"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were "
"produced independently of conglomerate control, last year there was "
"one.</quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of "
"prime time television was owned by the networks that ran it. <quote>In the "
"ten-year period between 1992 and 2002, the number of prime time television "
"hours per week produced by network studios increased over 200%, whereas the "
"number of prime time television hours per week produced by independent "
"studios decreased 63%.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"En 1994, la FCC a supprimé les règles concernant l'indépendance. Après ce "
"changement, les réseaux ont rapidement modifié l'équilibre. En 1985, il "
"existait 25 studio de production de télévision indépendants; en 2002, il "
"n'en reste plus que 5. <quote>En 1992, seulement 15% des nouvelles séries "
"étaient produites par une filiale d'un réseau. L 'année dernière, le "
"pourcentage des émissions produites par des filiales d'un réseau a été "
"plus que quintuplé pour atteindre 77%.</quote> <quote>En 1992, 16 nouvelles "
"séries ont été produites indépendamment du contrôle d'un conglomérat, "
"l'année dernière, il n'y en a eu qu'une.</quote> <placeholder "
"type=\"footnote\" id=\"0\"/> En 2002, 75% des émissions de la période de "
"pointe étaient produites par le réseau qui les diffusait. «&nbsp;Dans la "
"période entre 1992 et 2002, le nombre d'heures d'émission de la période de "
"pointe par semaine produites par les réseaux ont augmentés de 200%, tandis que "
"le nombre d'heures d'émission de la période de pointe par semaine produites par "
"des studios indépendants a chuté de 63%.<placeholder type=\"footnote\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Today, another Norman Lear with another <citetitle>All in the "
"Family</citetitle> would find that he had the choice either to make the show "
"less edgy or to be fired: The content of any show developed for a network is "
"increasingly owned by the network."
msgstr ""
"Aujourd'hui, un autre Norman Lear avec un autre All in the Family aurait le "
"choix soit de rendre l'émission moins crispée soit d'être renvoyé. Le "
"contenu des productions développées pour un réseau sont de plus en plus la "
"propriété de celui-ci."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Diller, Barry"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Moyers, Bill"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"While the number of channels has increased dramatically, the ownership of "
"those channels has narrowed to an ever smaller and smaller few. As Barry "
"Diller said to Bill Moyers,"
msgstr ""
"Tandis que le nombre de chaînes a augmenté de manière considérable, la "
"propriété de ces chaînes s'est concentrée dans les mains de quelques uns. "
"Comme le disait Barry Diller à Bill Moyers,"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with "
"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
msgstr ""
"<quote>Barry Diller Takes on Media Deregulation,</quote><citetitle> Now with "
"Bill Moyers,</citetitle> Bill Moyers, 25 April 2003, edited transcript "
"available at link #31."

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Well, if you have companies that produce, that finance, that air on their "
"channel and then distribute worldwide everything that goes through their "
"controlled distribution system, then what you get is fewer and fewer actual "
"voices participating in the process. [We u]sed to have dozens and dozens of "
"thriving independent production companies producing television programs. Now "
"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Si vous avez des compagnies qui produisent, qui financent, qui diffusent sur "
"leur chaîne et qui distribuent au niveau mondial, tout ce qui passe par leur "
"système de distribution , alors vous aboutissez à ce qu'il y ait de moins "
"en moins d'acteurs dans le processus. Nous avions des douzaines et des "
"douzaines de producteurs indépendants d'émission de télévision. "
"Maintenant il n'en reste même pas une poignée<placeholder type=\"footnote\" "
"id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This narrowing has an effect on what is produced. The product of such large "
"and concentrated networks is increasingly homogenous.  Increasingly "
"safe. Increasingly sterile. The product of news shows from networks like "
"this is increasingly tailored to the message the network wants to "
"convey. This is not the communist party, though from the inside, it must "
"feel a bit like the communist party. No one can question without risk of "
"consequence&mdash;not necessarily banishment to Siberia, but punishment "
"nonetheless. Independent, critical, different views are quashed. This is not "
"the environment for a democracy."
msgstr ""
"Cette réduction a un effet sur ce qui est produit.  La production de réseau "
"aussi grands et concentrés est de plus en plus homogène. De plus en plus "
"sûre. De plus en plus stérile. La production des journaux d'actualité de "
"ces réseaux est de plus en plus façonnée par le message que le réseau "
"veut véhiculer. Ce n'est pas le parti communiste, bien que de l'intérieur, "
"cela doive ressembler un peu au parti communiste. Personne ne peut mettre en "
"doute sans risque des conséquences – pas nécessairement le bannissement "
"en Sibérie, mais une sanction tout de même. Indépendance, critique, "
"opinion différentes sont bannies. Ce n'est pas un environnement pour une "
"démocratie."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Clark, Kim B."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
"Revolutionary National Bestseller that Changed the Way We Do "
"Business</citetitle> (Cambridge: Harvard Business School Press, "
"1997). Christensen acknowledges that the idea was first suggested by Dean "
"Kim Clark. See Kim B. Clark, <quote>The Interaction of Design Hierarchies "
"and Market Concepts in Technological Evolution,</quote> <citetitle>Research "
"Policy</citetitle> 14 (1985): 235&ndash;51. For a more recent study, see "
"Richard Foster and Sarah Kaplan, <citetitle>Creative Destruction: Why "
"Companies That Are Built to Last Underperform the Market&mdash;and How to "
"Successfully Transform Them</citetitle> (New York: Currency/Doubleday, "
"2001)."
msgstr ""
"Clayton M. Christensen,<citetitle> The Innovator's Dilemma: The Revolutionary "
"National Bestseller that Changed the Way We Do Business</citetitle> "
"(Cambridge: Harvard Business School Press, 1997). Christensen acknowledges "
"that the idea was first suggested by Dean Kim Clark. See Kim B. Clark, "
"<quote>The Interaction of Design Hierarchies and Market Concepts in "
"Technological Evolution,</quote><citetitle> Research Policy</citetitle> 14 "
"(1985): 235-51. For a more recent study, see Richard Foster and Sarah "
"Kaplan,<citetitle> Creative Destruction: Why Companies That Are Built to Last "
"Underperform the Market&mdash;and How to Successfully Transform "
"Them</citetitle> (New York: Currency/Doubleday, 2001)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Economics itself offers a parallel that explains why this integration "
"affects creativity. Clay Christensen has written about the "
"<quote>Innovator's Dilemma</quote>: the fact that large traditional firms "
"find it rational to ignore new, breakthrough technologies that compete with "
"their core business.  The same analysis could help explain why large, "
"traditional media companies would find it rational to ignore new cultural "
"trends.<placeholder type=\"footnote\" id=\"0\"/> Lumbering giants not only "
"don't, but should not, sprint. Yet if the field is only open to the giants, "
"there will be far too little sprinting.  <placeholder type=\"indexterm\" "
"id=\"1\"/>"
msgstr ""
"Un parallèle économique permet d'expliquer pourquoi l'intégration touche "
"la créativité. Clay Christensen a écrit <quote>le dilemme des "
"innovateurs</quote>&nbsp;: le fait que de grandes sociétés traditionnelles "
"ignorent de manière délibérée les percées technologiques qui affectent "
"leur cœur de métier. La même analyse pourrait permettre d'expliquer "
"pourquoi de grands groupes de média traditionnels trouvent rationnels "
"d'ignorer de nouvelles tendances culturelles<placeholder type=\"footnote\" "
"id=\"0\"/>. Les mastodontes non seulement ne sprintent pas, mais ne doivent "
"pas sprinter. Si le terrain est réservé aux géants, il y aura très peu de "
"sprint. <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I don't think we know enough about the economics of the media market to say "
"with certainty what concentration and integration will do. The efficiencies "
"are important, and the effect on culture is hard to measure."
msgstr ""
"Je ne pense pas que nous connaissions suffisamment l'économie du marché des "
"média pour affirmer avec certitude ce que la concentration et l'intégration "
"amèneront. Les rendements sont importants, et les effets sur la culture "
"difficiles à mesurer."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But there is a quintessentially obvious example that does strongly suggest "
"the concern."
msgstr "Mais, il y a un exemple évident qui montre nettement le problème."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In addition to the copyright wars, we're in the middle of the drug "
"wars. Government policy is strongly directed against the drug cartels; "
"criminal and civil courts are filled with the consequences of this battle."
msgstr ""
"En complément de la guerre des copyright, nous sommes au milieu de la guerre "
"de la drogue. La politique gouvernementale combat les cartels de la drogue; "
"les tribunaux criminels et civils sont surchargés à la suite de ce combat."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Let me hereby disqualify myself from any possible appointment to any "
"position in government by saying I believe this war is a profound mistake. I "
"am not pro drugs. Indeed, I come from a family once wrecked by "
"drugs&mdash;though the drugs that wrecked my family were all quite legal. I "
"believe this war is a profound mistake because the collateral damage from it "
"is so great as to make waging the war insane.  When you add together the "
"burdens on the criminal justice system, the desperation of generations of "
"kids whose only real economic opportunities are as drug warriors, the "
"queering of constitutional protections because of the constant surveillance "
"this war requires, and, most profoundly, the total destruction of the legal "
"systems of many South American nations because of the power of the local "
"drug cartels, I find it impossible to believe that the marginal benefit in "
"reduced drug consumption by Americans could possibly outweigh these costs."
msgstr ""
"Laissez-moi me disqualifier de toute possible accointance avec la position du "
"gouvernement en disant que je crois que ce combat est une erreur profonde. Je "
"ne suis pas pro drogue. Au contraire, je viens d'une famille victime de la "
"drogue, bien que les drogues qui détruisirent ma famille étaient "
"entièrement légales. Je crois que ce combat est une erreur profonde car les "
"dommages collatéraux sont si grands qu'ils rendent folle la poursuite de la "
"guerre. Quand vous additionnez le fardeau sur le système judiciaire, le "
"désespoir de générations d'ado dont la seule réelle opportunité "
"économique est d'être un revendeur, les atteintes aux protections "
"constitutionnelles à cause de la surveillance constante que ce combat "
"implique, et, par dessus tout, la complète destruction du système "
"judiciaire de plusieurs pays d'Amérique latine à cause du pouvoir des "
"cartels de la drogue, je pense qu'il est impossible de croire que le "
"bénéfice marginal de la réduction de la consommation américaine de drogue "
"puisse contrebalancer ces coûts."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"You may not be convinced. That's fine. We live in a democracy, and it is "
"through votes that we are to choose policy. But to do that, we depend "
"fundamentally upon the press to help inform Americans about these issues."
msgstr ""
"Vous n'êtes pas convaincu. D'accord, nous sommes en démocratie et c'est par "
"le vote que nous choisissons notre politique. Mais pour cela, nous sommes "
"fondamentalement tributaire de la presse qui informe les américains de ces "
"sujets."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Nick and Norm anti-drug campaign"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Beginning in 1998, the Office of National Drug Control Policy launched a "
"media campaign as part of the <quote>war on drugs.</quote> The campaign "
"produced scores of short film clips about issues related to illegal "
"drugs. In one series (the Nick and Norm series) two men are in a bar, "
"discussing the idea of legalizing drugs as a way to avoid some of the "
"collateral damage from the war. One advances an argument in favor of drug "
"legalization. The other responds in a powerful and effective way against the "
"argument of the first. In the end, the first guy changes his mind (hey, it's "
"television). The plug at the end is a damning attack on the pro-legalization "
"campaign."
msgstr ""
"Au début de 1998, l'office national de lutte contre les drogues lança une "
"campagne médiatique dans sa <quote>guerre contre les drogues</quote>. La "
"campagne produisit des tas de clips traitant de questions relatives aux "
"drogues illégales. Dans une des séries (Nick et Norm) deux hommes dans un "
"bar discutent de l'idée de légaliser des drogues comme un moyen d'éviter "
"certains des dommages collatéraux de cette guerre. L'un avance un argument "
"en faveur de la légalisation des drogues. L'autre répond par un "
"développement convaincant et étayé à l'argument du premier. À la fin, le "
"premier gars change d'avis (c'est de la télé).  L'insert publicitaire se "
"termine par une attaque accablante contre la campagne pour la légalisation."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Fair enough. It's a good ad. Not terribly misleading. It delivers its "
"message well. It's a fair and reasonable message."
msgstr ""
"Assez équitable. Bonne publicité. Pas vraiment trompeuse. Elle délivre "
"bien son message. Il s'agit d'un message raisonnable et équilibré."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But let's say you think it is a wrong message, and you'd like to run a "
"countercommercial. Say you want to run a series of ads that try to "
"demonstrate the extraordinary collateral harm that comes from the drug "
"war. Can you do it?"
msgstr ""
"Imaginons que vous pensiez que le message soit mauvais et que vous vouliez "
"faire une contre publicité. Imaginons que vous vouliez présenter une série "
"de pubs qui cherchent à démontrer les extraordinaires dommages collatéraux "
"de la guerre contre la drogue. Pouvez vous le faire&nbsp;?"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Well, obviously, these ads cost lots of money. Assume you raise the "
"money. Assume a group of concerned citizens donates all the money in the "
"world to help you get your message out. Can you be sure your message will be "
"heard then?"
msgstr ""
"Évidemment toutes ces pub coûtent beaucoup d'argent. Supposons que vous "
"ayez l'argent. Supposons qu'un groupe de citoyens donnent suffisamment "
"d'argent pour vous aider à diffuser votre message. Êtes-vous sûr que votre "
"message sera entendu&nbsp;?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on television advertising bans"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "controversy avoided by"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Comcast"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Marijuana Policy Project"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "NBC"
msgstr "NBC"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "WJOA"
msgstr "WJOA"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "WRC"
msgstr "WRC"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> "
"<placeholder type=\"indexterm\" id=\"5\"/> <placeholder type=\"indexterm\" "
"id=\"6\"/> The Marijuana Policy Project, in February 2003, sought to place "
"ads that directly responded to the Nick and Norm series on stations within "
"the Washington, D.C., area. Comcast rejected the ads as <quote>against "
"[their] policy.</quote> The local NBC affiliate, WRC, rejected the ads "
"without reviewing them. The local ABC affiliate, WJOA, originally agreed to "
"run the ads and accepted payment to do so, but later decided not to run the "
"ads and returned the collected fees. Interview with Neal Levine, 15 October "
"2003.  These restrictions are, of course, not limited to drug policy. See, "
"for example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet "
"with Rejection from TV Networks,</quote> <citetitle>New York "
"Times</citetitle>, 13 March 2003, C4.  Outside of election-related air time "
"there is very little that the FCC or the courts are willing to do to even "
"the playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc "
"Access: The Regulation of Editorial Advertising on Television and "
"Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): "
"449&ndash;79, and for a more recent summary of the stance of the FCC and the "
"courts, see <citetitle>Radio-Television News Directors "
"Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 "
"(D.C. Cir. 1999). Municipal authorities exercise the same authority as the "
"networks. In a recent example from San Francisco, the San Francisco transit "
"authority rejected an ad that criticized its Muni diesel buses. Phillip "
"Matier and Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects "
"Ad,</quote> SFGate.com, 16 June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #32</ulink>. The ground was that "
"the criticism was <quote>too controversial.</quote>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No. You cannot. Television stations have a general policy of avoiding "
"<quote>controversial</quote> ads. Ads sponsored by the government are deemed "
"uncontroversial; ads disagreeing with the government are controversial.  "
"This selectivity might be thought inconsistent with the First Amendment, but "
"the Supreme Court has held that stations have the right to choose what they "
"run. Thus, the major channels of commercial media will refuse one side of a "
"crucial debate the opportunity to present its case.  And the courts will "
"defend the rights of the stations to be this biased.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Non. Les chaînes de télévision ont pour politique d'éviter les pubs "
"sujettes à controverse. Les pubs produites par le gouvernement sont "
"supposées ne pas être sujettes à controverse; les pubs en désaccord avec "
"le gouvernement sont sujettes à controverse. Cette sélectivité peut être "
"jugée incompatible avec le premier amendement, mais la cour suprême a "
"décidé que les stations ont le droit de choisir ce qu'elles diffusent. Donc "
"les principales chaînes commerciales refuseront à une des parties "
"l'opportunité de présenter son avis sur un débat crucial. Et les tribunaux "
"entérineront les droits des stations à de telles pratiques<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I'd be happy to defend the networks' rights, as well&mdash;if we lived in a "
"media market that was truly diverse. But concentration in the media throws "
"that condition into doubt. If a handful of companies control access to the "
"media, and that handful of companies gets to decide which political "
"positions it will allow to be promoted on its channels, then in an obvious "
"and important way, concentration matters. You might like the positions the "
"handful of companies selects. But you should not like a world in which a "
"mere few get to decide which issues the rest of us get to know about."
msgstr ""
"Je serais ravi de défendre les droits des diffuseurs si nous vivions dans "
"univers médiatique réellement varié. Mais la concentration dans les média "
"met cette condition en péril. Si une poignée de sociétés contrôlent "
"l'accès au média, et que cette poignée de compagnies décide quels sont "
"les opinions politiques que doivent promouvoir ses chaînes, alors il est "
"évident que la concentration pose problème. Vous pouvez partager les "
"opinions que cette poignée de compagnies a sélectionné. Mais vous ne "
"devriez pas apprécier un monde dans lequel seuls quelques uns décident des "
"sujets dont les autres doivent être informés."

#. type: Content of: <book><part><chapter><section><title>
msgid "Together"
msgstr "Ensemble"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"There is something innocent and obvious about the claim of the copyright "
"warriors that the government should <quote>protect my property.</quote> In "
"the abstract, it is obviously true and, ordinarily, totally harmless. No "
"sane sort who is not an anarchist could disagree."
msgstr ""
"Il y a quelque chose d'innocent et d'évident à propos de la revendication "
"des guerriers du copyright que le gouvernement devrait <quote>protéger ma "
"propriété</quote>. Dans l'abstrait, c'est évidemment vrai et, "
"ordinairement, complètement inoffensif. Aucun non-anarchiste sain d'esprit "
"ne pourrait ne pas être d'accord."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But when we see how dramatically this <quote>property</quote> has "
"changed&mdash; when we recognize how it might now interact with both "
"technology and markets to mean that the effective constraint on the liberty "
"to cultivate our culture is dramatically different&mdash;the claim begins to "
"seem less innocent and obvious. Given (1) the power of technology to "
"supplement the law's control, and (2) the power of concentrated markets to "
"weaken the opportunity for dissent, if strictly enforcing the massively "
"expanded <quote>property</quote> rights granted by copyright fundamentally "
"changes the freedom within this culture to cultivate and build upon our "
"past, then we have to ask whether this property should be redefined."
msgstr ""
"Mais quand nous voyons de quelle manière spectaculaire la "
"<quote>propriété</quote> a changé&mdash;quand nous reconnaissons comment "
"elle pourrait maintenant interagir avec à la fois la technologie et les "
"marchés pour signifier que la contraite effective sur la liberté de "
"cultiver notre culture est nettement différente&mdash;la revendication "
"commence à être moins innocente et évidente. Étant donnés (1) le pouvoir "
"de la technologie à s'ajouter au contrôle de la loi, et (2) le pouvoir des "
"marchés concentrés à affaiblir l'opportunité de protester, si appliquer "
"strictement les droits de <quote>propriété</quote> massivement étendus "
"accordés par le copyright change fondamentalement la liberté dans cette "
"culture de cultiver et de réutiliser le passé, alors nous devons demander "
"si cette propriété devrait être redéfinie."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Not starkly. Or absolutely. My point is not that we should abolish copyright "
"or go back to the eighteenth century. That would be a total mistake, "
"disastrous for the most important creative enterprises within our culture "
"today."
msgstr ""
"Pas violemment. Ou absolument. Je ne dis que que nous devrions abolir le "
"copyright ou revenir au XVIII<superscript>e</superscript> siècle. Ce serait "
"une erreur totale, désastreuse pour les initiatives créatives les plus "
"importantes dans notre culture aujourd'hui."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But there is a space between zero and one, Internet culture "
"notwithstanding.  And these massive shifts in the effective power of "
"copyright regulation, tied to increased concentration of the content "
"industry and resting in the hands of technology that will increasingly "
"enable control over the use of culture, should drive us to consider whether "
"another adjustment is called for. Not an adjustment that increases "
"copyright's power. Not an adjustment that increases its term. Rather, an "
"adjustment to restore the balance that has traditionally defined copyright's "
"regulation&mdash;a weakening of that regulation, to strengthen creativity."
msgstr ""
"Mais il y a un espace entre zéro et un, malgré la culture d'Internet. Et "
"ces changements massifs dans le pouvoir effectif de la régulation du "
"copyright, liés à la concentration accrue de l'industrie du contenu et "
"reposant dans les mains d'une technologie qui va de plus en plus permettre de "
"contrôle sur l'utilisation de la culture, devrait nous mener à nous "
"demander si un autre ajustement est requis. Pas un ajustement qui "
"augmenterait le pouvoir du copyright. Pas un ajustement qui augmenterait sa "
"durée. Plutôt, un ajustement qui restaurerait l'équilibre qui a "
"traditionnellement défini la régulation du copyright&mdash;un "
"affaiblissement de cette régulation, pour renforcer la créativité."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Copyright law has not been a rock of Gibraltar. It's not a set of constant "
"commitments that, for some mysterious reason, teenagers and geeks now "
"flout. Instead, copyright power has grown dramatically in a short period of "
"time, as the technologies of distribution and creation have changed and as "
"lobbyists have pushed for more control by copyright holders. Changes in the "
"past in response to changes in technology suggest that we may well need "
"similar changes in the future. And these changes have to be "
"<emphasis>reductions</emphasis> in the scope of copyright, in response to "
"the extraordinary increase in control that technology and the market enable."
msgstr ""
"La loi du copyright n'a pas été un Roc de Gibraltar. Ce n'est pas en "
"ensemble d'engagements constants que, pour quelque raison mystérieuse, les "
"adolescents et les mordus d'informatique méprisent maintenant. Au lieu de "
"cela, le pouvoir du copyright a augmenté sensiblement pendant une courte "
"période de temps, pendant que les technologies de distribution et de "
"création ont changé et que les lobbyistes ont fait pression pour plus de "
"contrôle pour les détenteurs de copyright. Les changements dans le passé "
"en réponse aux changements dans la technologie suggèrent que nous avons "
"peut-être bien besoin de changements similaires à l'avenir. Et ces "
"changements doivent être des <emphasis>réductions</emphasis> de l'étendue "
"du copyright, en réponse à l'augmentation extraordinaire du contrôle que "
"la technologie et le marché permettent."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For the single point that is lost in this war on pirates is a point that we "
"see only after surveying the range of these changes. When you add together "
"the effect of changing law, concentrated markets, and changing technology, "
"together they produce an astonishing conclusion: <emphasis>Never in our "
"history have fewer had a legal right to control more of the development of "
"our culture than now</emphasis>."
msgstr ""
"Car la seule chose qui est perdue dans cette guerre contre les pirates est "
"une chose que nous verrons après avor sondé l'étendue de ces changements. "
"Quand vous additionnez l'effet de la loi modifiée, des marchés concentrés, "
"et la technologie changeante, ensemble ils produisent une conclusion "
"étonnante&nbsp;: <emphasis> Jamais dans notre histoire aussi peu n'ont eu le "
"droit légal de contrôler autant le développement de notre culture que "
"maintenant. </emphasis>"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a "
"similar point in his <quote>four surrenders</quote> of copyright law in the "
"digital age. See Vaidhyanathan, 159&ndash;60."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan saisit un "
"point similaire dans son <quote>four "
"surrenders</quote> de loi du copyright à l'age du numérique. Voir Vaidhyanathan, "
"159-60."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Not when copyrights were perpetual, for when copyrights were perpetual, they "
"affected only that precise creative work. Not when only publishers had the "
"tools to publish, for the market then was much more diverse. Not when there "
"were only three television networks, for even then, newspapers, film "
"studios, radio stations, and publishers were independent of the "
"networks. <emphasis>Never</emphasis> has copyright protected such a wide "
"range of rights, against as broad a range of actors, for a term that was "
"remotely as long. This form of regulation&mdash;a tiny regulation of a tiny "
"part of the creative energy of a nation at the founding&mdash;is now a "
"massive regulation of the overall creative process. Law plus technology plus "
"the market now interact to turn this historically benign regulation into the "
"most significant regulation of culture that our free society has "
"known.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Pas quand les copyright étianet perpétuels, car quand les copyrights "
"étaient perpétuels, ils affectaient seulement ce travail de création "
"précis. Pas quand seulement les éditeurs avaient les outils pour publier, "
"car le marché était alors plus varié. Pas quand il y avait seulement trois "
"chaines de télévision, car même alors, les journaux, les studios de film, "
"les stations de radio et les éditeurs étaient indépendants des réseaux. "
"Le copyright n'a <emphasis>jamais</emphasis> protégé un tel éventail de "
"droits, contre un éventail aussi grand d'acteurs, pour une durée qui était "
"lointainement aussi longue. Cette forme de régulation&mdash;une minuscule "
"régulation d'une minuscule partie de l'énergie créatrice d'une nation à "
"ses débuts&mdash;est maintenant une régulation massive de l'ensemble du "
"processus créatif. La loi plus la technologie plus le marché interagissent "
"maintenant pour changer cette régulation historiquement bénigne en la "
"régulation de culture la plus importante que notre société libre a jamais "
"connu.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point "
"can now be briefly stated."
msgstr ""
"<emphasis role='strong'>Cela a été</emphasis> un long chapitre. Son but "
"peut maintenant être brièvement énoncé."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"At the start of this book, I distinguished between commercial and "
"noncommercial culture. In the course of this chapter, I have distinguished "
"between copying a work and transforming it. We can now combine these two "
"distinctions and draw a clear map of the changes that copyright law has "
"undergone.  In 1790, the law looked like this:"
msgstr ""
"Au début de ce livre, j'ai fait la distinction entre la culture commerciale "
"et non-commerciale. Au cours de ce chapitre, j'ai fait la distinction entre "
"copier une oeuvre et la transformer. Nous pouvons maintenant combiner ces "
"deux distinctions et dessiner une carte claire des changements que la loi du "
"copyright a subi. En 1790, la loi ressemblait à ceci:"

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "PUBLISH"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "TRANSFORM"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Commercial"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "&copy;"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Free"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "Noncommercial"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The act of publishing a map, chart, and book was regulated by copyright "
"law. Nothing else was. Transformations were free. And as copyright attached "
"only with registration, and only those who intended to benefit commercially "
"would register, copying through publishing of noncommercial work was also "
"free."
msgstr ""
"L'acte d'éditer une carte, un graphique et un livre était régulé par la "
"loi du copyright. Rien d'autre ne l'était. Les transformations étaient "
"libres. Et comme le copyright s'obtenait uniquement avec une inscription, et "
"comme seuls ceux qui avaient l'intention de bénéficier commercialement "
"s'enregistraient, la copie par l'édition d'oeuvres non-commerciales était "
"également libre."

#. type: Content of: <book><part><chapter><section><para>
msgid "By the end of the nineteenth century, the law had changed to this:"
msgstr ""
"À la fin du XIX<superscript>e</superscript> siècle, la loi avait changé en "
"ceci:"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Derivative works were now regulated by copyright law&mdash;if published, "
"which again, given the economics of publishing at the time, means if offered "
"commercially. But noncommercial publishing and transformation were still "
"essentially free."
msgstr ""
"Les oeuvres dérivées étaient alors régulées par la loi du "
"copyright&mdash;si éditées, ce qui encore, étant donné l'économie de "
"l'édition à cette époque, signifie si disponible commercialement. Mais les "
"éditions et transformations non-commerciales étaient encore essentiellement "
"libres."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1909 the law changed to regulate copies, not publishing, and after this "
"change, the scope of the law was tied to technology. As the technology of "
"copying became more prevalent, the reach of the law expanded.  Thus by 1975, "
"as photocopying machines became more common, we could say the law began to "
"look like this:"
msgstr ""
"En 1909, la loi changea pour réguler les copies, pas l'édition, et après "
"ce changement, la portée de la loi était liée à la technologie. Comme la "
"technologie de copie devenait plus répandue, la portée de la loi s'est "
"étendue. Ainsi en 1975, comme les photocopieuses devenaient de plus en plus "
"communes, nous pourrions dire que la loi commençait à ressembler à ceci:"

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
msgid "COPY"
msgstr ""

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "&copy; / Free"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The law was interpreted to reach noncommercial copying through, say, copy "
"machines, but still much of copying outside of the commercial market "
"remained free. But the consequence of the emergence of digital technologies, "
"especially in the context of a digital network, means that the law now looks "
"like this:"
msgstr ""
"La loi était interprétée pour atteindre la copie non-commerciale à "
"travers, disons, les photocopieuses, mais pourtant la plupart des copies en "
"dehors du marché commercial restait libre. Mais les conséquences de "
"l'émergence des technologies numériques, en particulier dans le contexte "
"d'un réseau numérique, signifie que la loi ressemble maintenant à ceci:"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Every realm is governed by copyright law, whereas before most creativity was "
"not. The law now regulates the full range of creativity&mdash; commercial or "
"not, transformative or not&mdash;with the same rules designed to regulate "
"commercial publishers."
msgstr ""
"Chaque domaine est gouverné par la loi du copyright, alors qu'auparavant la "
"plupart de la créativité ne l'était pas. La loi régule maintenant toute "
"la portée de la créativité&mdash;commerciale ou pas, transformative ou "
"pas&mdash;avec les mêmes règles conçues pour réguler les éditeurs "
"commerciaux."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Obviously, copyright law is not the enemy. The enemy is regulation that does "
"no good. So the question that we should be asking just now is whether "
"extending the regulations of copyright law into each of these domains "
"actually does any good."
msgstr ""
"Évidemment, la loi du copyright n'est pas l'ennemi. L'ennemi est la "
"régulation qui a un résultat négatif. Donc la question que nous devrions "
"nous poser maintenant est est-ce qu'étendre les régulations de la loi du "
"copyright dans chacun de ces domaines est véritablement une bonne chose."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I have no doubt that it does good in regulating commercial copying.  But I "
"also have no doubt that it does more harm than good when regulating (as it "
"regulates just now) noncommercial copying and, especially, noncommercial "
"transformation. And increasingly, for the reasons sketched especially in "
"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, one "
"might well wonder whether it does more harm than good for commercial "
"transformation.  More commercial transformative work would be created if "
"derivative rights were more sharply restricted."
msgstr ""
"Je ne doute pas qu'elle fait du bien dans la régulation de la copie "
"commerciale. Mais je ne doute pas non plus qu'elle fait plus de mal que de "
"bien quand elle régule (comme elle régule maintenant) la copie non- "
"commerciale et, particulièrement, la transformation non-commerciale. Et de "
"plus en plus, pour les raisons esquissées en particulier dans les chapitres "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> et "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, on pourrait "
"bien se demander si elle ne fait pas plus de mal que de "
"bien pour la transformation commerciale. Davantage d'oeuvres transformatives "
"commerciales seraient créées si les droits dérivatifs étaient plus "
"nettement limités."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "legal realist movement"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> It was the single most important "
"contribution of the legal realist movement to demonstrate that all property "
"rights are always crafted to balance public and private interests. See "
"Thomas C. Grey, <quote>The Disintegration of Property,</quote> in "
"<citetitle>Nomos XXII: Property</citetitle>, J. Roland Pennock and John W.  "
"Chapman, eds. (New York: New York University Press, 1980)."
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The issue is therefore not simply whether copyright is property. Of course "
"copyright is a kind of <quote>property,</quote> and of course, as with any "
"property, the state ought to protect it. But first impressions "
"notwithstanding, historically, this property right (as with all property "
"rights<placeholder type=\"footnote\" id=\"0\"/>)  has been crafted to "
"balance the important need to give authors and artists incentives with the "
"equally important need to assure access to creative work. This balance has "
"always been struck in light of new technologies.  And for almost half of our "
"tradition, the <quote>copyright</quote> did not control <emphasis>at "
"all</emphasis> the freedom of others to build upon or transform a creative "
"work. American culture was born free, and for almost 180 years our country "
"consistently protected a vibrant and rich free culture."
msgstr ""
"Le problème n'est donc pas simplement de savoir si le copyright est une "
"propriété. Bien sûr le copyright est une sorte de "
"<quote>propriété</quote>, et bien sûr, comme avec toute propriété, "
"l'État se doit de la protéger. Mais malgré les premières impressions, "
"historiquement, ce droit de propriété (comme avec tous les droits de "
"propriété<placeholder type=\"footnote\" id=\"0\"/>) a été conçu pour "
"équilibrer le besoin important de donner aux auteurs et aux artistes des "
"encouragements avec le besoin tout aussi important d'assurer l'accès à "
"l'oeuvre créative. Cet équilibre a toujours été frappé à la lumière de "
"nouvelles technologies. Et pour presque la moitié de notre tradition, le "
"<quote>copyright</quote> n'a pas <emphasis>du tout</emphasis> contrôlé la "
"liberté des autres de réutiliser ou de transformer une oeuvres créative. "
"La culture américaine est née libre, et pendant presque 180 ans notre pays "
"a systématiquement protégé une culture libre vivante et riche."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We achieved that free culture because our law respected important limits on "
"the scope of the interests protected by <quote>property.</quote> The very "
"birth of <quote>copyright</quote> as a statutory right recognized those "
"limits, by granting copyright owners protection for a limited time only (the "
"story of chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"founders\"/>). The tradition of <quote>fair use</quote> is "
"animated by a similar concern that is increasingly under strain as the costs "
"of exercising any fair use right become unavoidably high (the story of "
"chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"recorders\"/>). Adding statutory rights where markets might stifle "
"innovation is another familiar limit on the property right that copyright is "
"(chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"transformers\"/>). And granting archives and libraries a broad "
"freedom to collect, claims of property notwithstanding, is a crucial part of "
"guaranteeing the soul of a culture (chapter <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"collectors\"/>). Free cultures, like free markets, "
"are built with property. But the nature of the property that builds a free "
"culture is very different from the extremist vision that dominates the "
"debate today."
msgstr ""
"Nous avons réussi cette culture libre parce que notre loi respectait les "
"limites importantes dans la portée des intérêts protégés par la "
"<quote>propriété</quote>. La naissance même du <quote>copyright</quote> "
"comme droit statutaire reconnaissait ces limites, en octroyant la protection "
"des détenteurs de copyright pour une période limitée (l'histoire du "
"chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"founders\"/>). La tradition de l'usage loyal est animée par une préoccupation "
"similaire qui est de plus en plus contrainte alors que le cout d'exercer "
"n'importe quel droit d'usage loyal devient unévitablement élevé "
"(l'histoire du chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"recorders\"/>). L'ajout de droits statutaires où le marché "
"pourrait étouffer l'innovation est une autre limite familière sur le droit "
"de propriété qu'est le copyright (chapitre <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"transformers\"/>). Et permettre une large "
"liberté de collecte pour les archives et les bibliothèques, malgré les "
"revendications de propriété, est une partie cruciale pour garantire l'âme "
"d'une culture (chapitre <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"collectors\"/>). Les cultures libres, comme les marchés libres, "
"sont construites avec la propriété. Mais la nature de la propriété qui "
"construit une culture libre est très différents de la vision extrémiste "
"qui domine le débat aujourd'hui."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Free culture is increasingly the casualty in this war on piracy. In response "
"to a real, if not yet quantified, threat that the technologies of the "
"Internet present to twentieth-century business models for producing and "
"distributing culture, the law and technology are being transformed in a way "
"that will undermine our tradition of free culture. The property right that "
"is copyright is no longer the balanced right that it was, or was intended to "
"be. The property right that is copyright has become unbalanced, tilted "
"toward an extreme. The opportunity to create and transform becomes weakened "
"in a world in which creation requires permission and creativity must check "
"with a lawyer."
msgstr ""
"La culture libre est de plus en plus la victime de cette guerre contre le "
"piratage. En réponse à une menace réelle, à défaut d'être quantifiée, "
"que les technologies d'Internet présentent aux modèles économiques du "
"vingtième siècle pour produire et distribuer la culture, la loi et la "
"technologie sont en train d'être transformées d'une manière qui va saper "
"notre tradition de culture libre. Le droit de propriété qu'est le copyright "
"n'est plus le droit équilibré qu'il était, ou qu'il était destiné à "
"être. Le droit de propriété qu'est le copyright est devenu "
"déséquilibré, dangereusement incliné vers un extrème. L'opportunité de "
"créer et de transformer devient plus faible dans un monde où la création "
"requiert la permission et la créativité doit vérifier avec un avocat."

#. type: Content of: <book><part><title>
msgid "Puzzles"
msgstr "Casse-têtes"

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Eleven: Chimera"
msgstr "Chimères"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "chimeras"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Wells, H. G."
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "<quote>Country of the Blind, The</quote> (Wells)"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See "
"H. G. Wells, <citetitle>The Country of the Blind and Other "
"Stories</citetitle>, Michael Sherborne, ed. (New York: Oxford University "
"Press, 1996)."
msgstr ""
"H. G. Wells, <quote>The Country of the Blind</quote> (1904, "
"1911). See H. G. Wells, <citetitle>The Country of the Blind and Other "
"Stories,</citetitle> Michael Sherborne, ed. (New York: Oxford University "
"Press, 1996)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In a well-known</emphasis> short story by "
"H. G. Wells, a mountain climber named Nunez trips (literally, down an ice "
"slope) into an unknown and isolated valley in the Peruvian "
"Andes.<placeholder type=\"footnote\" id=\"0\"/> The valley is "
"extraordinarily beautiful, with <quote>sweet water, pasture, an even "
"climate, slopes of rich brown soil with tangles of a shrub that bore an "
"excellent fruit.</quote> But the villagers are all blind. Nunez takes this "
"as an opportunity. <quote>In the Country of the Blind,</quote> he tells "
"himself, <quote>the One-Eyed Man is King.</quote> So he resolves to live "
"with the villagers to explore life as a king."
msgstr ""
"<emphasis role='strong'>Dans une nouvelle</emphasis> célèbre de H. G. "
"Wells, un alpiniste du nom de Nunez se retrouve (en descendant une pente "
"verglacée) dans une vallée inconnue et isolée des Andes "
"Péruviennes.<placeholder type=\"footnote\" id=\"0\"/> La vallée est "
"extraordinairement belle, avec <quote>de l'eau douce, des prairies, un climat "
"constant, des collines d'une terre riche et brune avec des arbustes "
"enchevêtrés qui portaient des fruits excellents.</quote> Mais les "
"villageois sont tous aveugles. Nunez y voit sa chance. <quote>Au royaume des "
"aveugles</quote>, se dit-il, <quote>les borgnes sont les rois.</quote> Il "
"décide donc de vivre avec les villageois, pour connaître une vie de roi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Things don't go quite as he planned. He tries to explain the idea of sight "
"to the villagers. They don't understand. He tells them they are "
"<quote>blind.</quote> They don't have the word "
"<citetitle>blind</citetitle>. They think he's just thick.  Indeed, as they "
"increasingly notice the things he can't do (hear the sound of grass being "
"stepped on, for example), they increasingly try to control him. He, in turn, "
"becomes increasingly frustrated. <quote>`You don't understand,' he cried, in "
"a voice that was meant to be great and resolute, and which broke. `You are "
"blind and I can see. Leave me alone!'</quote>"
msgstr ""
"Les choses ne se déroulent pas comme prévu. Il essaie d'expliquer l'idée "
"de vision aux villageois. Ils ne comprennent pas. Il leur dit qu'ils sont "
"<quote>aveugles</quote>. Ils ne connaisent pas le mot "
"<citetitle>aveugle</citetitle>. Ils le tiennent pour un idiot. En effet, au "
"fur et à mesure qu'ils se rendent compte des choses qu'il ne sait pas faire "
"(entendre le bruit des pas sur l'herbe, par exemple), ils essaient de le "
"manipuler. Lui, de son côté, devient de plus en plus amer. <quote>'Vous ne "
"comprenez pas,' dit-il, d'une voix qu'il voulait forte et résolue, mais qui "
"se transforma en pleur. 'Vous êtes aveugles et moi je vois. Laissez-moi "
"tranquille!'</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The villagers don't leave him alone. Nor do they see (so to speak) the "
"virtue of his special power. Not even the ultimate target of his affection, "
"a young woman who to him seems <quote>the most beautiful thing in the whole "
"of creation,</quote> understands the beauty of sight. Nunez's description of "
"what he sees <quote>seemed to her the most poetical of fancies, and she "
"listened to his description of the stars and the mountains and her own sweet "
"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She "
"did not believe,</quote> Wells tells us, and <quote>she could only half "
"understand, but she was mysteriously delighted.</quote>"
msgstr ""
"Mais les villageois ne le laissent pas tranquille. Pas plus qu'ils ne voient "
"(pour ainsi dire) les avantages de son pouvoir spécial. Même l'objet de "
"tous ses désirs, une jeune femme qui lui semble <quote>la chose la plus "
"belle de toute la création</quote>, ne comprend rien à la beauté de la "
"vue. La description faite par Nunez de ce qu'il voit <quote>lui semblait la "
"fantaisie la plus poétique, et elle écoutait sa description des étoiles et "
"des montagnes et de sa propre douce beauté comme s'il s'agissait d'un "
"plaisir coupable.</quote> <quote>Elle ne croyait pas</quote>, nous dit Wells "
"et <quote>elle ne pouvait comprendre qu'à moitié, mais elle était "
"mystérieusement enchantée.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"When Nunez announces his desire to marry his <quote>mysteriously "
"delighted</quote> love, the father and the village object. <quote>You see, "
"my dear,</quote> her father instructs, <quote>he's an idiot. He has "
"delusions. He can't do anything right.</quote> They take Nunez to the "
"village doctor."
msgstr ""
"Lorsque Nunez annonce sa volonté d'épouser cet amour "
"<quote>mystérieusement enchanté</quote>, son père et le village s'y "
"opposent. <quote>Vois-tu, ma chère</quote>, lui explique son père, "
"<quote>c'est un idiot. Il a des illusions. Il ne sait rien faire "
"correctement.</quote> Ils emmènent Nunez chez le médecin du village."

#. type: Content of: <book><part><chapter><para>
msgid ""
"After a careful examination, the doctor gives his opinion. <quote>His brain "
"is affected,</quote> he reports."
msgstr ""
"Après un examen attentif, le docteur donne son avis. <quote>Son cerveau est "
"perturbé,</quote> dit-il."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>What affects it?</quote> the father asks.  <quote>Those queer things "
"that are called the eyes &hellip; are diseased &hellip; in such a way as to "
"affect his brain.</quote>"
msgstr ""
"<quote>De quelle manière?</quote> demande le père. <quote>Ces choses "
"bizarres que l'on appelle les yeux ... sont malades ... d'une manière qui "
"perturbe son cerveau.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The doctor continues: <quote>I think I may say with reasonable certainty "
"that in order to cure him completely, all that we need to do is a simple and "
"easy surgical operation&mdash;namely, to remove these irritant bodies [the "
"eyes].</quote>"
msgstr ""
"Le docteur continue: <quote>Je pense pouvoir affirmer sans me tromper que "
"pour le soigner complètement, nous n'avons qu'à effectuer une opération "
"chirurgicale simple et facile &mdash; c'est-à-dire enlever ces corps "
"irritants [les yeux].</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Thank Heaven for science!</quote> says the father to the doctor. They "
"inform Nunez of this condition necessary for him to be allowed his bride.  "
"(You'll have to read the original to learn what happens in the end. I "
"believe in free culture, but never in giving away the end of a story.)"
msgstr ""
"<quote>Remercions le Ciel de nous avoir donné la science!</quote> dit le "
"père au docteur. Ils informent Nunez de la condition nécessaire pour qu'il "
"soit autorisé à épouser sa fiancée. (Vous devrez lire l'original pour "
"savoir ce qui se passe à la fin. Je crois en une culture libre, mais je ne "
"révèle jamais la fin d'une histoire.)"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of "
"twins fuse in the mother's womb. That fusion produces a "
"<quote>chimera.</quote> A chimera is a single creature with two sets of "
"DNA. The DNA in the blood, for example, might be different from the DNA of "
"the skin. This possibility is an underused plot for murder "
"mysteries. <quote>But the DNA shows with 100 percent certainty that she was "
"not the person whose blood was at the scene. &hellip;</quote>"
msgstr ""
"<emphasis role='strong'>Il arrive parfois</emphasis> que les oeufs de jumeaux "
"fusionnent dans l'utérus de leur mère. Cette fusion produit une "
"<quote>chimère</quote>. Une chimère est une créature avec deux patrimoines "
"génétiques. L'ADN dans le sang, par exemple, peut être différent de l'ADN "
"de la peau. Cette possibilité est sous-utilisée pour les romans policiers. "
"<quote>Mais l'ADN démontre avec 100 pour cent de certitude qu'elle n'est pas "
"la personne dont on a retrouvé le sang sur les lieux du crime...</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Before I had read about chimeras, I would have said they were impossible.  A "
"single person can't have two sets of DNA. The very idea of DNA is that it is "
"the code of an individual. Yet in fact, not only can two individuals have "
"the same set of DNA (identical twins), but one person can have two different "
"sets of DNA (a chimera). Our understanding of a <quote>person</quote> should "
"reflect this reality."
msgstr ""
"Avant d'avoir lu quelque chose sur ces chimères, j'aurais tenu leur "
"existence pour impossible. Une seule personne ne peut pas avoir deux "
"partimoines génétiques. L'idée même que l'on a de l'ADN est que c'est le "
"code d'un individu. Mais en fait, non seulement deux individus peuvent avoir "
"le même ADN (vrais jumeaux), mais une personne peut avoir deux ADN "
"différents (une chimère). Notre définition d'une <quote>personne</quote> "
"doit prendre en compte cette réalité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The more I work to understand the current struggle over copyright and "
"culture, which I've sometimes called unfairly, and sometimes not unfairly "
"enough, <quote>the copyright wars,</quote> the more I think we're dealing "
"with a chimera. For example, in the battle over the question <quote>What is "
"p2p file sharing?</quote> both sides have it right, and both sides have it "
"wrong.  One side says, <quote>File sharing is just like two kids taping each "
"others' records&mdash;the sort of thing we've been doing for the last thirty "
"years without any question at all.</quote> That's true, at least in "
"part. When I tell my best friend to try out a new CD that I've bought, but "
"rather than just send the CD, I point him to my p2p server, that is, in all "
"relevant respects, just like what every executive in every recording company "
"no doubt did as a kid: sharing music."
msgstr ""
"Plus je travaille à comprendre la dispute actuelle au sujet du copyright et "
"de la culture, que j'ai appelée souvent à tort, mais parfois à raison, "
"<quote>la guerre du copyright</quote>, plus je pense que nous avons affaire "
"à une chimère. Par exemple, dans la bataille sur la question <quote>Qu'est- "
"ce que le partage de fichier p2p?</quote>, les deux camps ont à la fois "
"raison et tort. Un camp dit: <quote>Le partage de fichier, c'est comme deux "
"enfants qui s'échangent et copient des cassettes&mdash;le genre de chose que "
"nous avons fait depuis une trentaine d'années sans jamais nous poser de "
"questions.</quote> C'est vrai, du moins en partie. Quand je dis à mon "
"meilleur ami d'essayer un nouveau CD que j'ai acheté, et au lieu de lui "
"envoyer le CD, je lui indique mon serveur p2p, c'est, à tous points de vue, "
"exactement ce que chaque directeur de chaque maison de disque faisait étant "
"enfant: partager de la musique."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But the description is also false in part. For when my p2p server is on a "
"p2p network through which anyone can get access to my music, then sure, my "
"friends can get access, but it stretches the meaning of "
"<quote>friends</quote> beyond recognition to say <quote>my ten thousand best "
"friends</quote> can get access. Whether or not sharing my music with my best "
"friend is what <quote>we have always been allowed to do,</quote> we have not "
"always been allowed to share music with <quote>our ten thousand best "
"friends.</quote>"
msgstr ""
"Mais cette description est aussi fausse en partie. Car si mon serveur p2p "
"fait partie d'un réseau p2p à travers lequel tout le monde peut accéder à "
"ma musique, alors bien sûr mes amis peuvent y accéder, mais c'est déformer "
"le sens du mot <quote>ami</quote> que de dire <quote>mes dix mille meilleurs "
"amis</quote> peuvent y accéder. Que partager ma musique avec mon meilleur "
"ami soit ou non <quote>ce que nous avons toujours été autorisés à "
"faire</quote>, nous n'avons pas toujours été autorisés à la partager avec "
"<quote>nos dix mille meilleurs amis.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Likewise, when the other side says, <quote>File sharing is just like walking "
"into a Tower Records and taking a CD off the shelf and walking out with "
"it,</quote> that's true, at least in part. If, after Lyle Lovett (finally) "
"releases a new album, rather than buying it, I go to Kazaa and find a free "
"copy to take, that is very much like stealing a copy from Tower.  "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"De même, quand l'autre camp dit: <quote>Partager des fichiers, c'est "
"exactement comme entrer chez Tower Records, prendre un CD du rayonnage et "
"sortir avec</quote>, c'est vrai, du moins en partie. Si, après que Lyle "
"Lovett a (enfin) sorti un nouvel album, plutôt que de l'acheter je vais sur "
"Kazaa et j'en trouve une copie gratuite, ca ressemble beaucoup à voler un CD "
"chez Tower. <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"But it is not quite stealing from Tower. After all, when I take a CD from "
"Tower Records, Tower has one less CD to sell. And when I take a CD from "
"Tower Records, I get a bit of plastic and a cover, and something to show on "
"my shelves. (And, while we're at it, we could also note that when I take a "
"CD from Tower Records, the maximum fine that might be imposed on me, under "
"California law, at least, is $1,000.  According to the RIAA, by contrast, if "
"I download a ten-song CD, I'm liable for $1,500,000 in damages.)"
msgstr ""
"Mais ce n'est pas complètement comme voler chez Tower. Après tout, si je "
"leur prends un CD, Tower Records a un CD de moins à vendre, et j'ai un "
"morceau de plastique avec une pochette, quelque chose à exhiber sur mon "
"étagère. (Et pendant qu'on y est, on peut aussi remarquer que si je vole un "
"CD chez Tower Records, le montant maximum de l'amende qui peut m'être "
"infligée, du moins selon la loi californienne, est de 1.000 dollars. "
"D'après la RIAA, si à l'inverse je télécharge un CD de dix titres, je "
"suis passible d'une amende de 1.500.000 dollars)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The point is not that it is as neither side describes. The point is that it "
"is both&mdash;both as the RIAA describes it and as Kazaa describes it. It is "
"a chimera. And rather than simply denying what the other side asserts, we "
"need to begin to think about how we should respond to this chimera. What "
"rules should govern it?"
msgstr ""
"Je ne cherche pas à dire que la réalité est différente de ce que chaque "
"camp décrit. Ce que je veux dire, c'est que la réalité est comme ils la "
"décrivent tous les deux &mdash; la RIAA et Kazaa. C'est une chimère. Et au "
"lieu de dénier ce que l'autre camp affirme, nous devons commencer à "
"réfléchir à la manière de répondre à cette chimère. Quelles sont les "
"lois qui la gouvernent?"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "ISPs (Internet service providers), user identities revealed by"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Conyers, John, Jr."
msgstr "Conyers, John, Jr."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Berman, Howard L."
msgstr "Berman, Howard L."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the "
"report prepared by GartnerG2 and the Berkman Center for Internet and Society "
"at Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster "
"World,</quote> 27 June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #33</ulink>. Reps. John Conyers "
"Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill that "
"would treat unauthorized on-line copying as a felony offense with "
"punishments ranging as high as five years imprisonment; see Jon Healey, "
"<quote>House Bill Aims to Up Stakes on Piracy,</quote> <citetitle>Los "
"Angeles Times</citetitle>, 17 July 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #34</ulink>. Civil penalties are "
"currently set at $150,000 per copied song. For a recent (and unsuccessful) "
"legal challenge to the RIAA's demand that an ISP reveal the identity of a "
"user accused of sharing more than 600 songs through a family computer, see "
"<citetitle>RIAA</citetitle> v. <citetitle>Verizon Internet Services (In "
"re. Verizon Internet Services)</citetitle>, 240 F.  Supp. 2d 24 "
"(D.D.C. 2003). Such a user could face liability ranging as high as $90 "
"million. Such astronomical figures furnish the RIAA with a powerful arsenal "
"in its prosecution of file sharers. Settlements ranging from $12,000 to "
"$17,500 for four students accused of heavy file sharing on university "
"networks must have seemed a mere pittance next to the $98 billion the RIAA "
"could seek should the matter proceed to court. See Elizabeth Young, "
"<quote>Downloading Could Lead to Fines,</quote> redandblack.com, August "
"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#35</ulink>. For an example of the RIAA's targeting of student file sharing, "
"and of the subpoenas issued to universities to reveal student file-sharer "
"identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to "
"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, "
"D3, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#36</ulink>.  <placeholder type=\"indexterm\" id=\"1\"/> <placeholder "
"type=\"indexterm\" id=\"2\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"We could respond by simply pretending that it is not a chimera. We could, "
"with the RIAA, decide that every act of file sharing should be a felony. We "
"could prosecute families for millions of dollars in damages just because "
"file sharing occurred on a family computer. And we can get universities to "
"monitor all computer traffic to make sure that no computer is used to commit "
"this crime. These responses might be extreme, but each of them has either "
"been proposed or actually implemented.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Nous pourrions répondre simplement que ce n'est pas une chimère. Nous "
"pourrions, avec la RIAA, décider que chaque acte de partage de fichier est "
"un délit. Nous pourrions poursuivre des familles, et leur réclamer des "
"millions de dollars de dommages, simplement parce que des fichiers ont été "
"échangés sur un ordinateur familial. Et nous pouvons forcer les "
"universités à surveiller tout le trafic sur leurs réseaux, pour s'assurer "
"qu'aucun ordinateur n'est utilisé pour commettre ce délit. Ces réponses "
"sont peut-être extrêmes, mais elles ont toutes été soit proposées soit "
"mises en pratique.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Alternatively, we could respond to file sharing the way many kids act as "
"though we've responded. We could totally legalize it. Let there be no "
"copyright liability, either civil or criminal, for making copyrighted "
"content available on the Net. Make file sharing like gossip: regulated, if "
"at all, by social norms but not by law."
msgstr ""
"Ou alors, nous pourrions répondre au partage de fichier de la manière "
"anticipée par beaucoup. Nous pourrions le rendre entièrement légal. Faire "
"qu'il n'y ait pas de responsabilité civile ou légale à rendre des contenus "
"sous copyright disponibles sur Internet. Rendre le partage de fichier comme "
"les rumeurs: que sa seule régulation vienne des normes sociales, mais pas de "
"la loi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Either response is possible. I think either would be a mistake.  Rather than "
"embrace one of these two extremes, we should embrace something that "
"recognizes the truth in both. And while I end this book with a sketch of a "
"system that does just that, my aim in the next chapter is to show just how "
"awful it would be for us to adopt the zero-tolerance extreme. I believe "
"<emphasis>either</emphasis> extreme would be worse than a reasonable "
"alternative.  But I believe the zero-tolerance solution would be the worse "
"of the two extremes."
msgstr ""
"Chaque réponse est possible. Je pense que chacune serait une erreur. Plutôt "
"que d'adopter l'un ou l'autre de ces extrémismes, nous devrions adopter "
"quelque chose qui reconnaît la vérité des deux. Et alors que je termine ce "
"livre avec une description d'un tel système, mon but dans le chapitre "
"suivant est de montrer à quel point il serait mauvais d'adopter la "
"tolérance zéro. Je pense que <emphasis>chaque</emphasis> extrême serait "
"pire qu'une alternative raisonnable. Mais je pense que la solution de "
"tolérance zéro serait le pire des deux extrêmes."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet zero tolerance is increasingly our government's policy. In the middle of "
"the chaos that the Internet has created, an extraordinary land grab is "
"occurring. The law and technology are being shifted to give content holders "
"a kind of control over our culture that they have never had before. And in "
"this extremism, many an opportunity for new innovation and new creativity "
"will be lost."
msgstr ""
"Et pourtant la tolérance zéro est de plus en plus la politique de notre "
"gouvernement. Au milieu du chaos créé par l'irruption d'Internet, la carte "
"du pouvoir est en train d'être redessinée de manière radicale. La loi et "
"la technologie y sont déplacées, de manière à donner aux ayant droits un "
"contrôle sur notre culture qu'ils n'ont jamais eu auparavant. Et par cet "
"extrémisme, beaucoup d'opportunités pour innover et créer seront perdues."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I'm not talking about the opportunities for kids to <quote>steal</quote> "
"music. My focus instead is the commercial and cultural innovation that this "
"war will also kill. We have never seen the power to innovate spread so "
"broadly among our citizens, and we have just begun to see the innovation "
"that this power will unleash. Yet the Internet has already seen the passing "
"of one cycle of innovation around technologies to distribute content. The "
"law is responsible for this passing. As the vice president for global public "
"policy at one of these new innovators, eMusic.com, put it when criticizing "
"the DMCA's added protection for copyrighted material,"
msgstr ""
"Je ne parle pas des opportunités pour les adolescents de "
"<quote>voler</quote> de la musique.  Je pense plutôt aux innovations "
"commerciales et culturelles que cette guerre va aussi tuer. Le pouvoir "
"d'innover n'a jamais été aussi largement répandu parmi nos citoyens, et "
"nous n'avons vu que le début de la vague d'innovations que ce pouvoir va "
"libérer. Cependant Internet a déjà vu la perte d'un cycle d'innovation "
"concernant les technologies de distribution de contenu. La loi est "
"responsable de cette perte. En critiquant les protections des contenus "
"ajoutées par le DMCA, le vice président des relations internationales de "
"l'un de ces innovateurs, eMusic.com, disait:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"eMusic opposes music piracy. We are a distributor of copyrighted material, "
"and we want to protect those rights."
msgstr ""
"eMusic s'oppose au piratage. Nous sommes un distributeur de contenus sous "
"copyright, et nous voulons protéger ces droits."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"But building a technology fortress that locks in the clout of the major "
"labels is by no means the only way to protect copyright interests, nor is it "
"necessarily the best. It is simply too early to answer that question. Market "
"forces operating naturally may very well produce a totally different "
"industry model."
msgstr ""
"Mais construire une forteresse technologique qui sécurise les majors n'est "
"en aucune cas la seule manière de protéger les intérêts du copyright, pas "
"plus que cela n'est nécessairement la meilleure. Il est tout simplement trop "
"tôt pour répondre à cette question. Les forces du marché, en agissant "
"naturellement, pourraient très bien aboutir à une industrie organisée "
"selon un modèle totalement différent."

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
msgid ""
"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
"Entertainment on the Internet and Other Media: Hearing Before the "
"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, "
"vice president, Global Public Policy and Standards, EMusic.com), available "
"in LEXIS, Federal Document Clearing House Congressional Testimony File."
msgstr ""
"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
"Entertainment on the Internet and Other Media: Hearing Before the "
"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, vice "
"president, Global Public Policy and Standards, EMusic.com), available in "
"LEXIS, Federal Document Clearing House Congressional Testimony File."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"This is a critical point. The choices that industry sectors make with "
"respect to these systems will in many ways directly shape the market for "
"digital media and the manner in which digital media are distributed. This in "
"turn will directly influence the options that are available to consumers, "
"both in terms of the ease with which they will be able to access digital "
"media and the equipment that they will require to do so. Poor choices made "
"this early in the game will retard the growth of this market, hurting "
"everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ce point est d'une importance critique. Les choix faits par l'industrie au "
"sujet de ces systèmes vont directement modeler le marché des médias "
"numériques, et la manière dont l'information numérique est distribuée. En "
"retour, ceci affectera directement les options disponibles pour les "
"consommateurs, à la fois en termes de facilité d'accès au médias "
"numériques, et d'équipements nécessaire pour y accéder. Faire dès "
"maintenant de mauvais choix retardera la croissance de ce marché, et va à "
"l'encontre de l'intérêt de tout le monde.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Vivendi Universal"
msgstr "Vivendi Universal"

#. type: Content of: <book><part><chapter><para>
msgid ""
"In April 2001, eMusic.com was purchased by Vivendi Universal, one of "
"<quote>the major labels.</quote> Its position on these matters has now "
"changed.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"En Avril 2001, eMusic.com a été rachetée par Vivendi Universal, une des "
"<quote>majors</quote>. Sa position sur ce problème a changé maintenant. "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Reversing our tradition of tolerance now will not merely quash piracy. It "
"will sacrifice values that are important to this culture, and will kill "
"opportunities that could be extraordinarily valuable."
msgstr ""
"En revenant aujourd'hui sur notre tradition de tolérance, nous n'allons pas "
"seulement écraser le piratage. Nous allons aussi sacrifier un certain nombre "
"de valeurs qui sont importantes pour notre culture, et perdre des chances "
"d'une valeur inestimable."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Twelve: Harms"
msgstr "Dommages"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to "
"protect <quote>property,</quote> the content industry has launched a "
"war. Lobbying and lots of campaign contributions have now brought the "
"government into this war. As with any war, this one will have both direct "
"and collateral damage. As with any war of prohibition, these damages will be "
"suffered most by our own people."
msgstr ""
"<emphasis role='strong'>Pour combattre</emphasis> le <quote>piratage</quote> "
"et protéger la <quote>propriété</quote>, l'industrie du contenu est "
"entrée en guerre. Le lobbying et de nombreuses campagnes de pressions ont "
"forcé le gouvernement à s'engager dans celle-ci. Comme dans toute guerre il "
"y aura des victimes directes et des dommages collatéraux. Comme dans toute "
"guerre de prohibition, l'essentiel des dommages sera subi par notre peuple."

#. type: Content of: <book><part><chapter><para>
msgid ""
"My aim so far has been to describe the consequences of this war, in "
"particular, the consequences for <quote>free culture.</quote> But my aim now "
"is to extend this description of consequences into an argument. Is this war "
"justified?"
msgstr ""
"Jusqu'à présent mon but a été de décrire les conséquences de cette "
"guerre, tout particulièrement pour <quote>la culture libre</quote>. Mais je "
"vais désormais plus loin&nbsp;: cette guerre est-elle justifiée&nbsp;?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"In my view, it is not. There is no good reason why this time, for the first "
"time, the law should defend the old against the new, just when the power of "
"the property called <quote>intellectual property</quote> is at its greatest "
"in our history."
msgstr ""
"Selon moi, non. Il n'y a aucune raison valable pour que, cette fois, qui "
"serait la première, la loi doive défendre l'ordre ancien contre le nouveau "
"et cela au moment précis où la <quote>propriété intellectuelle</quote> "
"est à son apogée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet <quote>common sense</quote> does not see it this way. Common sense is "
"still on the side of the Causbys and the content industry. The extreme "
"claims of control in the name of property still resonate; the uncritical "
"rejection of <quote>piracy</quote> still has play."
msgstr ""
"Pourtant le <quote>sens commun</quote> ne le voit pas de cette façon. Le "
"sens commun est encore du côté des Causby et de l'industrie du contenu. Les "
"plaintes des extrémistes du contrôle, pour défendre la propriété, n'ont "
"pas cessé et le rejet irrationnel du <quote>piratage</quote> a toujours "
"cours."

#. type: Content of: <book><part><chapter><para>
msgid ""
"There will be many consequences of continuing this war. I want to describe "
"just three. All three might be said to be unintended. I am quite confident "
"the third is unintended. I'm less sure about the first two. The first two "
"protect modern RCAs, but there is no Howard Armstrong in the wings to fight "
"today's monopolists of culture."
msgstr ""
"La poursuite de cette guerre ne sera pas sans conséquences. Je n'en "
"décrirai que trois. On pourrait dire que chacune des trois est fortuite. "
"Pour la troisième, j'en suis certain. J'en suis moins sûr pour les deux "
"premières. Les deux premières protègent les RCAs modernes, mais il n'y a "
"aucun Howard Armstrong dans les ailes pour combattre les monopoles de la "
"culture d'aujourd'hui."

#. type: Content of: <book><part><chapter><section><title>
msgid "Constraining Creators"
msgstr "Contraindre les créateurs"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the next ten years we will see an explosion of digital technologies.  "
"These technologies will enable almost anyone to capture and share "
"content. Capturing and sharing content, of course, is what humans have done "
"since the dawn of man. It is how we learn and communicate. But capturing and "
"sharing through digital technology is different. The fidelity and power are "
"different. You could send an e-mail telling someone about a joke you saw on "
"Comedy Central, or you could send the clip. You could write an essay about "
"the inconsistencies in the arguments of the politician you most love to "
"hate, or you could make a short film that puts statement against "
"statement. You could write a poem to express your love, or you could weave "
"together a string&mdash;a mash-up&mdash; of songs from your favorite artists "
"in a collage and make it available on the Net."
msgstr ""
"Dans la prochaine décennie, nous devrions voir une explosion des "
"technologies numériques. Ces technologies permettront à tous de reproduire "
"et de partager de l'information. Cela existe bien sûr depuis l'aube de "
"l'humanité. C'est ainsi que nous communiquons et que nous apprenons. Mais la "
"technologie numérique permet une fidélité de reproduction et un pouvoir de "
"diffusion bien plus grands. Vous pouvez envoyer un courriel pour raconter une "
"blague que vous avez vu sur Comedy Central (NdT: chaîne de télévision "
"câblée américaine), ou bien vous pouvez envoyer la séquence vidéo. Vous "
"pouvez écrire un pamphlet sur les incohérences du politicien que vous aimez "
"le plus haïr, ou vous pouvez réaliser un court métrage qui expose argument "
"après argument. Vous pouvez écrire un poème pour déclarer votre flamme, "
"ou vous pouvez mélanger des chansons de vos artistes préférés en un seul "
"morceau et le rendre accessible sur le Net."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This digital <quote>capturing and sharing</quote> is in part an extension of "
"the capturing and sharing that has always been integral to our culture, and "
"in part it is something new. It is continuous with the Kodak, but it "
"explodes the boundaries of Kodak-like technologies. The technology of "
"digital <quote>capturing and sharing</quote> promises a world of "
"extraordinarily diverse creativity that can be easily and broadly "
"shared. And as that creativity is applied to democracy, it will enable a "
"broad range of citizens to use technology to express and criticize and "
"contribute to the culture all around."
msgstr ""
"Cette <quote>reproduction et diffusion</quote> numérique est à la fois une "
"extension de la reproduction et de la diffusion qui a toujours fait partie de "
"notre culture, et à la fois quelque chose de nouveau. C'est la suite de "
"Kodak, mais cela dépasse les frontières de la technologie <quote>type "
"Kodak</quote>. La technologie numérique laisse entrevoir un monde où la "
"créativité serait extrêmement diversifiée, et pourrait être facilement "
"et largement diffusée.  Et si la démocratie s'applique à cette "
"technologie, elle permettra à grand nombre de citoyens de s'exprimer, de "
"critiquer et de contribuer à la culture globale."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Technology has thus given us an opportunity to do something with culture "
"that has only ever been possible for individuals in small groups, isolated "
"from others. Think about an old man telling a story to a collection of "
"neighbors in a small town. Now imagine that same storytelling extended "
"across the globe."
msgstr ""
"La technologie nous a ainsi donné la possibilité de faire quelque chose de "
"la culture qui n'était possible que pour de petits groupes d'individus. "
"Imaginez un vieil homme racontant une histoire lors d'une rencontre de "
"quartier. Imaginez maintenant que cette histoire soit diffusée dans le monde "
"entier."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Yet all this is possible only if the activity is presumptively legal. In the "
"current regime of legal regulation, it is not. Forget file sharing for a "
"moment. Think about your favorite amazing sites on the Net. Web sites that "
"offer plot summaries from forgotten television shows; sites that catalog "
"cartoons from the 1960s; sites that mix images and sound to criticize "
"politicians or businesses; sites that gather newspaper articles on remote "
"topics of science or culture. There is a vast amount of creative work spread "
"across the Internet. But as the law is currently crafted, this work is "
"presumptively illegal."
msgstr ""
"En fait, tout cela n'est possible que si ces activités sont supposées "
"légales. Sous le régime législatif actuel, ce n'est pas le cas. Pensez à "
"vos excellents sites favoris sur le Net. Les sites web peuvent offrir un "
"aperçu d'émissions télévisées oubliées; les sites peuvent cataloguer "
"des dessins animées des années 60; les sites peuvent mixer des images et du "
"son pour critiquer les politiciens ou les hommes d'affaires; les sites "
"peuvent collecter des articles sur des sujets pointus scientifiques ou "
"culturels. Il existe une importante quantité d'oeuvres créatives à travers "
"l'Internet. Mais, à cause de la manière dont la loi est faite, ces oeuvres "
"sont supposées illégales."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "WorldCom"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "doctors malpractice claims against"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at "
"WorldCom</citetitle> (Hoboken, N.J.: John Wiley &amp; Sons, 2003), 176, 204; "
"for details of the settlement, see MCI press release, <quote>MCI Wins "
"U.S. District Court Approval for SEC Settlement</quote> (7 July 2003), "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>.  "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Bush, George W."
msgstr "Bush, George W."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"The bill, modeled after California's tort reform model, was passed in the "
"House of Representatives but defeated in a Senate vote in July 2003. For an "
"overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be "
"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and "
"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#39</ulink>. President Bush has continued to urge tort reform in recent "
"months.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"That presumption will increasingly chill creativity, as the examples of "
"extreme penalties for vague infringements continue to proliferate. It is "
"impossible to get a clear sense of what's allowed and what's not, and at the "
"same time, the penalties for crossing the line are astonishingly harsh.  The "
"four students who were threatened by the RIAA (Jesse Jordan of chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"catalogs\"/> was just one) were "
"threatened with a $98 billion lawsuit for building search engines that "
"permitted songs to be copied. Yet World-Com&mdash;which defrauded investors "
"of $11 billion, resulting in a loss to investors in market capitalization of "
"over $200 billion&mdash;received a fine of a mere $750 million.<placeholder "
"type=\"footnote\" id=\"0\"/> And under legislation being pushed in Congress "
"right now, a doctor who negligently removes the wrong leg in an operation "
"would be liable for no more than $250,000 in damages for pain and "
"suffering.<placeholder type=\"footnote\" id=\"1\"/> Can common sense "
"recognize the absurdity in a world where the maximum fine for downloading "
"two songs off the Internet is more than the fine for a doctor's negligently "
"butchering a patient?"
msgstr ""
"Cette présomption va refroidir de plus en plus la créativité, tandis que "
"les exemples de condamnations graves pour des infractions floues vont se "
"multiplier.  Il est impossible de distinguer clairement ce qui est autorisé "
"de ce qui ne l'est pas, et en même temps, les sanctions pour avoir franchi "
"la ligne sont extrêmement dures.  Les quatre étudiants qui avaient été "
"menacés par la RIAA (Jesse Jordan au chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"catalogs\"/> n'était qu'un de "
"ceux-là) encouraient une amende de 98 milliards de dollars pour avoir construit "
"des moteurs de recherche qui permettaient de copier des chansons.  D'un autre "
"côté, Worldcom, (NdT&nbsp;: entreprise américaine au coeur d'un scandale "
"financier en 2002) qui a escroqué les investisseurs d'une somme de 11 "
"milliards de dollars, et qui a ainsi entraîné une perte de 200 milliards de "
"dollars sur le marché mondial, a eu une amende de seulement 750 millions de "
"dollars<placeholder "
"type=\"footnote\" id=\"0\"/>. Et d'après la législation actuellement en "
"vigueur au Congrès, un "
"docteur qui amputerait par négligence la mauvaise jambe lors d'une "
"opération ne devrait que 250.000 dollars en dommages et intérêts.<placeholder "
"type=\"footnote\" id=\"1\"/> Le sens "
"commun peut-il reconnaître l'absurdité d'un monde dans lequel l'amende "
"maximale encourue pour avoir téléchargé deux chansons sur Internet est "
"plus importante que celle encourue par un docteur qui aurait charcuté un "
"patient par négligence&nbsp;?"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "art, underground"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> "
"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #40</ulink>. For an overview of "
"the exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link "
"#41</ulink>."
msgstr ""
"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote><citetitle> "
"Wired,</citetitle> 7 July 2003, available at link #40. For an overview of the "
"exhibition, see link #41."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The consequence of this legal uncertainty, tied to these extremely high "
"penalties, is that an extraordinary amount of creativity will either never "
"be exercised, or never be exercised in the open. We drive this creative "
"process underground by branding the modern-day Walt Disneys "
"<quote>pirates.</quote> We make it impossible for businesses to rely upon a "
"public domain, because the boundaries of the public domain are designed to "
"be unclear. It never pays to do anything except pay for the right to create, "
"and hence only those who can pay are allowed to create. As was the case in "
"the Soviet Union, though for very different reasons, we will begin to see a "
"world of underground art&mdash;not because the message is necessarily "
"political, or because the subject is controversial, but because the very act "
"of creating the art is legally fraught. Already, exhibits of <quote>illegal "
"art</quote> tour the United States.<placeholder type=\"footnote\" id=\"0\"/> "
"In what does their <quote>illegality</quote> consist? In the act of mixing "
"the culture around us with an expression that is critical or reflective."
msgstr ""
"La conséquence de ce flou juridique, associé aux sanctions élevées, est "
"qu'une grande quantité de créations ne sera pas rendue publique. Nous "
"sapons les bases du processus créatif en stigmatisant les "
"<quote>pirates</quote> de Walt Disney. Nous empêchons les hommes d'affaires "
"de s'appuyer sur le domaine public, parce que les frontières du domaine "
"public ne sont pas claires. Ça ne paye pas de faire autre chose que payer "
"pour le droit de créer, et ainsi, les seuls qui sont autorisés à créer, "
"sont ceux qui payent. Comme ce fut le cas en Union Soviétique, bien que pour "
"des raisons très différentes, nous allons rentrer dans un monde où l'art "
"sera clandestin &mdash;pas parce que le message doit nécessairement être "
"politique, mais parce que le simple fait de créer, est un délit. Déjà, "
"des expositions <quote>d'art illégal</quote> circulent aux États- "
"Unis<placeholder type=\"footnote\" id=\"0\"/>. En quoi consiste cette "
"<quote>illégalité&nbsp;?</quote> Dans le fait de mixer la culture autour de "
"nous, dans un esprit critique ou profond."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Part of the reason for this fear of illegality has to do with the changing "
"law. I described that change in detail in chapter <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"property-i\"/>. But an even bigger part has to do "
"with the increasing ease with which infractions can be tracked. As users of "
"file-sharing systems discovered in 2002, it is a trivial matter for "
"copyright owners to get courts to order Internet service providers to reveal "
"who has what content. It is as if your cassette tape player transmitted a "
"list of the songs that you played in the privacy of your own home that "
"anyone could tune into for whatever reason they chose."
msgstr ""
"Cette peur de l'illégalité est en partie due aux changements de la loi. "
"J'ai détaillé ces changements au chapitre <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"property-i\"/>. Mais elle est, dans une plus "
"grande mesure, la conséquence de la facilité de plus en plus grande avec "
"laquelle les infractions peuvent être détectées. Les utilisateurs de "
"l'échange de fichiers ont découvert en 2002 à quel point il était simple "
"pour les détenteurs de copyright, d'amener les tribunaux à ordonner aux "
"fournisseurs d'accès à Internet de révéler qui possède quel contenu. "
"C'est comme si votre lecteur de cassette transmettait une liste des chansons "
"que vous écoutiez chez vous, et que n'importe qui pourrait consulter pour "
"n'importe quel motif."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Never in our history has a painter had to worry about whether his painting "
"infringed on someone else's work; but the modern-day painter, using the "
"tools of Photoshop, sharing content on the Web, must worry all the "
"time. Images are all around, but the only safe images to use in the act of "
"creation are those purchased from Corbis or another image farm. And in "
"purchasing, censoring happens. There is a free market in pencils; we needn't "
"worry about its effect on creativity. But there is a highly regulated, "
"monopolized market in cultural icons; the right to cultivate and transform "
"them is not similarly free."
msgstr ""
"Jamais dans notre histoire, un peintre n'a eu à s'occuper de savoir si sa "
"peinture empiétait sur le travail de quelqu'un d'autre. Mais le dessinateur "
"contemporain, qui utilise des outils comme Photoshop et partage du contenu "
"sur le web, doit s'en soucier en permanence.  Les images sont omniprésentes, "
"mais on ne peut utiliser dans une création que sont celles achetées à "
"Corbis (NdT: société vendant des images numérisées; propriété de Bill "
"Gates) ou à une autre banque d'images. Et avec l'achat, la censure arrive. "
"Le marché des crayons est libre; nous n'avons pas à nous occuper de leurs "
"effets sur la créativité. Mais le marché de l'image culturelle est très "
"concentré et réglementé; nous ne somme pas aussi libres de les utiliser et "
"les transformer."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Lawyers rarely see this because lawyers are rarely empirical. As I described "
"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, "
"in response to the story about documentary filmmaker Jon Else, I have been "
"lectured again and again by lawyers who insist Else's use was fair use, and "
"hence I am wrong to say that the law regulates such a use."
msgstr ""
"Les juristes ont rarement conscience de cela, car ils voient rarement les "
"choses de manière pragmatique. Comme je l'ai décrit au chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>; en "
"réponse à l'histoire du documentaire de Jon Else, j'ai été abondamment "
"sermonné par des juristes qui prétendaient que l'utilisation de Else "
"relevait de l'usage loyal, et que j'avais donc tort de dire que la loi "
"réglementait ce genre d'emploi."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But fair use in America simply means the right to hire a lawyer to defend "
"your right to create. And as lawyers love to forget, our system for "
"defending rights such as fair use is astonishingly bad&mdash;in practically "
"every context, but especially here. It costs too much, it delivers too "
"slowly, and what it delivers often has little connection to the justice "
"underlying the claim. The legal system may be tolerable for the very rich.  "
"For everyone else, it is an embarrassment to a tradition that prides itself "
"on the rule of law."
msgstr ""
"Mais usage loyal en Amérique, signifie simplement le droit de louer les "
"services d'un avocat pour défendre votre droit de créer. Et, comme les "
"avocats ont tendance à l'oublier, notre système de défense de droits tels "
"que l'usage loyal est incroyablement mauvais&mdash;dans pratiquement tous les "
"contextes, mais particulièrement dans celui-ci. Il coûte trop cher, il est "
"trop lent, et sa conclusion a souvent peu à voir avec la justice qui sous- "
"tend la requête. Le système légal peut être tolérant pour ceux qui sont "
"très riches. Pour tous les autres, c'est le fardeau d'une tradition qui "
"s'enorgueillit d'être basée sur la loi."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Judges and lawyers can tell themselves that fair use provides adequate "
"<quote>breathing room</quote> between regulation by the law and the access "
"the law should allow. But it is a measure of how out of touch our legal "
"system has become that anyone actually believes this. The rules that "
"publishers impose upon writers, the rules that film distributors impose upon "
"filmmakers, the rules that newspapers impose upon journalists&mdash; these "
"are the real laws governing creativity. And these rules have little "
"relationship to the <quote>law</quote> with which judges comfort themselves."
msgstr ""
"Les juges et les juristes ont beau se dire que l'usage loyal fournit un "
"<quote>statut intermédiaire</quote> adéquat entre le contrôle par la loi "
"et la liberté d'accès qu'elle devrait garantir. Mais c'est une mesure de ce "
"que le système légal est réellement devenu. Les règles imposées par les "
"éditeurs aux écrivains, par les maisons de presse aux journalistes&mdash;ce "
"sont les lois qui gouvernent vraiment la créativité. Et ces règles ont peu "
"de rapport avec la <quote>loi</quote>, sur laquelle les juges s'appuient."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For in a world that threatens $150,000 for a single willful infringement of "
"a copyright, and which demands tens of thousands of dollars to even defend "
"against a copyright infringement claim, and which would never return to the "
"wrongfully accused defendant anything of the costs she suffered to defend "
"her right to speak&mdash;in that world, the astonishingly broad regulations "
"that pass under the name <quote>copyright</quote> silence speech and "
"creativity. And in that world, it takes a studied blindness for people to "
"continue to believe they live in a culture that is free."
msgstr ""
"Car dans un monde qui menace de 150.000 dollars une simple violation de "
"copyright, et qui demande des dizaines de milliers de dollars juste pour se "
"défendre face à une accusation de violation de copyright, et qui n'accorde "
"jamais à l'accusé acquitté le moindre remboursement des coûts engagés "
"pour défendre ses droits&mdash;dans ce monde, l'extraordinaire emprise des "
"lois, étouffe l'expression et la créativité au nom du "
"<quote>copyright</quote>. Et dans ce monde, il faut un endoctrinement "
"calculé pour continuer à faire croire que la culture est libre."

#. type: Content of: <book><part><chapter><section><para>
msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
msgstr ""
"Jed Horovitz, l'homme d'affaires aux commandes de Video Pipeline me disait:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"We're losing [creative] opportunities right and left. Creative people are "
"being forced not to express themselves. Thoughts are not being "
"expressed. And while a lot of stuff may [still] be created, it still won't "
"get distributed. Even if the stuff gets made &hellip; you're not going to "
"get it distributed in the mainstream media unless you've got a little note "
"from a lawyer saying, <quote>This has been cleared.</quote> You're not even "
"going to get it on PBS without that kind of permission. That's the point at "
"which they control it."
msgstr ""
"Nous perdons des opportunités [créatives] ici et là. Les créateurs sont "
"réduits au silence. Les idées sont baillonnées. Et tandis que beaucoup de "
"choses peuvent [encore] être créées, elles ne seront pas distribuées. "
"Même si l'oeuvre est finalisée ... elle ne sera pas distribuée dans les "
"médias de masse tant que vous n'avez pas un petit mot d'un juriste disant, "
"<quote>Cela a été contrôlé.</quote> Ça ne passera même pas sur PBS "
"(NdT: service de diffusion audiovisuelle non commercial) sans ce type de "
"permission. C'est à ce niveau que s'exerce le contrôle."

#. type: Content of: <book><part><chapter><section><title>
msgid "Constraining Innovators"
msgstr "Contraindre les innovateurs"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "innovation hampered by"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "industry establishment opposed to"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The story of the last section was a crunchy-lefty story&mdash;creativity "
"quashed, artists who can't speak, yada yada yada. Maybe that doesn't get you "
"going. Maybe you think there's enough weird art out there, and enough "
"expression that is critical of what seems to be just about everything.  And "
"if you think that, you might think there's little in this story to worry "
"you."
msgstr ""
"L'histoire présentée au paragraphe précédent était croustillante et de "
"gauche: créativité bridée, artistes censurés, et patati et patata. "
"Peut-être que ca ne vous parle pas. Peut-être que vous pensez qu'il y a "
"assez d'oeuvres d'art bizarres, et assez de voix critiques qui s'expriment "
"sur tous les sujets. Et si c'est ce que vous pensez, vous pensez peut-être "
"qu'il n'y a rien d'inquiétant pour vous dans cette histoire."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But there's an aspect of this story that is not lefty in any sense.  Indeed, "
"it is an aspect that could be written by the most extreme promarket "
"ideologue. And if you're one of these sorts (and a special one at that, "
"<xref xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/> pages into a "
"book like this), then you can see this other aspect by substituting "
"<quote>free market</quote> every place I've spoken of <quote>free "
"culture.</quote> The point is the same, even if the interests affecting "
"culture are more fundamental."
msgstr ""
"Mais il y a un aspect de cette histoire qui n'a rien de gauchiste. En effet, "
"c'est un aspect qui pourrait être écrit par le plus extrémiste des "
"idéologues pro-marché. Et si vous êtes un idéologue de cette espèce (et "
"d'une teneur particulière, pour lire ce livre jusqu'à la page <xref "
"xrefstyle=\"select: pagenumber\" linkend=\"innovators\"/>), alors "
"vous pourrez y être sensible en remplacant <quote>culture libre</quote> par "
"<quote>marché libre</quote> dans toute mon argumentation. La démonstration "
"est la même, quand bien même les intérêts liés à la culture sont plus "
"fondamentaux."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The charge I've been making about the regulation of culture is the same "
"charge free marketers make about regulating markets. Everyone, of course, "
"concedes that some regulation of markets is necessary&mdash;at a minimum, we "
"need rules of property and contract, and courts to enforce both. Likewise, "
"in this culture debate, everyone concedes that at least some framework of "
"copyright is also required. But both perspectives vehemently insist that "
"just because some regulation is good, it doesn't follow that more regulation "
"is better. And both perspectives are constantly attuned to the ways in which "
"regulation simply enables the powerful industries of today to protect "
"themselves against the competitors of tomorrow."
msgstr ""
"L'accusation que j'ai faite jusqu'à présent à propos de la régulation de "
"la culture est la même accusation que les défenseurs du marché libre font "
"à propose de la régulation du marché. Tout le monde, bien sûr, concède "
"que quelque régulation du marché est nécessaire&mdash;au minimum, nous "
"avons besoin de règles de propriété et de contrat, et des tribunaux pour "
"appliquer les deux. De la même manière, dans ce débat culturel, tout le "
"monde concède que quelque cadre de copyright est également requis. Mais les "
"deux perspectives insistent avec véhémence sur le fait que juste parce que "
"la régulation est une bonne chose, il ne s'ensuit pas que plus de "
"régulation est une meilleure chose. Et les deux perspectives sont "
"constamment sensibles aux manières par lesquelles la régulation permet "
"simplement aux industries puissantes d'aujourd'hui de se protéger contre les "
"concurrents de demain."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Barry, Hank"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "venture capitalists"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is the single most dramatic effect of the shift in regulatory strategy "
"that I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>. The consequence of this massive threat of "
"liability tied to the murky boundaries of copyright law is that innovators "
"who want to innovate in this space can safely innovate only if they have the "
"sign-off from last generation's dominant industries.  That lesson has been "
"taught through a series of cases that were designed and executed to teach "
"venture capitalists a lesson. That lesson&mdash;what former Napster CEO Hank "
"Barry calls a <quote>nuclear pall</quote> that has fallen over the "
"Valley&mdash;has been learned."
msgstr ""
"C'est spécifiquement l'effet le plus spectaculaire du changement dans la "
"stratégie de régulation que j'ai décrite dans le chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>. La "
"conséquence de cette menace massive de responsabilité liée aux frontières "
"obscures de la loi du copyright est que les innovateurs qui veulent innover "
"dans cet espace ne peuvent innover en sécurité seulement si ils ont l'acte "
"de décès des industries dominantes de la génération précédente. Cette "
"leçon a été enseignée à travers une série d'affaires qui étaient "
"conçues et exécuter pour apprendre une leçon aux capitalistes "
"entrepreneurs. Cette leçon&mdash;ce que l'ancien PDG de Napster Hank Barry "
"appelle un <quote>voile nucléaire</quote> qui s'est abattu sur la Sillicon "
"Valley&mdash;a été apprise."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Consider one example to make the point, a story whose beginning I told in "
"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way "
"that even I (pessimist extraordinaire) would never have predicted."
msgstr ""
"Considérez un exemple pour voir cette idée, une histoire dont j'ai raconté "
"le début dans <citetitle>L'avenir des idées</citetitle> et qui a progressé "
"d'une manière que même moi (pessimiste extraordinaire) n'aurais jamais "
"prédite."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "MP3.com"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "my.mp3.com"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Roberts, Michael"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In 1997, Michael Roberts launched a company called MP3.com.  MP3.com was "
"keen to remake the music business. Their goal was not just to facilitate new "
"ways to get access to content. Their goal was also to facilitate new ways to "
"create content. Unlike the major labels, MP3.com offered creators a venue to "
"distribute their creativity, without demanding an exclusive engagement from "
"the creators."
msgstr ""
"En 1997, Michael Robertson lança une société appelée MP3.com. MP3.com "
"était excellent pour réinventer le commerce de la musique. Leur but "
"n'était pas juste de faciliter des nouvelles manières d'accéder au "
"contenu. Leur but était aussi de faciliter des nouvelles manières de créer "
"du contenu. Contrairement aux maisons de disques dominantes, MP3.com offrait "
"aux créateurs un endroit pour distribuer leur créativité, sans exiger un "
"engagement exclusif de la part des créateurs."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "preference data on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"To make this system work, however, MP3.com needed a reliable way to "
"recommend music to its users. The idea behind this alternative was to "
"leverage the revealed preferences of music listeners to recommend new "
"artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And "
"so on."
msgstr ""
"Pour faire marcher ce système, toutefois, MP3.com avait besoin d'une "
"manière fiable de recommander la musique à ses utilisateurs. L'idée "
"derrière cette alternative était d'influencer les préférences révélées "
"des auditeurs de musique pour recommander de nouveaux artistes. Si vous aimez "
"Lule Lovett, vous avez des chances d'apprécier Bonnie Raitt. Et ainsi de "
"suite."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This idea required a simple way to gather data about user preferences.  "
"MP3.com came up with an extraordinarily clever way to gather this preference "
"data. In January 2000, the company launched a service called "
"my.mp3.com. Using software provided by MP3.com, a user would sign into an "
"account and then insert into her computer a CD. The software would identify "
"the CD, and then give the user access to that content.  So, for example, if "
"you inserted a CD by Jill Sobule, then wherever you were&mdash;at work or at "
"home&mdash;you could get access to that music once you signed into your "
"account. The system was therefore a kind of music-lockbox."
msgstr ""
"Cette idée nécessitait une manière simple de récolter des données sur "
"les préférences des utilisateurs. MP3.com est arrivé avec uen manière "
"extraordinairement intelligente de récolter ces données de préférence. En "
"janvier 2000, la société lança un service nommé my.mp3.com. En utilisant "
"un logiciel fourni parMP3.com, un utilisateur s'inscrivait à un compte et "
"insérait dans son ordinateur un CD. Le logiciel identifiait le CD, puis "
"donnait à l'utilisateur l'accès à ce contenu. Donc, par exemple, si vous "
"insérez un CD de Jill Sobule, alors où que vous soyiez&mdash;au travail ou "
"à la maison&mdash;vous pouviez avoir accès à cette musique une fosi que "
"vous vous identifiiez dans ce compte. Ce système était ainsi une sorte de "
"juke-box verrouillé."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"No doubt some could use this system to illegally copy content. But that "
"opportunity existed with or without MP3.com. The aim of the my.mp3.com "
"service was to give users access to their own content, and as a by-product, "
"by seeing the content they already owned, to discover the kind of content "
"the users liked."
msgstr ""
"Il n'y pas de doute que certains pouvaient utiliser ce système pour copier "
"illégalement du contenu. Mais cette possibilité existait avec ou sans "
"MP3.com. Le but du service MP3.com étati de donner aux utilisateurs accès "
"à leur propre contenu, et en tant que produit dérivé, de découvrir le "
"genre de contenu que les utilisateurs aimaient."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"To make this system function, however, MP3.com needed to copy 50,000 CDs to "
"a server. (In principle, it could have been the user who uploaded the music, "
"but that would have taken a great deal of time, and would have produced a "
"product of questionable quality.) It therefore purchased 50,000 CDs from a "
"store, and started the process of making copies of those CDs. Again, it "
"would not serve the content from those copies to anyone except those who "
"authenticated that they had a copy of the CD they wanted to access. So while "
"this was 50,000 copies, it was 50,000 copies directed at giving customers "
"something they had already bought."
msgstr ""
"Pour faire marcher ce système, toutefois, MP3.com avait besoin de copier 50 "
"000 CDs sur un serveur. (En principe, cela aurait pu être à l'utilisateur "
"d'uploader la musique, mais cela aurait été une grande perte de temps, et "
"aurait produit un produit de qualité contestable.) La société acheta donc "
"50 000 CDs dans une boutique, et commença le processus de copie de ces CDs. "
"Encore une fois, elle ne servait pas le contenu de ces copies à n'importe "
"qui excepté à ceux qui ont authentifié qu'ils avaient une copie du CD dont "
"ils voulaient avoir accès. Donc alors que c'était 50 000 copies, c'était "
"50 000 copies destinées à donner aux clients quelque chose qu'ils avaient "
"déjà acheté."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "distribution technology targeted in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "outsize penalties of"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Nine days after MP3.com launched its service, the five major labels, headed "
"by the RIAA, brought a lawsuit against MP3.com. MP3.com settled with four of "
"the five. Nine months later, a federal judge found MP3.com to have been "
"guilty of willful infringement with respect to the fifth. Applying the law "
"as it is, the judge imposed a fine against MP3.com of $118 million. MP3.com "
"then settled with the remaining plaintiff, Vivendi Universal, paying over "
"$54 million. Vivendi purchased MP3.com just about a year later."
msgstr ""
"Neuf jours après que MP3.com a lancé son service, les cinq maisons de "
"disque dominantes, menées par la RIAA, attaquèrent MP3.com en justice. "
"MP3.com régla l'affaire avec quatre des cinq. Neuf mois plus tard, un juge "
"fédéral déclara MP3.com coupable d'infraction délibérée vis-à-vis de "
"la cinquième. Appliquant la loi telle qu'elle est, le juge impose une amende "
"de 118 millions de dollars à MP3.com. Puis MP3.com régla l'affaire avec le "
"dernier plaignant, Vivendi Universal, en payant plsu de 54 millions de "
"dollars. Vivendi racheta MP3.com presque un an plus tard."

#. type: Content of: <book><part><chapter><section><para>
msgid "That part of the story I have told before. Now consider its conclusion."
msgstr ""
"Je vous avais déjà raconté cette partie de l'histoire. Maintenant "
"considérez sa conclusion. Après que Vivendi a racheté MP3.com, Vivendi se "
"retourna et fit un procès pour faute professionnelle contre les avocats qui "
"l'avaient informé qu'ils étaient de bonne foi en affirmant que le service "
"qu'ils voulaient offrir serait considéré légal selon la loi du copyright; "
"ainsi, cettte poursuite en justice."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"After Vivendi purchased MP3.com, Vivendi turned around and filed a "
"malpractice lawsuit against the lawyers who had advised it that they had a "
"good faith claim that the service they wanted to offer would be considered "
"legal under copyright law. This lawsuit alleged that it should have been "
"obvious that the courts would find this behavior illegal; therefore, this "
"lawsuit sought to punish any lawyer who had dared to suggest that the law "
"was less restrictive than the labels demanded."
msgstr ""
"Après que Vivendi a acheté MP3.COM, Vivendi tourné autour(retourné) et "
"avoir classer un procès de faute professionnelle contre les avocats qui "
"l'avaient informé qu'ils avaient une bonne foi prétendent que l'on "
"considérerait le service qu'ils ont voulu offrir légal conformément à la "
"loi de copyright; ainsi, cette poursuite cherchait à punir tout avocat qui "
"avait osé suggérer que la loi était moins restrictive que ce que les "
"maisons de disques exigeaient."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The clear purpose of this lawsuit (which was settled for an unspecified "
"amount shortly after the story was no longer covered in the press) was to "
"send an unequivocal message to lawyers advising clients in this space: It is "
"not just your clients who might suffer if the content industry directs its "
"guns against them. It is also you. So those of you who believe the law "
"should be less restrictive should realize that such a view of the law will "
"cost you and your firm dearly."
msgstr ""
"Le but clair de cette poursuite (qui se termina par un arrangement d'un "
"montant non spécifié peu de temps après que l'histoire n'était plus "
"couverte dans la presse) était d'envoyer un message sans équivoque aux "
"avocats conseillant des clients dans ce domaine: ce n'est pas seulement vos "
"clients qui pourraient souffrir si l'industrie du contenu dirige ses "
"pistolets contre eux. C'est aussi vous. Donc ceux d'entre vous qui croient "
"que la loi devrait être moisn restrictive devraient réaliser qu'une telle "
"vue de la loi vous coutera cher à vous et votre établissement."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "BMW"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "cars, MP3 sound systems in"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Hummer, John"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Hummer Winblad"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "MP3 players"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "venture capital for"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
msgid "Needleman, Rafe"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> "
"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel "
"argument about the effects on innovation in the distribution of music, see "
"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> "
"Salon.com, 1 June 2001, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #42</ulink>.  See also Jon "
"Healey, <quote>Online Music Services Besieged,</quote> <citetitle>Los "
"Angeles Times</citetitle>, 28 May 2001."
msgstr ""
"See Joseph Menn, <quote>Universal, EMI Sue Napster "
"Investor,</quote><citetitle> Los Angeles Times,</citetitle> 23 April 2003. "
"For a parallel argument about the effects on innovation in the distribution "
"of music, see Janelle Brown, <quote>The Music Revolution Will Not Be "
"Digitized,</quote> Salon.com, 1 June 2001, available at link #42. See also "
"Jon Healey, <quote>Online Music Services Besieged,</quote><citetitle> Los "
"Angeles Times,</citetitle> 28 May 2001."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This strategy is not just limited to the lawyers. In April 2003, Universal "
"and EMI brought a lawsuit against Hummer Winblad, the venture capital firm "
"(VC) that had funded Napster at a certain stage of its development, its "
"cofounder (John Hummer), and general partner (Hank Barry).<placeholder "
"type=\"footnote\" id=\"0\"/> The claim here, as well, was that the VC should "
"have recognized the right of the content industry to control how the "
"industry should develop. They should be held personally liable for funding a "
"company whose business turned out to be beyond the law. Here again, the aim "
"of the lawsuit is transparent: Any VC now recognizes that if you fund a "
"company whose business is not approved of by the dinosaurs, you are at risk "
"not just in the marketplace, but in the courtroom as well.  Your investment "
"buys you not only a company, it also buys you a lawsuit.  So extreme has the "
"environment become that even car manufacturers are afraid of technologies "
"that touch content. In an article in <citetitle>Business 2.0</citetitle>, "
"Rafe Needleman describes a discussion with BMW:"
msgstr ""
"Cette stratégie n'est pas juste limitée aux avocats. En avril 2003, "
"Universal et EMI poursuivirent Hummer Winblad, l'entreprise de capital risque "
"qui avait financé Napster à un certain stade de son développement, son "
"cofondateur (John Hummer), et son associé gérant (Hank Barry)<placeholder "
"type=\"footnote\" id=\"0\"/>. La plainte ici, également, était que "
"l'entreprise de capital risque aurait dû reconnaitre le droit de l'industrie "
"du contenu de contrôler comment l'industrie devrait se développer. Ils "
"devraient être tenus pour personnellement responsables pour avoir financé "
"une société donc le comemrce s'est avéré être hors-la-loi. Ici encore, "
"le but de la poursuite judiciaire est transparent: tout capital risqueur "
"reconnait maintenant que si vous financez une société dont les affaires ne "
"sont pas approuvées par les dinosaures, vous prenez des risques pas "
"seulement sur le marché, mais également dans le tribunal. Votre "
"invertissement vous achète non seulement une société, il vous achète "
"aussi un procès. L'environnement est devenu si extrème que même les "
"fabricants de voiture ont peur des technologies qui touchent au contenu. Dans "
"un article dans <citetitle>Business 2.0</citetitle>, Rafe Needleman décrit "
"une discussion avec BMW:"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid ""
"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> "
"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to "
"Dr. Mohammad Al-Ubaydli for this example.  <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"I asked why, with all the storage capacity and computer power in the car, "
"there was no way to play MP3 files. I was told that BMW engineers in Germany "
"had rigged a new vehicle to play MP3s via the car's built-in sound system, "
"but that the company's marketing and legal departments weren't comfortable "
"with pushing this forward for release stateside. Even today, no new cars are "
"sold in the United States with bona fide MP3 players. &hellip; <placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"J'ai demandé pourquoi, avec toute la capacité de stockage et la puissance "
"informatique dans la voiture, il n'y avait pas de moyen de jouer des fichiers "
"MP3. On m'a dit qui les ingénieurs BMW en Allemagne avaient bricolé un "
"nouveau véhicule pour qu'il joue des MP3 via le système sonore incorporé "
"de la voiture, mais que les départements juridique et marketing de la "
"société n'étaient pas à l'aise avec l'idée de faire avancer une sortie "
"aux Etats-Unis. Même aujourd'hui, aucune nouvelle voiture n'est vendue aux "
"Etats-Unis avec de véritables lecteurs MP3<placeholder type=\"footnote\" "
"id=\"0\"/>..."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This is the world of the mafia&mdash;filled with <quote>your money or your "
"life</quote> offers, governed in the end not by courts but by the threats "
"that the law empowers copyright holders to exercise. It is a system that "
"will obviously and necessarily stifle new innovation. It is hard enough to "
"start a company. It is impossibly hard if that company is constantly "
"threatened by litigation."
msgstr ""
"Voici le monde de la mafia&mdash;rempli d'offres <quote>la bourse ou la "
"vie</quote>, gouverné à la fin non pas par les tribunaux mais par les "
"menaces que la loi permet aux détenteurs de copyright d'exercer. C'est un "
"système qui va évidemment et nécessairement étouffer la nouvelle "
"innovation. C'est déjà difficile de démarrer une entreprise. C'est "
"impossiblement dur si l'entreprise est constamment menacée par le litige."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The point is not that businesses should have a right to start illegal "
"enterprises. The point is the definition of <quote>illegal.</quote> The law "
"is a mess of uncertainty. We have no good way to know how it should apply to "
"new technologies. Yet by reversing our tradition of judicial deference, and "
"by embracing the astonishingly high penalties that copyright law imposes, "
"that uncertainty now yields a reality which is far more conservative than is "
"right. If the law imposed the death penalty for parking tickets, we'd not "
"only have fewer parking tickets, we'd also have much less driving. The same "
"principle applies to innovation. If innovation is constantly checked by this "
"uncertain and unlimited liability, we will have much less vibrant innovation "
"and much less creativity."
msgstr ""
"L'idée n'est pas que les entreprises devraient avoir le droit d'excercer des "
"activités illégales. L'idée est la définition de <citetitle>illégal</citetitle>. La loi "
"est un amas d'incertitudes. Nous n'avons pas de bon moyen de savoir comment "
"elle devrait s'appliquer aux nouvelles technologies. Et pourtant en inversant "
"notre tradition de respect de la justice, et en embrassant les pénalités "
"étonnament hautes que la loi du copyright impose, ces incertitudes "
"produisent maintenant une réalité qui est bien plus conservatrice que "
"juste. Si la loi imposait la peine de mort pour les contraventions, beaucoup "
"moins de gens conduiraient. Le même principe s'applique à l'innovation. Si "
"l'innovation est constamment vérifiée par cette responsabilité incertaine "
"et illimitée, nous aurions une innovation bien moins vivante et beaucoup "
"moins de créativité."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The point is directly parallel to the crunchy-lefty point about fair "
"use. Whatever the <quote>real</quote> law is, realism about the effect of "
"law in both contexts is the same. This wildly punitive system of regulation "
"will systematically stifle creativity and innovation. It will protect some "
"industries and some creators, but it will harm industry and creativity "
"generally. Free market and free culture depend upon vibrant competition.  "
"Yet the effect of the law today is to stifle just this kind of competition.  "
"The effect is to produce an overregulated culture, just as the effect of too "
"much control in the market is to produce an overregulated-regulated market."
msgstr ""
"L'idée est directement parallèle avec l'idée gauchiste à propos de "
"l'usage loyal. Quelle que soit la <quote>vraie</quote> loi, le réalisme à "
"propos de l'effet de la loi dans les deux contextes est le même. Ce système "
"de régulation sauvagement punitif va systématiquement étouffer la "
"créativité et l'innovation. Il protégera quelques industries et quelques "
"créateurs, mais fera du mal à l'industrie et à la créativité en "
"général. Le marché libre et la culture libre reposent sur la compétition "
"vive. Et pourtant l'effet de la loi aujourd'hui est de simplement étouffer "
"ce genre de compétition. L'effet est de produire une culture surrégulée, "
"tout comme l'effet de trop de contrôle dans le marché est de produire un "
"marché régulé surrégulé."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The building of a permission culture, rather than a free culture, is the "
"first important way in which the changes I have described will burden "
"innovation. A permission culture means a lawyer's culture&mdash;a culture in "
"which the ability to create requires a call to your lawyer. Again, I am not "
"antilawyer, at least when they're kept in their proper place. I am certainly "
"not antilaw. But our profession has lost the sense of its limits. And "
"leaders in our profession have lost an appreciation of the high costs that "
"our profession imposes upon others. The inefficiency of the law is an "
"embarrassment to our tradition. And while I believe our profession should "
"therefore do everything it can to make the law more efficient, it should at "
"least do everything it can to limit the reach of the law where the law is "
"not doing any good. The transaction costs buried within a permission culture "
"are enough to bury a wide range of creativity.  Someone needs to do a lot of "
"justifying to justify that result."
msgstr ""
"La construction d'une culture de permission, plutôt que d'une culture libre, "
"est la première manière importante avec laquelle les changements que j'ai "
"décrits vont entraver l'innovation. Une culture de permission signifie une "
"culture d'avocats&mdash;une culture dans laquelle la capacité de créer "
"nécessite un coup de fil à votre avocat. Une fois de plus, je ne suis pas "
"anti-avocat, tout du moins quand ils sont gardés dans leur place "
"appropriée. Je ne suis certainement pas anti-loi. Mais notre profession a "
"perdu le sens de ses limites. Et les leaders de notre profession ont perdu "
"une appréciation des couts élevés que notre profession impose aux autres. "
"L'inefficacité de la loi est une honte pour notre tradition. Et alors que je "
"crois que notre profession devrait donc faire tout ce qu'elle peut pour "
"rendre la loi plus efficace, elle devrait au moins faire tout ce qu'elle peut "
"pour limiter l'étendue de la loi là où la loi ne fait rien de bon. Les "
"couts de transaction enterrés dans une culture de permission sont suffisants "
"pour enterrer un large éventail de créativité. Quelqu'un a besoin de faire "
"beaucoup de justifications pour justifier ce résultat."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden "
"on innovation. There is a second burden that operates more directly. This is "
"the effort by many in the content industry to use the law to directly "
"regulate the technology of the Internet so that it better protects their "
"content."
msgstr ""
"<emphasis role='strong'>L'incertitude</emphasis> de la loi est un fardeau sur "
"l'innovation. Il y a un second fardeau qui opère plus directement. C'est "
"l'effort de nombreuses personnes dans l'industrie du contenu d'utiliser la "
"loi pour réguler directement la technologie sur Internet afin qu'elle "
"protège mieux leur contenu."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The motivation for this response is obvious. The Internet enables the "
"efficient spread of content. That efficiency is a feature of the Internet's "
"design. But from the perspective of the content industry, this feature is a "
"<quote>bug.</quote> The efficient spread of content means that content "
"distributors have a harder time controlling the distribution of content.  "
"One obvious response to this efficiency is thus to make the Internet less "
"efficient. If the Internet enables <quote>piracy,</quote> then, this "
"response says, we should break the kneecaps of the Internet."
msgstr ""
"La motivation de cette réponse est évidente. Internet permet la diffusion "
"efficace de contenu. Cette efficacité est une caractéristique de la "
"conception d'Inter-net. Mais de la perspective de l'industrie du contenu, "
"cette caractéristique est un <quote>bogue</quote>. La diffusion efficace de "
"contenu signifie que les distributeurs de contenu ont plus de mal à "
"contrôler la distribution de contenu. Une réponse évidente à cette "
"efficacité est donc de rendre Internet moins efficace. Si Internet permet le "
"<quote>piratage</quote>, alors, dit cette réponse, nous devrions briser les "
"genoux d'Internet."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<quote>Copyright and Digital Media in a Post-Napster World,</quote> "
"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law "
"School (2003), 33&ndash;35, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #44</ulink>."
msgstr ""
"<quote>Copyright and Digital Media in a Post-Napster World,</quote> GartnerG2 "
"and the Berkman Center for Internet and Society at Harvard Law School (2003), "
"33-35, available at link #44."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "GartnerG2, 26&ndash;27."
msgstr "GartnerG2, 26-27."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The examples of this form of legislation are many. At the urging of the "
"content industry, some in Congress have threatened legislation that would "
"require computers to determine whether the content they access is protected "
"or not, and to disable the spread of protected content.<placeholder "
"type=\"footnote\" id=\"0\"/> Congress has already launched proceedings to "
"explore a mandatory <quote>broadcast flag</quote> that would be required on "
"any device capable of transmitting digital video (i.e., a computer), and "
"that would disable the copying of any content that is marked with a "
"broadcast flag. Other members of Congress have proposed immunizing content "
"providers from liability for technology they might deploy that would hunt "
"down copyright violators and disable their machines.<placeholder "
"type=\"footnote\" id=\"1\"/>"
msgstr ""
"Les exemples de cette forme de législation sont nombreux. Sous la pression "
"de l'industrie du contenu, certains dans le Congrès ont menacé que la "
"législation requiérerait que les ordinateurs déterminent si le contenu "
"auquel ils ont accès est protégé ou pas, et qu'ils désactivent la "
"diffusion de contenu protégé<placeholder type=\"footnote\" id=\"0\"/>. "
"Le Congrès a déjà lancé des procédures pour explorer un <quote>jeton de "
"diffusion</quote> obligatoire qui serait requis sur tout système capable de "
"transmettre de la vidéo numérique (c'est-à-dire un ordinateur), et qui "
"désactiverait la possibilité de copier tout contenu marqué d'un jeton de "
"diffusion. D'autres membres du Congrès ont proposé dé-responsabiliser les "
"fournisseurs de contenu pour la technologie qu'ils pourraient déployer qui "
"traquerait les violateurs de copyright et désactiverait leurs "
"machines<placeholder type=\"footnote\" id=\"1\"/>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In one sense, these solutions seem sensible. If the problem is the code, why "
"not regulate the code to remove the problem. But any regulation of technical "
"infrastructure will always be tuned to the particular technology of the "
"day. It will impose significant burdens and costs on the technology, but "
"will likely be eclipsed by advances around exactly those requirements."
msgstr ""
"Dans un sens, ces solutions semblent sages. Si le problème est le code, "
"pourquoi ne pas réguler le code pour enlever le problème. Mais toute "
"régulation de l'infrastructure technique sera toujours réglée sur la "
"technologie particulière du moment. Elle imposera des fardeaux et des couts "
"importants sur la technologie, mais sera susceptible d'être éclipsée par "
"des avancées qui auront lieu exactement autour de ces exigences."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Intel"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
"Newsbytes, February 2002 (Entertainment)."
msgstr ""
"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
"Newsbytes, 28 February 2002 (Entertainment)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In March 2002, a broad coalition of technology companies, led by Intel, "
"tried to get Congress to see the harm that such legislation would "
"impose.<placeholder type=\"footnote\" id=\"0\"/> Their argument was "
"obviously not that copyright should not be protected. Instead, they argued, "
"any protection should not do more harm than good."
msgstr ""
"En mars 2002, une large coalition de sociétés en technologie, menées par "
"Intel, essayèrent d'amener le Congrès à voir le mal qu'une telle "
"législation imposerait<placeholder type=\"footnote\" id=\"0\"/>. Leur "
"argument n'était éevidemment pas que le copyright ne devrait pas être "
"protégé. Au lieu de cela, ont-ils soutenu, toute protection ne devrait pas "
"causer plus de mal que de bien."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>There is one</emphasis> more obvious way in which "
"this war has harmed innovation&mdash;again, a story that will be quite "
"familiar to the free market crowd."
msgstr ""
"<emphasis role='strong'>Il y a une</emphasis> manière plus évidente dans "
"laquelle cette guerre a fait du mal à l'innovation&mdash;une fois encore, "
"une histoire qui sera assez familière aux fans du marché libre."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Copyright may be property, but like all property, it is also a form of "
"regulation. It is a regulation that benefits some and harms others.  When "
"done right, it benefits creators and harms leeches. When done wrong, it is "
"regulation the powerful use to defeat competitors."
msgstr ""
"Le copyright est peut-être une propriété, mais comme toutes les "
"propriétés, c'est aussi une forme de régulation. C'est une régulation qui "
"bénéficie à certains et cause du tort à d'autres. Quand il est bien fait, "
"il bénéficie aux créateurs et fait du mal aux sangsues. Quand il est mal "
"fait, c'est une régulation que les puissants utilisent pour vaincre leurs "
"concurrents."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Digital Copyright (Litman)"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: "
"Prometheus Books, 2001).  <placeholder type=\"indexterm\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Jessica Litman, <citetitle> Digital Copyright</citetitle> (Amherst, N.Y.: "
"Prometheus Books, 2001).  <placeholder type=\"indexterm\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, despite this feature of copyright as regulation, "
"and subject to important qualifications outlined by Jessica Litman in her "
"book <citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" "
"id=\"0\"/> overall this history of copyright is not bad. As chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/> details, when new "
"technologies have come along, Congress has struck a balance to assure that "
"the new is protected from the old. Compulsory, or statutory, licenses have "
"been one part of that strategy. Free use (as in the case of the VCR) has "
"been another."
msgstr ""
"Comme je l'ai décrit dans le chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, malgré cet aspect du copyright en "
"tant que régulation, et sujet aux qualifications importantes soulignées par "
"Jessica Litman dans son livre <citetitle>Digital "
"Copyright</citetitle><placeholder type=\"footnote\" id=\"0\"/>, dans "
"l'ensemble cette histoire de copyright n'est pas mauvaise. Comme le détaille "
"le chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, quand de nouvelles technologies sont arrivées, le Congrès a "
"trouvé le juste milieu pour assurer que le nouveau est protégé de "
"l'ancien. Des licenses obligatoires, ou statutaires, ont été une partie de "
"cette stratégie. L'usage libre (comme dans le cas du magnétoscope) en ont "
"été une autre."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But that pattern of deference to new technologies has now changed with the "
"rise of the Internet. Rather than striking a balance between the claims of a "
"new technology and the legitimate rights of content creators, both the "
"courts and Congress have imposed legal restrictions that will have the "
"effect of smothering the new to benefit the old."
msgstr ""
"Mais cette habitude du respect envers les nouvelles technologies a maintenant "
"changé avec la montée d'Internet. Plutôt que de trouver un juste milieu "
"entre les prétentions d'une nouvelle technologie et les droits légitimes "
"des créateurs de contenu, à la foi les tribunaux et le Congrès ont imposé "
"des restrictions légales qui auront pour effet de noyer le nouveau pour "
"bénéficier à l'ancien."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "radio on"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Grokster, Ltd."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception "
"is found in <citetitle>Recording Industry Association of America "
"(RIAA)</citetitle> v. <citetitle>Diamond Multimedia Systems</citetitle>, 180 "
"F. 3d 1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit "
"reasoned that makers of a portable MP3 player were not liable for "
"contributory copyright infringement for a device that is unable to record or "
"redistribute music (a device whose only copying function is to render "
"portable a music file already stored on a user's hard drive).  At the "
"district court level, the only exception is found in "
"<citetitle>Metro-Goldwyn-Mayer Studios, "
"Inc</citetitle>. v. <citetitle>Grokster, Ltd</citetitle>., 259 F. Supp. 2d "
"1029 (C.D.  Cal., 2003), where the court found the link between the "
"distributor and any given user's conduct too attenuated to make the "
"distributor liable for contributory or vicarious infringement liability."
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Tauzin, Billy"
msgstr "Tauzin, Billy"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Hollings, Fritz"
msgstr "Hollings, Fritz"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> For example, in July 2002, Representative "
"Howard Berman introduced the Peer-to-Peer Piracy Prevention Act (H.R. 5211), "
"which would immunize copyright holders from liability for damage done to "
"computers when the copyright holders use technology to stop copyright "
"infringement. In August 2002, Representative Billy Tauzin introduced a bill "
"to mandate that technologies capable of rebroadcasting digital copies of "
"films broadcast on TV (i.e., computers) respect a <quote>broadcast "
"flag</quote> that would disable copying of that content. And in March of the "
"same year, Senator Fritz Hollings introduced the Consumer Broadband and "
"Digital Television Promotion Act, which mandated copyright protection "
"technology in all digital media devices. See GartnerG2, <quote>Copyright and "
"Digital Media in a Post-Napster World,</quote> 27 June 2003, 33&ndash;34, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #44</ulink>."
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The response by the courts has been fairly universal.<placeholder "
"type=\"footnote\" id=\"0\"/> It has been mirrored in the responses "
"threatened and actually implemented by Congress. I won't catalog all of "
"those responses here.<placeholder type=\"footnote\" id=\"1\"/> But there is "
"one example that captures the flavor of them all. This is the story of the "
"demise of Internet radio."
msgstr ""
"La réponse des tribunaux a été assez universelle<placeholder "
"type=\"footnote\" id=\"0\"/>. Elle a été reflétée dans les réponses menacées "
"et véritablement mise en oeuvre par le Congrès. Je ne ferai pas la liste de "
"toutes ces réponses ici<placeholder type=\"footnote\" id=\"1\"/>. Mais il y a "
"un exemple qui capture la saveur de toutes celles-ci. C'est l'histoire de la "
"mort des webradios."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"pirates\"/>, when a radio station plays a song, the recording "
"artist doesn't get paid for that <quote>radio performance</quote> unless he "
"or she is also the composer. So, for example if Marilyn Monroe had recorded "
"a version of <quote>Happy Birthday</quote>&mdash;to memorialize her famous "
"performance before President Kennedy at Madison Square Garden&mdash; then "
"whenever that recording was played on the radio, the current copyright "
"owners of <quote>Happy Birthday</quote> would get some money, whereas "
"Marilyn Monroe would not."
msgstr ""
"Comme je l'ai décrit dans le chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"pirates\"/>, quand une station de radio joue une "
"chanson, l'artiste-interprète n'est pas payé pour cette "
"<quote>interprétation radiophonique</quote> à moins qu'il ou elle soit "
"également le compositeur. Donc, par exemple si Marylin Monroe avait "
"enregistré une version de <quote>Happy Birthday</quote>&mdash;pour "
"immortaliser sa fameuse prestation devant le Président Kennedy à Madison "
"Square Garden&mdash;alors à chaque fois que cet enregistrement serait joué "
"à la radio, les propriétaires actuels du copyright de <quote>Happy "
"Birthday</quote> recevraient de l'argent, tandis que Marylin Monroe non."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The reasoning behind this balance struck by Congress makes some sense. The "
"justification was that radio was a kind of advertising. The recording artist "
"thus benefited because by playing her music, the radio station was making it "
"more likely that her records would be purchased.  Thus, the recording artist "
"got something, even if only indirectly.  Probably this reasoning had less to "
"do with the result than with the power of radio stations: Their lobbyists "
"were quite good at stopping any efforts to get Congress to require "
"compensation to the recording artists."
msgstr ""
"Le raisonnement derrière cet équilibre atteint par le Congrès a du sens. "
"La justification était que la radio était une sorte de publicité. "
"L'artiste interprète bénificiait donc en jouant sa musique, la station de "
"radio rendait plus probable que ses enregistrements seraient achetés. Ainsi, "
"l'artiste interprète avait quelque chose, même si indirectement. "
"Probablement que ce raisonnement avait moins à voir avec résultat qu'avec "
"le pouvoir des stations de radio: leurs lobbyistes étaient assez bons à "
"arrêter toutes tentatives pour que le Congrès ordonne une compensation aux "
"artistes interprètes."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Enter Internet radio. Like regular radio, Internet radio is a technology to "
"stream content from a broadcaster to a listener. The broadcast travels "
"across the Internet, not across the ether of radio spectrum.  Thus, I can "
"<quote>tune in</quote> to an Internet radio station in Berlin while sitting "
"in San Francisco, even though there's no way for me to tune in to a regular "
"radio station much beyond the San Francisco metropolitan area."
msgstr ""
"Arrive la webradio. Comme la radio habituelle, la webradio est une "
"technologie pour diffuser du contenu d'un émetteur à un auditeur. La "
"diffusion voyage à travers Internet, et non pas à travers l'éther du "
"spectre radiophonique. Ainsi, je peux <quote>capter</quote> une station de "
"webradio à Berlin tout en étant à San Francisco, même s'il n'y a pas "
"moyen pour moi de capter une radio habituelle au-delà de la zone "
"métropolitaine de San Francisco."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This feature of the architecture of Internet radio means that there are "
"potentially an unlimited number of radio stations that a user could tune in "
"to using her computer, whereas under the existing architecture for broadcast "
"radio, there is an obvious limit to the number of broadcasters and clear "
"broadcast frequencies. Internet radio could therefore be more competitive "
"than regular radio; it could provide a wider range of selections. And "
"because the potential audience for Internet radio is the whole world, niche "
"stations could easily develop and market their content to a relatively large "
"number of users worldwide. According to some estimates, more than eighty "
"million users worldwide have tuned in to this new form of radio."
msgstr ""
"Cette caractéristique de l'architecture de la webradio signifie qu'il y a "
"potentiellement un nombre illimité de stations de radio qu'un utilisateur "
"pourrait capter en utilisant son ordinateur, alors que sous l'architecture "
"existante pour la radiodiffusion, il y a une limite évidente du nombre "
"d'émetteurs et des fréquences de diffusion. La webradio pourrait donc être "
"plus compétitive que la radio habituelle; elle pourrait fournir un éventail "
"plus large de sélections. Et parce que le public potentien pour la webradio "
"est le monde entier, des stations de niche pourraient facilement se "
"développer et vendre leur contenu à un nombre relativment élevé "
"d'utilisateurs à travers le monde. D'après certaines estimations, plus de "
"80 millions d'utilisateurs à travers le monde ont écouté cette nouvelle "
"forme de radio."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Internet radio is thus to radio what FM was to AM. It is an improvement "
"potentially vastly more significant than the FM improvement over AM, since "
"not only is the technology better, so, too, is the competition. Indeed, "
"there is a direct parallel between the fight to establish FM radio and the "
"fight to protect Internet radio. As one author describes Howard Armstrong's "
"struggle to enable FM radio,"
msgstr ""
"La webradio est ainsi à la radio ce que la FM était à l'AM. C'est une "
"amélioration potentiellement largement plus importante que l'amélioration "
"de la FM par rapport à l'AM, étant donné que non seulement la technologie "
"est meilleure, donc, également, la compétition. En effet, il y a un "
"parallèle direct entre le combat pour instaurer la radio FM et le combat "
"pour protéger la webradio. Comme le décrit un auteur parlant de la lutte "
"d'Howard Armstrong pour permettre à la radio FM d'exister,"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
msgid "Lessing, 239."
msgstr "Lessing, 239."

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"An almost unlimited number of FM stations was possible in the shortwaves, "
"thus ending the unnatural restrictions imposed on radio in the crowded "
"longwaves. If FM were freely developed, the number of stations would be "
"limited only by economics and competition rather than by technical "
"restrictions. &hellip; Armstrong likened the situation that had grown up in "
"radio to that following the invention of the printing press, when "
"governments and ruling interests attempted to control this new instrument of "
"mass communications by imposing restrictive licenses on it. This tyranny was "
"broken only when it became possible for men freely to acquire printing "
"presses and freely to run them. FM in this sense was as great an invention "
"as the printing presses, for it gave radio the opportunity to strike off its "
"shackles.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Un nombre presque illimité de stations FM était possible dans les ondes "
"courtes, mettant ainsi fin aux restrictions artificielles imposées sur la "
"radio dans les grandes ondes surpeuplées. Si la FM se développait "
"librement, le nombre de stations serait limité seulement par l'économie et "
"la compétition plutôt que par des restrictions techniques... Armstrong a "
"comparé la situation qui a grandi dans la radio à celle suivant l'invention "
"de la presse d'imprimerie, quand les gouvernements et les classes dirigeantes "
"tentèrent de contrôler ce nouvel instrument de communication de masse en "
"lui imposant des licences restrictives. Cette tyrannie fut brisée seulement "
"quand il devint possible aux hommes d'acquérir librement des presses "
"d'imprimerie et de les faire fonctionner librement. La FM dans ce sens était "
"une invention aussi grande que les presses d'imprimerie, car elle donnait aux "
"radios l'opportunité de briser ses chaines<placeholder type=\"footnote\" "
"id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid "Ibid., 229."
msgstr "Ibid., 229."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This potential for FM radio was never realized&mdash;not because Armstrong "
"was wrong about the technology, but because he underestimated the power of "
"<quote>vested interests, habits, customs and legislation</quote><placeholder "
"type=\"footnote\" id=\"0\"/> to retard the growth of this competing "
"technology."
msgstr ""
"Ce potentiel pour la radio FM ne se réalisa jamais&mdash;pas parce que "
"Armstrong avait tort à propos de la technologie, mais parce qu'il avait "
"sous-estimé le pouvoir des <quote>intérêts particuliers, habitudes, "
"coutumes et [de la] législation</quote><placeholder type=\"footnote\" "
"id=\"0\"/> de retarder la croissance de cette technologie compétitive."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Now the very same claim could be made about Internet radio. For again, there "
"is no technical limitation that could restrict the number of Internet radio "
"stations. The only restrictions on Internet radio are those imposed by the "
"law. Copyright law is one such law. So the first question we should ask is, "
"what copyright rules would govern Internet radio?"
msgstr ""
"Maintenant exactement la même affirmation pourrait être faite sur la "
"webradio. Car encore, il n'y a pas de limitation technique qui pourrait "
"restreindre le nombre de stations de webradio. Les seules restrictions sur la "
"webradio sont celles imposées par la loi. La loi du copyright est une telle "
"loi. Donc la première question que nous devrions nous poser est, quelles "
"sont les règles du copyright qui gouverneraient la webradio?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on radio"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "Internet radio hampered by"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on Internet radio fees"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But here the power of the lobbyists is reversed. Internet radio is a new "
"industry. The recording artists, on the other hand, have a very powerful "
"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet "
"radio in 1995, the lobbyists had primed Congress to adopt a different rule "
"for Internet radio than the rule that applies to terrestrial radio. While "
"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when "
"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the "
"air, <emphasis>Internet radio does</emphasis>. Not only is the law not "
"neutral toward Internet radio&mdash;the law actually burdens Internet radio "
"more than it burdens terrestrial radio."
msgstr ""
"Mais ici le pouvoir des lobbyistes est inversé. La webradio est une "
"industrie nouvelle. Les artistes interprètes, d'un autre côté, ont un "
"lobby très puissant, la RIAA. Ainsi lorsque le Congrès considéra le "
"phénomène de la webradio en 1995, les lobbyistes ont poussé le Congrès à "
"adopter une règle différente pour la webradio de la règle qui s'applique "
"à la radio terrestre. Alors que la radio terrestre n'a pas à payer à notre "
"Marylin Monroe hypothétique quand elle joue son enregistrement hypothétique "
"de <quote>Happy Birthday</quote>, <emphasis>la webradio le fait</emphasis>. "
"Non seulement la loi n'est pas neutre envers la webradio&mdash;en fait la loi "
"encombre la webradio plus qu'elle n'encombre la radio terrestre."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "CARP (Copyright Arbitration Royalty Panel)"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"This example was derived from fees set by the original Copyright Arbitration "
"Royalty Panel (CARP) proceedings, and is drawn from an example offered by "
"Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July "
"2003, on file with author. Professors Fisher and Zittrain submitted "
"testimony in the CARP proceeding that was ultimately rejected.  See Jonathan "
"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral "
"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #45</ulink>.  For an excellent "
"analysis making a similar point, see Randal C. Picker, <quote>Copyright as "
"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust "
"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, "
"these are just old-fashioned entry barriers. Analog radio stations are "
"protected from digital entrants, reducing entry in radio and diversity. Yes, "
"this is done in the name of getting royalties to copyright holders, but, "
"absent the play of powerful interests, that could have been done in a "
"media-neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This financial burden is not slight. As Harvard law professor William Fisher "
"estimates, if an Internet radio station distributed adfree popular music to "
"(on average) ten thousand listeners, twenty-four hours a day, the total "
"artist fees that radio station would owe would be over $1 million a "
"year.<placeholder type=\"footnote\" id=\"0\"/> A regular radio station "
"broadcasting the same content would pay no equivalent fee."
msgstr ""
"Ce fardeau financier n'est pas léger. Comme l'estime le professeur de droit "
"William Fisher de Harvard, si une webradio distribuait de la musique "
"populaire sans publicité à (environ) dix mille auditeurs, 24 heures par "
"jour, les frais totaux artistiques que la station de radio devrait "
"s'élèveraient à plus de 1 million de dollars par an<placeholder "
"type=\"footnote\" id=\"0\"/>. Une station de radio habituelle diffusant le "
"même contenu ne payerait pas de frais équivalents."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The burden is not financial only. Under the original rules that were "
"proposed, an Internet radio station (but not a terrestrial radio station) "
"would have to collect the following data from <emphasis>every listening "
"transaction</emphasis>:"
msgstr ""
"Le fardeau n'est pas seulement financier. Sous les règles originales qui ont "
"été proposées, une station de webradio (mais pas une station de radio "
"terrestre) aurait à collecter les informatiosn suivantes de <emphasis>chaque "
"transaction d'écoute</emphasis>:"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "name of the service;"
msgstr "1. nom du service;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "channel of the program (AM/FM stations use station ID);"
msgstr ""
"2. chaine du programme (les stations AM/FM utilisent le <quote>station "
"ID</quote>);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "type of program (archived/looped/live);"
msgstr "3. type de programme (archivé/en boucle/en direct);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "date of transmission;"
msgstr "4. date de transmission;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "time of transmission;"
msgstr "5. heure de transmission;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "time zone of origination of transmission;"
msgstr "6. fuseau horaire d'origine de la transmission;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "numeric designation of the place of the sound recording within the program;"
msgstr ""
"7. désignation numérique de l'endroit de l'enregistrement sonore dans le "
"programme;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "duration of transmission (to nearest second);"
msgstr "8. durée de la transmssion (à la seconde près);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "sound recording title;"
msgstr "9. titre de l'enregistrement sonore;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "ISRC code of the recording;"
msgstr "10. code ISRC de l'enregistrement;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid ""
"release year of the album per copyright notice and in the case of "
"compilation albums, the release year of the album and copy- right date of "
"the track;"
msgstr ""
"11. année de sortie de l'album par indication de copyright et dans le cas "
"d'albums de compilations, la date de sortie de l'album et la date de "
"copyright de la piste;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "featured recording artist;"
msgstr "12. artiste interprète y figurant;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "retail album title;"
msgstr "13. titre de vente de l'album;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "recording label;"
msgstr "14. maison de disque;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "UPC code of the retail album;"
msgstr "15. code UPC de l'album vendu;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "catalog number;"
msgstr "16. numéro de catalogue;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "copyright owner information;"
msgstr "17. informations sur le détenteur du copyright;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "musical genre of the channel or program (station format);"
msgstr "18. genre musical de la chaine ou du programme (format de station);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "name of the service or entity;"
msgstr "19. nom du service ou entité;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "channel or program;"
msgstr "20. chaine ou programme;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "date and time that the user logged in (in the user's time zone);"
msgstr ""
"21. date et heure auxquelles l'utilisateur s'est connecté (dans le fuseau "
"horaire de l'utilisateur);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "date and time that the user logged out (in the user's time zone);"
msgstr ""
"22. date et heure auxquelles l'utilisateur s'est déconnecté (dans le fuseau "
"horaire de l'utilisateur);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "time zone where the signal was received (user);"
msgstr "23. fuseau horaire où le signal a été reçu (utilisateur);"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "unique user identifier;"
msgstr "24. identifiant unique de l'utilisateur;"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "the country in which the user received the transmissions."
msgstr "25. pays où l'utilisateur a reçu les transmissions."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The Librarian of Congress eventually suspended these reporting requirements, "
"pending further study. And he also changed the original rates set by the "
"arbitration panel charged with setting rates. But the basic difference "
"between Internet radio and terrestrial radio remains: Internet radio has to "
"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does "
"not."
msgstr ""
"Le Bibliothécaire du Congrès a finalement suspende ces exigences de "
"rapport, en attente d'étude supplémentaire. Et il changea également les "
"taux originaux fixés par le comité d'arbitrage en charge de fixer les taux. "
"Mais la différence basique entre la webradio et la radio terrestre demeure: "
"la webradio doit payer un <emphasis>type d'honoraire de copyright</emphasis> "
"que la radio terrestre ne paie pas."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Why? What justifies this difference? Was there any study of the economic "
"consequences from Internet radio that would justify these differences? Was "
"the motive to protect artists against piracy?"
msgstr ""
"Pourquoi? Qu'est-ce qui justifie cette différence? Y a-t-il eu une étude "
"des conséquences économiques de la webradio qui justifierait ces "
"différences? Est-ce que le motif était de protéger les artistes contre le "
"piratage?"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Real Networks"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In a rare bit of candor, one RIAA expert admitted what seemed obvious to "
"everyone at the time. As Alex Alben, vice president for Public Policy at "
"Real Networks, told me,"
msgstr ""
"Dans un rare élan de candeur, un expert de la RIAA a admis ce qui semblait "
"évident à tout le monde à cette époque. Comme Alex Alben, vice président "
"de la Politique Publique à Real Networks, me l'a dit,"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"The RIAA, which was representing the record labels, presented some testimony "
"about what they thought a willing buyer would pay to a willing seller, and "
"it was much higher. It was ten times higher than what radio stations pay to "
"perform the same songs for the same period of time. And so the attorneys "
"representing the webcasters asked the RIAA, &hellip; <quote>How do you come "
"up with a rate that's so much higher? Why is it worth more than radio? "
"Because here we have hundreds of thousands of webcasters who want to pay, "
"and that should establish the market rate, and if you set the rate so high, "
"you're going to drive the small webcasters out of business. &hellip;</quote>"
msgstr ""
"La RIAA, qui représentait les maisons de disques présentait quelque "
"témoignage sur ce qu'ils pensaient qu'un acheteur potentiel payerait à un "
"vendeur potentiel, et c'était bien plus. C'était dix fois plus que ce que "
"les stations de radio payent pour jouer les mêmes chansons pour la même "
"durée de temps. Et donc les avocats représentant les diffuseurs sur le web "
"demandèrent à la RIAA, ... <quote>Comment sortez-vous un taux qui est "
"tellement plus élevé? Pourquoi est-ce que cela vaut plus que la radio? "
"Parce que vous avec ici des centaines de milliers de diffuseurs sur le web "
"qui veulent payer, et cela devrait établir le taux du marché, et si vous "
"fixez le taux si haut, vous allez faire sortir les petits diffuseurs sur le "
"web des affaires. ...</quote>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"And the RIAA experts said, <quote>Well, we don't really model this as an "
"industry with thousands of webcasters, <emphasis>we think it should be an "
"industry with, you know, five or seven big players who can pay a high rate "
"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)"
msgstr ""
"Et les experts de la RIAA dirent, <quote>Eh bien, nous ne représentons pas "
"vraiment ceci comme une industrie avec des milliers de diffuseurs sur le web, "
"<emphasis>nous pensons que cela devrait être une industrie avec, vous savez, "
"cinq ou six gros joueurs qui peuvent payer un taux élevé et qui est un "
"marché stable, prévisible</emphasis>.</quote> (Insistance ajoutée.)"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Translation: The aim is to use the law to eliminate competition, so that "
"this platform of potentially immense competition, which would cause the "
"diversity and range of content available to explode, would not cause pain to "
"the dinosaurs of old. There is no one, on either the right or the left, who "
"should endorse this use of the law. And yet there is practically no one, on "
"either the right or the left, who is doing anything effective to prevent it."
msgstr ""
"Traduction: le but est d'utiliser la loi pour éliminer la compétition, afin "
"que cette plateforme de compétition potentiellement immense, qui ferait "
"explorer la diversité et la portée du contenu, ne cause pas de mal aux "
"dinosaures du passé. Il n'y a personne, ni de droite ni de gauche, qui "
"devrait cautionner cette utilisation de la loi. Et pourtant il n'y a "
"pratiquement personne, ni de droite ni de gauche, qui fait quoi que ce soit "
"d'efficace pour l'empêcher."

#. type: Content of: <book><part><chapter><section><title>
msgid "Corrupting Citizens"
msgstr "Corrompre les citoyens"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Overregulation stifles creativity. It smothers innovation. It gives "
"dinosaurs a veto over the future. It wastes the extraordinary opportunity "
"for a democratic creativity that digital technology enables."
msgstr ""
"L'excès de régulation tue la créativité. Il bride l'innovation. Il donne "
"aux dinosaures un droit de véto sur l'avenir. Il gaspille le potentiel "
"extraordinaire de créativité démocratique offert par la technologie "
"numérique."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In addition to these important harms, there is one more that was important "
"to our forebears, but seems forgotten today. Overregulation corrupts "
"citizens and weakens the rule of law."
msgstr ""
"En plus de ces dommages importants, il en est un autre, qui était important "
"pour nos prédécesseurs, mais semble oublié aujourd'hui. L'excès de "
"régulation corrompt les citoyens, et affaiblit l'empire de la loi."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> "
"Pew Internet and American Life Project (24 April 2001), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #46</ulink>.  The Pew Internet "
"and American Life Project reported that 37 million Americans had downloaded "
"music files from the Internet by early 2001."
msgstr ""
"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> "
"Pew Internet and American Life Project (24 April 2001), available at link "
"#46. The Pew Internet and American Life Project reported that 37 million "
"Americans had downloaded music files from the Internet by early 2001."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The war that is being waged today is a war of prohibition. As with every war "
"of prohibition, it is targeted against the behavior of a very large number "
"of citizens. According to <citetitle>The New York Times</citetitle>, 43 "
"million Americans downloaded music in May 2002.<placeholder "
"type=\"footnote\" id=\"0\"/> According to the RIAA, the behavior of those 43 "
"million Americans is a felony. We thus have a set of rules that transform 20 "
"percent of America into criminals. As the RIAA launches lawsuits against not "
"only the Napsters and Kazaas of the world, but against students building "
"search engines, and increasingly against ordinary users downloading content, "
"the technologies for sharing will advance to further protect and hide "
"illegal use. It is an arms race or a civil war, with the extremes of one "
"side inviting a more extreme response by the other."
msgstr ""
"La guerre qui est menée aujourd'hui est une guerre de prohibition. Comme "
"toute guerre de prohibition, elle est dirigée contre le comportement d'un "
"très grand nombre de citoyens. Selon le <citetitle>New York "
"Times</citetitle>, 43 millions d'Américains ont téléchargé de la musique "
"en mai 2002<placeholder type=\"footnote\" id=\"0\"/>. Selon la RIAA, le "
"comportement de ces 43 millions d'américains est délictueux. Nous avons "
"donc un système de lois qui transforme 20 pour cent de l'Amérique en "
"délinquants. Plus la RIAA fera de procès aux Napster et autres Kazaa, mais "
"aussi à des étudiants qui construisent des moteurs de recherche, et de plus "
"en plus à de simple usagers qui téléchargent du contenu, plus les "
"technologies de partage de fichiers feront de progrès, afin de mieux "
"protéger et cacher leurs usages illégaux. C'est une course aux armements, "
"une guerre civile, où l'extrémisme d'un camp renforce celui de son "
"adversaire."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA "
"Case,</quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, "
"Business."
msgstr ""
"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA "
"Case,</quote><citetitle> Los Angeles Times,</citetitle> 10 September 2003, "
"Business."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The content industry's tactics exploit the failings of the American legal "
"system. When the RIAA brought suit against Jesse Jordan, it knew that in "
"Jordan it had found a scapegoat, not a defendant. The threat of having to "
"pay either all the money in the world in damages ($15,000,000) or almost all "
"the money in the world to defend against paying all the money in the world "
"in damages ($250,000 in legal fees)  led Jordan to choose to pay all the "
"money he had in the world ($12,000) to make the suit go away. The same "
"strategy animates the RIAA's suits against individual users. In September "
"2003, the RIAA sued 261 individuals&mdash;including a twelve-year-old girl "
"living in public housing and a seventy-year-old man who had no idea what "
"file sharing was.<placeholder type=\"footnote\" id=\"0\"/> As these "
"scapegoats discovered, it will always cost more to defend against these "
"suits than it would cost to simply settle. (The twelve year old, for "
"example, like Jesse Jordan, paid her life savings of $2,000 to settle the "
"case.) Our law is an awful system for defending rights. It is an "
"embarrassment to our tradition. And the consequence of our law as it is, is "
"that those with the power can use the law to quash any rights they oppose."
msgstr ""
"Les tactiques de l'industrie du contenu exploitent les défaillances du "
"système légal Américain. Quand la RIAA a poursuivi Jesse Jordan en "
"justice, elle savait qu'elle avait trouvé en Jordan un bouc-émissaire, et "
"non pas un défendant. La menace d'avoir à payer tout l'argent du monde en "
"dommages et intérêts (15 000 00 $) ou presque tout l'argent du monde pour "
"se défendre contre payer tout l'argent du monde en dommages et intérêts "
"(250 000 $ en honoraires légaux) amena Jordan à choisir de payer tout "
"l'argent du monde qu'il avait (12 000 $) pour faire s'en aller le procès. La "
"même stratégie anime les procès de la RIAA contre des utilisateurs "
"individuels. En septembre 2003, la RIAA poursuivit 261 individus&mdash;parmi "
"lesquels une fille de 12 ans vivant dans un HLM et un homme de 70 ans qui "
"n'avait aucune idée de ce qu'était le partage de fichiers<placeholder "
"type=\"footnote\" id=\"0\"/>. Comme le découvrirent ces boucs-émissaires, "
"cela coutera toujours plus de se défendre contre ces procès que ce qu'il "
"couterait de simplement trouver un arrangement. (La fille de douze ans, par "
"exemple, comme Jesse Jordan, paya ses économies de 2 000 $ pour régler "
"l'affaire.) Notre loi est un système abominable pour défendre les droits. "
"C'est une honte pour notre tradition. Et la conséquence de la loi telle "
"qu'elle est, est que ceux qui ont le pouvoir peuvent utiliser la loi pour "
"annuler tout droit auquel ils s'opposent."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "alcohol prohibition"
msgstr ""

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During "
"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, "
"no. 2 (1991): 242."
msgstr ""
"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During "
"Prohibition,</quote><citetitle> American Economic Review</citetitle> 81, no. "
"2 (1991): 242."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"National Drug Control Policy: Hearing Before the House Government Reform "
"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John "
"P. Walters, director of National Drug Control Policy)."
msgstr ""
"National Drug Control Policy: Hearing Before the House Government Reform "
"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John P. "
"Walters, director of National Drug Control Policy)."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax "
"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 "
"(1998): 818 (survey of compliance literature)."
msgstr ""
"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax "
"Compliance,</quote><citetitle> Journal of Economic Literature</citetitle> 36 "
"(1998): 818 (survey of compliance literature)."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Wars of prohibition are nothing new in America. This one is just something "
"more extreme than anything we've seen before. We experimented with alcohol "
"prohibition, at a time when the per capita consumption of alcohol was 1.5 "
"gallons per capita per year. The war against drinking initially reduced that "
"consumption to just 30 percent of its preprohibition levels, but by the end "
"of prohibition, consumption was up to 70 percent of the preprohibition "
"level. Americans were drinking just about as much, but now, a vast number "
"were criminals.<placeholder type=\"footnote\" id=\"0\"/> We have launched a "
"war on drugs aimed at reducing the consumption of regulated narcotics that 7 "
"percent (or 16 million) Americans now use.<placeholder type=\"footnote\" "
"id=\"1\"/> That is a drop from the high (so to speak) in 1979 of 14 percent "
"of the population. We regulate automobiles to the point where the vast "
"majority of Americans violate the law every day. We run such a complex tax "
"system that a majority of cash businesses regularly cheat.<placeholder "
"type=\"footnote\" id=\"2\"/> We pride ourselves on our <quote>free "
"society,</quote> but an endless array of ordinary behavior is regulated "
"within our society. And as a result, a huge proportion of Americans "
"regularly violate at least some law."
msgstr ""
"Les guerres de prohibition n'ont rien de nouveau en Amérique. Celle-ci est "
"juste quelque chose de plus extrème que n'importe laquelle que nous ayons "
"vue auparavant. Nous avons fait l'expérience de la prohibition d'alcool, à "
"une époque où la consommation d'alcool était de 1.5 gallons par personne "
"par an. La guerre contre la boisson avait initialement réduit cette "
"consommation à juste 30 pour cent des niveaux pré-prohibition, mais de là "
"à la fin de la prohibition, la consommation avait remonté jusqu'à 70 pour "
"cent du niveau pré-prohibition. Les Américains buvaient presque autant, "
"mais maintenant, un vaste nombre étaient des criminels<placeholder "
"type=\"footnote\" id=\"0\"/>. Nous avons lancé une guerre contre la drogue "
"visant à réduire la consommation de narcotiques régulés que 7 pour cent (ou "
"16 millions) d'Américains utilisent maintenant<placeholder type=\"footnote\" "
"id=\"1\"/>. C'est une chute par rapport au pic de 1979 avec 14 pour cent de la "
"population. Nous régulons les automobiles au point qu'une vaste majorité des "
"Américains violent la loi chaque jour. Nous faisons fonctionner un système "
"d'impôts complexe qu'une majorité des entreprises financières violent "
"régulièrement<placeholder type=\"footnote\" id=\"2\"/>. Nous nous "
"enorgueillissons "
"de notre <quote>société libre</quote>, mais une liste sans fin de comportements "
"ordinaires est régulée au sein de notre société. Avec comme résultat, une "
"énorme proportion d'Américains viole régulièrement au moins quelque loi."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "law schools"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This state of affairs is not without consequence. It is a particularly "
"salient issue for teachers like me, whose job it is to teach law students "
"about the importance of <quote>ethics.</quote> As my colleague Charlie "
"Nesson told a class at Stanford, each year law schools admit thousands of "
"students who have illegally downloaded music, illegally consumed alcohol and "
"sometimes drugs, illegally worked without paying taxes, illegally driven "
"cars. These are kids for whom behaving illegally is increasingly the "
"norm. And then we, as law professors, are supposed to teach them how to "
"behave ethically&mdash;how to say no to bribes, or keep client funds "
"separate, or honor a demand to disclose a document that will mean that your "
"case is over. Generations of Americans&mdash;more significantly in some "
"parts of America than in others, but still, everywhere in America "
"today&mdash;can't live their lives both normally and legally, since "
"<quote>normally</quote> entails a certain degree of illegality."
msgstr ""
"Cet état de fait n'est pas sans conséquence. C'est un problème "
"particulièrement pointu pour des professeurs comme moi, dont la travail est "
"d'apprendre aux élèves de droits l'importance de l'<quote>éthique</quote>. "
"Comme l'a dit mon collègue Charlie Nesson à une classe à Stanford, chaque "
"année les écoles de droit accueillent des milliers d'étudiants qui ont "
"téléchargé illégalement de la musique, consommé illégalement de "
"l'alcool et parfois de la drogue, travaillé illégalement sans payer de "
"taxes, conduit illégalement des voitures. Ce sont des gamins pour qui se "
"comporter illégalement est de plus en plus la norme. Et après, nous, en "
"tant que professeurs de droit, sommes supposés leur apprendre comment se "
"comporter de manière éthique&mdash;comment dire non aux pots-de-vin, ou "
"garder les fonds client séparés, ou respecter une exigence de divulgation "
"d'un document qui signifiera que votre affaire est terminée. Des "
"générations d'Américains&mdash;plus dans certaines parties de l'Amérique "
"que d'autres, mais tout de même, partout en Amérique aujourd'hui&mdash;ne "
"peuvent pas vivre leur vie à la fois normalement et légalement, étant "
"donné que <quote>normalement</quote> implique un certain degré "
"d'illégalité"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The response to this general illegality is either to enforce the law more "
"severely or to change the law. We, as a society, have to learn how to make "
"that choice more rationally. Whether a law makes sense depends, in part, at "
"least, upon whether the costs of the law, both intended and collateral, "
"outweigh the benefits. If the costs, intended and collateral, do outweigh "
"the benefits, then the law ought to be changed.  Alternatively, if the costs "
"of the existing system are much greater than the costs of an alternative, "
"then we have a good reason to consider the alternative."
msgstr ""
"La réponse à cette illégalité générale est soit d'appliquer la loi plus "
"sévèrement ou soit de changer la loi. Nous, en tant que société, devons "
"apprendre comment faire ce choix de manière plus rationnelle. Le fait qu'une "
"loi ait un sens dépend, en partie, au moins, de si les couts de la loi, à "
"la fois prévus et collatéraux, sont plus importants que les bénéfices. Si "
"les couts, prévus et collatéraux, sont bel et bien plus importants que les "
"bénéfices, alors la loi devrait être changée. Autrement, si les couts du "
"système existant sont bien plus élevés que les couts d'une alternative, "
"alors nous avons une bonne raison de considérer cette alternative."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My point is not the idiotic one: Just because people violate a law, we "
"should therefore repeal it. Obviously, we could reduce murder statistics "
"dramatically by legalizing murder on Wednesdays and Fridays. But that "
"wouldn't make any sense, since murder is wrong every day of the week. A "
"society is right to ban murder always and everywhere."
msgstr ""
"Mon idée n'est pas l'idée idiote: juste parce que des gens violent une loi, "
"nous devrions donc l'abroger. Évidemment, nous pourrions réduire les "
"statistiques des meurtres de manière spectaculaire en légalisant le meurtre "
"les mercredis et les vendredis. Mais cela n'aurait aucun sens, étant donné "
"que le meurtre est mal tous les jours de la semaine. Une société a raison "
"de bannir le meurtre toujours et partout."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My point is instead one that democracies understood for generations, but "
"that we recently have learned to forget. The rule of law depends upon people "
"obeying the law. The more often, and more repeatedly, we as citizens "
"experience violating the law, the less we respect the law. Obviously, in "
"most cases, the important issue is the law, not respect for the law. I don't "
"care whether the rapist respects the law or not; I want to catch and "
"incarcerate the rapist. But I do care whether my students respect the "
"law. And I do care if the rules of law sow increasing disrespect because of "
"the extreme of regulation they impose.  Twenty million Americans have come "
"of age since the Internet introduced this different idea of "
"<quote>sharing.</quote> We need to be able to call these twenty million "
"Americans <quote>citizens,</quote> not <quote>felons.</quote>"
msgstr ""
"Mon idée est plutot celle que les démocraties ont comprise pendant des "
"générations, mais que nous avons récemment appris à oublier. La règle de "
"la loi dépend des gens obéissant à la loi. Plus souvent, et de à de plus "
"nombreuses reprises, nous citoyens faisont l'expérience de la violation de "
"la loi, moins nous respectons la loi. Évidemment, dans la plupart des cas, "
"le problème important n'est pas la loi, ni le respect pour la loi. Je me "
"fiche que le violeur respecte la loi ou pas; je veux attraper et incarcérer "
"le violeur. Mais j'accorde de l'importance au fait que mes étudiants "
"respectente la loi ou pas. Et je me soucie de savoir si les règles de la loi "
"sèment un manque de respect croissant à cause des extrèmes de régulation "
"qu'elles imposent. Vingt millions d'Américains ont atteint la majorité "
"depuis qu'unInternet a introduit cette idée différente du "
"<quote>partage</quote>. Nous avons besoin d'être capables d'appeler ces "
"vingt millions d'Américains <quote>citoyens</quote>, et non pas des "
"<quote>délinquants</quote>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When at least forty-three million citizens download content from the "
"Internet, and when they use tools to combine that content in ways "
"unauthorized by copyright holders, the first question we should be asking is "
"not how best to involve the FBI. The first question should be whether this "
"particular prohibition is really necessary in order to achieve the proper "
"ends that copyright law serves. Is there another way to assure that artists "
"get paid without transforming forty-three million Americans into felons? "
"Does it make sense if there are other ways to assure that artists get paid "
"without transforming America into a nation of felons?"
msgstr ""
"Quand au moins quarante-trois millions de citoyens téléchargent du contenu "
"d'Internet, et quand ils utilisent des outils pour combiner ce contenu dans "
"des manières non autorisées par les propriétaires de copyright, la "
"première question que nous devrions nous poser n'est pas comment mieux "
"impliquer le FBI. La première question devrait être de savoir si cette "
"prohibition particulière est réellement nécessaire afin de réussir les "
"buts particuliers que la loi du copyright sert. Y a-t-il un autre moyen "
"d'assurer que les artistes soient payés sans transformer quarante-trois "
"millions d'Américains en délinquants? Est-ce que cela a du sens s'il y a "
"d'autres manières d'assurer que les artistes soient payés sans transformer "
"l'Amérique en une nation de délinquants?"

#. type: Content of: <book><part><chapter><section><para>
msgid "This abstract point can be made more clear with a particular example."
msgstr "Cette idée abstraite peut être clarifiée avec un exemple particulier."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"We all own CDs. Many of us still own phonograph records. These pieces of "
"plastic encode music that in a certain sense we have bought.  The law "
"protects our right to buy and sell that plastic: It is not a copyright "
"infringement for me to sell all my classical records at a used record store "
"and buy jazz records to replace them. That <quote>use</quote> of the "
"recordings is free."
msgstr ""
"Nous possédons tous des CDs. Beaucoup d'entre nous possèdent encore des "
"enregistrements phonographiques. Ces morceaux de plastique encodent la "
"musique que nous avons d'une certaine manière achetée. La loi protège "
"notre droit d'acheter et de vendre ce plastique: ce n'est pas de la violation "
"de copyright pour moi de vendre tous mes enregistrements de classique à un "
"magasin de disques d'occasion et d'acheter des disques de jazz pour les "
"remplacer. Cette <quote>utilisation</quote> des enregistrements est libre."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"But as the MP3 craze has demonstrated, there is another use of phonograph "
"records that is effectively free. Because these recordings were made without "
"copy-protection technologies, I am <quote>free</quote> to copy, or "
"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, "
"Apple Corporation went so far as to suggest that <quote>freedom</quote> was "
"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, "
"Burn</quote> capacities of digital technologies."
msgstr ""
"Mais comme l'a montré l'engouement pour les MP3, il y a une autre "
"utilisation des enregistrement phonographiques qui est effectivement libre. "
"Parce que ces technologies étaient faites sans technologies de protection "
"contre la copie, je suis <quote>libre</quote> de copier, ou "
"<quote>ripper</quote>, la musique de mes enregistrements sur le disque dur "
"d'un ordinateur. En effet, Apple Corporation est allée aussi loin que de "
"suggérer que la <quote>liberté</quote> était un droit: dans une série de "
"publicités, Apple a cautionné les capacités <quote>Ripper, Mélanger, "
"Graver</quote> des technologies numériques."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Andromeda"
msgstr ""

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "mix technology and"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This <quote>use</quote> of my records is certainly valuable. I have begun a "
"large process at home of ripping all of my and my wife's CDs, and storing "
"them in one archive. Then, using Apple's iTunes, or a wonderful program "
"called Andromeda, we can build different play lists of our music: Bach, "
"Baroque, Love Songs, Love Songs of Significant Others&mdash;the potential is "
"endless. And by reducing the costs of mixing play lists, these technologies "
"help build a creativity with play lists that is itself independently "
"valuable. Compilations of songs are creative and meaningful in their own "
"right."
msgstr ""
"Cette <quote>utilisation</quote> de mes enregistrements est certainemen "
"valable. J'ai commencé un grand processus chez moi de rippage de tous mes "
"CDs et de ceux de ma femme, et de le stocker dans une archive. Puis, en "
"utilisant iTunes d'Apple, ou un programme merveilleux appelé Andromeda, nous "
"pouvons construire différentes listes de lecture pour notre musique: Bach, "
"Baroque, Chansons d'Amour, Chansons d'Amour de Significant Others&mdash;le "
"potentiel est infini. Et en réduisant les couts de mélange des listes de "
"lecture, ces technologies aident à construire une créativité avec les "
"listes de lecture qui est elle-même indépendemment valable. Des "
"compilations de chanson sont créatives et significatives à leur manière."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This use is enabled by unprotected media&mdash;either CDs or records.  But "
"unprotected media also enable file sharing. File sharing threatens (or so "
"the content industry believes) the ability of creators to earn a fair return "
"from their creativity. And thus, many are beginning to experiment with "
"technologies to eliminate unprotected media. These technologies, for "
"example, would enable CDs that could not be ripped. Or they might enable spy "
"programs to identify ripped content on people's machines."
msgstr ""
"Cette utilisation est permise par les médias non protégés&mdash;que ce "
"soient les CDs ou les enregistrements. Mais les médias non protégés "
"permettent également le partage de fichier. Le partage de fichier menace (ou "
"c'est ce que l'industrie du contenu croit) la capacité des créateurs à "
"gagner un revenu juste de leur créativité. Et donc, beaucoup commencent à "
"expérimenter avec des technologies éliminant les médias non protégés. "
"Ces technologies, par exemple, permettraient de créer des CDs qui ne "
"pourraient pas être rippés. Ou elles pourraient permettre à des programmes "
"espions d'identifier du contenu rippé sur les machines des gens."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If these technologies took off, then the building of large archives of your "
"own music would become quite difficult. You might hang in hacker circles, "
"and get technology to disable the technologies that protect the "
"content. Trading in those technologies is illegal, but maybe that doesn't "
"bother you much. In any case, for the vast majority of people, these "
"protection technologies would effectively destroy the archiving use of "
"CDs. The technology, in other words, would force us all back to the world "
"where we either listened to music by manipulating pieces of plastic or were "
"part of a massively complex <quote>digital rights management</quote> system."
msgstr ""
"Si ces technologies décollaient, alors la constitution d'une grande archive "
"de votre propre musique deviendrait assez difficile. Vous pourriez "
"fréquenter des cercles de hackers, et obtenir la technologie qui "
"désactiverait les technologies qui protègent ce contenu. Verser dans ces "
"technologies est illégal, mais peut-être que cela ne vous dérange pas "
"beaucoup. Dans tous les cas, pour la vaste majorité des gens, ces "
"technologies de protection détruiraient effectivement l'utilisation des CDs "
"pour archivage. La technologie, en d'autres termes, nous forcerait tous à "
"retourner dans le monde où soit nous écouterions la musique en manipulant "
"des morceaux de plastique ou soit nous ferions partie d'un système "
"<quote>gestion des droits numériques</quote> massivement complexe."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"If the only way to assure that artists get paid were the elimination of the "
"ability to freely move content, then these technologies to interfere with "
"the freedom to move content would be justifiable. But what if there were "
"another way to assure that artists are paid, without locking down any "
"content? What if, in other words, a different system could assure "
"compensation to artists while also preserving the freedom to move content "
"easily?"
msgstr ""
"Si le seul moyen d'assurer que les artistes soient payés était "
"l'élimination de la possibilité de déplacer librement du contenu, alors "
"ces technologies qui interfèrent avec la liberté de déplacer du contenu "
"seraient justifiables. Mais s'il y avait un autre moyen d'assurer que les "
"artistes soient payés, sans verrouiller tout contenu? Et si, en d'autres "
"termes, un système différent pourrait assurer la compensation aux artistes "
"tout en préservant également la liberté de déplacer du contenu "
"facilement?"

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"My point just now is not to prove that there is such a system. I offer a "
"version of such a system in the last chapter of this book. For now, the only "
"point is the relatively uncontroversial one: If a different system achieved "
"the same legitimate objectives that the existing copyright system achieved, "
"but left consumers and creators much more free, then we'd have a very good "
"reason to pursue this alternative&mdash;namely, freedom.  The choice, in "
"other words, would not be between property and piracy; the choice would be "
"between different property systems and the freedoms each allowed."
msgstr ""
"Je ne vais pas chercher maintenant à prouver qu'il existe un tel système. "
"J'offre une version d'un tel système dans le dernier chapitre de ce livre. "
"Pour le moment, le seul sujet est celui-ci, relativement non controversé: si "
"un système différent atteignait les même objectifs légitimes que le "
"système de copyright existant atteignait, mais laissait les consommateurs et "
"les créateurs bien plus libres, alors nous aurions une très bonne raison "
"pour poursuivre cette alternative&mdash;à savoir, la liberté. Le choix, en "
"d'autres termes, ne serait pas entre la propriété et le piratage; le choix "
"serait entre différent systèmes de propriété et les libertés que chacun "
"permettrait."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"I believe there is a way to assure that artists are paid without turning "
"forty-three million Americans into felons. But the salient feature of this "
"alternative is that it would lead to a very different market for producing "
"and distributing creativity. The dominant few, who today control the vast "
"majority of the distribution of content in the world, would no longer "
"exercise this extreme of control. Rather, they would go the way of the "
"horse-drawn buggy."
msgstr ""
"Je crois qu'il existe un moyen d'assurer que les artistes soient payés sans "
"changer quarante-trois millions d'Américains en délinquants. Mais l'aspect "
"saillant de cette alternative est que cela mènerait à un marché très "
"différent pour produire et distribuer la créativité. Les quelques "
"dominants, qui contrôlent aujourd'hui la vaste majorité de la distribution "
"du contenu dans ce monde, n'exerceraient plus cet extrème du contrôle. Au "
"lieu de cela, ils finiraient comme les calèches."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Except that this generation's buggy manufacturers have already saddled "
"Congress, and are riding the law to protect themselves against this new form "
"of competition. For them the choice is between fortythree million Americans "
"as criminals and their own survival."
msgstr ""
"Excepté que les fabricants actuels de calèches ont déjà sellé le "
"Congrès, et chevauchent la loi pour se protéger contre cette nouvelle forme "
"de compétition. Car le choix est entre quarante-trois millions d'Américains "
"en tant que criminels et leur propre survie."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It is understandable why they choose as they do. It is not understandable "
"why we as a democracy continue to choose as we do. Jack Valenti is charming; "
"but not so charming as to justify giving up a tradition as deep and "
"important as our tradition of free culture."
msgstr ""
"On peut comprendre pourquoi ils choisissent de faire ainsi. On ne peut pas "
"comprendre pourquoi nous, en tant que démocratie, continuons à faire ainsi. "
"Jack Valenti est charmant; mais pas si charmant quant à justifier l'abandon "
"d'une tradition aussi profonde et importante que notre tradition de culture "
"libre."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<emphasis role='strong'>There's one more</emphasis> aspect to this "
"corruption that is particularly important to civil liberties, and follows "
"directly from any war of prohibition.  As Electronic Frontier Foundation "
"attorney Fred von Lohmann describes, this is the <quote>collateral "
"damage</quote> that <quote>arises whenever you turn a very large percentage "
"of the population into criminals.</quote> This is the collateral damage to "
"civil liberties generally."
msgstr ""
"<emphasis role='strong'>Il y a un</emphasis> aspect supplémentaire de cette "
"corruption qui est particulièrement important pour les libertés civiles, et "
"qui suit directement tout guerre de prohibition. Comme le décrit l'avocat de "
"l'Electronic Frontier Foundation, c'est le <quote>dommage collatéral</quote> "
"qui survient à chaque fois que vous changez un très grand pourcentage de la "
"population en criminels\". C'est le dommage collatéral des libertés civiles "
"en général."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "von Lohmann, Fred"
msgstr ""

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>If you can treat someone as a putative lawbreaker,</quote> von "
"Lohmann explains,"
msgstr ""
"<quote>Si vous pouvez traiter quelqu'un comme un hors-la-loi "
"présumé</quote>, explique von Lohmann,"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"then all of a sudden a lot of basic civil liberty protections evaporate to "
"one degree or another. &hellip; If you're a copyright infringer, how can you "
"hope to have any privacy rights? If you're a copyright infringer, how can "
"you hope to be secure against seizures of your computer? How can you hope to "
"continue to receive Internet access? &hellip; Our sensibilities change as "
"soon as we think, <quote>Oh, well, but that person's a criminal, a "
"lawbreaker.</quote> Well, what this campaign against file sharing has done "
"is turn a remarkable percentage of the American Internet-using population "
"into <quote>lawbreakers.</quote>"
msgstr ""
"alors tout d'un coup de nombreuses protections de la liberté civile basique "
"s'évaporent à un degré ou à un autre. ... Si vous êtes un contrevenant "
"du copyright, comment pouvez-vous espérer avoir n'importe quel droit de vie "
"privée? Si vous êtes un contrevenant du copyright, comment pouvez-vous "
"espérer être en sécurité contre des saisies de votre ordinateur? Comment "
"pouvez-vous espérer continuer à recevoir l'accès à Internet? ... Nos "
"sensibilités changent aussi vite que nous le pensons, <quote>Oh, eh bien, "
"mais cette personne est un criminel, un hors-la-loi.</quote> Eh bien, ce que "
"cette campagne contre le partage de fichier a fait, c'est changer un "
"pourcentage remarquable d'Américains utilisateurs d'Internet en <quote>hors- "
"la-loi</quote>."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"And the consequence of this transformation of the American public into "
"criminals is that it becomes trivial, as a matter of due process, to "
"effectively erase much of the privacy most would presume."
msgstr ""
"Et la conséquence de cette transformation du public américain en criminels "
"est qu'il devient trivial, avec un traitement approprié, d'effacer "
"effectivement une grande partie de la vie privée à laquelle la plupart "
"prétendent."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Users of the Internet began to see this generally in 2003 as the RIAA "
"launched its campaign to force Internet service providers to turn over the "
"names of customers who the RIAA believed were violating copyright "
"law. Verizon fought that demand and lost. With a simple request to a judge, "
"and without any notice to the customer at all, the identity of an Internet "
"user is revealed."
msgstr ""
"Les internautes ont commencé à voir cela généralement en 2003 alors que "
"la RIAA lançait sa campagne pour forcer les fournisseurs d'accès à "
"Internet à révéler les noms des clients dont la RIAA croyait qu'ils "
"violaient la loi du copyright. Verizon combattit cette demande et perdit. "
"Avec une simple demande à un juge, et sans aucune injonction donnée au "
"client, l'identité d'un internaute est révélée."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> "
"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, "
"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry "
"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs "
"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
"Tribune</citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording "
"Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 "
"September 2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No "
"Snoop Fan, Either,</quote> <citetitle>New York Times</citetitle>, 25 "
"September 2003, C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> "
"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7."
msgstr ""
"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
"Mother in Calif., 12-Year-Old Girl in N.Y. Among "
"Defendants,</quote><citetitle> Washington Post,</citetitle> 10 September "
"2003, E1; Chris Cobbs, <quote>Worried Parents Pull Plug on File 'Stealing'; "
"With the Music Industry Cracking Down on File Swapping, Parents are Yanking "
"Software from Home PCs to Avoid Being Sued,</quote><citetitle> Orlando "
"Sentinel Tribune,</citetitle> 30 August 2003, C1; Jefferson Graham, "
"<quote>Recording Industry Sues Parents,</quote><citetitle> USA "
"Today,</citetitle> 15 September 2003, 4D; John Schwartz, <quote>She Says "
"She's No Music Pirate. No Snoop Fan, Either,</quote><citetitle> New York "
"Times,</citetitle> 25 September 2003, C1; Margo Varadi, <quote>Is Brianna a "
"Criminal?</quote><citetitle> Toronto Star,</citetitle> 18 September 2003, P7."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The RIAA then expanded this campaign, by announcing a general strategy to "
"sue individual users of the Internet who are alleged to have downloaded "
"copyrighted music from file-sharing systems. But as we've seen, the "
"potential damages from these suits are astronomical: If a family's computer "
"is used to download a single CD's worth of music, the family could be liable "
"for $2 million in damages. That didn't stop the RIAA from suing a number of "
"these families, just as they had sued Jesse Jordan.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"La RIAA étendit ensuite cette campagne, en annonçant une stratégie "
"générale pour poursuivre des internautes individuels qui sont présumés "
"avoir téléchargé de la musique sous copyright à partir de systèmes de "
"partage de fichiers. Mais comme nous l'avons vu, les dommages potentiels de "
"ces poursuites sont astronomiques: si un oridinateurs familial est utilisé "
"pour télécharger autant de musique que sur un CD, la famille s'expose à "
"une amende de 2 millions de dollars en dommages et intérêts. Cela n'a pas "
"arrêté la RIAA de poursuivre un certain nombre de ces familles, tout comme "
"elle avait poursuivi Jesse Jordan<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses "
"Some Methods Used,</quote> CNN.com, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #47</ulink>."
msgstr ""
"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses "
"Some Methods Used,</quote> CNN.com, available at link #47."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Even this understates the espionage that is being waged by the RIAA. A "
"report from CNN late last summer described a strategy the RIAA had adopted "
"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> Using a "
"sophisticated hashing algorithm, the RIAA took what is in effect a "
"fingerprint of every song in the Napster catalog. Any copy of one of those "
"MP3s will have the same <quote>fingerprint.</quote>"
msgstr ""
"Même ceci sous-estime l'espionnage qui est en train d'être mené par la "
"RIAA. Un rapport de CNN à la fin de l'été dernier décrivait une "
"stratégie que la RIAA avait adopté pour traquer les utilisateurs de "
"Napster<placeholder type=\"footnote\" id=\"0\"/>. En utilisant un algorithme "
"de hachage sophistiqué, la RIAA prenait ce qui est en effet une empreinte "
"digitale de chaque chanson dans le catalogue de Napster. Toute copie d'un de "
"ces MP3s aura la même <quote>empreinte digitale</quote>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not "
"Penitent,</quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City "
"Weekly, 1; Frank Ahrens, <quote>Four Students Sued over Music Sites; "
"Industry Group Targets File Sharing at Colleges,</quote> "
"<citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth "
"Armstrong, <quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> "
"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
"Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to Loyola; "
"Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
"<citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, "
"<quote>RIAA Trains Antipiracy Guns on Universities,</quote> "
"<citetitle>Internet News</citetitle>, 30 January 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny Evangelista, "
"<quote>Download Warning 101: Freshman Orientation This Fall to Include "
"Record Industry Warnings Against File Sharing,</quote> <citetitle>San "
"Francisco Chronicle</citetitle>, 11 August 2003, E11; <quote>Raid, Letters "
"Are Weapons at Universities,</quote> <citetitle>USA Today</citetitle>, 26 "
"September 2000, 3D."
msgstr ""
"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not "
"Penitent,</quote><citetitle> Boston Globe,</citetitle> 18 May 2003, City "
"Weekly, 1; Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry "
"Group Targets File Sharing at Colleges,</quote><citetitle> Washington "
"Post,</citetitle> 4 April 2003, E1; Elizabeth Armstrong, <quote>Students "
"'Rip, Mix, Burn' at Their Own Risk,</quote><citetitle> Christian Science "
"Monitor,</citetitle> 2 September 2003, 20; Robert Becker and Angela Rozas, "
"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed Over; "
"Lawsuit Possible,</quote><citetitle> Chicago Tribune,</citetitle> 16 July "
"2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on "
"Universities,</quote><citetitle> Internet News,</citetitle> 30 January 2003, "
"available at link #48; Benny Evangelista, <quote>Download Warning 101: "
"Freshman Orientation This Fall to Include Record Industry Warnings Against "
"File Sharing,</quote><citetitle> San Francisco Chronicle,</citetitle> 11 "
"August 2003, E11; <quote>Raid, Letters Are Weapons at "
"Universities,</quote><citetitle> USA Today,</citetitle> 26 September 2000, "
"3D."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"So imagine the following not-implausible scenario: Imagine a friend gives a "
"CD to your daughter&mdash;a collection of songs just like the cassettes you "
"used to make as a kid. You don't know, and neither does your daughter, where "
"these songs came from. But she copies these songs onto her computer. She "
"then takes her computer to college and connects it to a college network, and "
"if the college network is <quote>cooperating</quote> with the RIAA's "
"espionage, and she hasn't properly protected her content from the network "
"(do you know how to do that yourself ?), then the RIAA will be able to "
"identify your daughter as a <quote>criminal.</quote> And under the rules "
"that universities are beginning to deploy,<placeholder type=\"footnote\" "
"id=\"0\"/> your daughter can lose the right to use the university's computer "
"network.  She can, in some cases, be expelled."
msgstr ""
"Alors imaginez le scénario pas si peu plausible suivant: imaginez qu'un ami "
"donne un CD à votre fille&mdash;une collection de chansons tout comme les "
"cassettes que vous faisiez enfant. Vous ne savez pas, et votre fille non "
"plus, d'où viennent ces chansons. Mais elle copie ces chansons sur son "
"ordinateur. Puis elle prend son ordinateur au lycée et le connecte au "
"réseau de l'université, et si le réseau de l'université "
"<quote>coopère</quote> avec l'espionnage de la RIAA, et qu'elle n'a pas "
"correctement protégé son contenu du réseau (savez-vous faire cela "
"vous-même?), alors la RIAA sera capable d'identifier votre fille comme une "
"<quote>criminelle</quote>. Et sous les règles que les universités "
"commencent à déployer<placeholder type=\"footnote\" id=\"0\"/>, votre fille "
"peut perdre le droit d'utiliser le réseau informatique de l'université. "
"Elle peut, dans certains cas, être expulsée."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Now, of course, she'll have the right to defend herself. You can hire a "
"lawyer for her (at $300 per hour, if you're lucky), and she can plead that "
"she didn't know anything about the source of the songs or that they came "
"from Napster. And it may well be that the university believes her. But the "
"university might not believe her. It might treat this "
"<quote>contraband</quote> as presumptive of guilt. And as any number of "
"college students have already learned, our presumptions about innocence "
"disappear in the middle of wars of prohibition. This war is no different.  "
"Says von Lohmann,"
msgstr ""
"Maintenant, bien sûr, elle aura le droit de se défendre. Vous pouvez lui "
"prendre un avocat (à 300 $ par heure, si vous avez de la chance), et elle "
"peut plaider qu'elle ne savait rien sur l'origine des chansons ou du fait "
"qu'elle venaient de Napster. Mais l'université pourrait ne pas la croire. "
"Elle pourrait traiter cette <quote>contrebande</quote> avec une présomption "
"de culpabilité. Et comme l'ont déjà appris un certain nombre d'étudiants, "
"nos présomptions sur l'innocence disparaissent au milieu des guerres de "
"prohibition. Cette guerre n'est pas différente. Comme le dit von Lohmann,"

#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"So when we're talking about numbers like forty to sixty million Americans "
"that are essentially copyright infringers, you create a situation where the "
"civil liberties of those people are very much in peril in a general "
"matter. [I don't] think [there is any] analog where you could randomly "
"choose any person off the street and be confident that they were committing "
"an unlawful act that could put them on the hook for potential felony "
"liability or hundreds of millions of dollars of civil liability. Certainly "
"we all speed, but speeding isn't the kind of an act for which we routinely "
"forfeit civil liberties. Some people use drugs, and I think that's the "
"closest analog, [but] many have noted that the war against drugs has eroded "
"all of our civil liberties because it's treated so many Americans as "
"criminals. Well, I think it's fair to say that file sharing is an order of "
"magnitude larger number of Americans than drug use. &hellip; If forty to "
"sixty million Americans have become lawbreakers, then we're really on a "
"slippery slope to lose a lot of civil liberties for all forty to sixty "
"million of them."
msgstr ""
"Donc quand nous parlons de nombres comme quarante ou soixante millions "
"d'Américains qui sont essntiellement des violeurs de copyright, vous créez "
"une situation où les libertés civiles de ces gens sont grandement en "
"péril, d'une manière générale. Je ne pense pas qu'il existe quelconque "
"analogie où vous pourriez choisir une personne au hasard dans la rue et "
"être convaincu qu'elle a commis un acte illégal qui pourrait la mettre dans "
"le pétrin pour une responsabilité potentielle de délinquance de centaines "
"de millions de dollars de dette civile. Bien sûr nous roulons tous vite, "
"mais rouler vite n'est pas le genre d'acte pour lequel perdons des libertés "
"civiles. Certaines personnes prennent de la drogue, et je pense que c'est "
"l'analogie la plus proche, mais de nombreuses personnes ont noté que la "
"guerre contre la drogue a érodé toutes nos libertés civiles parce qu'elle "
"a traité tant d'Américains comme des criminels. Eh bien, je pense qu'il est "
"juste de dire que le partage de fichiers est à un ordre de magnitude plus "
"grand en nombre d'Américains que la prise de drogue. ... Si de quarante à "
"soixante millions d'Américains sont devenus des hors-la-loi, alors nous "
"sommes vraiment sur une corde raide menant à perdre beaucoup de libertés "
"civiles pour chacun des quarante à soixante millions d'entre eux."

#. type: Content of: <book><part><chapter><section><para>
msgid ""
"When forty to sixty million Americans are considered "
"<quote>criminals</quote> under the law, and when the law could achieve the "
"same objective&mdash; securing rights to authors&mdash;without these "
"millions being considered <quote>criminals,</quote> who is the villain? "
"Americans or the law? Which is American, a constant war on our own people or "
"a concerted effort through our democracy to change our law?"
msgstr ""
"Quand quarante à soixante millions d'Américains sont considérés comme "
"<quote>criminels</quote> par la loi, et quand la loi pourrait atteindre le "
"même objectif&mdash;sécuriser les droits des auteurs&mdash;sans que ces "
"millions soient considérés comme <quote>criminels</quote>, qui est le "
"méchant? Les Américains ou la loi? Lequel est Américain, une guerre "
"constante contre notre peuple ou un effort concerté à travers notre "
"démocratie pour changer notre loi?"

#. type: Content of: <book><part><title>
msgid "Balances"
msgstr "Équilibres"

#. type: Content of: <book><part><partintro><para>
msgid ""
"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at "
"the side of the road. Your car is on fire. You are angry and upset because "
"in part you helped start the fire. Now you don't know how to put it "
"out. Next to you is a bucket, filled with gasoline. Obviously, gasoline "
"won't put the fire out."
msgstr ""
"Voici la scène: Vous êtes debout au le bord de la route. Votre voiture a "
"pris feu. Vous êtes énervé et en colère parce que vous êtes en partie "
"responsable de l'incendie. Et maintenant vous ne savez pas comment "
"l'éteindre. Près de vous se trouve un seau rempli d'essence. Évidemment, "
"ce n'est pas avec de l'essence que vous allez l'éteindre."

#. type: Content of: <book><part><partintro><para>
msgid ""
"As you ponder the mess, someone else comes along. In a panic, she grabs the "
"bucket. Before you have a chance to tell her to stop&mdash;or before she "
"understands just why she should stop&mdash;the bucket is in the air.  The "
"gasoline is about to hit the blazing car. And the fire that gasoline will "
"ignite is about to ignite everything around."
msgstr ""
"Alors que vous êtes en train de réfléchir, quelqu'un arrive. Paniquée, "
"elle s'empare du seau. Avant que vous n'ayez pu lui dire d'arrêter (ou avant "
"qu'elle n'ait pu comprendre pourquoi arrêter) le seau vole en l'air. "
"L'essence est sur le point de toucher la voiture fumante. Et le feu que cette "
"essence va enflammer est sur le point d'enflammer tout ce qui se trouve "
"autour."

#. type: Content of: <book><part><partintro><para>
msgid ""
"<emphasis role='strong'>A war</emphasis> about copyright rages all "
"around&mdash;and we're all focusing on the wrong thing. No doubt, current "
"technologies threaten existing businesses.  No doubt they may threaten "
"artists. But technologies change.  The industry and technologists have "
"plenty of ways to use technology to protect themselves against the current "
"threats of the Internet. This is a fire that if let alone would burn itself "
"out."
msgstr ""
"<emphasis role='strong'>Une guerre</emphasis> du copyright fait rage autour "
"de nous, et nous nous occupons d'un faux problème. Sans doute, les "
"technologies actuelles menacent certaines entreprises. Aucun doute qu'elles "
"menacent aussi certains artistes. Mais les technologies changent. Les "
"industries et les ingénieurs ont beaucoup de moyens d'utiliser la "
"technologie pour se protéger des menaces engendrées par Internet.  C'est un "
"feu qui, livré à lui même, s'éteindrait tout seul."

#. type: Content of: <book><part><partintro><para>
msgid ""
"Yet policy makers are not willing to leave this fire to itself. Primed with "
"plenty of lobbyists' money, they are keen to intervene to eliminate the "
"problem they perceive. But the problem they perceive is not the real threat "
"this culture faces. For while we watch this small fire in the corner, there "
"is a massive change in the way culture is made that is happening all around."
msgstr ""
"Cependant nos décideurs ne veulent pas laisser ce feu tout seul. Les poches "
"pleines de l'argent des lobbyistes, ils sont décidés à intervenir pour "
"éliminer le problème qu'ils perçoivent. Mais le problème qu'ils "
"perçoivent n'est pas la véritable menace qui pèse sur notre culture. Car "
"pendant que nous regardons ce petit feu dans un coin de la scène, un "
"changement massif est en train de se produire partout ailleurs, dans la "
"manière dont la culture est produite."

#. type: Content of: <book><part><partintro><para>
msgid ""
"Somehow we have to find a way to turn attention to this more important and "
"fundamental issue. Somehow we have to find a way to avoid pouring gasoline "
"onto this fire."
msgstr ""
"D'une manière ou d'une autre, nous devons trouver un moyen de tourner notre "
"attention vers ce problème plus important et plus fondamental. Nous devons "
"trouver un moyen d'éviter de répandre de l'essence sur ce feu."

#. type: Content of: <book><part><partintro><para>
msgid ""
"We have not found that way yet. Instead, we seem trapped in a simpler, "
"binary view. However much many people push to frame this debate more "
"broadly, it is the simple, binary view that remains. We rubberneck to look "
"at the fire when we should be keeping our eyes on the road."
msgstr ""
"Nous n'avons pas encore trouvé ce moyen. Au lieu de quoi nous semblons "
"enfermés dans un point de vue simple et binaire. Quel que soit le nombre de "
"gens qui essaient d'ouvrir ce débat, c'est le point de vue simple et binaire "
"qui l'emporte. Nous nous retournons pour contempler le feu quand nous "
"devrions garder les yeux sur la route."

#. type: Content of: <book><part><partintro><para>
msgid ""
"This challenge has been my life these last few years. It has also been my "
"failure. In the two chapters that follow, I describe one small brace of "
"efforts, so far failed, to find a way to refocus this debate. We must "
"understand these failures if we're to understand what success will require."
msgstr ""
"J'ai consacré mon existence à ce défi pendant les dernières années. Et "
"ce défi a aussi été un échec. Dans les deux chapitres qui suivent, je "
"décris quelques-uns de mes efforts, jusqu'ici sans succès, pour trouver un "
"moyen de recentrer le débat. Nous devons comprendre ces échecs si nous "
"voulons comprendre comment gagner."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Thirteen: Eldred"
msgstr "Eldred"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Eldred, Eric"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Hawthorne, Nathaniel"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his "
"daughters didn't seem to like Hawthorne. No doubt there was more than one "
"such father, but at least one did something about it. Eric Eldred, a retired "
"computer programmer living in New Hampshire, decided to put Hawthorne on the "
"Web. An electronic version, Eldred thought, with links to pictures and "
"explanatory text, would make this nineteenth-century author's work come "
"alive."
msgstr ""
"En 1995, un père était frustré que ses filles semblent ne pas apprécier "
"Hawthorne. Nul doute qu'il y avait plus d'un père dans cette situation, mais "
"au moins l'un d'entra eux tenta d'y changer quelque chose. Eric Eldred, un "
"programmeur à la retraite qui vivait dans le New Hampshire, décida de "
"mettre Hawthorne sur le web. Une version électronique, pensa Eldred, avec "
"des liens vers des images et des textes explicatifs, ressusciterait l'œuvre "
"de cet auteur du dix-neuvième siècle."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "of public-domain literature"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "library of works derived from"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"It didn't work&mdash;at least for his daughters. They didn't find Hawthorne "
"any more interesting than before. But Eldred's experiment gave birth to a "
"hobby, and his hobby begat a cause: Eldred would build a library of public "
"domain works by scanning these works and making them available for free."
msgstr ""
"Cela ne marcha pas&mdash;du moins pour ses filles. Elles ne trouvèrent pas "
"Hawthorne plus intéressant qu'avant. Mais l'expérience d'Eldred donna "
"naissance à un hobby, et ce hobby engendra une vocation&nbsp;: Eldred allait "
"construire une bibliothèque d'œuvres du domaine public, en scannant ces "
"œuvres et en les mettant gratuitement à la disposition de tous."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Eldred's library was not simply a copy of certain public domain works, "
"though even a copy would have been of great value to people across the world "
"who can't get access to printed versions of these works. Instead, Eldred was "
"producing derivative works from these public domain works. Just as Disney "
"turned Grimm into stories more accessible to the twentieth century, Eldred "
"transformed Hawthorne, and many others, into a form more "
"accessible&mdash;technically accessible&mdash;today."
msgstr ""
"La bibliothèque d'Eldred n'était pas simplement une copie de certaines "
"œuvres du domaine public, quoique même une copie eût été d'une grande "
"valeur pour les gens de par le monde qui ne peuvent pas accéder aux versions "
"imprimées de ces œuvres. Au lieu de cela, Eldred produisait des œuvres "
"dérivées de ces œuvres du domaine public. Tout comme Disney changea Grimm "
"en histoires plus accessibles au vingtième siècle, Eldred transforma "
"Hawthorne, et de nombreux autres, en une forme plus "
"accessible&mdash;techniquement accessible&mdash;aujourd'hui."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Scarlet Letter, The (Hawthorne)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Eldred's freedom to do this with Hawthorne's work grew from the same source "
"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed "
"into the public domain in 1907. It was free for anyone to take without the "
"permission of the Hawthorne estate or anyone else. Some, such as Dover Press "
"and Penguin Classics, take works from the public domain and produce printed "
"editions, which they sell in bookstores across the country. Others, such as "
"Disney, take these stories and turn them into animated cartoons, sometimes "
"successfully (<citetitle>Cinderella</citetitle>), sometimes not "
"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure "
"Planet</citetitle>). These are all commercial publications of public domain "
"works."
msgstr ""
"La liberté d'Eldred de faire ceci avec l'œuvre d'Hawthorne est issue de la "
"même source que celle de Disney. <citetitle>Scarlet Letter</citetitle> "
"d'Hawthorne est passé dans le domaine public en 1907. Il était donc libre "
"d'accès pour quiconque sans permission de la succession de Hawthorne ou de "
"qui que ce soit d'autre. Certains, comme Dover Press et Penguin Classics, "
"prennent des œuvres du domaine public et produisent des éditions "
"imprimées, qu'ils vendent en librairie partout dans le pays. D'autres, comme "
"Disney, prennent ces histoires et les changent en dessins animés, parfois "
"avec succès (<citetitle>Cendrillon</citetitle>), parfois sans (<citetitle "
">Notre-Dame de Paris, La Planète au Trésor</citetitle>). Ce sont toutes des "
"publications commerciales d'œuvres du domaine public."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "pornography"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with "
"pornography that is a bit hard to describe, but it's a strong one. One "
"phenomenon that the Internet created was a world of noncommercial "
"pornographers&mdash;people who were distributing porn but were not making "
"money directly or indirectly from that distribution.  Such a class didn't "
"exist before the Internet came into being because the costs of distributing "
"porn were so high. Yet this new class of distributors got special attention "
"in the Supreme Court, when the Court struck down the Communications Decency "
"Act of 1996. It was partly because of the burden on noncommercial speakers "
"that the statute was found to exceed Congress's power. The same point could "
"have been made about noncommercial publishers after the advent of the "
"Internet. The Eric Eldreds of the world before the Internet were extremely "
"few. Yet one would think it at least as important to protect the Eldreds of "
"the world as to protect noncommercial pornographers."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with "
"pornography that is a bit hard to describe, but "
"it's a strong one. One phenomenon that the Internet created was a world of "
"noncommercial pornographers&mdash;people who were distributing porn but were "
"not making money directly or indirectly from that distribution. Such a class "
"didn't exist before the Internet came into being because the costs of "
"distributing porn were so high. Yet this new class of distributors got "
"special attention in the Supreme Court, when the Court struck down the "
"Communications Decency Act of 1996. It was partly because of the burden on "
"noncommercial speakers that the statute was found to exceed Congress's power. "
"The same point could have been made about noncommercial publishers after the "
"advent of the Internet. The Eric Eldreds of the world before the Internet "
"were extremely few. Yet one would think it at least as important to protect "
"the Eldreds of the world as to protect noncommercial pornographers."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Internet created the possibility of noncommercial publications of public "
"domain works. Eldred's is just one example. There are literally thousands of "
"others. Hundreds of thousands from across the world have discovered this "
"platform of expression and now use it to share works that are, by law, free "
"for the taking. This has produced what we might call the "
"<quote>noncommercial publishing industry,</quote> which before the Internet "
"was limited to people with large egos or with political or social "
"causes. But with the Internet, it includes a wide range of individuals and "
"groups dedicated to spreading culture generally.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Internet a créé la possibilité de la publication non commerciale des "
"œuvres du domaine public. Celle d'Eldred n'est qu'un exemple. Il y en a "
"littéralement des milliers d'autres. Des centaines de milliers de personnes "
"de par le monde ont découvert cette plateforme d'expression et l'utilisent "
"maintenant pour partager des œuvres qui sont, aux yeux de la loi, d'accès "
"libre et gratuit. Cela a produit ce que nous pourrions appeler une "
"<quote>industrie non commerciale de publication</quote>, qui, avant Internet, "
"était limitée aux gens avec un grand ego ou avec une cause politique ou "
"sociale. Mais avec Internet, cela inclut un large éventail d'individus et de "
"groupes dévoués à la diffusion de la culture en général.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Frost, Robert"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "New Hampshire (Frost)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection "
"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the "
"public domain. Eldred wanted to post that collection in his free public "
"library.  But Congress got in the way. As I described in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, in 1998, for the "
"eleventh time in forty years, Congress extended the terms of existing "
"copyrights&mdash;this time by twenty years. Eldred would not be free to add "
"any works more recent than 1923 to his collection until 2019.  Indeed, no "
"copyrighted work would pass into the public domain until that year (and not "
"even then, if Congress extends the term again). By contrast, in the same "
"period, more than 1 million patents will pass into the public domain."
msgstr ""
"Comme je l'ai dit, Eldred habite dans le New Hampshire. En 1998, la "
"collection de poèmes de Robert Frost, <citetitle>New Hampshire</citetitle>, "
"était promis au passage dans le domaine public. Eldred voulait publier cette "
"collection dans sa bibliothèque publique gratuite. Mais le Congrès s'est "
"interposé. Comme je l'ai décrit dans le chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, en 1998, pour la "
"onzième fois en quarante ans, le Congrès a étendu la durée des copyrights "
"existants&mdash;cette fois de vingt ans. Eldred ne serait pas libre d'ajouter "
"dans sa bibliothèque des oeuvres plus récentes que 1923 à sa collection "
"jusqu'en 2019. En effet, aucune oeuvre sous copyright ne passerait dans le "
"domaine public jusqu'à cette année (et même pas alors, si le Congrès "
"étend encore le délai). En comparaison, pendant la même période, plus de "
"1 millions de brevets passeront dans le domaine public."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Bono, Mary"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Bono, Sonny"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of "
"copyright protection to last forever. I am informed by staff that such a "
"change would violate the Constitution. I invite all of you to work with me "
"to strengthen our copyright laws in all of the ways available to us. As you "
"know, there is also Jack Valenti's proposal for a term to last forever less "
"one day. Perhaps the Committee may look at that next Congress,</quote> 144 "
"Cong. Rec. H9946, 9951-2 (October 7, 1998)."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>The full text is: <quote>Sonny [Bono] wanted the term of copyright "
"protection "
"to last forever. I am informed by staff that such a change would violate the "
"Constitution. I invite all of you to work with me to strengthen our copyright "
"laws in all of the ways available to us. As you know, there is also Jack "
"Valenti's proposal for a term to last forever less one day. Perhaps the "
"Committee may look at that next Congress</quote>, 144 Cong. Rec. H9946, "
"9951-2 (October 7, 1998)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in "
"memory of the congressman and former musician Sonny Bono, who, his widow, "
"Mary Bono, says, believed that <quote>copyrights should be "
"forever.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"C'était le Sonny Bono Copyright Term Extension Act (CTEA) (NdT: Loi "
"d'Extension du Délai de Copyright de Sonny Bono), édictée en mémoire du "
"membre du Congrès et ancien musicien Sonny Bono, qui, selon sa veuve, Mary "
"Bono, croyait que <quote>les copyright devraient durer pour "
"toujours</quote>.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "felony punishment for infringement of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "NET (No Electronic Theft) Act (1998)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "No Electronic Theft (NET) Act (1998)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "felony punishments for"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Eldred decided to fight this law. He first resolved to fight it through "
"civil disobedience. In a series of interviews, Eldred announced that he "
"would publish as planned, CTEA notwithstanding. But because of a second law "
"passed in 1998, the NET (No Electronic Theft) Act, his act of publishing "
"would make Eldred a felon&mdash;whether or not anyone complained. This was a "
"dangerous strategy for a disabled programmer to undertake."
msgstr ""
"Eldred décida de se battre contre cette loi. Il s'est d'abord résolu à se "
"combattre cette loi à travers la désobéissance civile. Dans une série "
"d'entretiens, Eldred annonça qu'il publierait comme prévu, nonobstant le "
"CTEA. Mais parce qu'une deuxième loi est passée en 1998, le NET (No "
"Electronic Theft, Pas de Vol Électronique) Act, son acte de publication "
"ferait d'Eldred un délinquant&mdash;que quelqu'un se plaigne ou non. "
"C'était une stratégie dangereuse à entreprendre pour un programmeur "
"invalide."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "constitutional powers of"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "Eldred case involvement of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was here that I became involved in Eldred's battle. I was a "
"constitutional scholar whose first passion was constitutional "
"interpretation.  And though constitutional law courses never focus upon the "
"Progress Clause of the Constitution, it had always struck me as importantly "
"different. As you know, the Constitution says,"
msgstr ""
"C'est alors que je commençai à être impliqué dans la bataille d'Eldred. "
"J'étais un spécialiste de la constitution dont la première passion était "
"l'interprétation constitutionnelle.  Et bien que les cours de droit "
"constitutionnel ne se focalisent jamais sur la Progress Clause (Clause de "
"Progrès), elle m'avait toujours frappé comme étant crucialement "
"différente. Comme vous le savez, la Constitution dit&nbsp;:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"Congress has the power to promote the Progress of Science &hellip; by "
"securing for limited Times to Authors &hellip; exclusive Right to their "
"&hellip; Writings. &hellip;"
msgstr ""
"Le Congrès a le pouvoir de promouvoir le Progrès de la Science ... en "
"sécurisant pour une Durée limitée aux Auteurs ... un Droit exclusif sur "
"leurs ... Écrits. ..."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As I've described, this clause is unique within the power-granting clause of "
"Article I, section 8 of our Constitution. Every other clause granting power "
"to Congress simply says Congress has the power to do something&mdash;for "
"example, to regulate <quote>commerce among the several states</quote> or "
"<quote>declare War.</quote> But here, the <quote>something</quote> is "
"something quite specific&mdash;to <quote>promote &hellip; "
"Progress</quote>&mdash;through means that are also specific&mdash; by "
"<quote>securing</quote> <quote>exclusive Rights</quote> (i.e., copyrights) "
"<quote>for limited Times.</quote>"
msgstr ""
"Comme je l'ai décrit, cette clause est unique au sein de la clause "
"conférant du pouvoir de l'Article I, section 8 de notre Constitution. Toute "
"autre clause conférant du pouvoir au Congrès dit simplement que le Congrès "
"a le pouvoir de faire quelque chose&mdash;par exemple, de réguler <quote>le "
"commerce parmi les divers États</quote> ou de <quote>déclarer la "
"Guerre</quote>. Mais ici, le <quote>quelque chose</quote> est quelque chose "
"d'assez spécifique&mdash;de <quote>promouvoir ... le "
"Progrès</quote>&mdash;à travers des moyens qui sont également "
"spécifiques&mdash;en <quote>sécurisant</quote> des <quote>Droits "
"exclusifs</quote> (c'est-à-dire des copyrights) <quote>pour une Durée "
"limitée</quote>."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Jaszi, Peter"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"In the past forty years, Congress has gotten into the practice of extending "
"existing terms of copyright protection. What puzzled me about this was, if "
"Congress has the power to extend existing terms, then the Constitution's "
"requirement that terms be <quote>limited</quote> will have no practical "
"effect. If every time a copyright is about to expire, Congress has the power "
"to extend its term, then Congress can achieve what the Constitution plainly "
"forbids&mdash;perpetual terms <quote>on the installment plan,</quote> as "
"Professor Peter Jaszi so nicely put it."
msgstr ""
"Au cours des quarante dernières années, le Congrès a adopté pour pratique "
"d'étendre la durée existante de la protection du copyright. Ce qui m'a "
"déconcertéà ce propos était que, si le Congrès a le pouvoir d'étendre "
"les durées existantes, alors l'exigence de la Constitution que ces termes "
"soient <quote>limités</quote> n'aura pas d'effet pratique. Si à chaque fois "
"qu'un copyright est sur le point d'expirer, le Congrès a le pouvoir "
"d'étendre sa durée, alors le Congrès peut réussir ce que la Constitution "
"interdit clairement&mdash;la durée perpétuelle <quote>du paiement "
"échelonné</quote>, comme le dit si bien le Professeur Peter Jaszi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As an academic, my first response was to hit the books. I remember sitting "
"late at the office, scouring on-line databases for any serious consideration "
"of the question. No one had ever challenged Congress's practice of extending "
"existing terms. That failure may in part be why Congress seemed so "
"untroubled in its habit. That, and the fact that the practice had become so "
"lucrative for Congress. Congress knows that copyright owners will be willing "
"to pay a great deal of money to see their copyright terms extended. And so "
"Congress is quite happy to keep this gravy train going."
msgstr ""
"En tant qu'universitaire, ma première réaction était de me plonger dans "
"les livres. Je me souviens être resté assis tard au bureau, fouillant des "
"bases de données en ligne à la recherche de toute considération sérieuse "
"sur la question. Personne n'avait jamais contesté la pratique du Congrès "
"d'étendre les délais existants. Cette lacune constitue peut-être en partie "
"la raison pour laquelle le Congrès semblait si confortablement installé "
"dans son habitude. Ceci, et le fait que la pratique est devenue si lucrative "
"pour le Congrès. Le Congrès sait que les détenteurs de copyright seront "
"disposés à payer des sommes considérables pour voir leurs durées de "
"copyright étendue. Et ainsi le Congrès est assez satisfait d'exploiter ce "
"bon filon."

#. type: Content of: <book><part><chapter><para>
msgid ""
"For this is the core of the corruption in our present system of "
"government. <quote>Corruption</quote> not in the sense that representatives "
"are bribed.  Rather, <quote>corruption</quote> in the sense that the system "
"induces the beneficiaries of Congress's acts to raise and give money to "
"Congress to induce it to act. There's only so much time; there's only so "
"much Congress can do. Why not limit its actions to those things it must "
"do&mdash;and those things that pay? Extending copyright terms pays."
msgstr ""
"Car c'est le cœur de la corruption dans notre actuel système de "
"gouvernement. <quote>Corruption</quote> non pas dans le sens où les "
"représentants sont soudoyés. Plutôt, <quote>corruption</quote> dans le "
"sens où le système incite les bénéficiaires des lois du Congrès à "
"réunir et à donner de l'argent au Congrès pour l'inciter à voter les "
"lois. Le temps est limité; et le Congrès ne peut pas tout faire. Pourquoi "
"ne pas limiter ses actions à ces choses qu'il doit faire&mdash;et qui "
"rapportent&nbsp;? Étendre la durée du copyright est très lucratif."

#. type: Content of: <book><part><chapter><para>
msgid ""
"If that's not obvious to you, consider the following: Say you're one of the "
"very few lucky copyright owners whose copyright continues to make money one "
"hundred years after it was created. The Estate of Robert Frost is a good "
"example. Frost died in 1963. His poetry continues to be extraordinarily "
"valuable. Thus the Robert Frost estate benefits greatly from any extension "
"of copyright, since no publisher would pay the estate any money if the poems "
"Frost wrote could be published by anyone for free."
msgstr ""
"Si cela n'est pas évident pour vous, considérez la chose suivante&nbsp;: "
"disons que vous êtes un des quelques très chanceux propriétaires de "
"copyright dont le copyright continue à rapporter de l'argent cent ans après "
"sa création. La succession de Robert Frost est un bon exemple. Frost est "
"mort en 1963. Sa poésie continue à avoir une valeur extraordinaire. Ainsi "
"la succession de Robert Frost bénéficie grandement de n'importe quelle "
"extension du copyright, étant donné qu'aucun éditeur ne donnerait de "
"l'argent à la succession si les poèmes que Frost écrivaient pouvaient "
"être édités par quiconque gratuitement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So imagine the Robert Frost estate is earning $100,000 a year from three of "
"Frost's poems. And imagine the copyright for those poems is about to "
"expire. You sit on the board of the Robert Frost estate.  Your financial "
"adviser comes to your board meeting with a very grim report:"
msgstr ""
"Donc imaginez que la succession de Robert Frost gagne 100 000 dollars par an "
"pour trois poèmes de Frost. Et imaginez que le copyright pour ces poèmes "
"est sur le point d'expirer. Vous siégez au comité de la succession de "
"Robert Frost. Votre conseiller financier vient à votre réunion du comité "
"avec un rapport très morose&nbsp;:"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in "
"works A, B, and C will expire. That means that after next year, we will no "
"longer be receiving the annual royalty check of $100,000 from the publishers "
"of those works.</quote>"
msgstr ""
"<quote>L'année prochaine</quote>, annonce le conseiller, \"nos copyrights "
"sur les œuvres A, B et C vont expirer. Cela signifie que l'année prochaine, "
"nous ne recevrons plus le chèque annuel de droits d'auteur de 100.000 "
"dollars des éditeurs de ces œuvres."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>There's a proposal in Congress, however,</quote> she continues, "
"<quote>that could change this. A few congressmen are floating a bill to "
"extend the terms of copyright by twenty years. That bill would be "
"extraordinarily valuable to us. So we should hope this bill passes.</quote>"
msgstr ""
"<quote>Il y a une proposition au Congrès, toutefois,</quote> "
"continue-t-elle, <quote>qui pourrait changer ça. Quelques membres du "
"Congrès ont émis un projet de loi pour étendre la durée du copyright de "
"vingt ans. Cette loi aurait une valeur extraordinaire pour nous. Donc nous "
"devrions espérer que cette loi soit adoptée.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing "
"something about it?</quote>"
msgstr ""
"<quote>Espérer&nbsp;?</quote> dit un membre du comité. <quote>Ne pouvons- "
"nous pas y faire quelque chose&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could "
"contribute to the campaigns of a number of representatives to try to assure "
"that they support the bill.</quote>"
msgstr ""
"<quote>Eh bien, évidemment, oui</quote>, répond le conseiller. <quote>Nous "
"pourrions contribuer aux campagnes d'un certain nombre de représentants pour "
"essayer de s'assurer qu'ils soutiendront le projet de loi.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"You hate politics. You hate contributing to campaigns. So you want to know "
"whether this disgusting practice is worth it. <quote>How much would we get "
"if this extension were passed?</quote> you ask the adviser. <quote>How much "
"is it worth?</quote>"
msgstr ""
"Vous détestez la politique. Vous détestez contribuer aux campagnes. Donc "
"vous voulez savoir si cette pratique dégoutante en vaut le cout. "
"<quote>Combien obtiendrions-nous si cette extension passait?</quote> "
"demandez-vous au conseiller. <quote>Combien vaut-elle&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Well,</quote> the adviser says, <quote>if you're confident that you "
"will continue to get at least $100,000 a year from these copyrights, and you "
"use the `discount rate' that we use to evaluate estate investments (6 "
"percent), then this law would be worth $1,146,000 to the estate.</quote>"
msgstr ""
"<quote>Eh bien</quote>, dit le conseiller, <quote>si vous êtes sûr que vous "
"continuerez à obtenir au moins 100.000 dollars par an de ces copyrights, et "
"que vous utilisez le 'taux d'escompte' que nous utilisons pour évaluer les "
"investissements de succession (6 pour cent), alors cette loi vaudrait "
"1.146.000 dollars pour la succession.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"You're a bit shocked by the number, but you quickly come to the correct "
"conclusion:"
msgstr ""
"Vous êtes un peu choqué par ce nombre, mais vous arrivez rapidement à la "
"conclusion correcte&nbsp;:"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>So you're saying it would be worth it for us to pay more than "
"$1,000,000 in campaign contributions if we were confident those "
"contributions would assure that the bill was passed?</quote>"
msgstr ""
"<quote>Donc vous dites que cela vaudrait le coup pour nous de payer plus de "
"1.000.000 de dollars en contributions de campagne si nous étions sûrs que "
"ces contributions assureraient que cette loi soit votée&nbsp;?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to "
"you to contribute up to the `present value' of the income you expect from "
"these copyrights. Which for us means over $1,000,000.</quote>"
msgstr ""
"<quote>Absolument</quote>, répond le conseiller. <quote>Elle vaut le coup "
"pour vous de contribuer jusqu'à la 'valeur actualisée' du revenu que vous "
"attendez de ces copyrights. Ce qui pour nous signifie plus de un million de "
"dollars.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"You quickly get the point&mdash;you as the member of the board and, I trust, "
"you the reader. Each time copyrights are about to expire, every beneficiary "
"in the position of the Robert Frost estate faces the same choice: If they "
"can contribute to get a law passed to extend copyrights, they will benefit "
"greatly from that extension. And so each time copyrights are about to "
"expire, there is a massive amount of lobbying to get the copyright term "
"extended."
msgstr ""
"Vous voyez rapidement l'idée&mdash;vous, en tant que membre du comité et, "
"j'ai confiance, vous le lecteur. Chaque fois que les copyrights sont sur le "
"point d'expirer, tout bénéficiaire dans la position des héritiers de "
"Robert Frost est face au même choix: si ils peuvent contribuer à obtenir "
"une loi qui étend le copyright, ils bénéficieront grandement de cette "
"extension. Et donc à chaque fois que les copyright sont sur le point "
"d'expirer, il y a une quantité massive de lobbying pour continuer à "
"étendre la durée du copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Thus a congressional perpetual motion machine: So long as legislation can be "
"bought (albeit indirectly), there will be all the incentive in the world to "
"buy further extensions of copyright."
msgstr ""
"D'où une machine à mouvement perpétuel en direction du congrès&nbsp;: "
"aussi longtemps que la législation peut être achetée (bien "
"qu'indirectement), il y aura une motivation dans le monde à acheter "
"davantage d'extensions de copyright"

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey "
"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> "
"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22."
msgstr ""
"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey "
"Mouse Effort; Congress OKs Bill Granting Creators 20 More "
"Years,</quote><citetitle> Chicago Tribune,</citetitle> 17 October 1998, 22."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
"Age,</quote> available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#49</ulink>."
msgstr ""
"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
"Age,</quote> available at link #49."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> "
"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>."
msgstr ""
"Alan K. Ota, <quote>Disney in Washington: The Mouse That "
"Roars,</quote><citetitle> Congressional Quarterly This Week,</citetitle> 8 "
"August 1990, available at link #50."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
"Extension Act, this <quote>theory</quote> about incentives was proved "
"real. Ten of the thirteen original sponsors of the act in the House received "
"the maximum contribution from Disney's political action committee; in the "
"Senate, eight of the twelve sponsors received contributions.<placeholder "
"type=\"footnote\" id=\"0\"/> The RIAA and the MPAA are estimated to have "
"spent over $1.5 million lobbying in the 1998 election cycle. They paid out "
"more than $200,000 in campaign contributions.<placeholder type=\"footnote\" "
"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to "
"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
"Dans le lobbying qui a mené au vote du Sonny Bono Copyright Term Extension "
"Act, cette <quote>théorie</quote> sur les motivations a été avérée. Dix "
"des trente représentants ayant soutenu la loi à la Chambre ont reçu la "
"contribution maximale du comité d'action politique de Disney&nbsp;; au "
"sénat, huit des douze représentants ont reçu des "
"contributions.<placeholder type=\"footnote\" id=\"0\"/>.  On estime que la RIAA et la MPAA ont dépensé plus de 1,5 million de dollars en lobbying dans le cycle électoral de 1998. Ils ont payé plus de 200.000 dollars dans des contributions de campagne.<placeholder type=\"footnote\" id=\"1\"/> On estime que Disney a contribué pour plus de 800.000 dollars aux campagnes de réélection dans le cycle de 1998<placeholder type=\"footnote\" id=\"2\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to "
"the obvious. Or at least, it need not be. So when I was considering Eldred's "
"complaint, this reality about the never-ending incentives to increase the "
"copyright term was central to my thinking. In my view, a pragmatic court "
"committed to interpreting and applying the Constitution of our framers would "
"see that if Congress has the power to extend existing terms, then there "
"would be no effective constitutional requirement that terms be "
"<quote>limited.</quote> If they could extend it once, they would extend it "
"again and again and again."
msgstr ""
"<emphasis role='strong'>La loi constitutionnelle</emphasis> n'oublie pas les "
"choses évidentes. Ou au moins, elle n'en a pas besoin. Donc quand "
"j'examinais la plainte d'Eldred, cette réalité à propos des motivations "
"sans fin pour augmenter la durée du copyright était centrale à ma pensée. "
"De mon point de vue, un tribunal pragmatique engagé à interpréter et "
"appliquer la Constitution de nos concepteurs verrait que si le Congrès a le "
"pouvoir d'étendre les durées existantes, alors il n'y aurait aucune "
"exigence constitutionnelle effective que les termes soient "
"<quote>limités</quote>. Si ils pouvaient l'étendre une fois, ils pourraient "
"l'étendre encore et encore et encore."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was also my judgment that <emphasis>this</emphasis> Supreme Court would "
"not allow Congress to extend existing terms. As anyone close to the Supreme "
"Court's work knows, this Court has increasingly restricted the power of "
"Congress when it has viewed Congress's actions as exceeding the power "
"granted to it by the Constitution. Among constitutional scholars, the most "
"famous example of this trend was the Supreme Court's decision in 1995 to "
"strike down a law that banned the possession of guns near schools."
msgstr ""
"C'était également mon jugement que <emphasis>cette</emphasis> Cour Suprême "
"ne permettrait pas au Congrès d'étendre la durée existantes. Comme le sait "
"toute personne proche de la Cour Suprême, cette Cour a de plus en plus "
"restreint le pouvoir du Congrès quand elle a vu que les actions du Congrès "
"excédaient le pouvoir accordé par la Constitution. Parmi les savants "
"constitutionnel, l'exemple le plus célèbre de cette tendance était la "
"décision de la Cour Suprême en 1995 de faire tomber une loi de 1995 qui "
"interdisait la possession d'armes près des écoles."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
"broadly; so, while the Constitution grants Congress the power to regulate "
"only <quote>commerce among the several states</quote> (aka <quote>interstate "
"commerce</quote>), the Supreme Court had interpreted that power to include "
"the power to regulate any activity that merely affected interstate commerce."
msgstr ""
"Depuis 1937, la Cour Suprême avait interprété les pouvoirs accordés au "
"Congrès très largement; donc, tandis que la constitution accorde au "
"Congrès le pouvoir de ne réguler que le <quote>commerce parmi les "
"différents états</quote>, la Cour Suprême a interprété ce pouvoir comme "
"incluant le pouvoir de réguler toute activité qui affecte simplement le "
"commerce entre états."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As the economy grew, this standard increasingly meant that there was no "
"limit to Congress's power to regulate, since just about every activity, when "
"considered on a national scale, affects interstate commerce.  A Constitution "
"designed to limit Congress's power was instead interpreted to impose no "
"limit."
msgstr ""
"Alors que l'économie grandissait, ce standard signifiait de plus en plus "
"qu'il n'y avait pas de limite à ce que le pouvoir du Congrès régulait, "
"étant donné que quasiment toute activité, considérée à l'échelle "
"nationale, affecte le commerce entre états. Une Constitution conçue pour "
"limiter le pouvoir du Congrès était à la place interprétée comme "
"n'imposant aucune limite."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Rehnquist, William H."
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The "
"government had argued that possessing guns near schools affected interstate "
"commerce. Guns near schools increase crime, crime lowers property values, "
"and so on. In the oral argument, the Chief Justice asked the government "
"whether there was any activity that would not affect interstate commerce "
"under the reasoning the government advanced. The government said there was "
"not; if Congress says an activity affects interstate commerce, then that "
"activity affects interstate commerce. The Supreme Court, the government "
"said, was not in the position to second-guess Congress."
msgstr ""
"La cour suprême, sous le commandement du Chief Justice Rehnquist, changea "
"ceci en <citetitle>États-Unis</citetitle> contre "
"<citetitle>Lopez</citetitle>. Le gouvernement avait affirmé que posséder "
"des armes près des écoles affectait le commerce entre états. Les armes "
"près des écoles augmentent le crime, le crime baissent la valeurs de "
"propriété, et ainsi de suite. Dans l'argumentaire oral, le Chief Justice "
"demanda au gouvernement s'il y avait quelconque activité qui n'affectait pas "
"le commerce entre états sous le raisonnement que le gouvernement avançait. "
"Le gouvernement dit qu'il n'y en avait pas; si le Congrès dit qu'une "
"activité affecte le commerce entre états, alors cette activité affecte le "
"commerce entre états. La Cour Suprême, dit le gouvernement, n'était pas en "
"position de critiquer après coup le Congrès."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 "
"U.S. 549, 564 (1995)."
msgstr ""
"<citetitle> United States</citetitle> v.<citetitle> Lopez,</citetitle> 514 "
"U.S. 549, 564 (1995)."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
"U.S. 598 (2000)."
msgstr ""
"<citetitle> United States</citetitle> v.<citetitle> Morrison,</citetitle> 529 "
"U.S. 598 (2000)."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>We pause to consider the implications of the government's "
"arguments,</quote> the Chief Justice wrote.<placeholder type=\"footnote\" "
"id=\"0\"/> If anything Congress says is interstate commerce must therefore "
"be considered interstate commerce, then there would be no limit to "
"Congress's power. The decision in <citetitle>Lopez</citetitle> was "
"reaffirmed five years later in <citetitle>United States</citetitle> "
"v. <citetitle>Morrison</citetitle>.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"<quote>Nous marquons une pause pour examiner les implications des arguments "
"du gouvernement</quote>, écrivit le Chief Justice<placeholder "
"type=\"footnote\" id=\"0\"/>. Si quoi que dise le Congrès est que le commerce "
"entre état doit donc être considéré comme commerce entre état, alors il n'y "
"aurait aucune limite au pouvoir du Congrès.  La décision dans "
"<citetitle>Lopez</citetitle> fut réaffirmée cinq ans plus tard dans "
"<citetitle>United States</citetitle> contre "
"<citetitle>Morrison</citetitle><placeholder type=\"footnote\" id=\"1\"/>."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"If it is a principle about enumerated powers, then the principle carries "
"from one enumerated power to another. The animating point in the context of "
"the Commerce Clause was that the interpretation offered by the government "
"would allow the government unending power to regulate commerce&mdash;the "
"limitation to interstate commerce notwithstanding. The same point is true in "
"the context of the Copyright Clause. Here, too, the government's "
"interpretation would allow the government unending power to regulate "
"copyrights&mdash;the limitation to <quote>limited times</quote> "
"notwithstanding."
msgstr ""
"If it is a principle about enumerated powers, then the principle carries from "
"one enumerated power to another. The animating point in the context of the "
"Commerce Clause was that the interpretation offered by the government would "
"allow the government unending power to regulate commerce&mdash;the limitation "
"to interstate commerce notwithstanding. The same point is true in the context "
"of the Copyright Clause. Here, too, the government's interpretation would "
"allow the government unending power to regulate copyrights&mdash;the "
"limitation to <quote>limited times</quote> notwithstanding."

#. type: Content of: <book><part><chapter><para>
msgid ""
"If a principle were at work here, then it should apply to the Progress "
"Clause as much as the Commerce Clause.<placeholder type=\"footnote\" "
"id=\"0\"/> And if it is applied to the Progress Clause, the principle should "
"yield the conclusion that Congress can't extend an existing term. If "
"Congress could extend an existing term, then there would be no "
"<quote>stopping point</quote> to Congress's power over terms, though the "
"Constitution expressly states that there is such a limit. Thus, the same "
"principle applied to the power to grant copyrights should entail that "
"Congress is not allowed to extend the term of existing copyrights."
msgstr ""
"Si un principe marchait ici, alors il devrait s'appliquer à la Clause de "
"Progrès autant qu'à la Clause de Commerce<placeholder type=\"footnote\" "
"id=\"0\"/>. Et si elle est appliquée à la Clause de Progrès, le principe "
"devrait mener à la conclusion que le Congrès ne peut pas étendre une "
"durée existante. Si le Congrès pouvait étendre une durée existante, alors "
"il n'y aurait pas de <quote>point d'arrêt</quote> au pouvoir du Congrès sur "
"les durées, alors que la Constitution établit expressément qu'il y a une "
"telle limite. Ainsi, le même principe appliqué au pouvoir d'accorder des "
"copyrights devrait impliquer que le Congrès n'a pas le droit d'étendre le "
"terme des copyrights existants."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis>If</emphasis>, that is, the principle announced in "
"<citetitle>Lopez</citetitle> stood for a principle.  Many believed the "
"decision in <citetitle>Lopez</citetitle> stood for politics&mdash;a "
"conservative Supreme Court, which believed in states' rights, using its "
"power over Congress to advance its own personal political preferences. But I "
"rejected that view of the Supreme Court's decision. Indeed, shortly after "
"the decision, I wrote an article demonstrating the <quote>fidelity</quote> "
"in such an interpretation of the Constitution. The idea that the Supreme "
"Court decides cases based upon its politics struck me as extraordinarily "
"boring.  I was not going to devote my life to teaching constitutional law if "
"these nine Justices were going to be petty politicians."
msgstr ""
"<citetitle>Si</citetitle>, pour ainsi dire, le principe annoncé dans "
"<citetitle>Lopez</citetitle> représentait un principe. Beaucoup crurent que "
"la décision dans <citetitle>Lopez</citetitle> représentait de la "
"politique&mdash;une Cour Suprême conservatrice, qui croyait en les droits "
"des états, utilisant son pouvoir sur le Congrès pour mettre en avant ses "
"propres préférences politiques personnelles. Mais j'ai rejeté cette vue de "
"la décision de la Cour Suprême. En effet, peu après la décision, j'ai "
"écrit un article démontrant la <quote>fidélité</quote> dans une telle "
"interprétation de la Constitution. L'idée que la Cour Suprême décide de "
"cas selon sa politique ma frappé comme étant extraordinairement ennuyeuse. "
"Je n'allais pas dévouer ma vie à enseigner la loi constitutionnelle si ces "
"neuf Justices allaient faire leurs petits politiciens."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure "
"we understand what the argument in <citetitle>Eldred</citetitle> was not "
"about. By insisting on the Constitution's limits to copyright, obviously "
"Eldred was not endorsing piracy.  Indeed, in an obvious sense, he was "
"fighting a kind of piracy&mdash;piracy of the public domain. When Robert "
"Frost wrote his work and when Walt Disney created Mickey Mouse, the maximum "
"copyright term was just fifty-six years. Because of interim changes, Frost "
"and Disney had already enjoyed a seventy-five-year monopoly for their "
"work. They had gotten the benefit of the bargain that the Constitution "
"envisions: In exchange for a monopoly protected for fifty-six years, they "
"created new work. But now these entities were using their "
"power&mdash;expressed through the power of lobbyists' money&mdash;to get "
"another twenty-year dollop of monopoly. That twenty-year dollop would be "
"taken from the public domain. Eric Eldred was fighting a piracy that affects "
"us all."
msgstr ""
"<emphasis role='strong'>Faisons maintenant une pause</emphasis> pour un "
"moment pour nous assurer que nous comprenions ce que n'est pas l'argument "
"dans <citetitle>Eldred</citetitle>. En insistant sur les limites de la "
"Constitution sur le copyright, Eldred ne cautionnait évidemment pas le "
"piratage. En effet, de manière évidente, il combattait une sorte de "
"piratage&mdash;le piratage du domaine public. Quand Robert Frost écrivit son "
"oeuvre et quand Walt Disney créa Mickey Mouse, la durée maximale du "
"copyright était de seulement cinquante-six ans. À cause des changements "
"d'intérimaires, Frost et Disney avait déjà joui d'un monopole de soixante- "
"quinze ans sur leur oeuvre. Ils avaient obtenu le bénéfice du compromis que "
"la Constitution imagine: en échange d'un monopole protégé pendant "
"cinquante-six ans, ils ont créé une nouvelle oeuvre. Mais maintenant ces "
"entités utilisaient leur pouvoir&mdash;exprimé à travers le pouvoir de "
"l'argent des lobbyistes&mdash;pour obtenir une autre cuillerée de vingt ans "
"de monopole. Cette cuillerée de vingt ans serait prise du domaine public. "
"Eric Eldred combattait un piratage qui nous affecte tous."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Nashville Songwriters Association"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Brief of the Nashville Songwriters Association, "
"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S.  "
"186 (2003) (No. 01-618), n.10, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #51</ulink>."
msgstr ""
"Brief of the Nashville Songwriters Association,<citetitle> Eldred</citetitle> "
"v.<citetitle> Ashcroft,</citetitle> 537 U.S. 186 (2003) (No. 01-618), n.10, "
"available at link #51."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Some people view the public domain with contempt. In their brief before the "
"Supreme Court, the Nashville Songwriters Association wrote that the public "
"domain is nothing more than <quote>legal piracy.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> But it is not piracy when the law allows it; "
"and in our constitutional system, our law requires it. Some may not like the "
"Constitution's requirements, but that doesn't make the Constitution a "
"pirate's charter."
msgstr ""
"Certaines personnes voient le domaine public avec mépris. Dans leur dossier "
"devant la Cour Suprême, la Nashville Songwriters Association écrivait que "
"le domaine public n'est rien de plus que du <quote>piratage "
"légal</quote><placeholder type=\"footnote\" id=\"0\"/>. Mais ce n'est pas du "
"piratage quand la loi l'autorise; et dans notre système constitutionnel, "
"notre loi l'exige. Certains peuvent ne pas aimer les exigences de la "
"Constitution, mais cela ne fait pas de la Constitution une charte de pirate."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As we've seen, our constitutional system requires limits on copyright as a "
"way to assure that copyright holders do not too heavily influence the "
"development and distribution of our culture. Yet, as Eric Eldred discovered, "
"we have set up a system that assures that copyright terms will be repeatedly "
"extended, and extended, and extended. We have created the perfect storm for "
"the public domain. Copyrights have not expired, and will not expire, so long "
"as Congress is free to be bought to extend them again."
msgstr ""
"Comme nous l'avons vu, notre système constitutionnel exige des limites sur "
"les copyrights comme un moyen d'assurer que les propriétaires de copyright "
"n'influence par trop lourdement le développement et la distribution de notre "
"culture. Pourtant, comme l'a découvert Eric Eldred, nous avons monté un "
"système qui assure que la durée du copyright soit étendue à maintes "
"reprises, encore et encore. Nous avons créé une tempête parfaite pour le "
"domaine public. Les copyrights n'ont pas expiré, et n'expireront pas, aussi "
"longtemps que le Congrès est libre d'être acheté pour les étendre encore."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>It is valuable</emphasis> copyrights that are "
"responsible for terms being extended.  Mickey Mouse and <quote>Rhapsody in "
"Blue.</quote> These works are too valuable for copyright owners to "
"ignore. But the real harm to our society from copyright extensions is not "
"that Mickey Mouse remains Disney's.  Forget Mickey Mouse. Forget Robert "
"Frost. Forget all the works from the 1920s and 1930s that have continuing "
"commercial value. The real harm of term extension comes not from these "
"famous works. The real harm is to the works that are not famous, not "
"commercially exploited, and no longer available as a result."
msgstr ""
"<emphasis role='strong'>Ce sont les copyrights de valeur</emphasis> qui sont "
"responsables de l'extension de la durée. Mickey Mouse et <quote>Rhapsody in "
"Blue</quote>. Ces oeuvres ont trop de valeur pour que les déteteurs de "
"copyright l'ignorent. Mais le vrai mal fait à notre société par les "
"extensions du copyright n'est pas que Mickey Mouse reste à Disney. Oubliez "
"Mickey Mouse. Oubliez Robert Frost. Oubliez toutes les oeuvres des années "
"1920 et 1930 qui continuent à avoir de la valeur commerciale. Le vrai mal de "
"l'extension de la durée ne vient pas de ces oeuvres célèbres. Le vrai mal "
"est pour les oeuvres qui ne sont pas célèbres, ni commercialement "
"exploitées, et qui ne sont en conséquence plus disponible."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"The figure of 2 percent is an extrapolation from the study by the "
"Congressional Research Service, in light of the estimated renewal "
"ranges. See Brief of Petitioners, <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 7, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #52</ulink>."
msgstr ""
"The figure of 2 percent is an extrapolation from the study by the "
"Congressional Research Service, in light of the estimated renewal ranges. See "
"Brief of Petitioners,<citetitle> Eldred</citetitle> v.<citetitle> "
"Ashcroft,</citetitle> 7, available at link #52."

#. type: Content of: <book><part><chapter><para>
msgid ""
"If you look at the work created in the first twenty years (1923 to 1942) "
"affected by the Sonny Bono Copyright Term Extension Act, 2 percent of that "
"work has any continuing commercial value. It was the copyright holders for "
"that 2 percent who pushed the CTEA through.  But the law and its effect were "
"not limited to that 2 percent. The law extended the terms of copyright "
"generally.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Si vous regardez les oeuvres créées dans les vingt premières années (de "
"1923 à 1942) affectées par le Sonny Bono Copyright Term Extension Act, 2 "
"pour cent de ces oeuvres continuent à avoir une quelconque valeur "
"commerciale. C'était les propriétaires de copyright de ces 2 pour cent qui "
"ont fait passer le CTEA. Mais la loi et ses effets ne se sont pas limités à "
"ces 2 pour cent. La loi à étendue la durée du copyright de manière "
"générale<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Think practically about the consequence of this extension&mdash;practically, "
"as a businessperson, and not as a lawyer eager for more legal work. In 1930, "
"10,047 books were published. In 2000, 174 of those books were still in "
"print. Let's say you were Brewster Kahle, and you wanted to make available "
"to the world in your iArchive project the remaining 9,873. What would you "
"have to do?"
msgstr ""
"Pensez de manière pratique aux conséquences de cette extension&mdash;en "
"pratique, comme quelqu'un dans les affaires, pas comme un avocat avide "
"d'avoir plus de travail légal. En 1930, 10.047 livres ont été publiés. En "
"2000, 174 d'entre eux étaient encore en impression. Imaginons que vous êtes "
"Brewster Kahle, et que vous voudriez rendre disponible au monde dans votre "
"projet iArchive les 9.873 livres restant. Qu'auriez-vous à faire?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Well, first, you'd have to determine which of the 9,873 books were still "
"under copyright. That requires going to a library (these data are not "
"on-line) and paging through tomes of books, cross-checking the titles and "
"authors of the 9,873 books with the copyright registration and renewal "
"records for works published in 1930. That will produce a list of books still "
"under copyright."
msgstr ""
"Eh bien, tout d'abord, vous auriez à déterminer lesquels de ces 9.873 "
"livres sont encore sous copyright. Cela nécessiterait d'aller dans une "
"bibliothèque (ces données ne sont pas en ligne) et de tourner les pages de "
"nombreux tomes de livres, en contre-vérifiant les titres et les auteurs des "
"9.873 livres avec le registre du copyright et les enregistrements de "
"renouvellement des oeuvres publiées en 1930. Cela produira une liste de "
"livres encore sous copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Then for the books still under copyright, you would need to locate the "
"current copyright owners. How would you do that?"
msgstr ""
"Puis pour les livres encore sous copyright, vous auriez besoin de localiser "
"les propriétaires actuels du copyright. Comment feriez-vous cela?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Most people think that there must be a list of these copyright owners "
"somewhere. Practical people think this way. How could there be thousands and "
"thousands of government monopolies without there being at least a list?"
msgstr ""
"La plupart des gens pensent qu'il doit y avoir une liste de ces "
"propriétaires de copyright quelque part. Les gens pratiquent pensent ainsi. "
"Comment pourrait-il y avoir des milliers et des milliers de monopoles "
"gouvernementaux sans qu'il y ait au moins une liste?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"But there is no list. There may be a name from 1930, and then in 1959, of "
"the person who registered the copyright. But just think practically about "
"how impossibly difficult it would be to track down thousands of such "
"records&mdash;especially since the person who registered is not necessarily "
"the current owner. And we're just talking about 1930!"
msgstr ""
"Mais il n'y a pas de liste. Il y a peut-être un nom de 1930, et puis en "
"1959, de la personne qui a enregistré le copyright. Mais pensez simplement "
"de manière pratique à comment il serait impossiblement difficile de "
"retrouver des milliers de tels enregistrements&mdash;en particulier étant "
"donné que la personne qui s'est enregistrée n'est pas forcément le "
"propriétaire actuel. Et nous ne parlons que de 1930!"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>But there isn't a list of who owns property generally,</quote> the "
"apologists for the system respond. <quote>Why should there be a list of "
"copyright owners?</quote>"
msgstr ""
"<quote>Mais n'y a-t-il pas une liste de qui possède la propriété en "
"général</quote>, répondent les apologistes du système. <quote>Pourquoi "
"devrait-il y avoir une liste des propriétaires de copyright?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty "
"of lists of who owns what property. Think about deeds on houses, or titles "
"to cars.  And where there isn't a list, the code of real space is pretty "
"good at suggesting who the owner of a bit of property is. (A swing set in "
"your backyard is probably yours.) So formally or informally, we have a "
"pretty good way to know who owns what tangible property."
msgstr ""
"Eh bien, en fait, si vous y réfléchissez, il y <emphasis>a</emphasis> de "
"nombreuses listes de qui possède quelle propriété. Pensez aux actes de "
"vente sur les maisons, ou les titres de propriété sur les voitures. Et "
"quand bien même il n'y aurait pas de liste, le code de l'espace réel est "
"assez bon pour suggérer qui est le propriétaire d'un morceau de "
"propriété. (Une balançoire installée dans votre jardin est probablement "
"à vous.) Donc officiellement ou officieusement, nous avons un moyen plutôt "
"bon de dire qui possède quelle propriété tangible."

#. type: Content of: <book><part><chapter><para>
msgid ""
"So: You walk down a street and see a house. You can know who owns the house "
"by looking it up in the courthouse registry. If you see a car, there is "
"ordinarily a license plate that will link the owner to the car. If you see a "
"bunch of children's toys sitting on the front lawn of a house, it's fairly "
"easy to determine who owns the toys. And if you happen to see a baseball "
"lying in a gutter on the side of the road, look around for a second for some "
"kids playing ball. If you don't see any kids, then okay: Here's a bit of "
"property whose owner we can't easily determine. It is the exception that "
"proves the rule: that we ordinarily know quite well who owns what property."
msgstr ""
"Donc: vous marchez dans la rue et vous voyez une maison. Vous pouvez savoir "
"qui possède cette maison en regardant dans le registre du palais de justice. "
"Si vous voyez une voiture, il y a habituellement une plaque d'immatriculation "
"qui fera le lien avec le propriétaire de la voiture. Si vous voyez un tas de "
"jouets d'enfants devant la pelouse d'une maison, il est assez facile de "
"déterminer qui possède les jouets. Et s'il nous arrive de voir une balle de "
"baseball traîner dans un caniveau sur le côté de la route, cherchez du "
"regard un peu autour de vous des enfants jouant à la balle. Si vous ne voyez "
"pas d'enfant, alors d'accord: voici un morceau de propriété dont il n'est "
"pas facile de déterminer le propriétaire. C'est l'exception qui confirme la "
"règle: que d'ordinaire nous savons assez bien qui possède quelle "
"propriété."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Compare this story to intangible property. You go into a library.  The "
"library owns the books. But who owns the copyrights? As I've already "
"described, there's no list of copyright owners. There are authors' names, of "
"course, but their copyrights could have been assigned, or passed down in an "
"estate like Grandma's old jewelry. To know who owns what, you would have to "
"hire a private detective. The bottom line: The owner cannot easily be "
"located. And in a regime like ours, in which it is a felony to use such "
"property without the property owner's permission, the property isn't going "
"to be used."
msgstr ""
"Comparez cette histoire à la propriété intangible. Vous allez dans une "
"bibliothèque. La bibliothèque possède les livres. Mais qui possède les "
"copyrights? Comme je l'ai déjà décrit, il n'existe pas de liste de "
"propriétaires de copyright. Il y a les noms des auteurs, bien sûr, mais "
"leurs copyrights pourrait être assigné, ou passé à un héritier comme les "
"vieux bijoux de Grand-Mère. Pour savoir qui possède quoi, vous auriez à "
"embaucher un détective privé. Au bout du compte: le propriétaire ne peut "
"pas être facilement localisé. Et dans un régime comme le notre, dans "
"lequel c'est un délit que d'utiliser la propriété sans la permission du "
"propriétaire, la propriété ne va pas être utilisée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The consequence with respect to old books is that they won't be digitized, "
"and hence will simply rot away on shelves. But the consequence for other "
"creative works is much more dire."
msgstr ""
"La conséquence par rapport aux vieux livres est qu'ils ne vont pas être "
"numérisés, et ainsi ils vont simplement disparaitre en pourrissant sur les "
"étagères. Mais la conséquence pour d'autres oeuvres créatives est plus "
"affreuse."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Agee, Michael"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Hal Roach Studios"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Laurel and Hardy Films"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Lucky Dog, The"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"See David G. Savage, <quote>High Court Scene of Showdown on Copyright "
"Law,</quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David "
"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court "
"Hears Arguments Today on Striking Down Copyright Extension,</quote> "
"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002."
msgstr ""
"See David G. Savage, <quote>High Court Scene of Showdown on Copyright "
"Law,</quote><citetitle> Los Angeles Times,</citetitle> 6 October 2002; David "
"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court Hears "
"Arguments Today on Striking Down Copyright Extension,</quote><citetitle> "
"Orlando Sentinel Tribune,</citetitle> 9 October 2002."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Consider the story of Michael Agee, chairman of Hal Roach Studios, which "
"owns the copyrights for the Laurel and Hardy films. Agee is a direct "
"beneficiary of the Bono Act. The Laurel and Hardy films were made between "
"1921 and 1951. Only one of these films, <citetitle>The Lucky "
"Dog</citetitle>, is currently out of copyright. But for the CTEA, films made "
"after 1923 would have begun entering the public domain. Because Agee "
"controls the exclusive rights for these popular films, he makes a great deal "
"of money. According to one estimate, <quote>Roach has sold about 60,000 "
"videocassettes and 50,000 DVDs of the duo's silent "
"films.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Considérez l'histire de Michael Agee, président de Hal Roach Studios, qui "
"possède les copyrights des films Laurel et Hardy. Agee est un bénéficiaire "
"direct du Bono Act. Les films de Laurel et Hardy ont été faits entre 1921 "
"et 1951. Seul un de ces films, <citetitle>The Lucky Dog</citetitle>, est "
"actuellement hors copyright. Mais pour le CTEA, les films faits après 1923 "
"auraient commencé à entrer dans le domaine public. Parce que Agee contrôle "
"les droits exclusifs de ces films populaires, il se fait beaucoup d'argent. "
"D'après une estimation, <quote>Roach a vendu environ 60.000 cassettes "
"vidéos et 50.000 DVDs des films muets du duo</quote><placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in this "
"culture: selflessness. He argued in a brief before the Supreme Court that "
"the Sonny Bono Copyright Term Extension Act will, if left standing, destroy "
"a whole generation of American film."
msgstr ""
"Et pourtant Agee s'est opposé au CTEA. Son raisonnement démontre une vertu "
"rare dans cette culture: l'altruisme. Il argumenta dans un dossier devant la "
"Cour Suprême que le Sonny Bono Copyright Term Extension Act, si il était "
"maintenu, détruirait tout une génération de cinéma Américain."

#. type: Content of: <book><part><chapter><para>
msgid ""
"His argument is straightforward. A tiny fraction of this work has any "
"continuing commercial value. The rest&mdash;to the extent it survives at "
"all&mdash;sits in vaults gathering dust. It may be that some of this work "
"not now commercially valuable will be deemed to be valuable by the owners of "
"the vaults. For this to occur, however, the commercial benefit from the work "
"must exceed the costs of making the work available for distribution."
msgstr ""
"Son argument est franc. Une minuscule fraction de cette oeuvre a quelconque "
"valeur commerciale continuelle. Le reste&mdash;dans la mesure qu'il "
"survive&mdash;reste dans des coffres à ramasser de la poussière. Il se "
"pourrait que certaines de ces oeuvres aujourd'hui non disponibles dans le "
"commerce soient considérées comme ayant de la valeur aux yeux des "
"propriétaires des coffres. Pour que cela arrive, toutefois, le bénéfice "
"commercial de l'oeuvre doit excéder les couts de fabrication pour la "
"distribution."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
"Petitoners, <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01- 618), "
"12. See also Brief of Amicus Curiae filed on behalf of Petitioners by the "
"Internet Archive, <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #53</ulink>."
msgstr ""
"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
"Petitoners,<citetitle> Eldred</citetitle> v.<citetitle> Ashcroft,</citetitle> "
"537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus Curiae filed "
"on behalf of Petitioners by the Internet Archive,<citetitle> "
"Eldred</citetitle> v.<citetitle> Ashcroft,</citetitle> available at link #53."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We can't know the benefits, but we do know a lot about the costs.  For most "
"of the history of film, the costs of restoring film were very high; digital "
"technology has lowered these costs substantially. While it cost more than "
"$10,000 to restore a ninety-minute black-and-white film in 1993, it can now "
"cost as little as $100 to digitize one hour of 8 mm film.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"On ne peut pas savoir pour les bénéfices, mais on peut bel et bien en "
"savoir beaucoup à propos des couts. Pour la plupart de l'histoire du film, "
"les couts de restauration d'un film sont très élevés; les technologies "
"numériques ont substantiellement baissé ces couts. Alors qu'il coutait plus "
"de 10.000 dollars pour restaurer un film en noir et blanc de quatre-vingt-dix "
"minutes en 1933, il coute maintenant seulement 100 dollars pour numériser "
"une heure d'un film de 8 mm<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Restoration technology is not the only cost, nor the most important.  "
"Lawyers, too, are a cost, and increasingly, a very important one. In "
"addition to preserving the film, a distributor needs to secure the rights.  "
"And to secure the rights for a film that is under copyright, you need to "
"locate the copyright owner."
msgstr ""
"La technologie de restauration n'est pas le seul cout, ni le plus important. "
"Les avocats, aussi, sont un cout, et de plus en plus, un très important. En "
"plus de préserver le film, un distributeur a besoin de sécuriser les "
"droits. Et pour sécuriser les droits d'un film sous copyright, vous avez "
"besoin de localiser le propriétaire du copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't "
"only a single copyright associated with a film; there are many. There isn't "
"a single person whom you can contact about those copyrights; there are as "
"many as can hold the rights, which turns out to be an extremely large "
"number. Thus the costs of clearing the rights to these films is "
"exceptionally high."
msgstr ""
"Ou plus précisément, <emphasis>les</emphasis> propriétaires. Comme nous "
"l'avons vu, il n'y a pas seulement un seul copyright associé à un film; il "
"y en a beaucoup. Il n'y a pas une seule personne que vous pouvez contacter à "
"propos de ces copyrights; il y en a autant que de propriétaires de "
"copyright, ce qui s'avère être un nombre très grand. Ainsi les couts de "
"clarification des droits de ces films sont exceptionnellement élevés."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>But can't you just restore the film, distribute it, and then pay the "
"copyright owner when she shows up?</quote> Sure, if you want to commit a "
"felony. And even if you're not worried about committing a felony, when she "
"does show up, she'll have the right to sue you for all the profits you have "
"made. So, if you're successful, you can be fairly confident you'll be "
"getting a call from someone's lawyer. And if you're not successful, you "
"won't make enough to cover the costs of your own lawyer. Either way, you "
"have to talk to a lawyer. And as is too often the case, saying you have to "
"talk to a lawyer is the same as saying you won't make any money."
msgstr ""
"<quote>Mais ne pouvez-vous pas juste restaurer le film, le distribuer, et "
"ensuite payer la propriétaire du copyright quand elle se présente?</quote> "
"Bien sûr, si vous voulez commettre un délit. Et même si commetre un délit "
"vous est égal, quand elle se présentera, elle aura le droit de vous "
"poursuivre pour tout le profit que vous avez fait. Donc, si vous réussissez, "
"vous pouvez être assez sûr que vous aurez un coup de fil de l'avocat de "
"quelqu'un d'autre. Et si vous ne réussissez pas, vous ne ferez pas assez "
"pour couvrir les couts de votre propre avocat. De toutes les façons, vous "
"devez parler à un avocat. Et comme c'est trop souvent le cas, dire que vous "
"devez parler à un avocat est pareil que dire que vous ne gagnerez pas assez "
"d'argent."

#. type: Content of: <book><part><chapter><para>
msgid ""
"For some films, the benefit of releasing the film may well exceed these "
"costs. But for the vast majority of them, there is no way the benefit would "
"outweigh the legal costs. Thus, for the vast majority of old films, Agee "
"argued, the film will not be restored and distributed until the copyright "
"expires."
msgstr ""
"Pour certains films, le bénéfice de sortir le film peut bie nexcéder ces "
"couts. Mais pour la vaste majorité d'eux, il n'y a pas moyen que le "
"bénéfice dépasse les couts légaux. Ainsi, pour la vaste majorité des "
"vieux films, argumenta Agee, le film ne sera pas restauré et distribué "
"jusqu'à ce que le copyright expire."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But by the time the copyright for these films expires, the film will have "
"expired. These films were produced on nitrate-based stock, and nitrate stock "
"dissolves over time. They will be gone, and the metal canisters in which "
"they are now stored will be filled with nothing more than dust."
msgstr ""
"Mais d'ici à ce que le copyright de ces films expire, le film expirera. Ces "
"films ont été produits à base de nitrate, et le nitrate se dissout au fil "
"du temps. Ils seront partis, et la cartouche de métal dans laquelle ils sont "
"maintenant rangés sera remplie avec rien d'autre que de la poussière."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Of all the</emphasis> creative work produced by "
"humans anywhere, a tiny fraction has continuing commercial value. For that "
"tiny fraction, the copyright is a crucially important legal device. For that "
"tiny fraction, the copyright creates incentives to produce and distribute "
"the creative work. For that tiny fraction, the copyright acts as an "
"<quote>engine of free expression.</quote>"
msgstr ""
"<emphasis role='strong'>De toute</emphasis> l'oeuvre créative produite par "
"des humains où que ce soit, une minuscule fraction a une valeur commerciale "
"continuelle. Pour cette minuscule fraction, le copyright est un système "
"légal crucialement important. Pour cette minuscule fraction, le copyright "
"crée des incitations pour produire et distribuer cette oeuvre créative. "
"Pour cette minuscule fraction, le copyright agit comme un <quote>moteur "
"d'expression libre</quote>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But even for that tiny fraction, the actual time during which the creative "
"work has a commercial life is extremely short. As I've indicated, most books "
"go out of print within one year. The same is true of music and "
"film. Commercial culture is sharklike. It must keep moving.  And when a "
"creative work falls out of favor with the commercial distributors, the "
"commercial life ends."
msgstr ""
"Mais même pour cette minuscule fraction, la véritable durée pendant "
"laquelle l'oeuvre créative a une vie commerciale est extrèmement courte. "
"Comem je l'ai indiqué, la plupart des livres sont en rupture d'impression en "
"une année. La même chose est vraie pour la musique et le cinéma. La "
"culture commerciale est comme un requin. Elle doit toujours être en "
"mouvement. Et quand une oeuvre créative n'est plus en faveur des "
"distributeurs commerciaux, la vie commerciale s'achève."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet that doesn't mean the life of the creative work ends. We don't keep "
"libraries of books in order to compete with Barnes &amp; Noble, and we don't "
"have archives of films because we expect people to choose between spending "
"Friday night watching new movies and spending Friday night watching a 1930 "
"news documentary. The noncommercial life of culture is important and "
"valuable&mdash;for entertainment but also, and more importantly, for "
"knowledge. To understand who we are, and where we came from, and how we have "
"made the mistakes that we have, we need to have access to this history."
msgstr ""
"Cela ne veut toutefois pas dire que la vie de l'oeuvre créative s'achève. "
"Nous ne gardons pas des bibliothèques pour faire compétition à Barnes "
"&amp; Noble, et nous n'avons pas des archives de films parce que nous nous "
"attendons à ce que les gens choisissent entre passer le vendredi soir à "
"regarder des films nouveaux et passer le vendredi soir à regarder un "
"documentaire d'actualités de 1930. La vie non commerciale de la culture est "
"importante et a de la valeur&mdash;pour le divertissement mais aussi, et "
"c'est plus important, pour le savoir. Pour comprendre qui noussommes, et "
"d'où nous venons, et comment nous avons fait les erreurs que nous avons "
"faites, nous avons besoin d'avoir accès à cette histoire."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Copyrights in this context do not drive an engine of free expression.  In "
"this context, there is no need for an exclusive right. Copyrights in this "
"context do no good."
msgstr ""
"Les copyrights dans ce contexte ne conduisent pas un moteur d'expression "
"libre. Dans ce contexte, il n'y a pas besoin d'un droit exclusif. Les "
"copyrights dans ce contexte ont un effet négatif."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet, for most of our history, they also did little harm. For most of our "
"history, when a work ended its commercial life, there was no "
"<emphasis>copyright-related use</emphasis> that would be inhibited by an "
"exclusive right.  When a book went out of print, you could not buy it from a "
"publisher.  But you could still buy it from a used book store, and when a "
"used book store sells it, in America, at least, there is no need to pay the "
"copyright owner anything. Thus, the ordinary use of a book after its "
"commercial life ended was a use that was independent of copyright law."
msgstr ""
"Pourtant, pour la plupart de notre histoire, ils n'ont aussi fait que peu de "
"mal. Pour la plupart de notre histoire, quand une oeuvre avait fini sa vie "
"commerciale, il n'y avait pas d' <emphasis>utilisation liée au "
"copyright</emphasis> qui pouvait être inhibée par un droit exclusif. Quand "
"un livre était en rupture d'impression, vous ne pouviez pas l'acheter chez "
"un éditeur. Mais vous pouviez toujours l'acheter dans une bouquinerie, et "
"quand une bouquinerie le vend, en Amérique, au moins, il n'y a pas besoin de "
"payer quoi que ce soit au propriétaire du copyright. Ainsi, l'usage "
"ordinaire d'un livre après que sa vie commerciale se terminait était "
"indépendant de la loi du copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The same was effectively true of film. Because the costs of restoring a "
"film&mdash;the real economic costs, not the lawyer costs&mdash;were so high, "
"it was never at all feasible to preserve or restore film. Like the remains "
"of a great dinner, when it's over, it's over. Once a film passed out of its "
"commercial life, it may have been archived for a bit, but that was the end "
"of its life so long as the market didn't have more to offer."
msgstr ""
"Le même était effectivement vrai pour le film. Parce que les couts de "
"restauration d'un film&mdash;les vrais couts économiques, pas les couts "
"d'avocat&mdash;était si élevés, qu'il n'était pas du tout faisable de "
"préserver ni de restaurer un film. Comme les restes d'un grand diner, quand "
"c'est fini, c'est fini. Une fois qu'un film quittait sa vie commerciale, il "
"peut avoir été archivé en partie, mais c'était la fin de sa vie aussi "
"longtemps que le marché n'avait pas plus à offrir."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In other words, though copyright has been relatively short for most of our "
"history, long copyrights wouldn't have mattered for the works that lost "
"their commercial value. Long copyrights for these works would not have "
"interfered with anything."
msgstr ""
"En d'autres termes, bien que le copyright ait été relativement court pour "
"la plus grande partie de notre histoire, les longs copyrights n'avaient pas "
"posé de problème pour les oeuvres qui ont perdu leur valeur commerciale. "
"Les longs copyrights de ces oeuvres n'interféraient pas avec quoi que ce "
"soit."

#. type: Content of: <book><part><chapter><para>
msgid "But this situation has now changed."
msgstr "Mais la situation a maintenant changé."

#. type: Content of: <book><part><chapter><para>
msgid ""
"One crucially important consequence of the emergence of digital technologies "
"is to enable the archive that Brewster Kahle dreams of.  Digital "
"technologies now make it possible to preserve and give access to all sorts "
"of knowledge. Once a book goes out of print, we can now imagine digitizing "
"it and making it available to everyone, forever. Once a film goes out of "
"distribution, we could digitize it and make it available to everyone, "
"forever. Digital technologies give new life to copyrighted material after it "
"passes out of its commercial life. It is now possible to preserve and assure "
"universal access to this knowledge and culture, whereas before it was not."
msgstr ""
"Une conséquence crucialement importante de l'émergence des technologies "
"numériques est de permettre l'archive dont Brewster Kahle rêve. Les "
"technologies numériques rendent maintenant possible la préservation et "
"l'accès à toute sorte de connaissance. Une fois qu'un livre est en rupture "
"d'impression, nous pouvons imaginer le numériser et le rendre disponible à "
"quiconque, pour toujours. Une fois qu'un film n'est plus distribué, nous "
"pourrions le numériser et le rendre disponible à quiconque, pour toujours. "
"Les technologies numériques donnent une nouvelle vie au matériel sous "
"copyright après qu'il quitte sa vie commerciale. Il est maintenant possible "
"de préserver et d'assurer l'accès universel à cette connaissance et "
"culture, alors qu'auparavant cela n'était pas le cas."

#. type: Content of: <book><part><chapter><para>
msgid ""
"And now copyright law does get in the way. Every step of producing this "
"digital archive of our culture infringes on the exclusive right of "
"copyright. To digitize a book is to copy it. To do that requires permission "
"of the copyright owner. The same with music, film, or any other aspect of "
"our culture protected by copyright. The effort to make these things "
"available to history, or to researchers, or to those who just want to "
"explore, is now inhibited by a set of rules that were written for a "
"radically different context."
msgstr ""
"Et maintenant la loi du copyright s'interpose. Chaque étape de la production "
"de cette archive numérique pour notre culture enfreint le droit exclusif du "
"copyright. Numériser un livre est le copier. Faire ceci requiert la "
"permission du propriétaire du copyright. Pareil pour la musique, les films, "
"ou tout autre aspect de notre culture protégée par copyright. Les efforts "
"pour rendre ces choses disponibles aux yeux de l'histoire, ou aux chercheurs, "
"ou à ceux qui veulent juste explorer, sont maintenant inhibés par un "
"ensemble de règles qui étaient écrites pour un contexte radicalement "
"différent."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Here is the core of the harm that comes from extending terms: Now that "
"technology enables us to rebuild the library of Alexandria, the law gets in "
"the way. And it doesn't get in the way for any useful "
"<emphasis>copyright</emphasis> purpose, for the purpose of copyright is to "
"enable the commercial market that spreads culture. No, we are talking about "
"culture after it has lived its commercial life. In this context, copyright "
"is serving no purpose <emphasis>at all</emphasis> related to the spread of "
"knowledge. In this context, copyright is not an engine of free "
"expression. Copyright is a brake."
msgstr ""
"Voici le coeur du dommage qui provient de l'extension de la durée: "
"maintenant que la technologie permet de reconstruire la bibliothèque "
"d'Alexandrie, la loi s'interpose. Et elle ne s'interpose pas pour quelconque "
"but utile du <emphasis>copyright</emphasis>, car le but du copyright est de "
"rendre possible le marché commercial qui diffuse la culture. Non, nous "
"parlons de culture après sa vie commerciale. Dans ce contexte, le copyright "
"ne sert <emphasis>aucun</emphasis> but lié à la diffusion de la "
"connaissance. Dans ce contexte, le copyright n'est pas un moteur d'expression "
"libre. Le copyright est un frein."

#. type: Content of: <book><part><chapter><para>
msgid ""
"You may well ask, <quote>But if digital technologies lower the costs for "
"Brewster Kahle, then they will lower the costs for Random House, too.  So "
"won't Random House do as well as Brewster Kahle in spreading culture "
"widely?</quote>"
msgstr ""
"Vous demanderez peut-être, <quote>Mais si les technologies numériques "
"baissent les couts pour Brewster Kahle, alors elles baisseront les couts pour "
"Éditions Machin, également. Donc, Éditions Machin ne vont-t-il pas faire "
"aussi bien que Brewster Kahle dans la diffusion large de la culture?</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Maybe. Someday. But there is absolutely no evidence to suggest that "
"publishers would be as complete as libraries. If Barnes &amp; Noble offered "
"to lend books from its stores for a low price, would that eliminate the need "
"for libraries? Only if you think that the only role of a library is to serve "
"what <quote>the market</quote> would demand. But if you think the role of a "
"library is bigger than this&mdash;if you think its role is to archive "
"culture, whether there's a demand for any particular bit of that culture or "
"not&mdash;then we can't count on the commercial market to do our library "
"work for us."
msgstr ""
"Peut-être. Un jour. Mais il n'y a absolument pas de preuve qui suggère que "
"les éditeurs soient aussi complets que les bibliothèques. Si Barnes &amp; "
"Noble proposaient le prêt de livres de ses magasins à bas prix, est-ce que "
"cela éliminerait le besoin de bibliothèques? Seulement si vous pensez que "
"le seule role d'une bibliothèque est de servir ce que <quote>le "
"marché</quote> demanderait. Mais si vous pensez que le role d'une "
"bibliothèque est plus grand que cela&mdash;si vous pensez que son role est "
"d'archiver la culture, qu'il y ait une demande pour ce morceau particulier de "
"culture ou pas&mdash;alors nous ne pouvons pas compter sur le marché "
"commercial pour faire le travail bilbiothécaire pour nous."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
"20 December 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #54</ulink>."
msgstr ""
"Jason Schultz, <quote>The Myth of the 1976 Copyright 'Chaos' Theory,</quote> "
"20 December 2002, available at link #54."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I would be the first to agree that it should do as much as it can: We should "
"rely upon the market as much as possible to spread and enable culture. My "
"message is absolutely not antimarket. But where we see the market is not "
"doing the job, then we should allow nonmarket forces the freedom to fill the "
"gaps. As one researcher calculated for American culture, 94 percent of the "
"films, books, and music produced between 1923 and 1946 is not commercially "
"available. However much you love the commercial market, if access is a "
"value, then 6 percent is a failure to provide that value.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Je serais le premier à être d'accord qu'il devrait faire autant qu'il peut: "
"nous devrions compter sur le marché autant que possible pour diffuser et "
"rendre possible la culture. Mon message n'est absolument pas anti-marché. "
"Mais là où nous voyons que le marché ne fait pas du bon travail, alors "
"nous devrions accorder à des forces extérieures au marché la liberté de "
"remplir les trous. Comme l'a calculé un chercheur pour la culture "
"Américaine, 94 pour cent des films, des livres et de la musique produite "
"entre 1923 et 1946 n'est pas disponible commercialement. Aussi grand soit "
"votre amour pour le marché commercial, si l'accès est une valeur, alros 6 "
"pour cent est un échec à fournir cette valeur<placeholder type=\"footnote\" "
"id=\"0\"/>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on "
"Eric Eldred's behalf in federal district court in Washington, D.C., asking "
"the court to declare the Sonny Bono Copyright Term Extension Act "
"unconstitutional. The two central claims that we made were (1)  that "
"extending existing terms violated the Constitution's <quote>limited "
"Times</quote> requirement, and (2) that extending terms by another twenty "
"years violated the First Amendment."
msgstr ""
"<emphasis role='strong'>En janvier 1999</emphasis>, nous enregistrions une "
"poursuite au nom d'Eric Eldred au tribunal de district fédéral de "
"Washington, D.C., en demandant au tribunal de déclarer le Sonny Bono "
"Copyright Term Extension Act anticonstitutionnel. Les deux revendications "
"centrales que nous fîmes étaient (1) qu'étendre la durée existante "
"violaient l'exigence de <quote>durée limitée</quote> de la Constitution et "
"(2) qu'étendre la durée par vingt ans de plus violait le Premier "
"Amendement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The district court dismissed our claims without even hearing an argument.  A "
"panel of the Court of Appeals for the D.C. Circuit also dismissed our "
"claims, though after hearing an extensive argument. But that decision at "
"least had a dissent, by one of the most conservative judges on that "
"court. That dissent gave our claims life."
msgstr ""
"Le tribunal de district rejeta nos plaintes sans même entendre un argument. "
"Un jury de la Cour d'Appel du Circuit de D.C. (NdT: un circuit est une "
"division administrative d'un État) rejeta également nos plaintes, après "
"avoir cependant entendu un argument extensif. Mais cette décision avait au "
"moins une dissidence, par un des juges les plus conservateurs de ce tribunal. "
"Cette dissidence donna vie à nos plaintes."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Judge David Sentelle said the CTEA violated the requirement that copyrights "
"be for <quote>limited Times</quote> only. His argument was as elegant as it "
"was simple: If Congress can extend existing terms, then there is no "
"<quote>stopping point</quote> to Congress's power under the Copyright "
"Clause. The power to extend existing terms means Congress is not required to "
"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, "
"the court had to interpret the term <quote>limited Times</quote> to give it "
"meaning. And the best interpretation, Judge Sentelle argued, would be to "
"deny Congress the power to extend existing terms."
msgstr ""
"Le Juge David Sentell dit que le CTEA violait l'exigence que les copyrights "
"soient pour une <quote>durée limitée</quote> seulement. Son argument était "
"aussi élégant que simple: si le Congrès peut étendre la durée existante, "
"alors il n'y a pas de <quote>point d'arrêt</quote> au pouvoir du Congrès "
"sous la Clause du Copyright. Le pouvoir d'étendre la durée existante "
"signifie que le Congrès n'a pas obligation d'accorder des droits qui sont "
"<quote>limités</quote>. Ainsi, argumenta le Juge Sentelle, le tribunal "
"devait interpréter l'expression <quote>durée limitée</quote> pour lui "
"donner du sens. Et la meilleure interprétation, argumenta Juge Sentelle, "
"serait de priver le Congrès du pouvoir d'étendre la durée existante."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We asked the Court of Appeals for the D.C. Circuit as a whole to hear the "
"case. Cases are ordinarily heard in panels of three, except for important "
"cases or cases that raise issues specific to the circuit as a whole, where "
"the court will sit <quote>en banc</quote> to hear the case."
msgstr ""
"Nous avions demandé la Cour d'Appel du Circuit de D.C. en entier pour "
"entendre l'affaire. D'ordinaire, les affaires sont entendues par jury de "
"trois, excepté pour les affaires importantes ou les affaires qui soulèvent "
"des problèmes spécifiques au Circuit en entier, auquel cas le tribunal "
"siège <quote>en blanc</quote> pour entendre l'affaire."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Tatel, David"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Court of Appeals rejected our request to hear the case en banc.  This "
"time, Judge Sentelle was joined by the most liberal member of the "
"D.C. Circuit, Judge David Tatel. Both the most conservative and the most "
"liberal judges in the D.C. Circuit believed Congress had overstepped its "
"bounds."
msgstr ""
"La Cour d'Appel rejeta notre demande d'entendre l'affaire en blanc. Cette "
"fois, le Juge Sentelle était rejoint par le membre le plus libéral du "
"Circuit D.C., le Juge David Tatel. À la fois le juge le plus conservateur et "
"le juge le plus libéral du Circuit D.C. croyaient que le Congrès avait "
"dépassé ses limites."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was here that most expected Eldred v. Ashcroft would die, for the Supreme "
"Court rarely reviews any decision by a court of appeals. (It hears about one "
"hundred cases a year, out of more than five thousand appeals.) And it "
"practically never reviews a decision that upholds a statute when no other "
"court has yet reviewed the statute."
msgstr ""
"C'était ici que la plupart s'attendaient à ce que <citetitle>Eldred</citetitle> contre "
"<citetitle>Ashcroft</citetitle> meure, car la Cour Suprême révise rarement une décision "
"d'une cour d'appels. (Elle entend environ cent affaires par an, sur plus de "
"cinq cent appels.) Et elle ne révise pratiquement jamais de décision qui "
"maintient une loi quand aucun autre tribunal n'a déjà révisé la loi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But in February 2002, the Supreme Court surprised the world by granting our "
"petition to review the D.C. Circuit opinion. Argument was set for October of "
"2002. The summer would be spent writing briefs and preparing for argument."
msgstr ""
"Mais en février 2002, la Cour Suprême a surpris le monde en répondant à "
"notre pétition pour réviser l'opinion du Circuit D.C.. L'exposé était "
"prévu pour octobre 2002. L'été serait consacré à l'écriture de dossiers "
"et la préparation pour l'argumentation."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>It is over</emphasis> a year later as I write these "
"words. It is still astonishingly hard. If you know anything at all about "
"this story, you know that we lost the appeal. And if you know something more "
"than just the minimum, you probably think there was no way this case could "
"have been won. After our defeat, I received literally thousands of missives "
"by well-wishers and supporters, thanking me for my work on behalf of this "
"noble but doomed cause. And none from this pile was more significant to me "
"than the e-mail from my client, Eric Eldred."
msgstr ""
"<emphasis role='strong'>C'est terminé</emphasis> un an après alors que "
"j'écris ces mots. C'est encore étonnamment difficile. Si vous savez quelque "
"chose à propos de cette histoire, vous savez que nous avons perdu l'appel. "
"Et si vous savez quelque chose de plus que juste le minimum, vous pensez "
"probablement qu'il n'y avait pas de moyen que l'affaire puisse être gagnée. "
"Après notre défaite, j'ai reçu littéralement des milliers de missives de "
"sympathisants et de défenseurs, me remerciant pour mon travail au nom de "
"cette cause noble mais vouée à l'échec. Et aucune de cette pile n'était "
"plus important pour moi que le courriel de mon client, Eric Eldred."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But my client and these friends were wrong. This case could have been "
"won. It should have been won. And no matter how hard I try to retell this "
"story to myself, I can never escape believing that my own mistake lost it."
msgstr ""
"Mais mon client et ces amis avaient tort. Cette affaire pouvait être "
"gagnée. Elle aurait due être gagnée. Et peu importe avec quelle insistance "
"j'essaye de me raconter à nouveau cette histoire à moi-même , je ne peux "
"jamais m'empêcher de croire que ma propre erreur l'a perdue."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Steward, Geoffrey"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>The mistake</emphasis> was made early, though it "
"became obvious only at the very end. Our case had been supported from the "
"very beginning by an extraordinary lawyer, Geoffrey Stewart, and by the law "
"firm he had moved to, Jones, Day, Reavis and Pogue. Jones Day took a great "
"deal of heat from its copyright-protectionist clients for supporting "
"us. They ignored this pressure (something that few law firms today would "
"ever do), and throughout the case, they gave it everything they could."
msgstr ""
"<emphasis role='strong'>L'erreur</emphasis> était faite tôt, bien qu'elle "
"devint évidente seulement à la toute fin. Notre affaire a été soutenue "
"depuis le tout début par un avocat extraordinaire, Geoffrey Stewart, et par "
"le cabinet d'avocat qu'il a rejoint, Jones, Day, Reavis et Pogue. Jones Day "
"ont encaissé une bonne quantité d'ardeur de la part de leurs clients "
"protectionnistes du copyright pour nous avoir soutenu. Ils ont ignoré cette "
"pression (quelque chose que peu de cabinets d'avocats feraient aujourd'hui), "
"et tout au long de l'affaire, ils nous ont donné tout ce qu'ils pouvaient."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Ayer, Don"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Bromberg, Dan"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"There were three key lawyers on the case from Jones Day. Geoff Stewart was "
"the first, but then Dan Bromberg and Don Ayer became quite "
"involved. Bromberg and Ayer in particular had a common view about how this "
"case would be won: We would only win, they repeatedly told me, if we could "
"make the issue seem <quote>important</quote> to the Supreme Court. It had to "
"seem as if dramatic harm were being done to free speech and free culture; "
"otherwise, they would never vote against <quote>the most powerful media "
"companies in the world.</quote>"
msgstr ""
"Il y avait trois avocats clés de Jones Day sur l'affaire. Geoff Stewart "
"était le premier, mais ensuite Dan Bromberg et Don Ayer se sont assez "
"impliqués. Bromberg et Ayer en particulier avaient une vue commune sur "
"comment l'affaire pouvaient être gagnée: nous ne gagnerions, m'ont-ils "
"continuellement dit, que si nous pourrions faire paraitre le problème "
"<quote>important</quote> aux yeux de la Cour Suprême. Il devait sembler "
"comme si un mal dramatique était en train d'être fait à la liberté "
"d'expression et à la culture libre; autrement, ils ne voteraient jamais "
"contre <quote>les sociétés de média les plus puissantes du monde</quote>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I hate this view of the law. Of course I thought the Sonny Bono Act was a "
"dramatic harm to free speech and free culture. Of course I still think it "
"is. But the idea that the Supreme Court decides the law based on how "
"important they believe the issues are is just wrong. It might be "
"<quote>right</quote> as in <quote>true,</quote> I thought, but it is "
"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As "
"I believed that any faithful interpretation of what the framers of our "
"Constitution did would yield the conclusion that the CTEA was "
"unconstitutional, and as I believed that any faithful interpretation of what "
"the First Amendment means would yield the conclusion that the power to "
"extend existing copyright terms is unconstitutional, I was not persuaded "
"that we had to sell our case like soap.  Just as a law that bans the "
"swastika is unconstitutional not because the Court likes Nazis but because "
"such a law would violate the Constitution, so too, in my view, would the "
"Court decide whether Congress's law was constitutional based on the "
"Constitution, not based on whether they liked the values that the framers "
"put in the Constitution."
msgstr ""
"Je déteste cette vision de la loi. Bien sûr je pensais que le Sonny Bonno "
"Act était un mal dramatique pour la liberté d'expression et la culture "
"libre. Bien sûr je pense toujours qu'il en est un. Mais l'idée que la Cour "
"Suprême décide la loi en fonction de l'importante qu'ils croient que les "
"problèmes ont est simplement mauvaise. Elle pourrait être "
"<quote>bonne</quote> dans le sens de <quote>vraie</quote>, je pensais, mais "
"elle est <quote>mauvaise</quote> dans le sens de <quote>cela ne devrait pas "
"être ainsi</quote>. Comme je croyais que toute interprétation fidèle de ce "
"que les concepteurs de la Constitution ont fait mènerait à la conclusion "
"que le CTEA était anticonstitutionnel, et comme je croyais que toute "
"interprétation fidèle de ce que signifiait le Premier Amendement mènerait "
"à la conclusion que le pouvoir d'étendre la durée existante du copyright "
"est anticonstitutionnel, je n'était pas persuadé que nous aurions à vendre "
"notre affaire comme du savon. Tout comme la loi qui bannit la swastika est "
"anticonstitutionnelle non pas parce que la Cour aime les Nazis mais parce "
"qu'une telle loi violerait la Constitution, alors également, à mes yeux, la "
"Court déciderait si la loi du Congrès était anticonstitutionnelle selon la "
"constitution, et non pas selon si ils aimaient les valeurs que les "
"concepteurs mirent dans la Constitution."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In any case, I thought, the Court must already see the danger and the harm "
"caused by this sort of law. Why else would they grant review? There was no "
"reason to hear the case in the Supreme Court if they weren't convinced that "
"this regulation was harmful. So in my view, we didn't need to persuade them "
"that this law was bad, we needed to show why it was unconstitutional."
msgstr ""
"Dans tous les cas, pensais-je, la Cour devait déjà voir le danger et le mal "
"causé par cette sorte de loi. Pour quelle autre raison accorderaient-ils une "
"révision? Il n'y avait aucune raison d'entendre l'affaire à la Cour "
"Suprême si ils n'étaient pas convaincus que cette régulation était "
"nocive. Donc à mes yeux, nous n'avions pas besoin de les persuader que cette "
"loi était mauvaise, nous avions besoin de montrer qu'elle était "
"anticonstitutionnelle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"There was one way, however, in which I felt politics would matter and in "
"which I thought a response was appropriate. I was convinced that the Court "
"would not hear our arguments if it thought these were just the arguments of "
"a group of lefty loons. This Supreme Court was not about to launch into a "
"new field of judicial review if it seemed that this field of review was "
"simply the preference of a small political minority.  Although my focus in "
"the case was not to demonstrate how bad the Sonny Bono Act was but to "
"demonstrate that it was unconstitutional, my hope was to make this argument "
"against a background of briefs that covered the full range of political "
"views. To show that this claim against the CTEA was grounded in "
"<emphasis>law</emphasis> and not politics, then, we tried to gather the "
"widest range of credible critics&mdash;credible not because they were rich "
"and famous, but because they, in the aggregate, demonstrated that this law "
"was unconstitutional regardless of one's politics."
msgstr ""
"Il y avait une manière, toutefois, de laquelle je sensais que la politique "
"aurait de l'importante et dans laquelle je pensais qu'une réponse serait "
"appropriée. J'étais convaincu que la Cour n'entendrait pas nos arguments si "
"elle pensait que c'étaient juste les arguments d'un groupe de huards "
"gauchistes. La Cour Suprême n'était pas sur le point de se lancer dans un "
"nouveau champ de révision judiciaire si il semblait que ce champ de "
"révision était simplement la préférence d'une petite minorité politique. "
"Bien que mon objectif dans l'affaire n'était pas de démontrer à quel point "
"le Sonny Bono Act était mauvais mais de démontrer qu'il était "
"anticonstitutionnel, mon espoir était de faire cet argument contre un arri "
"ère-plan de dossiers qui couvraient l'étendue totale des points de vue "
"politiques. Pour montrer que cette revendication contre le CTEA était "
"enraciné dans la <emphasis>loi</emphasis> et non pas dans la politique, "
"donc, nous avons essayé de rassembler la palette la plus large de critiques "
"crédibles&mdash;crédibles non pas parce qu'elles étaient riches et "
"célèbres, mais parce que, en aggrégation, elles démontraient que cette "
"loi était anticonstitutionnelle indépendamment de la politique de chacun."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Eagle Forum"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Schlafly, Phyllis"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The first step happened all by itself. Phyllis Schlafly's organization, "
"Eagle Forum, had been an opponent of the CTEA from the very beginning.  "
"Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998, "
"she wrote a stinging editorial attacking the Republican Congress for "
"allowing the law to pass. As she wrote, <quote>Do you sometimes wonder why "
"bills that create a financial windfall to narrow special interests slide "
"easily through the intricate legislative process, while bills that benefit "
"the general public seem to get bogged down?</quote> The answer, as the "
"editorial documented, was the power of money.  Schlafly enumerated Disney's "
"contributions to the key players on the committees. It was money, not "
"justice, that gave Mickey Mouse twenty more years in Disney's control, "
"Schlafly argued."
msgstr ""
"La première étape est arrivée d'elle-même. L'organisation Phyllis "
"Schlafly, Eagle Forum, a été un adversaire du CTEA dès le tout début. Mme "
"schlafly voyait le CTEA comme une trahison de la part du Congrès. En "
"novembre 1998, elle écrivit un éditorial piquant attaquant le Congrès "
"Républicain pour avoir permis à la loi de passer. Comme elle l'écrivit: "
"<quote>Vous demandez-vous parfois pourquoi les lois qui créent une aubaune "
"financière à limiter des intérêts particuliers glissent facilement à "
"travers le tortueux processus législatif, alors que les loi qui "
"bénéficient au public en général semblent s'embourber?</quote> La "
"réponse, comme le documente l'éditorial, était le pouvoir de l'argent. "
"Schlafly énuméra les contributions de Disney aux acteurs-clés des "
"comités. C'était l'argent, et non pas la justice, qui donna à Mickey Mouse "
"vingt années supplémentaires sous le contrôle de Disney, argumenta "
"Schlafly."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In the Court of Appeals, Eagle Forum was eager to file a brief supporting "
"our position. Their brief made the argument that became the core claim in "
"the Supreme Court: If Congress can extend the term of existing copyrights, "
"there is no limit to Congress's power to set terms.  That strong "
"conservative argument persuaded a strong conservative judge, Judge Sentelle."
msgstr ""
"À la cour d'appel, Eagle Forum était enthousiaste d'enregistrer un dossier "
"soutenant notre position. Leur dossier constituait l'argument qui est devenu "
"la revendication centrale devant la Cour Suprême: si le Congrès peut "
"étendre la durée existante du copyright, il n'y a pas de limite au pouvoir "
"du Congrès à fixer la durée. Cet argument fortement conservateur persuada "
"un juge fortement conservateur, le Juge Sentelle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In the Supreme Court, the briefs on our side were about as diverse as it "
"gets. They included an extraordinary historical brief by the Free Software "
"Foundation (home of the GNU project that made GNU/Linux possible). They "
"included a powerful brief about the costs of uncertainty by Intel. There "
"were two law professors' briefs, one by copyright scholars and one by First "
"Amendment scholars. There was an exhaustive and uncontroverted brief by the "
"world's experts in the history of the Progress Clause. And of course, there "
"was a new brief by Eagle Forum, repeating and strengthening its arguments."
msgstr ""
"À la Cour Suprême, les dossiers de notre côté étaient aussi variés que "
"possible. Ils incluaient un dossier extraordinairement historique de la Free "
"Software Foundation (foyer du projet GNU qui a rendu possible GNU/Linux). Ils "
"incluaient un dossier puissant sur les couts de l'incertitude par Intel. Il y "
"avait deux dossiers de professeurs de loi, un par des experts de copyright et "
"un par des experts du Premier Amendement. Il y avait un dossier exhaustif et "
"sans controverse par des experts mondiaux dans l'histoire de la Progress "
"Clause. Et bien sûr, il y avait un nouveau dossier par Eagle Forum, "
"répétant et renforçant ses arguments."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "American Association of Law Libraries"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "National Writers Union"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Those briefs framed a legal argument. Then to support the legal argument, "
"there were a number of powerful briefs by libraries and archives, including "
"the Internet Archive, the American Association of Law Libraries, and the "
"National Writers Union."
msgstr ""
"Ces dossiers formulaient un argument légal. Puis, pour soutenir l'argument "
"légal, il y avait un certain nombre de dossiers puissants par des "
"bibliothèques et des archives, parmi lesquelles l'Internet Archive, la "
"American Association of Law Libraries, et la National Writers Union."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But two briefs captured the policy argument best. One made the argument I've "
"already described: A brief by Hal Roach Studios argued that unless the law "
"was struck, a whole generation of American film would disappear. The other "
"made the economic argument absolutely clear."
msgstr ""
"Mais deux dossiers capturèrent au mieux l'argument politique. Un des deux "
"fit l'argument que j'ai déjà décrit: un dossier de Hal Roach Studios "
"affirmait qu'à moins que la loi soit enterrée, toute une génération de "
"film américain disparaitrait. L'autre précisa absolument l'argument "
"économique."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Akerlof, George"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Arrow, Kenneth"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Buchanan, James"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Coase, Ronald"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Friedman, Milton"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"This economists' brief was signed by seventeen economists, including five "
"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton "
"Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of "
"Nobel winners demonstrates, spanned the political spectrum. Their "
"conclusions were powerful: There was no plausible claim that extending the "
"terms of existing copyrights would do anything to increase incentives to "
"create. Such extensions were nothing more than "
"<quote>rent-seeking</quote>&mdash;the fancy term economists use to describe "
"special-interest legislation gone wild."
msgstr ""
"Ce dossier d'économistes était signé par dix-sept économistes, parmi "
"lesquels cinq Prix Nobel, parmi lesquels Ronald Coase, James Buchanan, Milton "
"Friedman, Kenneth Arrow et George Akerlof. Les économistes, comme le "
"démontre la liste des vainqueurs du Prix Nobel, s'étendaient sur tout le "
"spectre politique. Leurs conclusions étaient puissantes: il n'y avait pas de "
"revendication possible qu'étendre la durée existante du copyright ferait "
"quoi que ce soit pour augmenter les incitations à la création. De telles "
"extensions n'étaient rien de plus que de la <quote>recherche de "
"rente</quote>&mdash;le terme élégant que les économistes utilisent pour "
"décrire la législation d'intérêt particulier hors de contrôle."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Fried, Charles"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Morrison, Alan"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Public Citizen"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Reagan, Ronald"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The same effort at balance was reflected in the legal team we gathered to "
"write our briefs in the case. The Jones Day lawyers had been with us from "
"the start. But when the case got to the Supreme Court, we added three "
"lawyers to help us frame this argument to this Court: Alan Morrison, a "
"lawyer from Public Citizen, a Washington group that had made constitutional "
"history with a series of seminal victories in the Supreme Court defending "
"individual rights; my colleague and dean, Kathleen Sullivan, who had argued "
"many cases in the Court, and who had advised us early on about a First "
"Amendment strategy; and finally, former solicitor general Charles Fried."
msgstr ""
"Le même effort pour l'équilibre se reflétait dans l'équipe légale que "
"nous avions rassemblée pour écrire nos dossiers dans l'affaire. Les avocats "
"de Jones Day avaient été avec nous depuis le début. Mais quand l'affaire "
"s'est retrouvée à la Cour Suprême, nous avons ajouté trois avocats pour "
"nous aider à formuler cet argument pour cette Cour: Alan Morrison, un avocat "
"de Public Citizen, un groupe exemplaires à la Cour Suprême pour la défense "
"des droits individuels; ma collègue et doyenne, Kathleen Sullivan, qui a "
"soutenu de nombreuses affaires à la Cour, et qui nous a conseillés dès le "
"début sur une stratégie pour le Premier Amendement; et finalement, l'ancien "
"conseiller auprès du Ministre de la Justice Charles Fried."

#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "Commerce Clause of"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Fried was a special victory for our side. Every other former solicitor "
"general was hired by the other side to defend Congress's power to give media "
"companies the special favor of extended copyright terms. Fried was the only "
"one who turned down that lucrative assignment to stand up for something he "
"believed in. He had been Ronald Reagan's chief lawyer in the Supreme "
"Court. He had helped craft the line of cases that limited Congress's power "
"in the context of the Commerce Clause. And while he had argued many "
"positions in the Supreme Court that I personally disagreed with, his joining "
"the cause was a vote of confidence in our argument."
msgstr ""
"Fried était une victoire particulière pour notre camp. Chaque ancien "
"conseiller auprès du Ministre de la Justice état embauché par l'autre camp "
"pour défendre le pouvoir du Congrès de donner aux sociétés de média la "
"faveur spéciale d'une durée étendue de copyright. Fried était le seul qui "
"avait décliné ce poste lucratif pour prendre la défense de quelque chose "
"en lequel il croyait. Il avait été l'avocat en chef de Ronald Reagan à la "
"Cour Suprême. Il avait aidé à concevoir une série d'affaires qui ont "
"limité le pouvoir du Congrès dans le contexte de la Commerce Clause. Et "
"bien qu'il eut soutenu de nombreuses positions à la Cour Suprême avec "
"lesquelles j'étais personnellement en désaccord, son adhésion à la cause "
"était un vote de confiance en notre argument."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The government, in defending the statute, had its collection of friends, as "
"well. Significantly, however, none of these <quote>friends</quote> included "
"historians or economists. The briefs on the other side of the case were "
"written exclusively by major media companies, congressmen, and copyright "
"holders."
msgstr ""
"Le gouvernement, pour la défense de la loi, avait sa collection d'amis, "
"également. Mais remarquablement, ne figuraient parmi ces <quote>amis</quote> "
"aucun historien ou économiste. Les dossiers dans l'autre camp de l'affaire "
"étaient écrits exclusivement par des sociétés de média majeures, des "
"députés et des propriétaires de copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The media companies were not surprising. They had the most to gain from the "
"law. The congressmen were not surprising either&mdash;they were defending "
"their power and, indirectly, the gravy train of contributions such power "
"induced. And of course it was not surprising that the copyright holders "
"would defend the idea that they should continue to have the right to control "
"who did what with content they wanted to control."
msgstr ""
"Les sociétés de média n'étaient pas surprenantes. Elles avaient la plus "
"grande part du gain de la loi. Les députés n'étaient pas non plus "
"étonnants&mdash;ils défendaient leur pouvoir et, indirectement, le filon de "
"contributions qu'un tel pouvoir induisait. Et bien sûr ce n'était pas "
"étonnant que les propriétaires de copyright défendaient l'idée qu'ils "
"dussent continuer à avoir le droit de contrôler qui faisait quoi avec le "
"contenu qu'ils voulaient contrôler."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Gershwin, George"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Porgy and Bess"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 537 U.S.  (2003) (No. 01-618), 19."
msgstr ""
"Brief of Amici Dr. Seuss Enterprise et al.,<citetitle> Eldred</citetitle> "
"v.<citetitle> Ashcroft,</citetitle> 537 U.S. 186 (2003) (No. 01-618), 19."

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse "
"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March "
"1998, B7."
msgstr ""
"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse "
"Joins the Fray,</quote><citetitle> New York Times,</citetitle> 28 March 1998, "
"B7."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Dr. Seuss's representatives, for example, argued that it was better for the "
"Dr. Seuss estate to control what happened to Dr. Seuss's work&mdash; better "
"than allowing it to fall into the public domain&mdash;because if this "
"creativity were in the public domain, then people could use it to "
"<quote>glorify drugs or to create pornography.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> That was also the motive of the Gershwin "
"estate, which defended its <quote>protection</quote> of the work of George "
"Gershwin. They refuse, for example, to license <citetitle>Porgy and "
"Bess</citetitle> to anyone who refuses to use African Americans in the "
"cast.<placeholder type=\"footnote\" id=\"1\"/> That's their view of how this "
"part of American culture should be controlled, and they wanted this law to "
"help them effect that control."
msgstr ""
"Les représentants du Dr. Seuss, par exemple, soutinrent qu'il était mieux "
"pour les successeurs de Dr. Seuss de contrôler ce qu'il arrivait à l'oeuvre "
"du Dr. Seuss&mdash;mieux que de permettre qu'elle tombe dans le domaine "
"public&mdash;car si cette créativité était dans le domaine public, alors "
"les gens pourraient l'utiliser pour <quote>glorifier les drogues et créer de "
"la pornographie</quote><placeholder type=\"footnote\" id=\"0\"/>. "
"C'était également le motif des successeurs de Gershwin, qui défendaient leur "
"<quote>protection</quote> de l'oeuvre de George Gershwin. Ils refusent, par "
"exemple, d'accorder un droit d'exploitation pour <citetitle>Porgy and "
"Bess</citetitle> à quiconque qui refuse d'utiliser des Afro-Américains "
"dans la distribution<placeholder type=\"footnote\" id=\"1\"/>. C'est leur "
"vision de comment cette partie de la culture américaine devrait être "
"contrôlée, et ils voulaient que cette loi les aide à effectuer ce "
"contrôle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This argument made clear a theme that is rarely noticed in this debate.  "
"When Congress decides to extend the term of existing copyrights, Congress is "
"making a choice about which speakers it will favor.  Famous and beloved "
"copyright owners, such as the Gershwin estate and Dr. Seuss, come to "
"Congress and say, <quote>Give us twenty years to control the speech about "
"these icons of American culture. We'll do better with them than anyone "
"else.</quote> Congress of course likes to reward the popular and famous by "
"giving them what they want. But when Congress gives people an exclusive "
"right to speak in a certain way, that's just what the First Amendment is "
"traditionally meant to block."
msgstr ""
"Cet argument a précisé un thème qu'on remarque rarement dans ce débat. "
"Quand le Congrès décide d'étendre la durée des copyrights existants, le "
"Congrès choisit quels locuteurs elle va favoriser. Des célèbres et adorés "
"propriétaires de copyrights, tels que les successeurs de Gershwin et Dr. "
"Seuss, viennnent au Congrès et disent, <quote>Donnez-vous vingt ans pour "
"contrôler l'expression à propos de ces icônes de la culture américain. "
"Nous ferons mieux pour eux que n'importe qui d'autre.</quote> Bien sûr le "
"Congrès aime récompenser les gens populaires et célèbres en leur donnant "
"ce qu'ils veulent. Mais quand le Congrès donne à des gens un droit exclusif "
"de s'exprimer dans un certain sens, c'est justement ce que le Premier "
"Amendement est censé bloquer."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We argued as much in a final brief. Not only would upholding the CTEA mean "
"that there was no limit to the power of Congress to extend "
"copyrights&mdash;extensions that would further concentrate the market; it "
"would also mean that there was no limit to Congress's power to play "
"favorites, through copyright, with who has the right to speak."
msgstr ""
"Nous avons soutenu autant dans un dossier final. Non seulement maintenir le "
"CTEA signifie qu'il n'y a pas de limite au pouvoir du Congrès d'étendre le "
"copyright&mdash;extensions qui concentreraient davantage le marché; cela "
"voudrait également dire qu'il n'y avait pas de limite au Congrès de faire "
"du favoritisme, à travers le copyright, avec qui a le droit de parler."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Between February</emphasis> and October, there was "
"little I did beyond preparing for this case. Early on, as I said, I set the "
"strategy."
msgstr ""
"<emphasis role='strong'>Entre février</emphasis> et octobre, je n'ai pas "
"fait grand chose hormis préparer le dossier. Dès le début, comme je l'ai "
"dit, j'ai fixé la stratégie."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "O'Connor, Sandra Day"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Supreme Court was divided into two important camps. One camp we called "
"<quote>the Conservatives.</quote> The other we called <quote>the "
"Rest.</quote> The Conservatives included Chief Justice Rehnquist, Justice "
"O'Connor, Justice Scalia, Justice Kennedy, and Justice Thomas. These five "
"had been the most consistent in limiting Congress's power. They were the "
"five who had supported the <citetitle>Lopez/Morrison</citetitle> line of "
"cases that said that an enumerated power had to be interpreted to assure "
"that Congress's powers had limits."
msgstr ""
"La Cour Suprême était divisée en deux camps importants. Un camp que nous "
"avons appelé <quote>les Conservateurs</quote>. L'autre, nous l'avons appelé "
"<quote>le Reste</quote>. Parmi les Conservateurs figuraient le Chief Justice "
"Rehnquist, Justice O'Connor, Justice Scalia, Justice Kennedy, et Justice "
"Thomas. Ces cinq-là ont été les plus cohérents pour limiter le pouvoir du "
"Congrès. C'étaient les cinq qui avaient soutenu la série d'affaires "
"<citetitle>Lopez/Morrison</citetitle> qui disaient qu'un pouvoir mesuré "
"devait être interprété pour assurer que les pouvoirs du Congrès aient des "
"limites."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Breyer, Stephen"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Ginsburg, Ruth Bader"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Rest were the four Justices who had strongly opposed limits on "
"Congress's power. These four&mdash;Justice Stevens, Justice Souter, Justice "
"Ginsburg, and Justice Breyer&mdash;had repeatedly argued that the "
"Constitution gives Congress broad discretion to decide how best to implement "
"its powers. In case after case, these justices had argued that the Court's "
"role should be one of deference. Though the votes of these four justices "
"were the votes that I personally had most consistently agreed with, they "
"were also the votes that we were least likely to get."
msgstr ""
"Le Reste étaient les quatre Justices qui s'étaient fortement opposé aux "
"limites sur les pouvoirs du Congrès. Ces quatre-là&mdash;Justice Stevens, "
"Justice Souter, Justice Ginsburg et Justice Breyer&mdash;ont soutenu à "
"plusieurs reprises que la Constitution donne au Congrès toute la discrétion "
"de décider comment mettre en oeuvre au mieux ses pouvoirs. Dossier après "
"dossier, ces justices ont soutenu que le rôle de la Cour devrait être un "
"rôle de respect. Bien que les votes de ces quatre justices étaient les "
"votes avec lesquels j'avais été personnellement le plus souvent d'accord, "
"c'étaient également les votes que nous avions le moins de chance d'obtenir."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In particular, the least likely was Justice Ginsburg's. In addition to her "
"general view about deference to Congress (except where issues of gender are "
"involved), she had been particularly deferential in the context of "
"intellectual property protections. She and her daughter (an excellent and "
"well-known intellectual property scholar) were cut from the same "
"intellectual property cloth. We expected she would agree with the writings "
"of her daughter: that Congress had the power in this context to do as it "
"wished, even if what Congress wished made little sense."
msgstr ""
"En particulier, le moins probable était celui de Justice Ginsburg. En plus "
"de sa vision générale sur le respect du Congrès (excepté là où des "
"problèmes de genre étaient impliqués), elle avait été particulièrement "
"respectueuse dans le contexte de la protection de la propriété "
"intellectuelle. Elle et sa fille (une excellente et bien connue experte en "
"propriété intellectuelle) étaient taillé dans le même tissu de "
"propriété intellectuelle. Nous nous attendions à ce qu'elle soit d'accord "
"avec les écrits de sa fille: que le Congrès avait le droit dans ce contexte "
"de faire comme il le désirait, même si ce que le Congrès désirait n'avait "
"que peu de sens."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Close behind Justice Ginsburg were two justices whom we also viewed as "
"unlikely allies, though possible surprises. Justice Souter strongly favored "
"deference to Congress, as did Justice Breyer. But both were also very "
"sensitive to free speech concerns. And as we strongly believed, there was a "
"very important free speech argument against these retrospective extensions."
msgstr ""
"Juste derrière Justice Ginsburg se trouvaient deux justices que nous noyions "
"également comme des alliés improbables, malgré de possibles surprises. "
"Justice Souter était fortement en faveur du respect pour le Congrès, comme "
"l'était Justice Breyer. Mais les deux étaient également très sensibles "
"envers les préoccupations de liberté d'expression. Et, comme nous le "
"croyions fortement, il y avait un argument très important de liberté "
"d'expression contre ces extensions rétrospectives."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The only vote we could be confident about was that of Justice "
"Stevens. History will record Justice Stevens as one of the greatest judges "
"on this Court. His votes are consistently eclectic, which just means that no "
"simple ideology explains where he will stand. But he had consistently argued "
"for limits in the context of intellectual property generally. We were fairly "
"confident he would recognize limits here."
msgstr ""
"Le seul vote en lequel nous pouvions avoir confiance était celui de Justice "
"Stevens. L'histoire se souviendra de Justice Stevens comme un des meilleurs "
"juges de cette Cour. Ses votes sont systématiquement éclectiques, ce qui "
"signifie simplement qu'aucune idéologie simple n'explique ce qu'il "
"défendra. Mais il avait systématiquement soutenu les limites dans le "
"contexte de la propriété intellectuelle en général. Nous avions assez "
"confiance en le fait qu'il reconnaitrait les limites ici."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This analysis of <quote>the Rest</quote> showed most clearly where our focus "
"had to be: on the Conservatives. To win this case, we had to crack open "
"these five and get at least a majority to go our way. Thus, the single "
"overriding argument that animated our claim rested on the Conservatives' "
"most important jurisprudential innovation&mdash;the argument that Judge "
"Sentelle had relied upon in the Court of Appeals, that Congress's power must "
"be interpreted so that its enumerated powers have limits."
msgstr ""
"Cette analyse du <quote>Reste</quote> montrait très clairement où notre "
"objectif devait être: sur les Conservateurs. Pour remporter l'affaire, nous "
"avions à fracturer ces cinq-là et obtenir au moins une majorité pour "
"tracer notre route. Ainsi, l'unique argument prédominant qui animait notre "
"revendication restait sur l'innovation jurisprudentielle la plus importante "
"des Conservateurs&mdash;l'arguent sur lequel Juge Sentelle a compté à la "
"Cour d'Appels, que le pouvoir du Congrès doit être interprété afin que "
"ses pouvoirs énumérés aient des limites."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This then was the core of our strategy&mdash;a strategy for which I am "
"responsible. We would get the Court to see that just as with the "
"<citetitle>Lopez</citetitle> case, under the government's argument here, "
"Congress would always have unlimited power to extend existing terms. If "
"anything was plain about Congress's power under the Progress Clause, it was "
"that this power was supposed to be <quote>limited.</quote> Our aim would be "
"to get the Court to reconcile <citetitle>Eldred</citetitle> with "
"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was "
"limited, then so, too, must Congress's power to regulate copyright be "
"limited."
msgstr ""
"C'était donc là le coeur de notre stratégie&mdash;une stratégie dont je "
"suis responsable. Nous obtiendrions que la Cour verrait que tout comme avec "
"l'affaire <citetitle>Lopez</citetitle>, sous l'argument du gouvernement ici, "
"le Congrès aurait toujours le pouvoir illimité d'étendre la durée "
"existante. S'il y avait quoi que ce soit de clair à propos du pouvoir du "
"Congrès sous la Progress Clause, c'était que son pouvoir était supposé "
"être <quote>limité</quote>. Notre but était d'obtenir que la Cour "
"réconcilie <citetitle>Eldred</citetitle> avec <citetitle>Lopez</citetitle>: "
"si le pouvoir du Congrès de réguler le commerce était limité, alors, "
"également, le pouvoir du Congrès de réguler le copyright doit être "
"limité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>The argument</emphasis> on the government's side "
"came down to this: Congress has done it before. It should be allowed to do "
"it again. The government claimed that from the very beginning, Congress has "
"been extending the term of existing copyrights. So, the government argued, "
"the Court should not now say that practice is unconstitutional."
msgstr ""
"<emphasis role='strong'>L'argument</emphasis> du côté du gouvernement se "
"résumait à ceci: le Congrès l'a déjà fait auparavant. Il devrait être "
"autorisé à le refaire. Le gouvernement affirmait ceci depuis le tout "
"début, que le Congrès avait étendu la durée des copyrights existants. "
"Donc, soutenait le gouvernement, la Cour ne devrait pas maintenant dire que "
"la pratique est anticonstitutionnelle."

#. type: Content of: <book><part><chapter><para>
msgid ""
"There was some truth to the government's claim, but not much. We certainly "
"agreed that Congress had extended existing terms in 1831 and in 1909. And of "
"course, in 1962, Congress began extending existing terms "
"regularly&mdash;eleven times in forty years."
msgstr ""
"Il y avait quelque vérité dans l'affirmation du gouvernement, mais pas "
"beaucoup. Nous étions certainement d'accord que le Congrès avait étendu la "
"durée existante en 1831 et en 1909. Et bien sûr, en 1962, le Congrès avait "
"commencé à étendre régulièrement les durées existantes&mdash;onze fois "
"en quarante ans."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But this <quote>consistency</quote> should be kept in perspective. Congress "
"extended existing terms once in the first hundred years of the Republic.  It "
"then extended existing terms once again in the next fifty. Those rare "
"extensions are in contrast to the now regular practice of extending existing "
"terms. Whatever restraint Congress had had in the past, that restraint was "
"now gone. Congress was now in a cycle of extensions; there was no reason to "
"expect that cycle would end. This Court had not hesitated to intervene where "
"Congress was in a similar cycle of extension.  There was no reason it "
"couldn't intervene here."
msgstr ""
"Mais il faudrait relativiser cette <quote>habitude</quote>. Le Congrès a "
"étendu les durées existantes une fois dans les cent premières années de "
"la République. Il a ensuite étendu les termes existants une fois de plus "
"les cinquante suivantes. Ces rares extensions contrastent avec la pratique "
"désormais régulière d'étendre les durées existantes. Quelque soit le "
"contrôle que le Congrès avait dans le passé, ce contrôle est maintenant "
"parti. Le Congrès était maintenant dans un cycle d'extensions; il n'y avait "
"pas de raison de s'attendre à ce que ce cycle s'arrête. Cette Cour n'avait "
"pas hésité à intervenir là où le Congrès était dans un cycle similaire "
"d'extension. Il n'y avait pas de raison qu'elle ne pusse pas intervenir ici."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first "
"week in October. I arrived in D.C. two weeks before the argument. During "
"those two weeks, I was repeatedly <quote>mooted</quote> by lawyers who had "
"volunteered to help in the case. Such <quote>moots</quote> are basically "
"practice rounds, where wannabe justices fire questions at wannabe winners."
msgstr ""
"<emphasis role='strong'>L'argument oral</emphasis> était planifié pour la "
"première semaine d'octobre. Je suis arrivé dans le D.C. deux semaines avant "
"l'argument. Durant ces deux semaines, j'étais à plusieurs reprises "
"<quote>interrogé</quote> par des avocats qui se sont portés volontaires "
"pour aider dans cette affaire. De tels <quote>interrogatoires</quote> "
"étaient simplement des rounds d'entrainement, où des aspirants justices "
"posaient des questions à des aspirants vainqueurs."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I was convinced that to win, I had to keep the Court focused on a single "
"point: that if this extension is permitted, then there is no limit to the "
"power to set terms. Going with the government would mean that terms would be "
"effectively unlimited; going with us would give Congress a clear line to "
"follow: Don't extend existing terms. The moots were an effective practice; I "
"found ways to take every question back to this central idea."
msgstr ""
"J'étais convaincu que pour gagner, j'avais à garder la Cour concentrée sur "
"une simple idée: que si cette extension était permise, alors il n'y aurait "
"aucune limite au pouvoir de fixer les durées. Suivre le gouvernement "
"signifierait que les durées seraient effectivement illimitées; nous suivre "
"donnerait au Congrès une ligne claire à suivre: n'étendez pas les durées "
"existantes. Les interrogatoires étaient un entrainement efficace; j'ai "
"trouvé des manières de ramener chaque question à cette idée centrale."

#. type: Content of: <book><part><chapter><para>
msgid ""
"One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He "
"had served in the Reagan Justice Department with Solicitor General Charles "
"Fried. He had argued many cases before the Supreme Court. And in his review "
"of the moot, he let his concern speak:"
msgstr ""
"Un interrogatoire était devant les avocats de Jones Day. Don Ayer était le "
"sceptique. Il avait servi dans le Département de Justice de Reagan avec le "
"Conseiller auprès du Ministre de la Justice Charles Fried. Il avait soutenu "
"de nombreuses affaires devant la Cour Suprême. Et dans sa revue de "
"l'interrogatoire, il a laissé parler sa préoccupation:"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>I'm just afraid that unless they really see the harm, they won't be "
"willing to upset this practice that the government says has been a "
"consistent practice for two hundred years. You have to make them see the "
"harm&mdash;passionately get them to see the harm. For if they don't see "
"that, then we haven't any chance of winning.</quote>"
msgstr ""
"<quote>J'ai juste peur qu'à moins qu'ils voient vraiment le mal causé, ils "
"ne seront pas disposés à perturber cette pratique dont le gouvernement dit "
"qu'elle a été une pratique habituelle pendant deux-cent ans. Vous devez les "
"amener à voir le mal causé&mdash;les amener passionnément à voir le mal "
"causé. Car s'ils ne voient pas ça, alors nous n'avons aucune chance de "
"gagner.</quote>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"He may have argued many cases before this Court, I thought, but he didn't "
"understand its soul. As a clerk, I had seen the Justices do the right "
"thing&mdash;not because of politics but because it was right. As a law "
"professor, I had spent my life teaching my students that this Court does the "
"right thing&mdash;not because of politics but because it is right. As I "
"listened to Ayer's plea for passion in pressing politics, I understood his "
"point, and I rejected it. Our argument was right. That was enough.  Let the "
"politicians learn to see that it was also good."
msgstr ""
"Il avait beau avoir soutenu de nombreuses affaires devant cette Cour, "
"pensais-je, mais il n'en comprenait pas l'essence. En tant que greffier, "
"j'avais vu les Justices faire la bonne chose&mdash;pas à cause de la "
"politique mais parce que c'était bien. En tant que professeur de droit, "
"j'avais passé ma vie à enseigner à mes étudiants que cette Cour fait la "
"bonne chose&mdash;par à cause de la politique mais parce que c'est bien. "
"Alors que j'écoutais la supplication d'Ayer pour la passino dans la pression "
"politique, je compris son idée, et je la rejetai. Notre argument était "
"juste. C'était suffisant. Laissez les politiciens apprendre à voir ce qui "
"était également bon."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>The night before</emphasis> the argument, a line of "
"people began to form in front of the Supreme Court. The case had become a "
"focus of the press and of the movement to free culture. Hundreds stood in "
"line for the chance to see the proceedings. Scores spent the night on the "
"Supreme Court steps so that they would be assured a seat."
msgstr ""
"<emphasis role='strong'>La nuit précédant</emphasis> l'argument, une file "
"de personnes commençait à se former devant la Cour Suprême. L'affaire "
"avait capté l'attention de la presse et du mouvement de la culture libre. "
"Des centaines de personnes faisaient la queue pour avoir la chance de voir la "
"procédure. Des douzaines ont passé la nuit sur les marches de la Cour "
"Suprême afin d'être assurés d'avoir un siège."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Not everyone has to wait in line. People who know the Justices can ask for "
"seats they control. (I asked Justice Scalia's chambers for seats for my "
"parents, for example.) Members of the Supreme Court bar can get a seat in a "
"special section reserved for them. And senators and congressmen have a "
"special place where they get to sit, too. And finally, of course, the press "
"has a gallery, as do clerks working for the Justices on the Court. As we "
"entered that morning, there was no place that was not taken. This was an "
"argument about intellectual property law, yet the halls were filled. As I "
"walked in to take my seat at the front of the Court, I saw my parents "
"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting "
"in the special section ordinarily reserved for family of the Justices."
msgstr ""
"Tout le monde n'avait pas à faire la queue. Les gens qui connaissaient les "
"Justices pouvaient demander des sièges qu'ils contrôlaient. (J'ai demandé "
"au cabinet de Justice Scalia des sièges pour mes parents, par exemple.) Les "
"membres du barreau de la Cour Suprême peuvent obtenir un siège dans une "
"section spéciale qui leur est réservée. Et les sénateurs et députés ont "
"un emplacement spécial où ils peuvent s'asseoir, aussi. Et enfin, bien "
"sûr, la presse a une tribune, tout comme les greffiers travaillant pour les "
"Justices à la Cour. Alors que j'entrai pour prendre place devant la Cour, je "
"vis mes parents assis sur la gauche. Alors que je m'asseyai à la table, je "
"vis Jack Valenti assis dans la section spéciale réservée habituellement à "
"la famille des Justices."

#. type: Content of: <book><part><chapter><para>
msgid ""
"When the Chief Justice called me to begin my argument, I began where I "
"intended to stay: on the question of the limits on Congress's power. This "
"was a case about enumerated powers, I said, and whether those enumerated "
"powers had any limit."
msgstr ""
"Quand les Chief Justice m'appelèrent pour commencer mon argument, je "
"commençai là où j'avais l'intention de rester: sur la question des limites "
"du pouvoir du Congrès. C'était une affaire sur des pouvoirs en nombre "
"limité, dis-je, et sur si ces pouvoirs en nombre limité avaient quelconque "
"limite."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Justice O'Connor stopped me within one minute of my opening.  The history "
"was bothering her."
msgstr ""
"Justice O'Connor m'arrêta en moins d'une minute de mon ouverture. L'histoire "
"la dérangeait."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"justice o'connor: Congress has extended the term so often through the years, "
"and if you are right, don't we run the risk of upsetting previous extensions "
"of time? I mean, this seems to be a practice that began with the very first "
"act."
msgstr ""
"<emphasis role='strong'>JUSTICE O'CONNOR:</emphasis> Le Congrès a étendu la "
"durée si souvent à travers les ans, et si vous avez raison, ne courons-nous "
"pas le risque de bouleverser les précédentes extensions de durée? Je veux "
"dire, cela semble être une pratique qui a commencé dès la toute première "
"loi."

#. type: Content of: <book><part><chapter><para>
msgid ""
"She was quite willing to concede <quote>that this flies directly in the face "
"of what the framers had in mind.</quote> But my response again and again was "
"to emphasize limits on Congress's power."
msgstr ""
"Elle était assez disposée à concéder que <quote>cela remettait "
"directement en question ce que les concepteurs avaient à l'esprit</quote>. "
"Mais ma réponse était encore et encore d'insister sur les limites du "
"pouvoir du Congrès."

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"mr. lessig: Well, if it flies in the face of what the framers had in mind, "
"then the question is, is there a way of interpreting their words that gives "
"effect to what they had in mind, and the answer is yes."
msgstr ""
"<emphasis role='strong'>MR. LESSIG:</emphasis> Eh bien, si cela remet en "
"question ce que les concepteurs avaient à l'esprit, alors la question est, y "
"a-t-il une manière d'interpréter leurs mots qui donnent effet à ce qu'ils "
"avaient à l'esprit, et la réponse est oui."

#. type: Content of: <book><part><chapter><para>
msgid ""
"There were two points in this argument when I should have seen where the "
"Court was going. The first was a question by Justice Kennedy, who observed,"
msgstr ""
"Il y avait deux points dans cet arguments quand j'aurais du voir où la Cour "
"était en train d'aller. Le premier était une question de Justice Kennedy, "
"qui observa,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"justice kennedy: Well, I suppose implicit in the argument that the '76 act, "
"too, should have been declared void, and that we might leave it alone "
"because of the disruption, is that for all these years the act has impeded "
"progress in science and the useful arts.  I just don't see any empirical "
"evidence for that."
msgstr ""
"<emphasis role='strong'>JUSTICE KENNEDY:</emphasis> Eh bien, je suppose qu'il "
"est implicite dans l'argument que la loi de 1976, également, aurait due "
"être déclarée nulle, et que nous pourrions l'abandonner à cause du "
"bouleversement, que pendant toutes ces années la loi a gêné le progrès de "
"la science et des arts utiles. Je ne vois juste aucune preuve empirique de "
"ceci."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Here follows my clear mistake. Like a professor correcting a student, I "
"answered,"
msgstr ""
"Et voici mon erreur criante. Comme un professeur corrigeant un étudiant, je "
"répondis,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"mr. lessig: Justice, we are not making an empirical claim at all.  Nothing "
"in our Copyright Clause claim hangs upon the empirical assertion about "
"impeding progress. Our only argument is this is a structural limit necessary "
"to assure that what would be an effectively perpetual term not be permitted "
"under the copyright laws."
msgstr ""
"<emphasis role='strong'>MR. LESSIG:</emphasis> Justice, nous ne faisons pas "
"du tout d'affirmation empirique. Rien dans notre revendication de la "
"Copyright Clause ne repose sur l'assertion empirique de la gêne du progrès. "
"Notre seul argument est celui d'une limite structurelle nécessaire pour "
"assurer que ce qui serait une durée effectivement perpétuelle ne soit pas "
"permise sous les lois du copyright."

#. type: Content of: <book><part><chapter><para>
msgid ""
"That was a correct answer, but it wasn't the right answer. The right answer "
"was instead that there was an obvious and profound harm. Any number of "
"briefs had been written about it. He wanted to hear it. And here was the "
"place Don Ayer's advice should have mattered. This was a softball; my answer "
"was a swing and a miss."
msgstr ""
"C'était une réponse correcte, mais ce n'était pas la bonne réponse. La "
"bonne réponse était plutôt qu'il y avait un mal causé évident et "
"profond. Tout un tas de dossiers a été écrit là-dessus. Il voulait "
"l'entendre. Et c'était là le moment où le conseil de Don Ayer aurait du "
"servir. C'était du softball; ma réponse était un tir et un manqué."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The second came from the Chief, for whom the whole case had been "
"crafted. For the Chief Justice had crafted the <citetitle>Lopez</citetitle> "
"ruling, and we hoped that he would see this case as its second cousin."
msgstr ""
"Le second vint du Chef, pour qui toute l'affaire avait été conçue. Car le "
"Chief Justice avait élaboré l'arrêt <citetitle>Lopez</citetitle>, et nous "
"espérions qu'il verrait cette affaire comme son second cousin."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was clear a second into his question that he wasn't at all sympathetic.  "
"To him, we were a bunch of anarchists. As he asked:"
msgstr ""
"Il était clair en l'espace d'une seconde qu'il n'était pas du tout "
"sympathique. Pour lui, nous étions une bande d'anarchistes. Comme il le "
"demandai:"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"chief justice: Well, but you want more than that. You want the right to copy "
"verbatim other people's books, don't you?"
msgstr ""
"<emphasis role='strong'>CHIEF JUSTICE:</emphasis> Eh bien, mais vous voulez "
"plus que cela. Vous voulez le droit de copier mot pour mot les livres des "
"autres gens, n'est-ce pas?"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"mr. lessig: We want the right to copy verbatim works that should be in the "
"public domain and would be in the public domain but for a statute that "
"cannot be justified under ordinary First Amendment analysis or under a "
"proper reading of the limits built into the Copyright Clause."
msgstr ""
"<emphasis role='strong'>MR. LESSIG:</emphasis> Nous voulons le droit de "
"copier mot pour mot des oeuvres qui devraient être dans le domaine public et "
"qui seraient dans le domaine public s'il n'y avait pas une loi qui ne peut "
"pas être justifiée sous une analyse ordinaire du Premier Amendement ou sous "
"une lecture appropriée des limites incorporées dans la Copyright Clause."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Olson, Theodore B."
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"Things went better for us when the government gave its argument; for now the "
"Court picked up on the core of our claim. As Justice Scalia asked Solicitor "
"General Olson,"
msgstr ""
"Les choses s'améliorèrent pour nous quand le gouvernement donna son "
"argument; car maintenant la Cour avait saisi le coeur de notre revendication. "
"Comme le demanda Justice Scalia au Conseiller auprès du Ministre de la "
"Justice Olson,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"justice scalia: You say that the functional equivalent of an unlimited time "
"would be a violation [of the Constitution], but that's precisely the "
"argument that's being made by petitioners here, that a limited time which is "
"extendable is the functional equivalent of an unlimited time."
msgstr ""
"<emphasis role='strong'>JUSTICE SCALIA:</emphasis> Vous dites que "
"l'équivalent fonctionnel d'une durée illimitée serait une violation [de la "
"Constitution], mais c'est précisément l'argument qui est en train d'être "
"fait par les pétitionneurs ici, qu'une durée limitée qui est extensible "
"est l'équivalente fonctionnelle d'une durée illimitée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"When Olson was finished, it was my turn to give a closing rebuttal.  Olson's "
"flailing had revived my anger. But my anger still was directed to the "
"academic, not the practical. The government was arguing as if this were the "
"first case ever to consider limits on Congress's Copyright and Patent Clause "
"power. Ever the professor and not the advocate, I closed by pointing out the "
"long history of the Court imposing limits on Congress's power in the name of "
"the Copyright and Patent Clause&mdash; indeed, the very first case striking "
"a law of Congress as exceeding a specific enumerated power was based upon "
"the Copyright and Patent Clause. All true. But it wasn't going to move the "
"Court to my side."
msgstr ""
"Quand Olson avait fini, c'était à mon tour de donner un rejet final. La "
"raclée d'Olson avait ravivé ma colère. Mais ma colère était toujours "
"dirigée contre les académiques, non pas contre les pratiques. Le "
"gouvernement argumentait comme si c'était la toute première affaire qui "
"envisageait des limites sur le pouvoir du Congrès sur la Copyright clause et "
"la Patent Clause. Toujours en tant que professeur et non pas de partisan, je "
"terminai en indiquant la longue histoire de la Cour imposant des limites au "
"pouvoir du Congrès au nom de la Copyright Clause et de la Patent "
"Clause&mdash;en effet, la toute première affaire frappant une loi du "
"Congrès comme excédant un pouvoir énuméré spécifique était basé sur "
"la Copyright Clause et la Patent Clause. Entièrement vrai. Mais cela "
"n'allait pas ramener la Cour de mon côté."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>As I left</emphasis> the court that day, I knew "
"there were a hundred points I wished I could remake. There were a hundred "
"questions I wished I had answered differently. But one way of thinking about "
"this case left me optimistic."
msgstr ""
"<emphasis role='strong'>En quittant</emphasis> le tribunal ce jour-là, je "
"savais qu'il y avait une centaine de points que j'aurais voulu refaire. Il y "
"avait une centaine de questions auxquelles j'aurais voulu répondre "
"différemment. Mais une manière de penser à cette affaire me laissait "
"optimiste."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The government had been asked over and over again, what is the limit? Over "
"and over again, it had answered there is no limit. This was precisely the "
"answer I wanted the Court to hear. For I could not imagine how the Court "
"could understand that the government believed Congress's power was unlimited "
"under the terms of the Copyright Clause, and sustain the government's "
"argument. The solicitor general had made my argument for me. No matter how "
"often I tried, I could not understand how the Court could find that "
"Congress's power under the Commerce Clause was limited, but under the "
"Copyright Clause, unlimited. In those rare moments when I let myself believe "
"that we may have prevailed, it was because I felt this Court&mdash;in "
"particular, the Conservatives&mdash;would feel itself constrained by the "
"rule of law that it had established elsewhere."
msgstr ""
"On avait demandé au gouvernement encore et encore, quelle est la limite? "
"Encore et encore, il avait répondu qu'il n'y avait pas de limite. C'était "
"précisément la réponse que je voulais que la Cour entende. Car je ne "
"pouvais pas imaginer comment la Cour pouvait comprendre que le gouvernement "
"croyait que le pouvoir du Congrès était illimité sous les termes de la "
"Copyright Clause, et soutenir l'argument du gouvernement. Le Conseiller "
"auprès du Ministre de la Justice avait fait mon argument pour moi. Peu "
"importe combien de fois j'ai essayé, je ne pouvais pas comprendre comment la "
"Cour pouvait trouver que le pouvoir du Copyright étati limité sous la "
"Copyright Clause, mais illimité sous la Copyright Clause. Dans ces rares "
"moments où je me laissais croire que nous avions dominé, c'était parce je "
"pensais que cette Cour&mdash;en particulier, les Conservateurs&mdash;se "
"sentirait elle-même contrainte par la règle de la loi qu'elle avait "
"établie ailleurs."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was "
"five minutes late to the office and missed the 7:00 A.M. call from the "
"Supreme Court clerk. Listening to the message, I could tell in an instant "
"that she had bad news to report.The Supreme Court had affirmed the decision "
"of the Court of Appeals. Seven justices had voted in the majority. There "
"were two dissents."
msgstr ""
"<emphasis role='strong'>Le matin</emphasis> du 15 janvier 2003, j'étais en "
"retard de cinq minutes au bureau et j'ai manqué l'appel de 7 heures du matin "
"du greffier de la Cour Suprême. En écoutant le message, je pouvais dire en "
"un instant qu'elle avait de mauvaises nouvelles à rapporter. La Cour "
"Suprême avait affirmé la décision de la Cour d'Appel. Sept justices "
"avaient voté dans la majorié. Il y avait deux dissidents."

#. type: Content of: <book><part><chapter><para>
msgid ""
"A few seconds later, the opinions arrived by e-mail. I took the phone off "
"the hook, posted an announcement to our blog, and sat down to see where I "
"had been wrong in my reasoning."
msgstr ""
"Quelques secondes plus tard, les opinions arrivèrent par courriel. J'ai "
"décroché le téléphone, posté une annonce sur notre blog, et me suis "
"assis pour voir où j'avais tort dans mon raisonnement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money "
"in the world against <emphasis>reasoning</emphasis>. And here was the last "
"naïve law professor, scouring the pages, looking for reasoning."
msgstr ""
"Mon <emphasis>raisonnement</emphasis>. Voici une affaire qui a engouffré "
"tout l'argent du monde contre le <emphasis>raisonnement</emphasis>. Et voici "
"le dernier professeur de droit naïf, parcourant les pages, cherchant un "
"raisonnement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I first scoured the opinion, looking for how the Court would distinguish the "
"principle in this case from the principle in "
"<citetitle>Lopez</citetitle>. The argument was nowhere to be found. The case "
"was not even cited. The argument that was the core argument of our case did "
"not even appear in the Court's opinion."
msgstr ""
"J'ai d'abord parcouru l'opinion, cherchant comment la Cour distinguerait le "
"principe dans cette affaire du principe de <citetitle>Lopez</citetitle>. "
"L'argument était introuvable nulle part. L'affaire n'était même pas "
"citée. L'argument qui était l'argument au coeur de notre affaire "
"n'apparaissait même pas dans l'opinion de la Cour."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Justice Ginsburg simply ignored the enumerated powers argument.  Consistent "
"with her view that Congress's power was not limited generally, she had found "
"Congress's power not limited here."
msgstr ""
"Justice Ginsbourg ignorait simplement l'argument des pouvoirs énumérés. En "
"accord avec sa vision que le pouvoir du Congrès n'était pas limité en "
"général, elle avait trouvé que le Congrès n'était pas limité ici."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Her opinion was perfectly reasonable&mdash;for her, and for Justice "
"Souter. Neither believes in <citetitle>Lopez</citetitle>. It would be too "
"much to expect them to write an opinion that recognized, much less "
"explained, the doctrine they had worked so hard to defeat."
msgstr ""
"Son opinion était parfaitement raisonnable&mdash;pour elle, et pour Justice "
"Souter. Aucun ne croyait en <citetitle>Lopez</citetitle>. C'eût été trop "
"que d'attendre d'eux d'écrire une opinion qui reconnaitrait, et encore moins "
"expliquerait, la doctrine qu'ils avaient tant travaillé pour vaincre."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But as I realized what had happened, I couldn't quite believe what I was "
"reading. I had said there was no way this Court could reconcile limited "
"powers with the Commerce Clause and unlimited powers with the Progress "
"Clause. It had never even occurred to me that they could reconcile the two "
"simply <emphasis>by not addressing the argument</emphasis>. There was no "
"inconsistency because they would not talk about the two together.  There was "
"therefore no principle that followed from the <citetitle>Lopez</citetitle> "
"case: In that context, Congress's power would be limited, but in this "
"context it would not."
msgstr ""
"Mais alors que je réalisais ce qui s'était passé, je ne pouvais pas croire "
"ce que j'étais en train de lire. J'avais dit qu'il n'y avait pas de manière "
"avec laquelle cette Cour pouvait réconcilier les pouvoirs limités avec la "
"Commerce Clause et des pouvoirs illimités avec la Progress Clause. Il ne "
"m'était jamais apparu qu'ils pouvaient réconcilier les deux simplement "
"<citetitle>en ne mentionnant pas l'argument</citetitle>. Il n'y avait pas "
"d'incohérence parce qu'ils ne parlaient pas des deux ensemble. Il n'y avait "
"donc aucun principe qui s'ensuivait de l'affaire "
"<citetitle>Lopez</citetitle>: dans ce contexte-là, le pouvoir du Congrès "
"était limité, mais dans ce contexte-ci, non."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Yet by what right did they get to choose which of the framers' values they "
"would respect? By what right did they&mdash;the silent five&mdash;get to "
"select the part of the Constitution they would enforce based on the values "
"they thought important? We were right back to the argument that I said I "
"hated at the start: I had failed to convince them that the issue here was "
"important, and I had failed to recognize that however much I might hate a "
"system in which the Court gets to pick the constitutional values that it "
"will respect, that is the system we have."
msgstr ""
"Et pourtant, de quel droit étianet-ils arrivés à choisir quelles valeurs "
"des concepteurs ils respecteraient? De quel droit étaient-ils&mdash;les cinq "
"silencieux&mdash;arrvés à sélectionner la partie de la Constitution qu'ils "
"appliqueraient en se basant sur des valeurs qu'ils pensaient importantes? "
"Nous étions revenus à l'argument que j'avais dis que je détestais au "
"début: je ne les avais pas convaincu que le problème ici était important, "
"et je n'ai pas reconnu que malgré toute ma haine pour un système dans "
"lequel la Cour arrive à choisir les valeurs constitutionnelles qu'elle va "
"respecter, c'est le système que nous avons."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion "
"was crafted internal to the law: He argued that the tradition of "
"intellectual property law should not support this unjustified extension of "
"terms. He based his argument on a parallel analysis that had governed in the "
"context of patents (so had we). But the rest of the Court discounted the "
"parallel&mdash;without explaining how the very same words in the Progress "
"Clause could come to mean totally different things depending upon whether "
"the words were about patents or copyrights.  The Court let Justice Stevens's "
"charge go unanswered."
msgstr ""
"Justice Breyer et Justice Stevens ont écrit des protestations très fortes. "
"L'opinion de Stevens était construite à partir de la loi: il a argumenté "
"que la tradition de la loi de la propriété intellectuelle ne devrait pas "
"soutenir cette extension injustifiée de la durée. Il a fondé son argument "
"sur une analyse parralèle qui avait gouverné dans le contexte des brevets "
"(tout comme nous). Mais le reste de la Cour n'a pas pris ce parralèle en "
"compte&mdash;sans expliquer comment exactement les même mots dans la "
"Progress Clause pouvaient signifier des choses totalement différentes selon "
"que les mots parlent de brevets ou de copyrights. La Cour a laissé "
"l'accusation de Justice Stevens sans réponse."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Justice Breyer's opinion, perhaps the best opinion he has ever written, was "
"external to the Constitution. He argued that the term of copyrights has "
"become so long as to be effectively unlimited. We had said that under the "
"current term, a copyright gave an author 99.8 percent of the value of a "
"perpetual term. Breyer said we were wrong, that the actual number was "
"99.9997 percent of a perpetual term. Either way, the point was clear: If the "
"Constitution said a term had to be <quote>limited,</quote> and the existing "
"term was so long as to be effectively unlimited, then it was "
"unconstitutional."
msgstr ""
"L'opinion de Justice Breyer, peut-être la meilleurs opinion qu'il ait jamais "
"écrite, était externe à la Constitution. Il soutenait que la durée des "
"copyrights est devenue si longue qu'elle en est devenue effectivement "
"illimitée. Nous aviosn dit que sous la durée actuelle, un copyright donnait "
"à un auteur 99,8 pour cent de la valeur d'un copyright illimité. Breyer "
"disait que nous avions tort, que le véritable nombre était 99,9997 pour "
"cent d'une durée perpétuelle. Dans un cas comem dans l'autre, l'idée "
"était claire: si la Constitution disait qu'une durée devait être "
"<quote>limitée</quote>, et que la durée existante était longue au point "
"d'être effectivement illimitée, alors c'était anticonstitutionnel."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These two justices understood all the arguments we had made. But because "
"neither believed in the <citetitle>Lopez</citetitle> case, neither was "
"willing to push it as a reason to reject this extension. The case was "
"decided without anyone having addressed the argument that we had carried "
"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the "
"Prince."
msgstr ""
"Ces deux justices avaient compris touts les arguments que nous avions faits. "
"Mais parce que aucun de croyait en l'affaire <citetitle>Lopez</citetitle>, "
"aucun ne voulait pousser cela comme une raison de rejeter cette extension. "
"L'affaire avait été décidée sans que personne n'ait remarqué l'argument "
"que nous avions rapporté du Juge Sentelle. C'était "
"<citetitle>Hamlet</citetitle> sans le Prince."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is "
"a sign of health when depression gives way to anger. My anger came quickly, "
"but it didn't cure the depression. This anger was of two sorts."
msgstr ""
"<emphasis role='strong'>La défaite amène la dépression.</emphasis> On dit "
"que c'est un signe de santé quand la dépression fait place à la colère. "
"Ma colère est venue rapidement, mais elle n'a pas soigné la dépression. "
"Cette colère était de deux sortes."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "originalism"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was first anger with the five <quote>Conservatives.</quote> It would have "
"been one thing for them to have explained why the principle of "
"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have "
"been a very convincing argument, I don't believe, having read it made by "
"others, and having tried to make it myself. But it at least would have been "
"an act of integrity.  These justices in particular have repeatedly said that "
"the proper mode of interpreting the Constitution is "
"<quote>originalism</quote>&mdash;to first understand the framers' text, "
"interpreted in their context, in light of the structure of the "
"Constitution. That method had produced <citetitle>Lopez</citetitle> and many "
"other <quote>originalist</quote> rulings. Where was their "
"<quote>originalism</quote> now?"
msgstr ""
"C'était d'abord ma colère contre les cinq <quote>Conservateurs</quote>. "
"Cela aurait été une chose de leur part que d'avoir expliqué le principe de "
"<citetitle>Lopez</citetitle> ne s'appliquait pas dans cette affaire. Cela "
"n'aurait pas été un argument très convaincant, je pense, l'ayant lu fait "
"par les autres, et ayant essayé de le faire par moi-même. Mais cela aurait "
"au moins été un acte d'intégrité. Ces justices en particulier ont dit à "
"plusieurs reprises que l'interprétation correcte de la Constitution est "
"l'<quote>originalisme</quote>&mdash;d'abord comprendre le texte des "
"concepteurs, interprété dans leur contexte, à la lumière de la structure "
"de la Constitution. Cette méthode a produit <citetitle>Lopez</citetitle>, et "
"de nombreux autres verdicts <quote>originalistes</quote>. Où était leur "
"originalisme maintenant&nbsp;?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"Here, they had joined an opinion that never once tried to explain what the "
"framers had meant by crafting the Progress Clause as they did; they joined "
"an opinion that never once tried to explain how the structure of that clause "
"would affect the interpretation of Congress's power. And they joined an "
"opinion that didn't even try to explain why this grant of power could be "
"unlimited, whereas the Commerce Clause would be limited. In short, they had "
"joined an opinion that did not apply to, and was inconsistent with, their "
"own method for interpreting the Constitution. This opinion may well have "
"yielded a result that they liked. It did not produce a reason that was "
"consistent with their own principles."
msgstr ""
"Ici, ils avaient rejoint une opinion qui n'a jamais essayé d'expliquer ce "
"que les concepteurs avaient voulu dire en élaborant la Progress Clause comme "
"ils l'ont fait; ils ont rejoint une opinion qui n'a jamais essayé "
"d'expliquer comment la structure de cette clause affecterait "
"l'interprétation du pouvoir du Congrès. Et ils ont rejoint un opinion qui "
"n'a même pas essayé d'expliquer pourquoi cet octroi de pouvoir pouvait "
"être illimité, alors que la Commerce Clause était limitée. Bref, ils "
"avaient rejoint une opinion qui ne s'appliquait pas à, et était "
"incohérente avec , leur propre méthode d'interprétation de la "
"Constitution. Cette opinion a bien pu produire un résultat qu'ils aiment. "
"Elle n'a pas produit de raisonnement quoi soit en accord avec leurs propres "
"principes."

#. type: Content of: <book><part><chapter><para>
msgid ""
"My anger with the Conservatives quickly yielded to anger with myself.  For I "
"had let a view of the law that I liked interfere with a view of the law as "
"it is."
msgstr ""
"Ma colère envers les Conservateurs a rapidement mené à une colère contre "
"moi-même. Car j'avais laissé une vision de la loi que j'aimais interférer "
"avec une vision de la loi telle qu'elle est."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Most lawyers, and most law professors, have little patience for idealism "
"about courts in general and this Supreme Court in particular.  Most have a "
"much more pragmatic view. When Don Ayer said that this case would be won "
"based on whether I could convince the Justices that the framers' values were "
"important, I fought the idea, because I didn't want to believe that that is "
"how this Court decides. I insisted on arguing this case as if it were a "
"simple application of a set of principles.  I had an argument that followed "
"in logic. I didn't need to waste my time showing it should also follow in "
"popularity."
msgstr ""
"La plupart des avocats, et la plupart des professeurs de droit, ont peu de "
"patience pour l'idéalisme à propos des tribunaux en général et de cette "
"Cour Suprême en particulier. La plupart ont une vue bien plus pragmatique. "
"Quand Don Ayer disait que cette affaire serait gagnée si je pouvais "
"convaincre les Justices que les valeurs des concepteurs étaient importantes, "
"j'ai lutté contre l'idée, parce que je ne voulais pas croire que c'est "
"ainsi que la Cour décide. J'ai insisté pour soutenir l'affaire comme si "
"c'était une simple application d'un ensemble de principes. J'avais un "
"argument qui suivait la logique. Je n'avais pas besoin de perdre mon temps en "
"montrant qu'il pouvait aussi suivre la popularité."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As I read back over the transcript from that argument in October, I can see "
"a hundred places where the answers could have taken the conversation in "
"different directions, where the truth about the harm that this unchecked "
"power will cause could have been made clear to this Court. Justice Kennedy "
"in good faith wanted to be shown. I, idiotically, corrected his "
"question. Justice Souter in good faith wanted to be shown the First "
"Amendment harms. I, like a math teacher, reframed the question to make the "
"logical point. I had shown them how they could strike this law of Congress "
"if they wanted to. There were a hundred places where I could have helped "
"them want to, yet my stubbornness, my refusal to give in, stopped me. I have "
"stood before hundreds of audiences trying to persuade; I have used passion "
"in that effort to persuade; but I refused to stand before this audience and "
"try to persuade with the passion I had used elsewhere. It was not the basis "
"on which a court should decide the issue."
msgstr ""
"En lisant la transcription de cet argument en Octobre, je voyais une centaine "
"d'endroits où les réponses pouvaient avoir emmené la conversation dans "
"différentes directions, où la vérité sur le mal causé que ce pouvoir "
"incontrôlé causerait aurait pu être explicité pour cette Cour. Justice "
"Kennedy, de bonne foi, voulait qu'on lui montre. Moi, bêtement, j'ai "
"corrigé sa question. Justice Souter, de bonen fois, voulais qu'on lui montre "
"les dommages au Premier Amendement. Moi, comme un professeurs de maths, j'ai "
"recardré la question pour faire un argument logique. Je leur avais montré "
"comment ils pouvaient faire sauter cette loi du Congrès s'ils le voulaient. "
"Il y avait une centaine d'endroits où j'aurais pu les aider à le vouloir, "
"mais mon entêtement, mon refus de céder, m'a arrêté. Je m'étais tenu "
"devant des centaines d'assistances en essayant de persuader; j'avais utilisé "
"la passion dans cet effort de persuasion; mais j'ai refusé de me tenir "
"devant cette assistance et d'essayer de persuader avec cette passion que "
"j'avais utilisée ailleurs. Ce n'était pas une base sur laquelle un tribunal "
"devrait décider d'un enjeu."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Would it have been different if I had argued it differently? Would it have "
"been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen "
"Sullivan?"
msgstr ""
"Cela aurait-il été différent si j'avais soutenu différemment? Cela "
"aurait-il été différent si Don Ayer l'avait soutenue? Ou Charles Fried? Ou "
"Kathleen Sullivan?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"My friends huddled around me to insist it would not. The Court was not "
"ready, my friends insisted. This was a loss that was destined. It would take "
"a great deal more to show our society why our framers were right. And when "
"we do that, we will be able to show that Court."
msgstr ""
"Mes amis ont fait bloc autour de moi pour insister que non. La Cour n'était "
"pas prête, insistèrent mes amis. C'était voué à l'échec. Cela aurait "
"pris bien plus pour montrer à notre société pourquoi nos concepteurs "
"avaient raison. Et quand nous ferons cela, nous seront capables de montrer à "
"cette Cour."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Maybe, but I doubt it. These Justices have no financial interest in doing "
"anything except the right thing. They are not lobbied. They have little "
"reason to resist doing right. I can't help but think that if I had stepped "
"down from this pretty picture of dispassionate justice, I could have "
"persuaded."
msgstr ""
"Peut-être, mais j'en doute. Ces Justices n'ont pas d'intérêt financier à "
"faire quoi que ce soit excepté la bonne chose. Ils ne sont pas sous "
"pression. Ils ont peu de raison pour résister contre faire le bien. Je ne "
"peux pas m'empêcher de penser que si j'étais descendu de cette belle image "
"de la justice dépassionnée, j'aurais pu persuader."

#. type: Content of: <book><part><chapter><para>
msgid ""
"And even if I couldn't, then that doesn't excuse what happened in "
"January. For at the start of this case, one of America's leading "
"intellectual property professors stated publicly that my bringing this case "
"was a mistake. <quote>The Court is not ready,</quote> Peter Jaszi said; this "
"issue should not be raised until it is."
msgstr ""
"Et même si je ne pouvais pas, alors cela n'excuse pas ce qui s'est passé en "
"Janvier. Car au début de cette affaire, un des plus importants professeurs "
"en propriété intellectuelle d'Amérique affirma publiquement que le fait "
"que je présente cette affaire était une erreur. <quote>La Cour n'est pas "
"prête</quote>, dit Peter Jaszi; ce problème ne devrait pas être soulevé "
"jusqu'à ce qu'elle le soit."

#. type: Content of: <book><part><chapter><para>
msgid ""
"After the argument and after the decision, Peter said to me, and publicly, "
"that he was wrong. But if indeed that Court could not have been persuaded, "
"then that is all the evidence that's needed to know that here again Peter "
"was right. Either I was not ready to argue this case in a way that would do "
"some good or they were not ready to hear this case in a way that would do "
"some good. Either way, the decision to bring this case&mdash;a decision I "
"had made four years before&mdash;was wrong."
msgstr ""
"Après la séance et après la décision, me dit Peter, et publiquement, "
"qu'il avait tort. Mais si en effet cette Cour n'aurait pas pu être "
"persuadée, alors c'est toute la preuve nécessaire pour savoir qu'ici encore "
"Peter avait raison. Soit je n'était pas prêt pour soutenir cette affaire de "
"manière à ce qu'elle fasse quelque bien, soit ils n'étaient pas prêts à "
"entendre cette affaire de manire à ce qu'elle fasse quelque bien. Dans "
"chaque cas, la décision de présenter cette affaire&mdash;une décision que "
"j'ai faite quatre ans auparavant&mdash;était mauvaise."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act "
"itself was almost unanimously negative, the reaction to the Court's decision "
"was mixed.  No one, at least in the press, tried to say that extending the "
"term of copyright was a good idea. We had won that battle over ideas. Where "
"the decision was praised, it was praised by papers that had been skeptical "
"of the Court's activism in other cases. Deference was a good thing, even if "
"it left standing a silly law. But where the decision was attacked, it was "
"attacked because it left standing a silly and harmful law. <citetitle>The "
"New York Times</citetitle> wrote in its editorial,"
msgstr ""
"<emphasis role='strong'>Alors que la réaction</emphasis> au Sonny Bono Act "
"lui-même était presque unanimement négative, la réaction à la décision "
"de la Cour était mitigée. Personne, au moins dans la presse, n'essaya de "
"dire qu'étendre la durée du copyright était une bonne idée. Nousavions "
"gagné la bataille sur les idées. Là où la décision était louée, "
"j'étais loué par des papiers qui avaient été sceptiques quant à "
"l'activisme de la Cour dans d'autres affaires. Le respect était une bonne "
"chose, même s'il laissait intact une loi stupide. Mais là où la décision "
"était attaquée, elle était attaquée parce qu'elle laissait intacte une "
"loi stupide et nuisible. Le <citetitle>New York Times</citetitle> écrivit "
"dans son éditorial,"

#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"In effect, the Supreme Court's decision makes it likely that we are seeing "
"the beginning of the end of public domain and the birth of copyright "
"perpetuity. The public domain has been a grand experiment, one that should "
"not be allowed to die. The ability to draw freely on the entire creative "
"output of humanity is one of the reasons we live in a time of such fruitful "
"creative ferment."
msgstr ""
"En effet, la décision de la Cour Suprême rend probable que nous voyions le "
"début de la fin du domaine public et la naissance de la perpétuité du "
"copyright. Le domaine public a été une grande expérience, une qu'on ne "
"devrait pas laisser mourir. La possibilité d'apréhender librement "
"l'intégralité de la production créative de l'humanité est une des raisons "
"pour laquelle nous vivons dans une époque d'un tel ferment créatif "
"fructueux."

#. type: Content of: <book><part><chapter><figure><indexterm><primary>
msgid "Bolling, Ruben"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The best responses were in the cartoons. There was a gaggle of hilarious "
"images&mdash;of Mickey in jail and the like. The best, from my view of the "
"case, was Ruben Bolling's, reproduced in figure <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-18\"/>. The <quote>powerful and "
"wealthy</quote> line is a bit unfair. But the punch in the face felt exactly "
"like that.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Les meilleurs réactions étaient dans les caricatures. Il y avait une foule "
"d'images hilarantes&mdash;de Mickey en prison ou dans ce genre-là. La "
"meilleure, de mon point de vue de l'affaire, était celle de Ruben Bolling, "
"reproduite par la figure <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-18\"/>. La ligne <quote>puissant et riche</quote> est "
"un peu injuste. Mais le coup de point dans la figure était exactement ainsi."
" <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><figure>
msgid ""
"<graphic fileref=\"images/tom-the-dancing-bug.png\" align=\"center\" "
"width=\"100%\"></graphic> <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"<graphic fileref=\"images/tom-the-dancing-bug.png\" align=\"center\" "
"width=\"100%\"></graphic> <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"The image that will always stick in my head is that evoked by the quote from "
"<citetitle>The New York Times</citetitle>. That <quote>grand "
"experiment</quote> we call the <quote>public domain</quote> is over? When I "
"can make light of it, I think, <quote>Honey, I shrunk the "
"Constitution.</quote> But I can rarely make light of it. We had in our "
"Constitution a commitment to free culture. In the case that I fathered, the "
"Supreme Court effectively renounced that commitment. A better lawyer would "
"have made them see differently."
msgstr ""
"L'image qui restera toujours dans ma tête était celle évoquée par la "
"citation du <citetitle>New York Times</citetitle>. Cette <quote>grande "
"expérience</quote> que nous appelons le <quote>domaine public</quote> est- "
"elle terminée? Quand je pourrai faire la lumière dessus, je pense, ce sera "
"<quote>Chérie, j'ai rétréci la Constitution</quote>. Mais je peux rarement "
"faire la lumière dessus. Nous avions dans la Constitution un engagement pour "
"la culture libre. Dans l'affaire que j'ai engendrée, la Cour Suprême a "
"effectivement renoncé à cet engagement. Un meilleur avocat leur aurait fait "
"voir les choses différemment."

#. type: Content of: <book><part><chapter><title>
msgid "Chapter Fourteen: Eldred II"
msgstr "Eldred II"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was "
"decided, fate would have it that I was to travel to Washington, D.C. (The "
"day the rehearing petition in <citetitle>Eldred</citetitle> was "
"denied&mdash;meaning the case was really finally over&mdash;fate would have "
"it that I was giving a speech to technologists at Disney World.)  This was a "
"particularly long flight to my least favorite city. The drive into the city "
"from Dulles was delayed because of traffic, so I opened up my computer and "
"wrote an op-ed piece."
msgstr ""
"<emphasis role='strong'>Le jour où</emphasis> <citetitle>Eldred</citetitle> "
"fut décidé, le destin avait fait que j'aie à me rendre à Washington D.C. "
"(Le jour où la pétition demandant une réaudition pour "
"<citetitle>Eldred</citetitle> fut refusée&mdash;signifiant que l'affaire "
"était réellement finalement terminée&mdash;le destion avait fait que je "
"donne un discours aux ingénieurs à Disney World.) C'était un vol "
"particulièrement long pour ma ville la moins préférée. L'arrivée dans la "
"ville en provenance de Dulles était retardée à cause du trafic, donc j'ai "
"ouvert mon ordinateur et j'ai écrit un éditorial."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It was an act of contrition. During the whole of the flight from San "
"Francisco to Washington, I had heard over and over again in my head the same "
"advice from Don Ayer: You need to make them see why it is important. And "
"alternating with that command was the question of Justice Kennedy: "
"<quote>For all these years the act has impeded progress in science and the "
"useful arts. I just don't see any empirical evidence for that.</quote> And "
"so, having failed in the argument of constitutional principle, finally, I "
"turned to an argument of politics."
msgstr ""
"C'était un acte de contrition. Durant tout le vol de San Francisco à "
"Washington, j'ai entendu dans ma tête encore et encore le même avis de Don "
"Ayer: vous devez leur faire voir pourquoi c'est important. Et en alternance "
"avec cette commande était la question de Justice Kennedy: <quote>Pendant "
"toutes ces années la loi a gêné le progrès de la science et des arts "
"utiles. Je ne vois juste aucune preuve empirique de ceci.</quote> Et donc, "
"ayant échoué dans l'argument du principe constitutionnel, finalement, je me "
"suis tourné vers un argument politique."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<citetitle>The New York Times</citetitle> published the piece. In it, I "
"proposed a simple fix: Fifty years after a work has been published, the "
"copyright owner would be required to register the work and pay a small "
"fee. If he paid the fee, he got the benefit of the full term of "
"copyright. If he did not, the work passed into the public domain."
msgstr ""
"Le <citetitle>New York Times </citetitle> publia le texte. Dedans, je "
"proposais une solution de dépannage simple: cinquante ans après qu'une "
"oeuvre a été publiée, le propriétaire du copyright serait obligé "
"d'enregister l'oeuvre et de payer un petit prix. Si il payait le prix, il "
"aurait le bénéfice de la durée totale du copyright. Si non, l'oeuvre "
"passerait dans le domaine public."

#. type: Content of: <book><part><chapter><para>
msgid ""
"We called this the Eldred Act, but that was just to give it a name.  Eric "
"Eldred was kind enough to let his name be used once again, but as he said "
"early on, it won't get passed unless it has another name."
msgstr ""
"Nous l'appelâmes le Loi Eldred (NdT: Eldred Act), mais c'était juste pour "
"lui donner un nom. Eric Eldred était assez gentil pour laisser son nom être "
"utilisé une fois de plus, mais comme il l'avait dit plus tôt, elle ne "
"passera pas tant qu'elle n'aura pas un autre nom."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Or another two names. For depending upon your perspective, this is either "
"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright "
"Term Deregulation Act.</quote> Either way, the essence of the idea is clear "
"and obvious: Remove copyright where it is doing nothing except blocking "
"access and the spread of knowledge. Leave it for as long as Congress allows "
"for those works where its worth is at least $1. But for everything else, let "
"the content go."
msgstr ""
"Ou deux autres noms. Car selon votre point de vue, c'est soit la <quote>Loi "
"d'Amélioration du Domaine Public</quote> ou la <quote>Loi de Dérégulation "
"de la Durée du Copyright</quote>. De chacune des manières, l'essence de "
"l'idée est claire et évidente: enlever le copyright là où il ne fait rien "
"à part bloquer l'accès et la diffusion de la connaissance. Laissez-le "
"pendant aussi longtemps que le Congrès le permet pour ces oeuvres où cela "
"vaut au moins 1 dollar. Mais pour tout le reste, laissez aller le contenu."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Forbes, Steve"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"The reaction to this idea was amazingly strong. Steve Forbes endorsed it in "
"an editorial. I received an avalanche of e-mail and letters expressing "
"support. When you focus the issue on lost creativity, people can see the "
"copyright system makes no sense. As a good Republican might say, here "
"government regulation is simply getting in the way of innovation and "
"creativity. And as a good Democrat might say, here the government is "
"blocking access and the spread of knowledge for no good reason. Indeed, "
"there is no real difference between Democrats and Republicans on this "
"issue. Anyone can recognize the stupid harm of the present system."
msgstr ""
"La réaction à cette idée était incroyablement forte. Steve Forbes l'a "
"soutenue dans un éditorial. J'ai reçu une avalanche de courriels et de "
"lettres exprimant du soutien. Quand vous vous concentrez sur le problème de "
"la créativité perdue, les gens peuvent voir que le système du copyright "
"n'a pas de sens. Comme le dirait un bon Républicain, ici la régulation du "
"gouvernement bloque simplement l'innovation et la créativité. Et comme le "
"dirait un bon Démocrate, ici le gouvernement bloque l'accès et la diffusion "
"de la connaissance sans bonne raison. En effet, il n'y a pas de différence "
"réelle entre les Démocrates et les Républicains sur ce sujet. N'importe "
"qui peut reconnaitre le mal stupide causé par le système actuel."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Indeed, many recognized the obvious benefit of the registration "
"requirement.  For one of the hardest things about the current system for "
"people who want to license content is that there is no obvious place to look "
"for the current copyright owners. Since registration is not required, since "
"marking content is not required, since no formality at all is required, it "
"is often impossibly hard to locate copyright owners to ask permission to use "
"or license their work. This system would lower these costs, by establishing "
"at least one registry where copyright owners could be identified."
msgstr ""
"En effet, de nombreuses personnes ont reconnu le bénéfice évident de "
"l'obligation d'enregistrement. Car une des choses les plus difficiles à "
"propos du système actuel pour les gens qui veulent obtenir un droit sur du "
"contenu est qu'il n'y a pas d'endroit évident où chercher les "
"propriétaires actuels de copyright. Étant donné que l'enregistrement n'est "
"pas requis; étant donné que marquer le contenu n'est pas requis, étant "
"donné qu'aucune formalité n'est requise, il est souvent impossiblement "
"difficile de localiser les propriétaires de copyright pour demander la "
"permission d'utiliser ou d'avoir un droit sur leur oeuvre. Le système "
"pourrait baisser ces couts, en établissant au moins un registre où les "
"propriétaires de copyright pourraient être identifiés."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Berlin Act (1908)"
msgstr ""

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Berne Convention (1908)"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "German copyright law"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the "
"Berne Convention, national copyright legislation sometimes made protection "
"depend upon compliance with formalities such as registration, deposit, and "
"affixation of notice of the author's claim of copyright. However, starting "
"with the 1908 act, every text of the Convention has provided that <quote>the "
"enjoyment and the exercise</quote> of rights guaranteed by the Convention "
"<quote>shall not be subject to any formality.</quote> The prohibition "
"against formalities is presently embodied in Article 5(2) of the Paris Text "
"of the Berne Convention. Many countries continue to impose some form of "
"deposit or registration requirement, albeit not as a condition of "
"copyright. French law, for example, requires the deposit of copies of works "
"in national repositories, principally the National Museum.  Copies of books "
"published in the United Kingdom must be deposited in the British "
"Library. The German Copyright Act provides for a Registrar of Authors where "
"the author's true name can be filed in the case of anonymous or pseudonymous "
"works. Paul Goldstein, <citetitle>International Intellectual Property Law, "
"Cases and Materials</citetitle> (New York: Foundation Press, 2001), "
"153&ndash;54."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/>Jusqu'à la Loi de la Convention de "
"Berne de Berlin de 1908, la législation "
"nationale du copyright faisait parfoi sdépendre la protection de l'accord "
"avec des formalités telles que l'enregistrement, le dépôt et l'apposement "
"d'une indication de la revendication de copyright de l'auteur. Toutefois, à "
"partir de cette loi de 1908, tout texte de la Convention a établit que "
"<quote>la jouissance et l'exercice</quote> des droits garantis par la "
"Convention <quote>ne doivent pas être soumis à quelconque "
"formalité</quote>. La prohibition contre les formalités est présentément "
"incarnée dans l'Article 5(2) du Texte de Paris de la Convention de Berne. De "
"nombreux pays continuent à imposer une forme d'exigence de dépôt ou "
"d'enregistrement, bien que ce ne soit pas une condition au copyright. La loi "
"française, par exemple, requiert le dépôt des oeuvres dans des dépôts "
"nationaux, principalement le Musée National. Des copies de livres publiés "
"au Royaume-Uni doivent être déposés dans la British Library. La loi du "
"copyright allemande fournir un Registre des Auteurs où le vrai nom de "
"l'auteur peut être inscrit dans le cas d'oeuvres anonymes ou pseudonymes. "
"Paul Goldstein,<citetitle> International Intellectual Property Law, Cases and "
"Materials</citetitle> (New York: Foundation Press, 2001), 153-54."

#. type: Content of: <book><part><chapter><para>
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, formalities in copyright law were removed in 1976, "
"when Congress followed the Europeans by abandoning any formal requirement "
"before a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The "
"Europeans are said to view copyright as a <quote>natural right.</quote> "
"Natural rights don't need forms to exist. Traditions, like the "
"Anglo-American tradition that required copyright owners to follow form if "
"their rights were to be protected, did not, the Europeans thought, properly "
"respect the dignity of the author. My right as a creator turns on my "
"creativity, not upon the special favor of the government."
msgstr ""
"Comme je l'ai décrit dans le chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, les formalités dans la loi du "
"copyright ont été enlevées en 1976, quand le Congrès a suivi les "
"Européens en abandonnant toute exigence formelle avant qu'un copyright soit "
"accordé<placeholder type=\"footnote\" id=\"0\"/>. On dit que les Européens "
"voient le copyright comme un <quote>droit naturel</quote>. Les droits "
"naturels n'ont pas besoin de formulaires pour exister. Les traditions, comme "
"la tradition Anglo-Américaine qui requiérait que les propriétaires de "
"copyright remplissent un formulaire si leurs droits devaient être "
"protégés, ne respectaient pas, pensaient les Européens, correctement la "
"dignité de l'auteur. Mon droit en tant que créateur dépend de ma "
"créativité, et non pas d'une faveur spéciale du gouvernement."

#. type: Content of: <book><part><chapter><para>
msgid ""
"That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
"copyright policy. It is absurd especially for authors, because a world "
"without formalities harms the creator. The ability to spread <quote>Walt "
"Disney creativity</quote> is destroyed when there is no simple way to know "
"what's protected and what's not."
msgstr ""
"C'est de la bonne réthorique. Cela sonne merveilleusement romantique. Mais "
"c'est une politique de copyright absurde. C'est absurde particulièrement "
"pour les auteurs, car un monde sans formalités cause du tort au créateur. "
"La possibilité de diffuser la <quote>créativité Walt Disney</quote> est "
"détruite quand il n'y a pas de simple manière de savoir ce qui est "
"protégé et ce qui ne l'est pas."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The fight against formalities achieved its first real victory in Berlin in "
"1908. International copyright lawyers amended the Berne Convention in 1908, "
"to require copyright terms of life plus fifty years, as well as the "
"abolition of copyright formalities. The formalities were hated because the "
"stories of inadvertent loss were increasingly common. It was as if a Charles "
"Dickens character ran all copyright offices, and the failure to dot an "
"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the "
"loss of widows' only income."
msgstr ""
"Le combat contre les formalités a remporté sa première réelle victoire à "
"Berlin en 1908. Des avocats du copyright international amendèrent la "
"Convention de Berne en 1908, pour exiger que la durée du copyright soit "
"celle de la vie plus cinquante ans, ainsi que l'abolition des formalités du "
"copyright. Les formalités étiane détestées parce que les histoires de "
"pertes par inadvertance étaient de plus en plus répandues. C'était comme "
"si un personnage de Charles Dickens gérait tous les bureaux de copyright, et "
"que l'échec de mettre un point sur un <citetitle>i</citetitle> et une barre "
"sur un <citetitle>t</citetitle> avait pour conséquence la perte du seul "
"revenu d'une veuve."

#. type: Content of: <book><part><chapter><para>
msgid ""
"These complaints were real and sensible. And the strictness of the "
"formalities, especially in the United States, was absurd. The law should "
"always have ways of forgiving innocent mistakes. There is no reason "
"copyright law couldn't, as well. Rather than abandoning formalities totally, "
"the response in Berlin should have been to embrace a more equitable system "
"of registration."
msgstr ""
"Ces complaintes étaient réelles et sages. Et la rigueur des formalités, en "
"particulier aux États-Unis, était absurde. La loi devrait toujours avoir un "
"moyen de pardonner les erreurs innocentes. Il n'y a pas de raison que la loi "
"du copyright ne le puisse pas, également. Plutôt que d'abandonner "
"complètement les formalités, la réaction à Berlin aurait du être "
"d'adopter un système d'enregistrement plus équitable."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Even that would have been resisted, however, because registration in the "
"nineteenth and twentieth centuries was still expensive. It was also a "
"hassle. The abolishment of formalities promised not only to save the "
"starving widows, but also to lighten an unnecessary regulatory burden "
"imposed upon creators."
msgstr ""
"Même ceci aurait suscité de la résistance, toutefois, car l'enregistrement "
"aux dix-neuvième et vingtième siècles était encore chère. C'était aussi "
"une corvée. L'abolition des formalités promettait non seulement de sauver "
"les veuves affamées, mais également d'alléger le fardeau de la régulation "
"non nécessaire imposé aux créateurs."

#. type: Content of: <book><part><chapter><para>
msgid ""
"In addition to the practical complaint of authors in 1908, there was a moral "
"claim as well. There was no reason that creative property should be a "
"second-class form of property. If a carpenter builds a table, his rights "
"over the table don't depend upon filing a form with the government.  He has "
"a property right over the table <quote>naturally,</quote> and he can assert "
"that right against anyone who would steal the table, whether or not he has "
"informed the government of his ownership of the table."
msgstr ""
"En plus de la complainte pratique des auteurs en 1908, il y avait également "
"une revendication morale. Il n'y avait pas de raison que la propriété "
"intellectuelle soit une forme de propriété de seconde classe. Si un "
"charpentieur construit une table, ses droits sur la table ne dépendenet pas "
"du remplissage d'un formulaire avec le gouvernement. Il a "
"<quote>naturellement</quote> un droit de propriété sur la table, et il peut "
"faire valoir ce droit contre quiconque volerait la table, qu'il ait informé "
"le gouvernement ou non de la propriété de la table."

#. type: Content of: <book><part><chapter><para>
msgid ""
"This argument is correct, but its implications are misleading. For the "
"argument in favor of formalities does not depend upon creative property "
"being second-class property. The argument in favor of formalities turns upon "
"the special problems that creative property presents.  The law of "
"formalities responds to the special physics of creative property, to assure "
"that it can be efficiently and fairly spread."
msgstr ""
"Cet argument est correct, mais ses implications sont trompeuses. Car "
"l'argument en faveur des formalités ne dépend pas du fait que la "
"propriété créative soit une propriété de seconde classe. L'argument en "
"faveur des formalités vient des problèmes spéciaux que la propriété "
"créative présente. La loi des formalités répond à la physique spéciales "
"de la propriété créative, pour assurer qu'elle peut être efficacement et "
"équitablement répartie."

#. type: Content of: <book><part><chapter><para>
msgid ""
"No one thinks, for example, that land is second-class property just because "
"you have to register a deed with a court if your sale of land is to be "
"effective. And few would think a car is second-class property just because "
"you must register the car with the state and tag it with a license.  In both "
"of those cases, everyone sees that there is an important reason to secure "
"registration&mdash;both because it makes the markets more efficient and "
"because it better secures the rights of the owner. Without a registration "
"system for land, landowners would perpetually have to guard their "
"property. With registration, they can simply point the police to a "
"deed. Without a registration system for cars, auto theft would be much "
"easier. With a registration system, the thief has a high burden to sell a "
"stolen car. A slight burden is placed on the property owner, but those "
"burdens produce a much better system of protection for property generally."
msgstr ""
"Personne ne pense, par exemple, que le terrain est une propriété de seconde "
"classe juste parce que vous devez enregistrer un acte auprès d'un tribunal "
"si votre vente du terrain doit être effective. Et peu de gens penseraient "
"qu'une voiture est une propriété de seconde classe juste parce que vous "
"devez enregistrer la voiture avec l'État et la marquer avec un permis. Dans "
"les deux cas, tout le monde voit qu'il y a une raison importante pour "
"sécuriser l'enregistrement&mdash;dans les deux cas parce que cela rend le "
"marché plus efficace et parce que cela sécurise mieux les droits du "
"propriétaire. Sans système d'enregistrement pour le terrain, les "
"propriétaires devraient perpétuellement garder leur propriété. Avec "
"l'enregistrement, ils peuvent simplement montrer un acte à la police. Sans "
"système d'enregistrement pour les voitures, le vol de voiture serait bien "
"plus facile. Avec un système d'enregistrement, le voleur a une lourde "
"contrainte pour vendre une voiture volée. Une légère contrainte est "
"placée sur le détenteur de la propriété, mais ces contraintes produisent "
"généralement un système bien meilleur de protection pour la propriété."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It is similarly special physics that makes formalities important in "
"copyright law. Unlike a carpenter's table, there's nothing in nature that "
"makes it relatively obvious who might own a particular bit of creative "
"property. A recording of Lyle Lovett's latest album can exist in a billion "
"places without anything necessarily linking it back to a particular "
"owner. And like a car, there's no way to buy and sell creative property with "
"confidence unless there is some simple way to authenticate who is the author "
"and what rights he has. Simple transactions are destroyed in a world without "
"formalities. Complex, expensive, <emphasis>lawyer</emphasis> transactions "
"take their place.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"C'est une physique similairement spéciale qui rend les formalités "
"importantes dans la loi du copyright. Contrairement à la table d'un "
"charpentier, il n'y a rien dans la nature qui rend relativement évident qui "
"possède un morceau particulier de propriété créative. Un enregistrement "
"du dernier album de Lyle Lovett peut exister dans un milliard d'endroits sans "
"que rien ne le relie nécessairement à un propriétaire particulier. Et "
"comme une voiture, il n'y a pas moyen d'acheter et de vendre la propriété "
"créative sûrement à moins qu'il y ait quelque manière simple "
"d'authentifier qui est l'auteur et quels droits il possède. Les transactions "
"simples sont détruites dans un monde sans formalités. Des transactions "
"<emphasis>d'avocat</emphasis> complexes et chères prennent leur place."
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
msgid ""
"This was the understanding of the problem with the Sonny Bono Act that we "
"tried to demonstrate to the Court. This was the part it didn't "
"<quote>get.</quote> Because we live in a system without formalities, there "
"is no way easily to build upon or use culture from our past. If copyright "
"terms were, as Justice Story said they would be, <quote>short,</quote> then "
"this wouldn't matter much. For fourteen years, under the framers' system, a "
"work would be presumptively controlled. After fourteen years, it would be "
"presumptively uncontrolled."
msgstr ""
"C'était la compréhension du problème du Sonny Bono Act que nous avions "
"essayé de démontrer à la Cour. C'était la partie que je n'avais pas "
"<quote>comprise</quote>. Parce que nous vivons dans un système sans "
"formalités, il n'y a pas de manière de facilement réutiliser ou "
"transformer notre culture du passé. Si la durée du copyright était, comme "
"Justice Story disait qu'elle serait, <quote>courte</quote>, alors cela "
"n'aurait pas beaucoup d'importance. Pendant quarante ans, sous le système "
"des concepteurs, une oeuvre était présumée contrôlée. Après quarante "
"ans, elle était présumée non contrôlée."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But now that copyrights can be just about a century long, the inability to "
"know what is protected and what is not protected becomes a huge and obvious "
"burden on the creative process. If the only way a library can offer an "
"Internet exhibit about the New Deal is to hire a lawyer to clear the rights "
"to every image and sound, then the copyright system is burdening creativity "
"in a way that has never been seen before <emphasis>because there are no "
"formalities</emphasis>."
msgstr ""
"Mais maintenant que les copyrights peuvent durer environ un siècle, "
"l'incapacité de savoir ce qui est protégé et ce qui ne l'est pas devient "
"un fardeau énorme et évident sur le processus créatif. Si le seul moyen "
"qu'une bibliothèque peut offrir pour une exposition sur Internet sur le New "
"Deal est d'embaucher un avocat pour clarifier les droits de chaque image et "
"son, alors le système du copyright alourdit la créativité d'une manière "
"qui n'a jamais été vue auparavant <emphasis>parce qu'il n'y a pas de "
"formalités</emphasis>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The Eldred Act was designed to respond to exactly this problem. If it is "
"worth $1 to you, then register your work and you can get the longer "
"term. Others will know how to contact you and, therefore, how to get your "
"permission if they want to use your work. And you will get the benefit of an "
"extended copyright term."
msgstr ""
"La Loi Eldred a été conçue pour répondre exactement à ce problème. Si "
"cela vaut 1 dollar pour vous, alors enregistrez votre oeuvre et vous pourrez "
"avoir la durée la plus longue. Les autres sauront comment vous contacter et, "
"donc, comment obtenir votre permission si ils veulent utiliser votre oeuvre. "
"Et vous aurez le bénéfice d'une durée de copyright étendue."

#. type: Content of: <book><part><chapter><para>
msgid ""
"If it isn't worth it to you to register to get the benefit of an extended "
"term, then it shouldn't be worth it for the government to defend your "
"monopoly over that work either. The work should pass into the public domain "
"where anyone can copy it, or build archives with it, or create a movie based "
"on it. It should become free if it is not worth $1 to you."
msgstr ""
"Si cela ne vaut pas le coup pour vous d'enregistrer pour obtenir le "
"bénéfice d'une durée étendue, alors cela ne devrait pas non plus valoir "
"le coup pour le gouvernement de défendre votre monopole sur cette oeuvre. "
"L'oeuvre passerait dans le domaine public où tout le monde peut la copier, "
"ou crée des archives avec, ou créer un film basé dessus. Elle devrait "
"devenir libre si elle ne vaut pas 1 dollar pour vous."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Some worry about the burden on authors. Won't the burden of registering the "
"work mean that the $1 is really misleading? Isn't the hassle worth more than "
"$1? Isn't that the real problem with registration?"
msgstr ""
"Certains se font du souci à propos de la contrainte sur les auteurs. La "
"contrainte d'enregistrer l'oeuvre ne signifiera-t-elle pas que le 1 dollar "
"est réellement trompeur? La corvée ne vaut-elle pas plus de 1 dollar? Le "
"vrai problème ne concerne-t-il pas l'enregistrement?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"It is. The hassle is terrible. The system that exists now is awful. I "
"completely agree that the Copyright Office has done a terrible job (no doubt "
"because they are terribly funded) in enabling simple and cheap "
"registrations. Any real solution to the problem of formalities must address "
"the real problem of <emphasis>governments</emphasis> standing at the core of "
"any system of formalities. In this book, I offer such a solution. That "
"solution essentially remakes the Copyright Office. For now, assume it was "
"Amazon that ran the registration system. Assume it was one-click "
"registration.  The Eldred Act would propose a simple, one-click registration "
"fifty years after a work was published. Based upon historical data, that "
"system would move up to 98 percent of commercial work, commercial work that "
"no longer had a commercial life, into the public domain within fifty "
"years. What do you think?"
msgstr ""
"Oui. La corvée est terrible. Le système qui existe maintenant est affreux. "
"Je suis complètement d'accord que le Copyright Office a fait un travail "
"affreux (sans doute parce qu'ils sont affreusement financés) en permettant "
"les enregistrements simples et bon marchés. Toute solution réelle au "
"problème des formalités doit régler le problème réel des "
"<emphasis>gouvernements</emphasis> se tenant au coeur de tout système de "
"formalités. Dans ce livre, j'offre une telle solution. Cette solution refait "
"essentiellement le Copyright Office. Pour l'instant, imaginez que c'est "
"Amazon qui gère le système d'enregistrement. Imaginez que c'est "
"l'enregistrement en un clic. La Loi Eldred proposerait un enregistrement "
"simple en un clic cinquante ans après qu'une oeuvre a été publiée. Selon "
"des données historiques, ce système déplacerait jusqu'à 98 pour cent "
"d'oeuvres commerciales, d'oeuvres commerciales qui n'ont plus de vie "
"commerciale, dans le domaine public en l'espace de cinquante ans. Qu'en "
"pensez-vous?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some "
"in Washington began to pay attention. Many people contacted me pointing to "
"representatives who might be willing to introduce the Eldred Act. And I had "
"a few who directly suggested that they might be willing to take the first "
"step."
msgstr ""
"<emphasis role='strong'>Quand Steve Forbes</emphasis> a soutenu l'idée, "
"certaines personnes à Washington commencèrent à prêter attention. De "
"nombreuses personnes me contactèrent en m'indiquant des élus qui seraient "
"enclins à mettre en place la Loi Eldred. Et j'en avais quelques uns qui ont "
"directement suggéré qu'ils seraient enclins à faire le premier pas."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Lofgren, Zoe"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"One representative, Zoe Lofgren of California, went so far as to get the "
"bill drafted. The draft solved any problem with international law. It "
"imposed the simplest requirement upon copyright owners possible. In May "
"2003, it looked as if the bill would be introduced. On May 16, I posted on "
"the Eldred Act blog, <quote>we are close.</quote> There was a general "
"reaction in the blog community that something good might happen here."
msgstr ""
"Un élu, Zoe Lofgren en California, est allé jusqu'à écrire un projet de "
"loi. La loi résolvait tout problème concernant le droit international. Elle "
"imposait la plus simple des exigences possible sur les propriétaires de "
"copyright. En mai 2003, il semblait que le loi serait mise en place. Le 16 "
"mai, j'ai posté sur le blog de la Loi Eldred, <quote>nous sommes tout "
"proche</quote>. Il y a eu une réaction générale dans la communauté des "
"blogs qu'une bonne chose pourrait se passer à ce moment-là."

#. type: Content of: <book><part><chapter><para>
msgid ""
"But at this stage, the lobbyists began to intervene. Jack Valenti and the "
"MPAA general counsel came to the congresswoman's office to give the view of "
"the MPAA. Aided by his lawyer, as Valenti told me, Valenti informed the "
"congresswoman that the MPAA would oppose the Eldred Act. The reasons are "
"embarrassingly thin. More importantly, their thinness shows something clear "
"about what this debate is really about."
msgstr ""
"Mais à ce stade, les lobbyistes commencèrent à intervenir. Jack Valenti et "
"le conseil général de la MPAA sont allés au bureau de la députée pour "
"donner le point de vue de la MPAA. Assisté par son avocat, comme me l'a dit "
"Valenti, Valenti informa la députée que la MPAA s'opposerait à la Loi "
"Eldred. Les raisons sont honteusement maigres. De manière plus importante, "
"leur maigreur montre quelque chose de clair à propos de ce sur quoi porte "
"réellement ce débat."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The MPAA argued first that Congress had <quote>firmly rejected the central "
"concept in the proposed bill</quote>&mdash;that copyrights be renewed. That "
"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had "
"occurred long before the Internet made subsequent uses much more likely.  "
"Second, they argued that the proposal would harm poor copyright "
"owners&mdash;apparently those who could not afford the $1 fee. Third, they "
"argued that Congress had determined that extending a copyright term would "
"encourage restoration work. Maybe in the case of the small percentage of "
"work covered by copyright law that is still commercially valuable, but again "
"this was irrelevant, as the proposal would not cut off the extended term "
"unless the $1 fee was not paid. Fourth, the MPAA argued that the bill would "
"impose <quote>enormous</quote> costs, since a registration system is not "
"free. True enough, but those costs are certainly less than the costs of "
"clearing the rights for a copyright whose owner is not known. Fifth, they "
"worried about the risks if the copyright to a story underlying a film were "
"to pass into the public domain. But what risk is that? If it is in the "
"public domain, then the film is a valid derivative use."
msgstr ""
"La MPAA a d'abord soutenu que le Congrès avait <quote>fermement rejeté le "
"concept central de la loi proposée</quote>&mdash;que les copyrights soient "
"renouvelés. C'était vrai, mais sans aucun rapport, étant donné que le "
"<quote>rejet ferme</quote> du Congrès avait eu lieu longtemps avant "
"qu'Internet rende les utilisations ultérieures plus faisables. "
"Deuxièmement, elle a soutenu que la proposition causerait du mal aux "
"propriétaires de copyright pauvres&mdash;apparemment ceux qui ne pouvaient "
"pas se permettre le prix de 1 dollar. Troisièmement, elle a soutenu que le "
"Congrès avait déterminé qu'étendre la durée d'un copyright encouragerait "
"le travail de restauration. Peut-être dans ce cas où un petit pourcentage "
"d'oeuvres couvertes par la loi du copyright est encore disponible "
"commercialement, mais là encore c'était sans aucun rapport, étant donné "
"que la proposition ne réduirait pas la durée étendue à moins que le prix "
"de 1 dollar ne soit pas payé. Quatrièmement, la MPAA a soutenu que la loi "
"imposerait des couts <quote>énormes</quote>, étant donné qu'un système "
"d'enregistrement n'est pas gratuit. C'est vrai, mais ces couts sont "
"certainement mois élevés que les couts de clarifier les droits d'un "
"copyright dont le propriétaire est inconnu. Cinquièmenet, elle s'est "
"inquiétée des risques si le copyright d'une histoire sous-jacente à un "
"film devait passer dans le domaine public. Mais quel risque est-ce? Si c'est "
"dans le domaine public, alors le film est un usage dérivé valide."

#. type: Content of: <book><part><chapter><para>
msgid ""
"Finally, the MPAA argued that existing law enabled copyright owners to do "
"this if they wanted. But the whole point is that there are thousands of "
"copyright owners who don't even know they have a copyright to give. Whether "
"they are free to give away their copyright or not&mdash;a controversial "
"claim in any case&mdash;unless they know about a copyright, they're not "
"likely to."
msgstr ""
"Finalement, la MPAA a soutenu que la loi existante permettait aux "
"propriétaires de copyright de faire ceci s'ils le désiraient. Mais tout "
"l'idée est qu'il y a des milliers de propriétaires de copyright qui ne "
"savent même pas qu'ils ont un copyright à donner. Qu'ils soient libres de "
"renoncer à leur copyright ou pas&mdash;une revendication controversée dans "
"cette affaire&mdash;à moins qu'ils soient au courant d'un copyright, ils ne "
"sont pas susceptibles de le faire."

#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two "
"stories about the law reacting to changes in technology. In the one, common "
"sense prevailed.  In the other, common sense was delayed. The difference "
"between the two stories was the power of the opposition&mdash;the power of "
"the side that fought to defend the status quo. In both cases, a new "
"technology threatened old interests. But in only one case did those "
"interest's have the power to protect themselves against this new competitive "
"threat."
msgstr ""
"<emphasis role='strong'>Au début de ce livre</emphasis>, j'ai raconté deux "
"histoires à propos de la loi réagissant à des changements technologiques. "
"Dans l'une, le sens commun a prévalu. Dans l'autre, le sens commun a été "
"retardé. La différence entre les deux histoires était le pouvoir de "
"l'opposition&mdash;le pouvoir du côté qui s'est battu pour défendre le "
"status quo. Dans les deux cas, une nouvelle technologie a menacé des vieux "
"intérêts. Mais dans seulement un cas, ces intérêts avaient le pouvoir de "
"se protéger contre cette nouvelle menace compétitive."

#. type: Content of: <book><part><chapter><para>
msgid ""
"I used these two cases as a way to frame the war that this book has been "
"about. For here, too, a new technology is forcing the law to react.  And "
"here, too, we should ask, is the law following or resisting common sense? If "
"common sense supports the law, what explains this common sense?"
msgstr ""
"J'ai utilisé ces deux cas comme un moyen de cadrer la guerre sur laquelle "
"porte ce livre. Car ici aussi, une nouvelle technologie force la loi à "
"réagir. Et ici aussi, nous devrions demander, est-ce que la loi suit ou "
"résiste à sens commun? Si le sens commun soutient la loi, qu'est-ce qui "
"explique ce sens commun?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"When the issue is piracy, it is right for the law to back the copyright "
"owners. The commercial piracy that I described is wrong and harmful, and the "
"law should work to eliminate it. When the issue is p2p sharing, it is easy "
"to understand why the law backs the owners still: Much of this sharing is "
"wrong, even if much is harmless. When the issue is copyright terms for the "
"Mickey Mouses of the world, it is possible still to understand why the law "
"favors Hollywood: Most people don't recognize the reasons for limiting "
"copyright terms; it is thus still possible to see good faith within the "
"resistance."
msgstr ""
"Quand le sujet est le piratage, il est juste pour la loi de soutenir les "
"propriétaires de copyright. Le piratage commercial que j'ai décrit est "
"mauvais et cause nuisible, et la loi devrait travailler à l'éliminer. Quand "
"le sujet est le partage par peer-to-peer, il est facile de comprendre que la "
"loi soutient toujours les propriétaires: la plupart de ce partage est "
"mauvais, même si la plupart est inoffensif. Quand le sujet est la durée du "
"copyright pour Mickey Mouse dans le monde, il est encore possible de "
"comprendre pourquoi la loi favorise Hollywood: la plupart des gens ne "
"reconnaissent pas les raisons pour limiter la durée du copyright; il est "
"donc encore possible de voir de la bonne foi dans la résistance."

#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Kelly, Kevin"
msgstr ""

#. type: Content of: <book><part><chapter><para>
msgid ""
"But when the copyright owners oppose a proposal such as the Eldred Act, "
"then, finally, there is an example that lays bare the naked selfinterest "
"driving this war. This act would free an extraordinary range of content that "
"is otherwise unused. It wouldn't interfere with any copyright owner's desire "
"to exercise continued control over his content. It would simply liberate "
"what Kevin Kelly calls the <quote>Dark Content</quote> that fills archives "
"around the world. So when the warriors oppose a change like this, we should "
"ask one simple question:"
msgstr ""
"Mais quand le spropriétaires de copyright s'opposent à une proposition "
"telle que la Loi Eldred, alors, finalement, voici un exemple qui met à nu "
"les intérêts personnels qui mènent cette guerre. Cette loi libérerait une "
"palette extraordinaire de contenu qui est autrement non utilisée. Elle "
"n'interférerait avec aucun désir de propriétaire de copyright d'exercer un "
"contrôle continu sur son contenu. Elle libérerait simplement ce que Kevin "
"Kelly appelle le <quote>Contenu Caché</quote> qui remplit les archives du "
"monde entier. Alors quand les guerriers s'opposent à un changement comme "
"celui-li, nous devrions poser une simple question:"

#. type: Content of: <book><part><chapter><para>
msgid "What does this industry really want?"
msgstr "Que veut réellement l'industrie?"

#. type: Content of: <book><part><chapter><para>
msgid ""
"With very little effort, the warriors could protect their content. So the "
"effort to block something like the Eldred Act is not really about protecting "
"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an "
"effort to assure that nothing more passes into the public domain. It is "
"another step to assure that the public domain will never compete, that there "
"will be no use of content that is not commercially controlled, and that "
"there will be no commercial use of content that doesn't require "
"<emphasis>their</emphasis> permission first."
msgstr ""
"Avec très peu d'effort, les guerriers pourraient protéger leur contenu. "
"Donc l'effort de bloquer quelque chose comme la Loi Eldred n'est pas vraiment "
"à propos de protéger <emphasis>leur</emphasis> contenu. L'effort de bloquer "
"la Loi Eldred est un effort pour s'assurer que plus rien ne passe dans le "
"domaine public. C'est une étape supplémentaire pour s'assurer que le "
"domaine public ne fera jamais compétition, qu'il n'y aura aucune utilisation "
"de contenu qui ne soit commercialement contrôlée, et qu'il n'y ait aucune "
"utilisation commerciale de contenu qui ne requière <emphasis>leur</emphasis> "
"permission d'abord."

#. type: Content of: <book><part><chapter><para>
msgid ""
"The opposition to the Eldred Act reveals how extreme the other side is. The "
"most powerful and sexy and well loved of lobbies really has as its aim not "
"the protection of <quote>property</quote> but the rejection of a tradition.  "
"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to "
"assure that all there is is what is theirs</emphasis>."
msgstr ""
"L'opposion à la Loi Eldred révèle à quel point l'autre camp est extrème. "
"Le plus puissant et sexy et aimé des lobbys a réellment comme but non pas "
"la protection de la <quote>propriété</quote> mais le rejet de la tradition. "
"Leur but est non seulement de protéger ce qui est leurs. <emphasis>Leur but "
"est de s'assurer que tout ce qui est ici soit leurs</emphasis>."

#. type: Content of: <book><part><chapter><para>
msgid ""
"It is not hard to understand why the warriors take this view. It is not hard "
"to see why it would benefit them if the competition of the public domain "
"tied to the Internet could somehow be quashed. Just as RCA feared the "
"competition of FM, they fear the competition of a public domain connected to "
"a public that now has the means to create with it and to share its own "
"creation."
msgstr ""
"Il n'est pas difficile de comprendre pourquoi les guerriers adoptent cette "
"vision. Il n'est pas difficile de voir pourquoi elle leur bénéficierait si "
"la compétition du domaine public liée à Internet pouvait être d'une "
"façon ou d'une autre annulée. Tout comme la RCA craignait la compétition "
"de la FM, ils craignent la compétition du domaine public connecté à un "
"public qui a maintenant les moyens de créer avec et de partager ses propres "
"créations."

#. type: Content of: <book><part><chapter><para>
msgid ""
"What is hard to understand is why the public takes this view. It is as if "
"the law made airplanes trespassers. The MPAA stands with the Causbys and "
"demands that their remote and useless property rights be respected, so that "
"these remote and forgotten copyright holders might block the progress of "
"others."
msgstr ""
"Ce qui est difficile à comprendre est pourquoi le public adopte cette "
"vision. C'est comme si la loi faisait des avions des violeurs de propriété. "
"La MPAA se dresse avec les Causbys et demande que leurs droits de propriété "
"inutiles et "
"lointains soient respectés, de telle sorte que les "
"détenteurs de ces copyrights lointains et oubliés "
"puissent bloquer le progrès des autres."

#. type: Content of: <book><part><chapter><para>
msgid ""
"All this seems to follow easily from this untroubled acceptance of the "
"<quote>property</quote> in intellectual property. Common sense supports it, "
"and so long as it does, the assaults will rain down upon the technologies of "
"the Internet. The consequence will be an increasing <quote>permission "
"society.</quote> The past can be cultivated only if you can identify the "
"owner and gain permission to build upon his work. The future will be "
"controlled by this dead (and often unfindable) hand of the past."
msgstr ""
"Tout cela semble découler facilement de cette acceptation confortable du "
"principe de <quote>propriété</quote> dans la propriété intellectuelle. "
"Le sens commun le soutient, "
"et tant qu'il le soutient, les assauts pleuveront sur les technologies "
"d'Internet. La conséquence sera une <quote>société de la "
"permission</quote> croissante. Le passé peut être cultivé seulement si "
"vous pouvez identifier le propriétaire et obtenir la permission de "
"réutiliser son oeuvre. Le future sera contrôlé par cette main morte (et "
"souvent introuvable) du passé."

#. type: Content of: <book><chapter><title>
msgid "Conclusion"
msgstr "Conclusion"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Africa, medications for HIV patients in"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "AIDS medications"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "antiretroviral drugs"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "developing countries, foreign patent costs in"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "drugs"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "pharmaceutical"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "HIV/AIDS therapies"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>There are more</emphasis> than 35 million people "
"with the AIDS virus worldwide. Twenty-five million of them live in "
"sub-Saharan Africa.  Seventeen million have already died. Seventeen million "
"Africans is proportional percentage-wise to seven million Americans. More "
"importantly, it is seventeen million Africans."
msgstr ""
"<emphasis role='strong'>Plus de</emphasis> trente-cinq millions de personnes "
"vivent avec le virus du sida de part le monde. Vingt-cinq millions d'entre "
"elles sont en Afrique sub-saharienne. Dix-sept millions sont déjà mortes. "
"Dix-sept millions d'Africains, cela représente, en proportion de la "
"population, sept millions d'Américains. Mais ça fait surtout dix-sept "
"millions d'Africains."

#. type: Content of: <book><chapter><para>
msgid ""
"There is no cure for AIDS, but there are drugs to slow its progression.  "
"These antiretroviral therapies are still experimental, but they have already "
"had a dramatic effect. In the United States, AIDS patients who regularly "
"take a cocktail of these drugs increase their life expectancy by ten to "
"twenty years. For some, the drugs make the disease almost invisible."
msgstr ""
"Il n'y a pas de remède contre le sida, mais il existe des médicaments qui "
"ralentissent sa progression. Ces thérapies antirétrovirales sont encore "
"expérimentales, mais elles ont eu un effet radical. Aux États-Unis, les "
"malades du sida qui prennent régulièrement un cocktail de ces médicaments "
"augmentent leur espérance de vie de dix à vingt ans. Pour certains, les "
"médicaments rendent la maladie presque invisible."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Commission on Intellectual Property Rights, <quote>Final Report: Integrating "
"Intellectual Property Rights and Development Policy</quote> (London, 2002), "
"available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#55</ulink>. According to a World Health Organization press release issued 9 "
"July 2002, only 230,000 of the 6 million who need drugs in the developing "
"world receive them&mdash;and half of them are in Brazil."
msgstr ""
"Commission on Intellectual Property Rights, <quote>Final Report: Integrating "
"Intellectual Property Rights and Development Policy</quote> (London, 2002), "
"available at link #55. According to a World Health Organization press release "
"issued 9 July 2002, only 230,000 of the 6 million who need drugs in the "
"developing world receive them&mdash;and half of them are in Brazil."

#. type: Content of: <book><chapter><para>
msgid ""
"These drugs are expensive. When they were first introduced in the United "
"States, they cost between $10,000 and $15,000 per person per year. Today, "
"some cost $25,000 per year. At these prices, of course, no African nation "
"can afford the drugs for the vast majority of its population: $15,000 is "
"thirty times the per capita gross national product of Zimbabwe. At these "
"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
"Ces médicaments coûtent cher. Quand ils furent mis sur le marché aux "
"États-Unis, ils coûtaient entre 10.000 et 15.000 dollars par personne et "
"par an. Aujourd'hui, certains coûtent 25.000 dollars par an. A ces prix, "
"bien sûr, aucun pays d'Afrique ne peut offrir ces médicaments à la grande "
"majorité de sa population: 15.000 dollars, c'est trente fois le PNB par "
"habitant du Zimbabwe. A ce prix, les médicaments sont complètement "
"inaccessibles.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "on pharmaceuticals"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "pharmaceutical patents"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"These prices are not high because the ingredients of the drugs are "
"expensive. These prices are high because the drugs are protected by "
"patents. The drug companies that produced these life-saving mixes enjoy at "
"least a twenty-year monopoly for their inventions. They use that monopoly "
"power to extract the most they can from the market. That power is in turn "
"used to keep the prices high."
msgstr ""
"Ces prix ne sont pas élevés parce que les ingrédients des médicaments "
"coûtent cher. Ils sont élevés parce que les médicaments sont protégés "
"par des brevets. Les entreprises pharmaceutiques qui produisent ces mixtures "
"salvatrices jouissent d'un monopole d'au moins vingt années sur leurs "
"inventions. Elles utilisent ce monopole afin de gagner le plus d'argent "
"possible. Ce pouvoir leur sert à maintenir des prix élevés."

#. type: Content of: <book><chapter><para>
msgid ""
"There are many who are skeptical of patents, especially drug patents. I am "
"not. Indeed, of all the areas of research that might be supported by "
"patents, drug research is, in my view, the clearest case where patents are "
"needed. The patent gives the drug company some assurance that if it is "
"successful in inventing a new drug to treat a disease, it will be able to "
"earn back its investment and more. This is socially an extremely valuable "
"incentive. I am the last person who would argue that the law should abolish "
"it, at least without other changes."
msgstr ""
"Beaucoup de gens sont sceptiques au sujet des brevets, en particulier des "
"brevets sur les médicaments. Je ne le suis pas. En effet, de tous les "
"domaines de recherche qui pourraient bénéficier des brevets, la recherche "
"de médicaments est, à mon avis, celui qui en a le plus clairement besoin. "
"Les brevets donnent à une entreprise pharmaceutique la garantie que si elle "
"invente un nouveau médicament qui soigne une maladie de façon efficace, "
"elle sera capable de revenir sur son investissement, et même de gagner plus. "
"C'est une incitation extrêmement utile. Je serais la dernière personne à "
"réclamer que la loi les abolisse, du moins sans rien changer d'autre."

#. type: Content of: <book><chapter><para>
msgid ""
"But it is one thing to support patents, even drug patents. It is another "
"thing to determine how best to deal with a crisis. And as African leaders "
"began to recognize the devastation that AIDS was bringing, they started "
"looking for ways to import HIV treatments at costs significantly below the "
"market price."
msgstr ""
"Mais c'est une chose que d'être en faveur des brevets, même des brevets sur "
"les médicaments. C'en est une autre que de savoir comment gérer au mieux "
"une crise.  Et quand les dirigeants africains commencèrent à comprendre "
"quelle dévastation le sida apportait, ils cherchèrent des moyens d'importer "
"des traitements contre le VIH à un coût très inférieur aux prix du "
"marché."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "international law"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "parallel importation"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "South Africa, Republic of, pharmaceutical imports by"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Braithwaite, John"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: "
"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), "
"37.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Voir Peter Drahos avec John Braithwaite,<citetitle> Information Feudalism: Who "
"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), 37."
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"In 1997, South Africa tried one tack. It passed a law to allow the "
"importation of patented medicines that had been produced or sold in another "
"nation's market with the consent of the patent owner. For example, if the "
"drug was sold in India, it could be imported into Africa from India. This is "
"called <quote>parallel importation,</quote> and it is generally permitted "
"under international trade law and is specifically permitted within the "
"European Union.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"En 1997, l'Afrique du Sud tenta une parade. Elle autorisa l'importation de "
"médicaments brevetés qui avaient été produits ou mis sur le marché d'un "
"autre pays avec l'accord du détenteur de copyright. Par exemple, si un "
"médicament était vendu en Inde, il pouvait être exporté d'Inde vers "
"l'Afrique. Ceci est appelé <quote>importation parallèle</quote>, et est en "
"général autorisé par les lois du commerce international, et est "
"spécifiquement autorisé à l'intérieur de l'Union Européenne.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "United States Trade Representative (USTR)"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 14, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #56</ulink>. For a firsthand "
"account of the struggle over South Africa, see Hearing Before the "
"Subcommittee on Criminal Justice, Drug Policy, and Human Resources, House "
"Committee on Government Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 "
"July 1999), 150&ndash;57 (statement of James Love)."
msgstr ""
"International Intellectual Property Institute (IIPI),<citetitle> Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 14, available at link #56. For a firsthand account "
"of the struggle over South Africa, see Hearing Before the Subcommittee on "
"Criminal Justice, Drug Policy, and Human Resources, House Committee on "
"Government Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 July 1999), "
"150-57 (statement of James Love)."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 15."
msgstr ""
"International Intellectual Property Institute (IIPI),<citetitle> Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 15."

#. type: Content of: <book><chapter><para>
msgid ""
"However, the United States government opposed the bill. Indeed, more than "
"opposed. As the International Intellectual Property Association "
"characterized it, <quote>The U.S. government pressured South Africa &hellip; "
"not to permit compulsory licensing or parallel imports.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Through the Office of the United States Trade "
"Representative, the government asked South Africa to change the "
"law&mdash;and to add pressure to that request, in 1998, the USTR listed "
"South Africa for possible trade sanctions.  That same year, more than forty "
"pharmaceutical companies began proceedings in the South African courts to "
"challenge the government's actions. The United States was then joined by "
"other governments from the EU. Their claim, and the claim of the "
"pharmaceutical companies, was that South Africa was violating its "
"obligations under international law by discriminating against a particular "
"kind of patent&mdash; pharmaceutical patents. The demand of these "
"governments, with the United States in the lead, was that South Africa "
"respect these patents as it respects any other patent, regardless of any "
"effect on the treatment of AIDS within South Africa.<placeholder "
"type=\"footnote\" id=\"1\"/>"
msgstr ""
"Cependant les États-Unis s'opposèrent à cette loi. Et c'est le moins qu'on "
"puisse dire. Comme le rapporte l'Association Internationale de la Propriété "
"Intellectuelle, <quote>Le gouvernement U.S. pressa l'Afrique du Sud... de ne "
"pas autoriser les licences contraignantes, ou bien les importations "
"parallèles</quote><placeholder type=\"footnote\" id=\"0\"/>. "
"Par l'intermédiaire du Bureau des Représentants de Commerce des Etats Unis "
"(USTR), le gouvernement demanda à l'Afrique du Sud de changer sa loi&mdash; "
"et pour ajouter de la pression à cette demande, en 1998 le USTR désigna "
"l'Afrique du Sud pour d'éventuelles sanctions commerciales. La même année, "
"plus de quarante compagnies pharmaceutiques entamèrent des procès dans les "
"tribunaux sud-africains, pour remettre en question la politique du "
"gouvernement. Les Etats-Unis furent ensuite rejoints par d'autres "
"gouvernements de l'Union Européenne. Leur argument, et l'argument des "
"compagnies pharmaceutiques, était que l'Afrique du Sud manquait à ses "
"obligations selon la loi internationale, en ne respectant pas les brevets "
"pharmaceutiques. La demande de ces gouvernements, États-Unis en tête, était "
"que l'Afrique du Sud respectât ces brevets, tout comme elle respectait les "
"autres types de brevets, nonobstant toute conséquence sur le traitement du "
"sida en Afrique du Sud.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"We should place the intervention by the United States in context.  No doubt "
"patents are not the most important reason that Africans don't have access to "
"drugs. Poverty and the total absence of an effective health care "
"infrastructure matter more. But whether patents are the most important "
"reason or not, the price of drugs has an effect on their demand, and patents "
"affect price. And so, whether massive or marginal, there was an effect from "
"our government's intervention to stop the flow of medications into Africa."
msgstr ""
"Nous devrions replacer l'intervention des États-Unis dans son contexte. Il "
"ne fait aucun doute que les brevets ne sont pas la raison principale pour "
"laquelle les Africains n'ont pas accès aux médicaments. La pauvreté, et "
"l'absence totale d'infrastructure médicale sont plus importants. Mais que "
"les brevets soient ou non la raison principale, le prix des médicaments a un "
"effet sur la demande, et les brevets ont un effet sur leur prix. Ainsi donc, "
"l'intervention de notre gouvernement a contribué à stopper l'afflux de "
"médicaments en Afrique, que son effet soit marginal ou non."

#. type: Content of: <book><chapter><para>
msgid ""
"By stopping the flow of HIV treatment into Africa, the United States "
"government was not saving drugs for United States citizens.  This is not "
"like wheat (if they eat it, we can't); instead, the flow that the United "
"States intervened to stop was, in effect, a flow of knowledge: information "
"about how to take chemicals that exist within Africa, and turn those "
"chemicals into drugs that would save 15 to 30 million lives."
msgstr ""
"En stoppant le flux de médicaments contre le sida vers l'Afrique, le "
"gouvernement des États-Unis n'a pas mis de côté ces médicaments, pour les "
"réserver à ses propres citoyens. Ce n'est pas comme pour du grain (ce "
"qu'ils mangent n'est plus pour nous). Au contraire, le flux que les États- "
"Unis ont stoppé était, de fait, un flux de connaissance: savoir comment, à "
"partir de matières premières qui existent en Afrique, synthétiser des "
"médicaments qui sauveraient 15 à 30 millions de vies."

#. type: Content of: <book><chapter><para>
msgid ""
"Nor was the intervention by the United States going to protect the profits "
"of United States drug companies&mdash;at least, not substantially. It was "
"not as if these countries were in the position to buy the drugs for the "
"prices the drug companies were charging. Again, the Africans are wildly too "
"poor to afford these drugs at the offered prices. Stopping the parallel "
"import of these drugs would not substantially increase the sales by "
"U.S. companies."
msgstr ""
"L'intervention des États-Unis n'a pas non plus servi à protéger les "
"profits des compagnies pharmaceutiques américaines&mdash; du moins, pas "
"significativement. Ces pays étaient loin de pouvoir acheter leurs "
"médicaments à ces compagnies, au prix où ils étaient vendus. Une fois de "
"plus, les Africains sont bien trop pauvres pour pouvoir se payer ces "
"médicaments aux prix proposés. Stopper les importations parallèles de ces "
"médicaments ne servait pas à augmenter les ventes des compagnies U.S."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's "
"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco "
"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory "
"licenses and gray markets pose a threat to the entire system of intellectual "
"property protection</quote>); Robert Weissman, <quote>AIDS and Developing "
"Countries: Democratizing Access to Essential Medicines,</quote> "
"<citetitle>Foreign Policy in Focus</citetitle> 4:23 (August 1999), available "
"at <ulink url=\"http://free-culture.cc/notes/\">link #58</ulink> (describing "
"U.S. policy); John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and "
"the HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual "
"Property Rights and Compassion, a Synopsis,</quote> <citetitle>Widener Law "
"Symposium Journal</citetitle> (Spring 2001): 175."
msgstr ""
"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's "
"Needs at Odds with Firms' Profit Motive,</quote><citetitle> San Francisco "
"Chronicle,</citetitle> 24 May 1999, A1, available at link #57 "
"(<quote>compulsory licenses and gray markets pose a threat to the entire "
"system of intellectual property protection</quote>); Robert Weissman, "
"<quote>AIDS and Developing Countries: Democratizing Access to Essential "
"Medicines,</quote><citetitle> Foreign Policy in Focus</citetitle> 4:23 "
"(August 1999), available at link #58 (describing U.S. policy); John A. "
"Harrelson, <quote>TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: "
"Finding the Proper Balance Between Intellectual Property Rights and "
"Compassion, a Synopsis,</quote><citetitle> Widener Law Symposium "
"Journal</citetitle> (Spring 2001): 175."

#. type: Content of: <book><chapter><para>
msgid ""
"Instead, the argument in favor of restricting this flow of information, "
"which was needed to save the lives of millions, was an argument about the "
"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was "
"because <quote>intellectual property</quote> would be violated that these "
"drugs should not flow into Africa. It was a principle about the importance "
"of <quote>intellectual property</quote> that led these government actors to "
"intervene against the South African response to AIDS."
msgstr ""
"Non, l'argument en faveur d'une restriction de ce flux d'information, qui "
"était nécessaire pour sauver des millions de vies, concernait "
"l'intouchabilité de la propriété.<placeholder type=\"footnote\" id=\"0\"/> "
"C'est parce que la <quote>propriété intellectuelle</quote> aurait été "
"violée que ces médicaments ne devaient pas aller en Afrique. C'est un "
"principe concernant l'importance de la <quote>propriété "
"intellectuelle</quote> qui a conduit ces gouvernants à intervenir contre la "
"politique anti-sida de l'Afrique du Sud."

#. type: Content of: <book><chapter><para>
msgid ""
"Now just step back for a moment. There will be a time thirty years from now "
"when our children look back at us and ask, how could we have let this "
"happen? How could we allow a policy to be pursued whose direct cost would be "
"to speed the death of 15 to 30 million Africans, and whose only real benefit "
"would be to uphold the <quote>sanctity</quote> of an idea? What possible "
"justification could there ever be for a policy that results in so many "
"deaths? What exactly is the insanity that would allow so many to die for "
"such an abstraction?"
msgstr ""
"Prenons un peu de recul maintenant. D'ici une tentaine d'années, nos enfants "
"nous demanderont comment nous avons pu laisser faire une chose pareille. "
"Comment avons-nous pu autoriser une politique dont la conséquence directe a "
"été d'accélérer la mort de 15 à 30 millions d'Africains, et dont le "
"véritable bénéfice a été d'affirmer l'<quote>intouchabilité</quote> "
"d'une idée? Quelle justification possible pouvait-il y avoir à une "
"politique qui a provoqué tant de morts? Quelle est cette folie qui a laissé "
"mourir tant de gens au nom d'une abstraction?"

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "in pharmaceutical industry"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Some blame the drug companies. I don't. They are corporations.  Their "
"managers are ordered by law to make money for the corporation.  They push a "
"certain patent policy not because of ideals, but because it is the policy "
"that makes them the most money. And it only makes them the most money "
"because of a certain corruption within our political system&mdash; a "
"corruption the drug companies are certainly not responsible for."
msgstr ""
"Certains accusent les compagnies pharmaceutiques. Pas moi. Ce sont des "
"entreprises. Leurs dirigeants ont l'obligation légale de faire des "
"bénéfices. Ils mettent en avant une certaine politique des brevets, non pas "
"par idéal, mais parce que c'est la politique qui leur permet de gagner le "
"plus d'argent. Et si cette politique est celle qui leur rapporte le plus "
"d'argent, c'est uniquement à cause d'une certaine corruption de notre "
"système politique&mdash; une corruption dont les compagnies pharmaceutiques "
"ne sont certainement pas responsables."

#. type: Content of: <book><chapter><para>
msgid ""
"The corruption is our own politicians' failure of integrity. For the drug "
"companies would love&mdash;they say, and I believe them&mdash;to sell their "
"drugs as cheaply as they can to countries in Africa and elsewhere.  There "
"are issues they'd have to resolve to make sure the drugs didn't get back "
"into the United States, but those are mere problems of technology.  They "
"could be overcome."
msgstr ""
"Cette corruption est le manque d'intégrité de nos propres politiciens. En "
"effet les compagnies pharmaceutiques aimeraient beaucoup, disent-elles, et je "
"les crois, vendre leurs médicaments aussi bon marché que possible à "
"certains pays pays d'Afrique ou d'ailleurs. Bien sûr elles auraient quelques "
"problèmes à résoudre, pour s'assurer que ces médicaments ne soient pas "
"remis sur le marché aux États-Unis, ces problèmes sont d'ordre techniques. "
"Ils peuvent être surmontés."

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "of drug patents"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"A different problem, however, could not be overcome. This is the fear of the "
"grandstanding politician who would call the presidents of the drug companies "
"before a Senate or House hearing, and ask, <quote>How is it you can sell "
"this HIV drug in Africa for only $1 a pill, but the same drug would cost an "
"American $1,500?</quote> Because there is no <quote>sound bite</quote> "
"answer to that question, its effect would be to induce regulation of prices "
"in America. The drug companies thus avoid this spiral by avoiding the first "
"step. They reinforce the idea that property should be sacred. They adopt a "
"rational strategy in an irrational context, with the unintended consequence "
"that perhaps millions die. And that rational strategy thus becomes framed in "
"terms of this ideal&mdash;the sanctity of an idea called <quote>intellectual "
"property.</quote>"
msgstr ""
"Cependant, un problème différent ne pourrait pas être évité. C'est la "
"peur qu'un politicien démagogue n'interpelle les présidents des compagnies "
"pharmaceutiques devant le Sénat ou la Chambre des Représentants, et ne "
"demande: <quote>Comment se fait-il que vous puissiez vendre ce médicament "
"antisida pour un dollar le comprimé en Afrique, et que le même médicament "
"coûte 1.500 dollars à un Américain?</quote> Parce qu'il n'y a pas de "
"réponse simple à cette question, son effet serait d'induire une régulation "
"des prix en Amérique. Les compagnies pharmaceutiques évitent d'entrer dans "
"cette spirale. Elles renforcent l'idée que la propriété doit être "
"sacrée. Elles adoptent une stratégie rationnelle dans un contexte "
"irrationnel, et dont la conséquence involontaire est peut-être la mort de "
"millions de personnes. Et au final cette stratégie rationnelle se cache "
"derrière un idéal: l'intouchabilité d'une idée appelée "
"<quote>propriété intellectuelle</quote>."

#. type: Content of: <book><chapter><para>
msgid ""
"So when the common sense of your child confronts you, what will you say? "
"When the common sense of a generation finally revolts against what we have "
"done, how will we justify what we have done? What is the argument?"
msgstr ""
"Donc, quand le sens commun de vos enfants vous interrogera, que direz vous? "
"Quand le sens commun de toute une génération finira par se se révolter "
"contre ce que nous avons fait, comment pourrons-nous le justifier? Par quel "
"argument?"

#. type: Content of: <book><chapter><para>
msgid ""
"A sensible patent policy could endorse and strongly support the patent "
"system without having to reach everyone everywhere in exactly the same "
"way. Just as a sensible copyright policy could endorse and strongly support "
"a copyright system without having to regulate the spread of culture "
"perfectly and forever, a sensible patent policy could endorse and strongly "
"support a patent system without having to block the spread of drugs to a "
"country not rich enough to afford market prices in any case. A sensible "
"policy, in other words, could be a balanced policy. For most of our history, "
"both copyright and patent policies were balanced in just this sense."
msgstr ""
"Une politique raisonnable en matière de brevets pourrait endosser et "
"soutenir le système de brevets, sans pour autant atteindre tout le monde en "
"tout endroit de la même manière. De même qu'une politique raisonnable en "
"matière de droit d'auteur pourrait endosser et soutenir un système de "
"droits sans devoir réguler la diffusion de la culture de manière parfaite "
"et immuable, une politique raisonnable en matière de brevets pourrait "
"endosser et soutenir un système de brevets sans nécessairement bloquer la "
"diffusion de médicaments dans des pays trop pauvres pour jamais pouvoir les "
"acheter aux prix du marché. Une politique raisonnable, en d'autres termes, "
"serait une politique équilibrée. Pour l'essentiel de notre histoire, nos "
"politiques en matières de droit d'auteur et de brevets ont justement été "
"équilibrées en ce sens."

#. type: Content of: <book><chapter><para>
msgid ""
"But we as a culture have lost this sense of balance. We have lost the "
"critical eye that helps us see the difference between truth and extremism.  "
"A certain property fundamentalism, having no connection to our tradition, "
"now reigns in this culture&mdash;bizarrely, and with consequences more grave "
"to the spread of ideas and culture than almost any other single policy "
"decision that we as a democracy will make."
msgstr ""
"Mais nous avons, en tant que culture, perdu ce sens de la mesure. Nous avons "
"perdu le regard critique qui nous aide à voir ce qui sépare la vérité de "
"l'extrémisme. Un certain fondamentalisme de la propriété, qui n'a aucun "
"lien avec notre tradition, règne maintenant dans la culture &mdash; de "
"manière incongrue, et avec des conséquences autrement plus sérieuses pour "
"la circulation des idées et de la culture que presque toute les décisions "
"politiques que nous pouvons prendre en tant que démocratie."

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the "
"cover of darkness, much happens that most of us would reject if any of us "
"looked. So uncritically do we accept the idea of property in ideas that we "
"don't even notice how monstrous it is to deny ideas to a people who are "
"dying without them. So uncritically do we accept the idea of property in "
"culture that we don't even question when the control of that property "
"removes our ability, as a people, to develop our culture "
"democratically. Blindness becomes our common sense. And the challenge for "
"anyone who would reclaim the right to cultivate our culture is to find a way "
"to make this common sense open its eyes."
msgstr ""
"<emphasis role='strong'>Une idée simple</emphasis> nous aveugle, et à la "
"faveur de l'obscurité, beaucoup de choses se passent que nous rejetterions "
"si nous les voyions. Nous prenons si peu de recul pour accepter l'idée de "
"propriété des idées que nous ne remarquons pas à quel point il est "
"monstrueux de refuser leur bénéfice à un peuple qui meurt.  Nous prenons "
"si peu de recul pour accepter l'idée de propriété culturelle que nous ne "
"nous interrogeons même pas lorsque le contrôle de cette propriété nous "
"empêche, en tant que peuple, de développer notre culture démocratiquement. "
"La cécité devient notre sens commun. Et le défi à relever pour quiconque "
"voudrait restaurer notre droit à développer une culture est de trouver le "
"moyen de faire ouvrir les yeux à ce sens commun."

#. type: Content of: <book><chapter><para>
msgid ""
"So far, common sense sleeps. There is no revolt. Common sense does not yet "
"see what there could be to revolt about. The extremism that now dominates "
"this debate fits with ideas that seem natural, and that fit is reinforced by "
"the RCAs of our day. They wage a frantic war to fight <quote>piracy,</quote> "
"and devastate a culture for creativity. They defend the idea of "
"<quote>creative property,</quote> while transforming real creators into "
"modern-day sharecroppers. They are insulted by the idea that rights should "
"be balanced, even though each of the major players in this content war was "
"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a "
"city like Washington, hypocrisy is not even noticed. Powerful lobbies, "
"complex issues, and MTV attention spans produce the <quote>perfect "
"storm</quote> for free culture."
msgstr ""
"Jusqu'ici, le sens commun sommeille. Il n'y a pas de révolte. Le sens commun "
"ne voit même pas pourquoi se révolter. L'extrémisme qui domine ce débat "
"maintenant trouve écho dans des idées qui paraissent naturelles, et cette "
"écho est amplifié par les RCA d'aujourd'hui. Ils mènent une guerre "
"fanatique contre le <quote>piratage</quote>, et dévastent une culture au nom "
"de la créativité. Ils défendent l'idée de <quote>propriété "
"créatrice</quote>, en transformant les véritables créateurs en paysans "
"sans terre des temps modernes. Ils sont choqués par l'idée que leurs droits "
"puissent être équilibrés, alors même que les acteurs principaux de cette "
"guerre du contenu ont profité d'un contexte plus équilibré. Ça sent "
"l'hypocrisie. Mais même dans une ville comme Washington, l'hypocrisie passe "
"inaperçue. Des lobbys puissants, des problèmes complexes, et une faculté "
"d'attention digne de MTV, produisent une <quote>tempête parfaite</quote> "
"pour la culture libre."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "academic journals"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "biomedical research"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "international organization on issues of"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "IBM"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "PLoS (Public Library of Science)"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Public Library of Science (PLoS)"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "public projects in"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "single nucleotied polymorphisms (SNPs)"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Wellcome Trust"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "World Intellectual Property Organization (WIPO)"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "World Wide Web"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Global Positioning System"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> "
"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; "
"William New, <quote>U.S. Official Opposes `Open Source' Talks at "
"WIPO,</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 "
"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#61</ulink>."
msgstr ""
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote><citetitle> "
"Washington Post,</citetitle> 21 August 2003, E1, available at link #59; "
"William New, <quote>Global Group's Shift on 'Open Source' Meeting Spurs "
"Stir,</quote><citetitle> National Journal's Technology Daily,</citetitle> 19 "
"August 2003, available at link #60; William New, <quote>U.S. Official Opposes "
"'Open Source' Talks at WIPO,</quote><citetitle> National Journal's Technology "
"Daily,</citetitle> 19 August 2003, available at link #61."

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the "
"United States about a decision by the World Intellectual Property "
"Organization to cancel a meeting.<placeholder type=\"footnote\" id=\"0\"/> "
"At the request of a wide range of interests, WIPO had decided to hold a "
"meeting to discuss <quote>open and collaborative projects to create public "
"goods.</quote> These are projects that have been successful in producing "
"public goods without relying exclusively upon a proprietary use of "
"intellectual property. Examples include the Internet and the World Wide Web, "
"both of which were developed on the basis of protocols in the public "
"domain. It included an emerging trend to support open academic journals, "
"including the Public Library of Science project that I describe in chapter "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.  It "
"included a project to develop single nucleotide polymorphisms (SNPs), which "
"are thought to have great significance in biomedical research. (That "
"nonprofit project comprised a consortium of the Wellcome Trust and "
"pharmaceutical and technological companies, including Amersham Biosciences, "
"AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, "
"Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It included "
"the Global Positioning System, which Ronald Reagan set free in the early "
"1980s. And it included <quote>open source and free software.</quote>"
msgstr ""
"<emphasis role='strong'>En août 2003</emphasis>, une dispute éclata aux "
"États-Unis au sujet d'une décision de l'Organisation Mondiale de la "
"Propriété Intellectuelle d'annuler une conférence.<placeholder "
"type=\"footnote\" id=\"0\"/> A la demande d'intérêts divers, l'OMPI avait "
"décidé d'organiser un séminaire sur les <quote>projets ouverts et "
"collaboratifs pour créer des biens publics</quote>. C'est le type de projets "
"qui a réussi à produire des biens publics sans s'appuyer sur un usage "
"uniquement propriétaire de la propriété intellectuelle. Internet et le Web "
"en sont des exemples, tous deux ont été développés à partir de "
"protocoles du domaine public. Une mouvement nouveau visant à développer des "
"journaux académiques ouverts, comme le projet Public Library of Science "
"décrit dans la <link linkend=\"c-afterword\">Postface</link>, en faisait partie. De même qu'un projet pour "
"recenser les Single Nucleotide Polymorphisms (SNP), dont l'importance pour la "
"recherche biomédicale est tenue pour cruciale. (Ce projet non-commercial "
"comprenait un consortium rassemblant le Wellcome Trust et des compagnies "
"pharmaceutiques et technologiques, dont Amersham Biosciences, AstraZeneca, "
"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, "
"IBM, Motorola, Novartis, Pfizer, and Searle.) Le Global Positioning System, "
"que Ronald Reagan avait rendu libre au début des années 1980, en faisait "
"partie. De même que les <quote>logiciels libres et open-source</quote>."

#. type: Content of: <book><chapter><para>
msgid ""
"The aim of the meeting was to consider this wide range of projects from one "
"common perspective: that none of these projects relied upon intellectual "
"property extremism. Instead, in all of them, intellectual property was "
"balanced by agreements to keep access open or to impose limitations on the "
"way in which proprietary claims might be used."
msgstr ""
"Le but de la conférence était de considérer ces projets divers à la "
"lumière d'un aspect commun: à savoir qu'aucun de ces projets n'était lié "
"à cet extrémisme de la propriété intellectuelle. Au lieu de quoi, dans "
"chacun d'entre eux, la propriété intellectuelle était équilibrée par des "
"accords visant à maintenir un accès ouvert, ou à limiter les "
"appropriations possibles."

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "in international debate on intellectual property"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"I should disclose that I was one of the people who asked WIPO for the "
"meeting."
msgstr ""
"I should disclose that I was one of the people who asked WIPO for the "
"meeting."

#. type: Content of: <book><chapter><para>
msgid ""
"From the perspective of this book, then, the conference was "
"ideal.<placeholder type=\"footnote\" id=\"0\"/> The projects within its "
"scope included both commercial and noncommercial work. They primarily "
"involved science, but from many perspectives.  And WIPO was an ideal venue "
"for this discussion, since WIPO is the preeminent international body dealing "
"with intellectual property issues."
msgstr ""
"Du point de vue de ce livre, donc, la conférence était idéale.<placeholder "
"type=\"footnote\" id=\"0\"/> Parmi les projets à l'ordre du jour, on "
"comptait à la fois des travaux commerciaux et non-commerciaux. Ils "
"s'occupaient essentiellement de science, mais avec différents points de vue. "
"Et l'OMPI était un hôte idéal pour cette discussion, puisque c'est "
"l'organisme international préeminent qui s'occupe des problèmes de "
"propriété intellectuelle."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "World Summit on the Information Society (WSIS)"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Indeed, I was once publicly scolded for not recognizing this fact about "
"WIPO. In February 2003, I delivered a keynote address to a preparatory "
"conference for the World Summit on the Information Society (WSIS). At a "
"press conference before the address, I was asked what I would say. I "
"responded that I would be talking a little about the importance of balance "
"in intellectual property for the development of an information society. The "
"moderator for the event then promptly interrupted to inform me and the "
"assembled reporters that no question about intellectual property would be "
"discussed by WSIS, since those questions were the exclusive domain of "
"WIPO. In the talk that I had prepared, I had actually made the issue of "
"intellectual property relatively minor. But after this astonishing "
"statement, I made intellectual property the sole focus of my talk. There was "
"no way to talk about an <quote>Information Society</quote> unless one also "
"talked about the range of information and culture that would be free. My "
"talk did not make my immoderate moderator very happy. And she was no doubt "
"correct that the scope of intellectual property protections was ordinarily "
"the stuff of WIPO. But in my view, there couldn't be too much of a "
"conversation about how much intellectual property is needed, since in my "
"view, the very idea of balance in intellectual property had been lost."
msgstr ""
"En effet, il m'est arrivé d'être raillé en public pour ne pas avoir "
"reconnu ce rôle à l'OMPI. En février 2003, j'ai donné un discours à une "
"conférence préparatoire du Sommet Mondial sur la Société de l'Information "
"(WSIS). Au cours d'une conférence de presse qui précédait mon discours, on "
"me demanda ce que j'allais dire. Je répondis que j'allais parler un peu de "
"l'importance d'équilibrer la propriété intellectuelle pour le "
"développement de la société de l'information. La modératrice "
"m'interrompit brusquement, pour m'informer ainsi que les journalistes "
"présents, qu'aucune question relative à la propriété intellectuelle ne "
"serait discutée au WSIS, car ces questions étaient du ressort exclusif de "
"l'OMPI. Dans le discours que j'avais préparé, j'avais fait de la "
"propriété intellectuelle un thème relativement mineur. Mais après cette "
"déclaration étonnante, je fis de la propriété intellectuelle l'unique "
"sujet de mon discours. Il n'était pas possible de parler d'une "
"<quote>Société de l'Information</quote> sans parler aussi de la partie de "
"l'information et de la culture qui serait libre. Mon discours ne rendit pas "
"très heureuse mon immodeste modératrice. Et il ne fait aucun doute qu'elle "
"avait raison de penser que la protection de la propriété intellectuelle "
"était en principe du ressort de l'OMPI. Mais à mon avis, il ne saurait y "
"avoir trop de conversations au sujet de la quantité de propriété "
"intellectuelle dont nous avons besoin. Car à mon avis, l'idée même "
"d'équilibre de la propriété intellectuelle s'est perdue."

#. type: Content of: <book><chapter><para>
msgid ""
"So whether or not WSIS can discuss balance in intellectual property, I had "
"thought it was taken for granted that WIPO could and should. And thus the "
"meeting about <quote>open and collaborative projects to create public "
"goods</quote> seemed perfectly appropriate within the WIPO agenda."
msgstr ""
"Ainsi donc, que WSIS fut ou non l'endroit pour discuter d'équilibrer la "
"propriété intellectuelle, j'avais pensé qu'il était certain que l'OMPI "
"l'était.  Et la conférence sur les <quote>projets ouverts et collaboratifs "
"pour créer des biens publics</quote> semblait convenir parfaitement à "
"l'agenda de l'OMPI."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Apple Corporation"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "on free software"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"But there is one project within that list that is highly controversial, at "
"least among lobbyists. That project is <quote>open source and free "
"software.</quote> Microsoft in particular is wary of discussion of the "
"subject. From its perspective, a conference to discuss open source and free "
"software would be like a conference to discuss Apple's operating "
"system. Both open source and free software compete with Microsoft's "
"software. And internationally, many governments have begun to explore "
"requirements that they use open source or free software, rather than "
"<quote>proprietary software,</quote> for their own internal uses."
msgstr ""
"Mais il y a un projet dans cette liste qui est très controversé, du moins "
"parmi les lobbyistes. Il s'agit du projet <quote>logiciels libres et open- "
"source</quote>. Microsoft, en particulier, prend soin d'éviter toute "
"discussion sur le sujet. De leur point de vue, une conférence pour discuter "
"de logiciels libres et open-source serait comme une conférence pour discuter "
"du système d'exploitation d'Apple. Les logiciels libres et open-source sont "
"en compétition avec ceux de Microsoft. Et à l'international, beaucoup de "
"gouvernements ont commencé à tester l'obligation, pour leurs propres "
"administrations, d'utiliser des logiciels libres ou open-source, plutôt que "
"des <quote>logiciels propriétaires</quote>."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "<quote>copyleft</quote> licenses"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Microsoft's position about free and open source software is more "
"sophisticated.  As it has repeatedly asserted, it has no problem with "
"<quote>open source</quote> software or software in the public "
"domain. Microsoft's principal opposition is to <quote>free software</quote> "
"licensed under a <quote>copyleft</quote> license, meaning a license that "
"requires the licensee to adopt the same terms on any derivative work. See "
"Bradford L. Smith, <quote>The Future of Software: Enabling the Marketplace "
"to Decide,</quote> <citetitle>Government Policy Toward Open Source "
"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for "
"Regulatory Studies, American Enterprise Institute for Public Policy "
"Research, 2002), 69, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #62</ulink>. See also Craig "
"Mundie, Microsoft senior vice president, <citetitle>The Commercial Software "
"Model</citetitle>, discussion at New York University Stern School of "
"Business (3 May 2001), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #63</ulink>."
msgstr ""
"Microsoft's position about free and open source software is more "
"sophisticated. As it has repeatedly asserted, it has no problem with "
"<quote>open source</quote> software or software in the public domain. "
"Microsoft's principal opposition is to <quote>free software</quote> licensed "
"under a <quote>copyleft</quote> license, meaning a license that requires the "
"licensee to adopt the same terms on any derivative work. See Bradford L. "
"Smith, <quote>The Future of Software: Enabling the Marketplace to "
"Decide,</quote><citetitle> Government Policy Toward Open Source "
"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for "
"Regulatory Studies, American Enterprise Institute for Public Policy Research, "
"2002), 69, available at link #62. See also Craig Mundie, Microsoft senior "
"vice president,<citetitle> The Commercial Software Model,</citetitle> "
"discussion at New York University Stern School of Business (3 May 2001), "
"available at link #63."

#. type: Content of: <book><chapter><para>
msgid ""
"I don't mean to enter that debate here. It is important only to make clear "
"that the distinction is not between commercial and noncommercial "
"software. There are many important companies that depend fundamentally upon "
"open source and free software, IBM being the most prominent. IBM is "
"increasingly shifting its focus to the GNU/Linux operating system, the most "
"famous bit of <quote>free software</quote>&mdash;and IBM is emphatically a "
"commercial entity. Thus, to support <quote>open source and free "
"software</quote> is not to oppose commercial entities. It is, instead, to "
"support a mode of software development that is different from "
"Microsoft's.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Je ne veux pas entrer dans ce débat ici. Qu'il me suffise de préciser que "
"la différence n'est pas entre logiciel commercial et non-commercial. Il y a "
"beaucoup d'entreprises de premier plan qui dépendent fondamentalement du "
"logiciel libre et open-source, IBM étant la plus en vue. IBM déplace de "
"plus en plus son activité vers le système GNU/Linux, le <quote>logiciel "
"libre</quote> le plus célèbre&mdash;et IBM est évidemment une entité "
"commerciale. Ainsi, soutenir le <quote>logiciel libre et open-source</quote> "
"n'est pas s'opposer aux entités commerciales. C'est au contraire soutenir un "
"modèle de développement logiciel différent de celui de "
"Microsoft.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "General Public License (GPL)"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "GPL (General Public License)"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"More important for our purposes, to support <quote>open source and free "
"software</quote> is not to oppose copyright. <quote>Open source and free "
"software</quote> is not software in the public domain. Instead, like "
"Microsoft's software, the copyright owners of free and open source software "
"insist quite strongly that the terms of their software license be respected "
"by adopters of free and open source software. The terms of that license are "
"no doubt different from the terms of a proprietary software license.  Free "
"software licensed under the General Public License (GPL), for example, "
"requires that the source code for the software be made available by anyone "
"who modifies and redistributes the software. But that requirement is "
"effective only if copyright governs software. If copyright did not govern "
"software, then free software could not impose the same kind of requirements "
"on its adopters. It thus depends upon copyright law just as Microsoft does."
msgstr ""
"Plus important pour le sujet qui nous occupe, soutenir le <quote>logiciel "
"libre et open-source</quote> n'est pas s'opposer au copyright. Les "
"<quote>logiciels libres et open-source</quote> ne sont pas dans le domaine "
"public. Au contraire, comme les logiciels de Microsoft, les détenteurs de "
"copyright de logiciels libres et open-source insistent fortement pour que les "
"termes de leurs licenses soient respectés par leurs utilisateurs. Ces termes "
"sont évidemment différents de ceux d'une licence de logiciel propriétaire. "
"Par exemple, un logiciel libre sous la Général Public Licence (GPL) "
"requiert que le code source du logiciel soit rendu public par quiconque le "
"modifie et le redistribue. Mais cette contrainte n'est effective que si le "
"copyright est respecté. Sinon, le logiciel libre ne pourrait pas imposer ce "
"genre de contraintes à ses utilisateurs. Il dépend donc des lois sur le "
"droit d'auteur, au même titre que Microsoft."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Krim, Jonathan"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "WIPO meeting opposed by"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #64</ulink>."
msgstr ""
"Krim, <quote>The Quiet War over Open-Source,</quote> available at link #64."

#. type: Content of: <book><chapter><para>
msgid ""
"It is therefore understandable that as a proprietary software developer, "
"Microsoft would oppose this WIPO meeting, and understandable that it would "
"use its lobbyists to get the United States government to oppose it, as "
"well. And indeed, that is just what was reported to have happened. According "
"to Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's "
"lobbyists succeeded in getting the United States government to veto the "
"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, "
"the meeting was canceled."
msgstr ""
"Il est donc compréhensible qu'en tant que développeur de logiciels, "
"Microsoft se soit opposé à cette conférence de l'OMPI, et compréhensible "
"qu'il utilise ses lobbyistes pour pousser le gouvernement des États-Unis à "
"s'y opposer aussi. Et en effet, c'est exactement ce qui s'est passé, "
"semble-t'il. Selon Jonathan Krim du <citetitle>Washington Post,</citetitle> "
"les lobbyistes de Microsoft réussirent à faire que le gouvernement des "
"États-Unis s'oppose à la conférence.<placeholder type=\"footnote\" "
"id=\"0\"/> Et sans soutien des U.S., la conférence fut annulée."

#. type: Content of: <book><chapter><para>
msgid ""
"I don't blame Microsoft for doing what it can to advance its own interests, "
"consistent with the law. And lobbying governments is plainly consistent with "
"the law. There was nothing surprising about its lobbying here, and nothing "
"terribly surprising about the most powerful software producer in the United "
"States having succeeded in its lobbying efforts."
msgstr ""
"Je ne blâme pas Microsoft de faire ce qu'il peut pour servir ses propres "
"intérêts, dans le respect de la loi. Et il est tout a fait légal de faire "
"du lobbying auprès du gouvernement. Il n'y a rien de surprenant qu'ils en "
"fassent ici, et rien non plus de très surprenant à ce que l'éditeur de "
"logiciels le plus puisant des Etats-Unis ait du succès dans ses efforts de "
"lobbying."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Boland, Lois"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"What was surprising was the United States government's reason for opposing "
"the meeting. Again, as reported by Krim, Lois Boland, acting director of "
"international relations for the U.S. Patent and Trademark Office, explained "
"that <quote>open-source software runs counter to the mission of WIPO, which "
"is to promote intellectual-property rights.</quote> She is quoted as saying, "
"<quote>To hold a meeting which has as its purpose to disclaim or waive such "
"rights seems to us to be contrary to the goals of WIPO.</quote>"
msgstr ""
"Ce qui est surprenant a été la raison avancée par le gouvernement des "
"États-Unis pour s'opposer à la conférence. Comme le rapporte à nouveau "
"Krim, Lois Boland, le directeur des relations internationales du bureau "
"américain des brevets et des marques, expliqua que <quote>le logiciel open "
"source va à l'encontre de la mission de l'OMPI, qui est de promouvoir les "
"droits de propriété intellectuelle.</quote> Elle est citée disant: "
"<quote>Organiser une conférence dont le but est de contester ou de relaxer "
"ces droits semble contraire à la mission de l'OMPI.</quote>"

#. type: Content of: <book><chapter><para>
msgid "These statements are astonishing on a number of levels."
msgstr "Ces affirmations sont étonnantes à bien des égards."

#. type: Content of: <book><chapter><para>
msgid ""
"First, they are just flat wrong. As I described, most open source and free "
"software relies fundamentally upon the intellectual property right called "
"<quote>copyright</quote>.  Without it, restrictions imposed by those "
"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the "
"mission of promoting intellectual property rights reveals an extraordinary "
"gap in understanding&mdash;the sort of mistake that is excusable in a "
"first-year law student, but an embarrassment from a high government official "
"dealing with intellectual property issues."
msgstr ""
"Premièrement, elles sont tout simplement fausses. Comme je l'ai expliqué, "
"la plupart des logiciels open source et libres reposent sur cette propriété "
"intellectuelle appelée <quote>copyright</quote>. Sans elle, les restrictions "
"imposées par ces licences ne marcheraient pas. Par conséquent, dire qu'il "
"va <quote>à l'encontre</quote> de la mission de promotion des droits de "
"propriété intellectuelle révèle une faille extraordinaire de "
"raisonnement&mdash; le genre d'erreur qui est excusable chez un étudiant de "
"première année en droit, mais embarrasse quand elle est commise par un haut "
"officiel du gouvernement, chargé de s'occuper des questions de propriété "
"intellectuelle."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "generic drugs"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Second, who ever said that WIPO's exclusive aim was to "
"<quote>promote</quote> intellectual property maximally? As I had been "
"scolded at the preparatory conference of WSIS, WIPO is to consider not only "
"how best to protect intellectual property, but also what the best balance of "
"intellectual property is. As every economist and lawyer knows, the hard "
"question in intellectual property law is to find that balance. But that "
"there should be limits is, I had thought, uncontested. One wants to ask "
"Ms. Boland, are generic drugs (drugs based on drugs whose patent has "
"expired) contrary to the WIPO mission? Does the public domain weaken "
"intellectual property? Would it have been better if the protocols of the "
"Internet had been patented?"
msgstr ""
"Deuxièmement, qui a dit que la mission exclusive de l'OMPI était de "
"<quote>promouvoir</quote> la propriété intellectuelle sous sa forme "
"maximale? Comme on me l'a rappelé lors de cette conférence préparatoire du "
"sommet WSIS, le but de l'OMPI n'est pas seulement de trouver comment "
"protéger au mieux la propriété intellectuelle, mais aussi de trouver quel "
"est le meilleur équilibre pour cette propriété intellectuelle. Comme le "
"sait n'importe économiste ou juriste, la vraie question pour la loi sur la "
"propriété intellectuelle est de trouver cet équilibre. Mais le fait qu'il "
"doit y avoir des limites est, je croyais, incontesté. Il faudrait demander "
"à Mme Boland si les médicaments génériques (des médicaments qui en "
"imitent d'autres dont les brevets ont expiré) sont contraires à la mission "
"de l'OMPI. Le domaine public affaiblit-il la propriété intellectuelle? "
"Aurait-il mieux valu que les protocoles d'Internet fussent brevetés?"

#. type: Content of: <book><chapter><para>
msgid ""
"Third, even if one believed that the purpose of WIPO was to maximize "
"intellectual property rights, in our tradition, intellectual property rights "
"are held by individuals and corporations. They get to decide what to do with "
"those rights because, again, they are <emphasis>their</emphasis> rights. If "
"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, "
"that is, within our tradition, totally appropriate. When Bill Gates gives "
"away more than $20 billion to do good in the world, that is not inconsistent "
"with the objectives of the property system. That is, on the contrary, just "
"what a property system is supposed to be about: giving individuals the right "
"to decide what to do with <emphasis>their</emphasis> property."
msgstr ""
"Troisièmement, même si l'on croit que la mission de l'OMPI est de maximiser "
"les droits de propriété intellectuelle, dans notre tradition ces droits "
"sont détenus par des individus et des corporations. Ils ont le loisir de "
"décider quoi faire de ces droits parce que, encore une fois, ce sont "
"<emphasis>leurs</emphasis> droits. Si ils choisissent de "
"<quote>donner</quote> ou de <quote>renoncer à</quote> ces droits, c'est "
"parfaitement en accord avec notre tradition. Quand Bill Gates donne plus de "
"20 milliards de dollars à des oeuvres de bienfaisance, ça n'est pas en "
"contradiction avec les objectifs du système de propriété. C'est, bien au "
"contraire, précisément ce qu'un système de propriété est censé "
"permettre: donner aux individus le droit de décider quoi faire de "
"<emphasis>leur</emphasis> propriété."

#. type: Content of: <book><chapter><para>
msgid ""
"When Ms. Boland says that there is something wrong with a meeting "
"<quote>which has as its purpose to disclaim or waive such rights,</quote> "
"she's saying that WIPO has an interest in interfering with the choices of "
"the individuals who own intellectual property rights. That somehow, WIPO's "
"objective should be to stop an individual from <quote>waiving</quote> or "
"<quote>disclaiming</quote> an intellectual property right. That the interest "
"of WIPO is not just that intellectual property rights be maximized, but that "
"they also should be exercised in the most extreme and restrictive way "
"possible."
msgstr ""
"Quand Mme Boland dit qu'il y a un problème avec une conférence <quote>dont "
"le but est de donner ou de renoncer à ces droits</quote>, elle dit que "
"l'OMPI cherche à interférer avec les choix des individus qui détiennent "
"des droits de propriété intellectuelle. Que d'une manière ou d'une autre, "
"le but de l'OMPI devrait être d'empêcher les gens de <quote>donner</quote> "
"ou de <quote>renoncer</quote> à leurs droits de propriété intellectuelle. "
"Que l'OMPI souhaite non seulement que les droits de propriété "
"intellectuelle soient maximisés, mais aussi qu'ils soient exercés de la "
"manière la plus extrême et la plus restrictive possible."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "feudal system"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "feudal system of"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"There is a history of just such a property system that is well known in the "
"Anglo-American tradition. It is called <quote>feudalism.</quote> Under "
"feudalism, not only was property held by a relatively small number of "
"individuals and entities. And not only were the rights that ran with that "
"property powerful and extensive. But the feudal system had a strong interest "
"in assuring that property holders within that system not weaken feudalism by "
"liberating people or property within their control to the free "
"market. Feudalism depended upon maximum control and concentration. It fought "
"any freedom that might interfere with that control."
msgstr ""
"Un tel système de propriété existe dans l'Histoire, et est bien connu de "
"la tradition Anglo-Américaine. Il est appelé <quote>féodalisme</quote>. "
"Sous ce système, non seulement la propriété était détenue par un nombre "
"relativement restreint d'individus et d'entités, et non seulement les droits "
"qui administraient cette propriété étaient puissants et exhaustifs, mais "
"le système lui-même avait fortement intérêt à assurer que les "
"propriétaires n'affaiblissent pas le système, en libérant des individus ou "
"des propriétés qui était sous leur contrôle, pour les rendre au marché "
"libre. Le féodalisme dépendait d'un contrôle maximal et d'une "
"concentration maximale. Il combattait toute liberté qui aurait pu "
"interférer avec ce contrôle."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
"210&ndash;20.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Voir Drahos avec Braithwaite, <citetitle>Information Feudalism</citetitle>, "
"210-20.<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
msgid ""
"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
"are now making about intellectual property.<placeholder type=\"footnote\" "
"id=\"0\"/> We will have an information society. That much is certain. Our "
"only choice now is whether that information society will be "
"<emphasis>free</emphasis> or <emphasis>feudal</emphasis>. The trend is "
"toward the feudal."
msgstr ""
"Comme le rapportent Peter Drahos et John Braithwaite, c'est précisément le "
"choix que nous sommes en train de faire au sujet de la propriété "
"intellectuelle.<placeholder type=\"footnote\" id=\"0\"/> Nous aurons une "
"société de l'information. C'est certain. Notre seul choix maintenant est "
"entre une société de l'information <emphasis>libre</emphasis> et une "
"<emphasis>féodale</emphasis>. Nous nous dirigeons vers une société de "
"l'information féodale."

#. type: Content of: <book><chapter><para>
msgid ""
"When this battle broke, I blogged it. A spirited debate within the comment "
"section ensued. Ms. Boland had a number of supporters who tried to show why "
"her comments made sense. But there was one comment that was particularly "
"depressing for me. An anonymous poster wrote,"
msgstr ""
"Lorsque cette battaille a éclaté, j'en ai parlé sur mon blog. Un débat "
"intéressant s'en est suivi dans la partie réservée aux commentaires. Mme "
"Boland avait un certain nombre d'adhérents qui tentèrent de montrer "
"pourquoi elle avait raison. Mais il y eut un commentaire qui fut "
"particulièrement déprimant pour moi. Un auteur anonyme écrivit:"

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"George, you misunderstand Lessig: He's only talking about the world as it "
"should be (<quote>the goal of WIPO, and the goal of any government, should "
"be to promote the right balance of intellectual property rights, not simply "
"to promote intellectual property rights</quote>), not as it is. If we were "
"talking about the world as it is, then of course Boland didn't say anything "
"wrong. But in the world as Lessig would have it, then of course she "
"did. Always pay attention to the distinction between Lessig's world and "
"ours."
msgstr ""
"George, vous avez mal compris Lessig: Il ne parle que du monde tel qu'il "
"devrait être (<quote>le but de l'OMPI, et le but de tout gouvernement, "
"devrait être de promouvoir un bon équilibre des droits de propriété "
"intellectuelle, pas simplement de promouvoir ces droits</quote>), et non tel "
"qu'il est. Si nous parlions du monde tel qu'il est, alors bien sûr Boland "
"n'a rien dit de faux. Mais dans le monde rêvé de Lessig, bien sûr elle a "
"tort. Toujours prendre garde à la différence entre le monde de Lessig et le "
"nôtre."

#. type: Content of: <book><chapter><para>
msgid ""
"I missed the irony the first time I read it. I read it quickly and thought "
"the poster was supporting the idea that seeking balance was what our "
"government should be doing. (Of course, my criticism of Ms.  Boland was not "
"about whether she was seeking balance or not; my criticism was that her "
"comments betrayed a first-year law student's mistake. I have no illusion "
"about the extremism of our government, whether Republican or Democrat. My "
"only illusion apparently is about whether our government should speak the "
"truth or not.)"
msgstr ""
"Je n'ai pas saisi l'ironie du message la première fois que je l'ai lu. Je "
"l'ai lu rapidement, et j'ai cru que l'auteur défendait l'idée que notre "
"gouvernement devrait rechercher l'équilibre. (Bien sûr, ma critique de Mme "
"Boland ne concernait pas le fait qu'elle cherche un équilibre ou non; ma "
"critique était que ses commentaires trahissaient une erreur digne d'un "
"étudiant en droit de première année. Je ne me fais pas d'illusions sur "
"l'extrémisme de notre gouvernement, qu'il soit Républicain ou Démocrate. "
"Ma seule illusion, semble-t-il, concerne le fait que notre gouvernement doive "
"ou non dire la vérité)."

#. type: Content of: <book><chapter><para>
msgid ""
"Obviously, however, the poster was not supporting that idea.  Instead, the "
"poster was ridiculing the very idea that in the real world, the "
"<quote>goal</quote> of a government should be <quote>to promote the right "
"balance</quote> of intellectual property. That was obviously silly to "
"him. And it obviously betrayed, he believed, my own silly "
"utopianism. <quote>Typical for an academic,</quote> the poster might well "
"have continued."
msgstr ""
"Évidemment, ce n'était pas l'idée que défendait l'auteur. Au contraire, "
"il ridiculisait l'idée même que dans le monde réel, le <quote>but</quote> "
"d'un gouvernement puisse être de <quote>promouvoir un bon équilibre</quote> "
"de la propriété intellectuelle. Cette idée lui semblait évidemment "
"idiote. Et elle trahissait, selon lui, mon propre utopisme idiot. "
"<quote>Typique pour un universitaire</quote>, aurait-il pu ajouter."

#. type: Content of: <book><chapter><para>
msgid ""
"I understand criticism of academic utopianism. I think utopianism is silly, "
"too, and I'd be the first to poke fun at the absurdly unrealistic ideals of "
"academics throughout history (and not just in our own country's history)."
msgstr ""
"Je comprends qu'on me reproche d'être un universitaire utopiste. Je pense "
"moi aussi que l'utopisme est idiot, et je serais le premier à me gausser des "
"idéaux absurdement irréalistes des universitaires au cours de l'histoire "
"(et pas seulement l'histoire de notre pays)."

#. type: Content of: <book><chapter><para>
msgid ""
"But when it has become silly to suppose that the role of our government "
"should be to <quote>seek balance,</quote> then count me with the silly, for "
"that means that this has become quite serious indeed. If it should be "
"obvious to everyone that the government does not seek balance, that the "
"government is simply the tool of the most powerful lobbyists, that the idea "
"of holding the government to a different standard is absurd, that the idea "
"of demanding of the government that it speak truth and not lies is just "
"na&iuml;ve, then who have we, the most powerful democracy in the world, "
"become?"
msgstr ""
"Mais s'il est devenu idiot de supposer que le rôle du gouvernement est de "
"<quote>chercher l'équilibre</quote>, comptez-moi parmi les idiots, car cela "
"veut dire que c'est devenu assez grave, en effet. S'il devient évident pour "
"chacun que le gouvernement ne recherche pas l'équilibre, que le gouvernement "
"n'est que l'outil des lobbyistes les plus puissants, que l'idée que le "
"gouvernement soit supposé faire autre chose est absurde, que l'idée "
"d'attendre du gouvernement qu'il dise la vérité et non des mensonges est "
"naïve, alors que sommes nous, la démocratie la plus puissante au monde, "
"devenus?"

#. type: Content of: <book><chapter><para>
msgid ""
"It might be crazy to expect a high government official to speak the "
"truth. It might be crazy to believe that government policy will be something "
"more than the handmaiden of the most powerful interests.  It might be crazy "
"to argue that we should preserve a tradition that has been part of our "
"tradition for most of our history&mdash;free culture."
msgstr ""
"C'est peut être folie que d'attendre d'un porte-parole du gouvernement qu'il "
"dise la vérité. C'est peut-être folie de croire que la politique du "
"gouvernement doive être plus que l'exécutant des intérêts les plus "
"puissants. C'est peut-être folie de soutenir que nous devrions préserver "
"une tradition qui a été la nôtre pour l'essentiel de notre "
"histoire&mdash;la culture libre."

#. type: Content of: <book><chapter><para>
msgid "If this is crazy, then let there be more crazies. Soon."
msgstr "Si tout cela est folie, alors qu'il y ait plus de fous! Et vite!"

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Turner, Ted"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>There are moments</emphasis> of hope in this "
"struggle. And moments that surprise. When the FCC was considering relaxing "
"ownership rules, which would thereby further increase the concentration in "
"media ownership, an extraordinary bipartisan coalition formed to fight this "
"change. For perhaps the first time in history, interests as diverse as the "
"NRA, the ACLU, Moveon.org, William Safire, Ted Turner, and CodePink Women "
"for Peace organized to oppose this change in FCC policy. An astonishing "
"700,000 letters were sent to the FCC, demanding more hearings and a "
"different result."
msgstr ""
"<emphasis role='strong'>Il y a des moments</emphasis> d'espoir dans ce "
"combat. Et des moments qui surprennent. Alors que la FCC envisageait "
"d'assouplir les lois sur la propriété, ce qui aurait eu pour conséquence "
"d'augmenter la concentration des médias, une coalition extraordinaire s'est "
"formée, au delà des partis, pour combattre ce changement. Peut être pour "
"la première fois dans l'histoire, des intérêts aussi hétéroclites que la "
"NRA, l'ACLU, Moveon.org, William Safire, Ted Turner, et CodePink Femmes pour "
"la Paix se sont organisés pour s'opposer au changement de politique de la "
"FCC. Un nombre impressionnant de lettres, 700.000, furent envoyées à la "
"FCC, demandant plus de débats et un résultat différent."

#. type: Content of: <book><chapter><para>
msgid ""
"This activism did not stop the FCC, but soon after, a broad coalition in the "
"Senate voted to reverse the FCC decision. The hostile hearings leading up to "
"that vote revealed just how powerful this movement had become. There was no "
"substantial support for the FCC's decision, and there was broad and "
"sustained support for fighting further concentration in the media."
msgstr ""
"Cet activisme n'a pas arrêté la FCC, mais peu après, une large coalition "
"au Sénat votait l'annulation de la décision de la FCC. Les débats "
"d'opposition qui ont conduit à ce vote ont révélé à quel point ce "
"mouvement était devenu puissant. Il n'y avait pas de soutien substantiel à "
"la décision de la FCC, et il y avait un soutien large et continu pour "
"combattre toute concentration supplémentaire des médias."

#. type: Content of: <book><chapter><para>
msgid ""
"But even this movement misses an important piece of the puzzle.  Largeness "
"as such is not bad. Freedom is not threatened just because some become very "
"rich, or because there are only a handful of big players.  The poor quality "
"of Big Macs or Quarter Pounders does not mean that you can't get a good "
"hamburger from somewhere else."
msgstr ""
"Mais même ce mouvement manque une part importante du puzzle. La taille en "
"soi n'est pas mauvaise. La liberté n'est pas menacée simplement parce que "
"certains deviennent très riches, ou parce qu'il n'y a qu'une poignée "
"d'acteurs de taille. La qualité déplorable des Big Mac et Quarter Pounder "
"ne veut pas dire que vous ne pouvez pas acheter un bon hamburger ailleurs."

#. type: Content of: <book><chapter><para>
msgid ""
"The danger in media concentration comes not from the concentration, but "
"instead from the feudalism that this concentration, tied to the change in "
"copyright, produces. It is not just that there are a few powerful companies "
"that control an ever expanding slice of the media. It is that this "
"concentration can call upon an equally bloated range of "
"rights&mdash;property rights of a historically extreme form&mdash;that makes "
"their bigness bad."
msgstr ""
"Le danger de la concentration des médias ne vient pas de la concentration, "
"mais du féodalisme que cette concentration produit, lié aux changements "
"dans le droit d'auteur. Le danger n'est pas qu'un petit nombre de compagnies "
"puissantes contrôlent une part grandissante des médias. C'est plutôt le "
"fait que cette concentration puisse invoquer des droits aussi extensifs "
"&mdash;des droits sur la propriété dont l'étendue est une première "
"historique, qui la rend mauvaise."

#. type: Content of: <book><chapter><para>
msgid ""
"It is therefore significant that so many would rally to demand competition "
"and increased diversity. Still, if the rally is understood as being about "
"bigness alone, it is not terribly surprising. We Americans have a long "
"history of fighting <quote>big,</quote> wisely or not. That we could be "
"motivated to fight <quote>big</quote> again is not something new."
msgstr ""
"Il est donc significatif que tant de gens se soient unis pour demander de la "
"compétition et plus de diversité. Néanmoins, le fait que cette union soit "
"vue comme une union contre la taille en soi n'est pas très surprenant. Nous "
"autres Américains avons l'habitude de nous opposer à ce qui est "
"<quote>grand</quote>, que ce soit justifié ou non. Que nous puissions être "
"motivés pour nous battre une fois de plus contre les <quote>grands</quote> "
"n'a rien de nouveau."

#. type: Content of: <book><chapter><para>
msgid ""
"It would be something new, and something very important, if an equal number "
"could be rallied to fight the increasing extremism built within the idea of "
"<quote>intellectual property.</quote> Not because balance is alien to our "
"tradition; indeed, as I've argued, balance is our tradition. But because the "
"muscle to think critically about the scope of anything called "
"<quote>property</quote> is not well exercised within this tradition anymore."
msgstr ""
"Il serait nouveau, et très important, si une coalition aussi importante "
"pouvait se lever pour combattre l'extrémisme grandissant qui accompagne "
"l'idée de <quote>propriéte intellectuelle</quote>. Non que l'équilibre "
"soit étranger à notre tradition; en fait, comme j'ai essayé de le montrer, "
"l'équilibre fait partie de notre tradition. Mais plutôt parce que le muscle "
"qui doit penser de manière critique à l'étendue de quelque chose appelée "
"<quote>propriété</quote>, n'est plus très bien entraîné dans cette "
"tradition."

#. type: Content of: <book><chapter><para>
msgid ""
"If we were Achilles, this would be our heel. This would be the place of our "
"tragedy."
msgstr ""
"Si nous étions Achille, ceci serait notre talon. Ce serait le lieu de notre "
"perte."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Dylan, Bob"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, "
"September 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #65</ulink>; Paul R. La Monica, "
"<quote>Music Industry Sues Swappers,</quote> CNN/Money, 8 September 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #66</ulink>; "
"Soni Sangha and Phyllis Furman with Robert Gearty, <quote>Sued for a Song, "
"N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,</quote> <citetitle>New York "
"Daily News</citetitle>, 9 September 2003, 3; Frank Ahrens, <quote>RIAA's "
"Lawsuits Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl "
"in N.Y. Among Defendants,</quote> <citetitle>Washington Post</citetitle>, 10 "
"September 2003, E1; Katie Dean, <quote>Schoolgirl Settles with RIAA,</quote> "
"<citetitle>Wired News</citetitle>, 10 September 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #67</ulink>."
msgstr ""
"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, 8 "
"September 2003, available at link #65; Paul R. La Monica, <quote>Music "
"Industry Sues Swappers,</quote> CNN/Money, 8 September 2003, available at "
"link #66; Soni Sangha and Phyllis Furman with Robert Gearty, <quote>Sued for "
"a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,</quote><citetitle> New "
"York Daily News,</citetitle> 9 September 2003, 3; Frank Ahrens, <quote>RIAA's "
"Lawsuits Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in "
"N.Y. Among Defendants,</quote><citetitle> Washington Post,</citetitle> 10 "
"September 2003, E1; Katie Dean, <quote>Schoolgirl Settles with "
"RIAA,</quote><citetitle> Wired News,</citetitle> 10 September 2003, available "
"at link #67."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Jon Wiederhorn, <quote>Eminem Gets Sued &hellip; by a Little Old "
"Lady,</quote> mtv.com, 17 September 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #68</ulink>."
msgstr ""
"Jon Wiederhorn, <quote>Eminem Gets Sued . . . by a Little Old Lady,</quote> "
"mtv.com, 17 September 2003, available at link #68."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for "
"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #69</ulink>."
msgstr ""
"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for "
"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at link #69."

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>As I write</emphasis> these final words, the news is "
"filled with stories about the RIAA lawsuits against almost three hundred "
"individuals.<placeholder type=\"footnote\" id=\"0\"/> Eminem has just been "
"sued for <quote>sampling</quote> someone else's music.<placeholder "
"type=\"footnote\" id=\"1\"/> The story about Bob Dylan "
"<quote>stealing</quote> from a Japanese author has just finished making the "
"rounds.<placeholder type=\"footnote\" id=\"2\"/> An insider from "
"Hollywood&mdash;who insists he must remain anonymous&mdash;reports <quote>an "
"amazing conversation with these studio guys. They've got extraordinary [old] "
"content that they'd love to use but can't because they can't begin to clear "
"the rights. They've got scores of kids who could do amazing things with the "
"content, but it would take scores of lawyers to clean it first.</quote> "
"Congressmen are talking about deputizing computer viruses to bring down "
"computers thought to violate the law. Universities are threatening expulsion "
"for kids who use a computer to share content."
msgstr ""
"<emphasis role='strong'>Alors que j'écris</emphasis> ces derniers mots, les "
"journaux sont remplis d'histoires au sujet des procès menés par la RIAA "
"contre presque trois cent individus.<placeholder type=\"footnote\" "
"id=\"0\"/>. Eminem vient d'être poursuivi pour avoir <quote>enregistré</quote> "
"la musique de quelqu'un d'autre<placeholder type=\"footnote\" id=\"1\"/>. "
"L'histoire au sujet de Bob Dylan qui a <quote>volé</quote> un auteur japonais "
"vient tout juste de cesser de faire les gros titres"
"<placeholder type=\"footnote\" id=\"2\"/>. Un correspondant de Hollywood (qui "
"tient à rester anonyme) "
"rapporte <quote>une conversation étonnante avec les gens des studios. Ils "
"ont des [vieux] films extraordinaires, qu'ils adoreraient utiliser, mais ils "
"ne peuvent pas car ils ne peuvent pas acquitter les droits. Il ont des tas de "
"gens qui pourraient faire des choses étonnantes avec ce contenu, mais il "
"faudrait d'abord des tas d'avocats pour en démêler les droits.</quote> Le "
"Congrès parle de détourner des virus informatiques afin d'attaquer les "
"ordinateurs suspectés de violer la loi. Les universités menacent "
"d'expulsion les étudiants qui utilisent un ordinateur pour partager du "
"contenu."

#. type: Content of: <book><chapter><indexterm><primary>
msgid "BBC"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Brazil, free culture in"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Creative Commons"
msgstr ""

#. type: Content of: <book><chapter><indexterm><primary>
msgid "Gil, Gilberto"
msgstr ""

#. type: Content of: <book><chapter><indexterm><secondary>
msgid "public creative archive in"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press "
"release, 24 August 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #70</ulink>."
msgstr ""
"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press "
"release, 24 August 2003, available at link #70."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 "
"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#71</ulink>."
msgstr ""
"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 August "
"2003, available at link #71."

#. type: Content of: <book><chapter><para>
msgid ""
"Yet on the other side of the Atlantic, the BBC has just announced that it "
"will build a <quote>Creative Archive,</quote> from which British citizens "
"can download BBC content, and rip, mix, and burn it.<placeholder "
"type=\"footnote\" id=\"0\"/> And in Brazil, the culture minister, Gilberto "
"Gil, himself a folk hero of Brazilian music, has joined with Creative "
"Commons to release content and free licenses in that Latin American "
"country.<placeholder type=\"footnote\" id=\"1\"/> I've told a dark "
"story. The truth is more mixed. A technology has given us a new "
"freedom. Slowly, some begin to understand that this freedom need not mean "
"anarchy. We can carry a free culture into the twenty-first century, without "
"artists losing and without the potential of digital technology being "
"destroyed. It will take some thought, and more importantly, it will take "
"some will to transform the RCAs of our day into the Causbys."
msgstr ""
"Et pourtant de l'autre côté de l'Atlantique, la BBC vient d'annoncer "
"qu'elle va créer une Archive des Créations, à partir de laquelle les "
"sujets britanniques pourront télécharger les contenus de la BBC, les "
"éditer, mélanger, réutiliser.<placeholder type=\"footnote\" id=\"0\"/> "
"Et au Brésil, le ministre de la culture, Gilberto Gil, lui-même un héros "
"populaire de la musique brésilienne, s'est allié aux Creative Commons pour "
"diffuser du contenu et des licences libres dans ce pays d'Amérique latine."
"<placeholder type=\"footnote\" id=\"1\"/> "
"L'histoire que j'ai racontée est bien sombre. La vérité est plus mitigée. "
"Une technologie nous a donné une liberté nouvelle. Lentement, certains "
"commencent à comprendre que cette liberté ne veut pas forcément dire "
"anarchie. Nous pouvons transposer notre culture libre dans le vingt-et-"
"unième siècle, sans que les artistes ne soient lésés, et sans que le "
"potentiel de la technologie numérique ne soit gâché. Il faudra des efforts "
"de reflexion, et surtout de la volonté, pour transformer en Causby les RCA "
"d'aujourd'hui."

#. type: Content of: <book><chapter><para>
msgid ""
"Common sense must revolt. It must act to free culture. Soon, if this "
"potential is ever to be realized."
msgstr ""
"Il faut que le sens commun se révolte. Il faut qu'il agisse pour libérer la "
"culture. S'il le fait, qu'il le fasse vite."

#. type: Content of: <book><chapter><title>
msgid "Afterword"
msgstr "Postface"

#. type: Content of: <book><chapter><para>
msgid ""
"<emphasis role='strong'>At least some</emphasis> who have read this far will "
"agree with me that something must be done to change where we are "
"heading. The balance of this book maps what might be done."
msgstr ""
"<emphasis role='strong'>Au moins une partie</emphasis> de ceux qui ont lu "
"jusqu'ici conviendront que quelque chose doit être fait pour changer la "
"direction que nous avons prise. Le reste de ce livre décrit ce qui pourrait "
"être fait."

#. type: Content of: <book><chapter><para>
msgid ""
"I divide this map into two parts: that which anyone can do now, and that "
"which requires the help of lawmakers. If there is one lesson that we can "
"draw from the history of remaking common sense, it is that it requires "
"remaking how many people think about the very same issue."
msgstr ""
"Je sépare ces moyens en deux catégories: ce que chacun peut faire "
"maintenant, et ce qui requiert l'aide des législateurs. S'il y a une leçon "
"à tirer de l'histoire du sens commun, c'est que son évolution requiert un "
"changement des mentalités."

#. type: Content of: <book><chapter><para>
msgid ""
"That means this movement must begin in the streets. It must recruit a "
"significant number of parents, teachers, librarians, creators, authors, "
"musicians, filmmakers, scientists&mdash;all to tell this story in their own "
"words, and to tell their neighbors why this battle is so important."
msgstr ""
"Ceci veut dire que le mouvement doit commencer par la base. Il doit recruter "
"un nombre significatif de parents, enseignants, libraires, créateurs, "
"auteurs, musiciens, metteurs en scène, scientifiques &mdash; pour que chacun "
"répète cette histoire à sa manière, et qu'ils expliquent à leurs voisins "
"pourquoi ce combat est si important."

#. type: Content of: <book><chapter><para>
msgid ""
"Once this movement has its effect in the streets, it has some hope of having "
"an effect in Washington. We are still a democracy. What people think "
"matters. Not as much as it should, at least when an RCA stands opposed, but "
"still, it matters. And thus, in the second part below, I sketch changes that "
"Congress could make to better secure a free culture."
msgstr ""
"Une fois que ce mouvement aura un effet sur la base, alors il pourra avoir un "
"effet sur Washington. Nous sommes encore une démocratie. Ce que pensent les "
"gens joue un rôle. Pas aussi important qu'il ne devrait l'être, du moins "
"quand une RCA s'y oppose, mais quand même un rôle. Et donc, dans la "
"deuxième partie qui suit, je décris les changements que le Congrès "
"pourrait entreprendre afin de mieux sécuriser une culture libre."

#. type: Content of: <book><chapter><section><title>
msgid "Us, now"
msgstr ""

#. type: Content of: <book><chapter><section><para>
msgid ""
"<emphasis role='strong'>Common sense</emphasis> is with the copyright "
"warriors because the debate so far has been framed at the extremes&mdash;as "
"a grand either/or: either property or anarchy, either total control or "
"artists won't be paid. If that really is the choice, then the warriors "
"should win."
msgstr ""
"Le <emphasis role='strong'>bon sens</emphasis> appartient à ceux qui "
"s'opposent au copyright, car le débat n'a jusqu'ici été défini qu'en "
"termes extrêmes&mdash;comme un grand <emphasis role='strong'>soit ceci/soit "
"cela</emphasis>&nbsp;: soit la propriété soit l'anarchie, soit un contrôle "
"total soit les artistes ne seront pas payés. Si le choix est vraiment de "
"cette nature, alors les opposants au copyright devraient l'emporter."

#. type: Content of: <book><chapter><section><para>
msgid ""
"The mistake here is the error of the excluded middle. There are extremes in "
"this debate, but the extremes are not all that there is. There are those who "
"believe in maximal copyright&mdash;<quote>All Rights Reserved</quote>&mdash; "
"and those who reject copyright&mdash;<quote>No Rights Reserved.</quote> The "
"<quote>All Rights Reserved</quote> sorts believe that you should ask "
"permission before you <quote>use</quote> a copyrighted work in any way. The "
"<quote>No Rights Reserved</quote> sorts believe you should be able to do "
"with content as you wish, regardless of whether you have permission or not."
msgstr ""
"L'erreur consiste ici à négliger des positions médianes. Il y a des "
"extrêmes dans ce débat mais il n'y a a pas qu'eux. Il y a ceux qui croient "
"en un copyright maximal&mdash;<quote>Tous droits réservés</quote>&mdash;et "
"ceux qui le rejettent&mdash;<quote>Libre de droits</quote>. Les partisans du "
"<quote>Tous droits réservés</quote> soutiennent que toute "
"<quote>utilisation</quote> d'une oeuvre soumise à copyright devrait d'abord "
"faire l'objet d'une autorisation. Les promoteurs du <quote>Libre de "
"droits</quote> pensent que vous devriez pouvoir exploiter le contenu à votre "
"guise, que vous en ayez la permission ou non."

#. type: Content of: <book><chapter><section><indexterm><secondary>
msgid "initial free character of"
msgstr ""

#. type: Content of: <book><chapter><section><para>
msgid ""
"When the Internet was first born, its initial architecture effectively "
"tilted in the <quote>no rights reserved</quote> direction. Content could be "
"copied perfectly and cheaply; rights could not easily be controlled. Thus, "
"regardless of anyone's desire, the effective regime of copyright under the "
"original design of the Internet was <quote>no rights reserved.</quote> "
"Content was <quote>taken</quote> regardless of the rights. Any rights were "
"effectively unprotected."
msgstr ""
"À sa naissance, l'architecture de l'Internet s'est dans les faits rattachée "
"à l'approche <quote>libre de droits</quote>. Le contenu pouvait être copié "
"fidèlement et facilement; les droits ne pouvaient être aisément "
"contrôlés. Ainsi, indépendamment du souhait de qui que ce soit, le régime "
"effectif du copyright associé à la structure d'origine de l'Internet "
"relevait du <quote>Libre de droits</quote>. Le contenu était "
"<quote>exploité</quote> quels qu'en soient les droits. Tout droit était "
"dans les faits non protégé."

#. type: Content of: <book><chapter><section><para>
msgid ""
"This initial character produced a reaction (opposite, but not quite equal) "
"by copyright owners. That reaction has been the topic of this book. Through "
"legislation, litigation, and changes to the network's design, copyright "
"holders have been able to change the essential character of the environment "
"of the original Internet. If the original architecture made the effective "
"default <quote>no rights reserved,</quote> the future architecture will make "
"the effective default <quote>all rights reserved.</quote> The architecture "
"and law that surround the Internet's design will increasingly produce an "
"environment where all use of content requires permission.  The <quote>cut "
"and paste</quote> world that defines the Internet today will become a "
"<quote>get permission to cut and paste</quote> world that is a creator's "
"nightmare."
msgstr ""
"Ce caractère originel engendra une réaction (opposée quoique pas de même "
"intensité) de la part des détenteurs de copyright. Cette réaction a fait "
"l'objet de ce livre. À travers la législation, le contentieux et les "
"changements dans la conception du réseau, les détenteurs de copyright ont "
"été capables de changer le caractère essentiel de l'environnement de "
"l'Internet originel. Si l'architecture originelle faisait que le régime "
"effectif était <quote>Libre de droits</quote>, l'architecture future faira "
"que le régime effectif est <quote>Tous droits réservés</quote>. "
"L'architecture et la loi qui entourent la conception d'Internet produiraont "
"de plus en plus un environnement où toute utilisation de contenu requiérera "
"une permission. Le monde <quote>copier-coller</quote> qui définit Internet "
"aujourd'hui deviendra un monde <quote>obtenir la permission de copier- "
"coller</quote> qui est un cauchemar de créateur."

#. type: Content of: <book><chapter><section><para>
msgid ""
"What's needed is a way to say something in the middle&mdash;neither "
"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but "
"<quote>some rights reserved</quote>&mdash; and thus a way to respect "
"copyrights but enable creators to free content as they see fit. In other "
"words, we need a way to restore a set of freedoms that we could just take "
"for granted before."
msgstr ""
"Ce qu'il faut, c'est un moyen de dire quelque chose entre les deux, ni "
"<quote>tous droits reservés</quote> ni <quote>aucun droit reservé</quote>, "
"et ainsi une façon de respecter les copyrights tout en permettant aux "
"auteurs de liberer les droits comme ils le souhaitent. En d'autres termes, "
"nous avons besoin de rétablir un ensemble de libertés que nous tenions pour "
"acquises auparavant."

#. type: Content of: <book><chapter><section><section><title>
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr "Reconstruire les libertés auparavant présumées: exemples"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "restoration efforts on previous aspects of"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "privacy rights"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"If you step back from the battle I've been describing here, you will "
"recognize this problem from other contexts. Think about privacy. Before the "
"Internet, most of us didn't have to worry much about data about our lives "
"that we broadcast to the world. If you walked into a bookstore and browsed "
"through some of the works of Karl Marx, you didn't need to worry about "
"explaining your browsing habits to your neighbors or boss. The "
"<quote>privacy</quote> of your browsing habits was assured."
msgstr ""
"Si vous prenez du recul par rapport à la bataille que j'ai décrite ici, "
"vous reconnaitrez ce problème à partir d'autres contextes. Pensez à la vie "
"privée. Avant Internet, la plupart d'entre nous n'avait pas beaucoup à se "
"soucier à propos des données sur notre vie que nous diffusions au monde "
"entier. Si vous entriez dans une librairie et que vous fouilliez parmi les "
"oeuvres de Karl Marx, vous n'aviez pas besoin de vous embêter à expliquer "
"vos habitudes à vos voisin ou à votre chef. La <quote>vie privée</quote> "
"de vos habitudes état assurée."

#. type: Content of: <book><chapter><section><section><para>
msgid "What made it assured?"
msgstr "Qu'est-ce qui l'assurait?"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Well, if we think in terms of the modalities I described in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was "
"assured because of an inefficient architecture for gathering data and hence "
"a market constraint (cost) on anyone who wanted to gather that data. If you "
"were a suspected spy for North Korea, working for the CIA, no doubt your "
"privacy would not be assured.  But that's because the CIA would (we hope) "
"find it valuable enough to spend the thousands required to track you. But "
"for most of us (again, we can hope), spying doesn't pay. The highly "
"inefficient architecture of real space means we all enjoy a fairly robust "
"amount of privacy. That privacy is guaranteed to us by friction. Not by law "
"(there is no law protecting <quote>privacy</quote> in public places), and in "
"many places, not by norms (snooping and gossip are just fun), but instead, "
"by the costs that friction imposes on anyone who would want to spy."
msgstr ""
"Eh bien, si nous pensons en termes des modalités que j'ai décrites dans le "
"chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, votre vie privée "
"était assurée à cause d'une architecture "
"inefficace pour rassembler des données et ainsi à cause d'une contrainte du "
"marché (le cout) sur quiconque voulait rassembler ces données. Si vous "
"étiez un espion suspecté pour la Corée du Nord, travaillant pour la CIA, "
"il ne fait pas de doute que votre vie privée ne serait pas assurée. Mais "
"c'est parce que la CIA trouverait (nous l'espérons) valable le fait de "
"dépenser des milliers requis pour vous dénicher. Mais pour la plupart "
"d'entre nous (là encore, nous l'espérons), l'espionnage ne paie pas. "
"L'architecture hautement inefficace de l'espace réel signifie que nous "
"jouissons tous d'une quantité robuste de vie privée. Cette vie privée nous "
"est guarantie par la friction. Pas par la loi (il n'y a pas de loi "
"protégeant la <quote>vie privée</quote> dans les espace publics), et dans "
"de nombreux endroits, pas par les normes (les fouineries et les potins sont "
"trop amusantes), mais à la place, par les couts que la friction impose sur "
"quiconque voudrait espionner."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Amazon"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "cookies, Internet"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "privacy protection on"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Enter the Internet, where the cost of tracking browsing in particular has "
"become quite tiny. If you're a customer at Amazon, then as you browse the "
"pages, Amazon collects the data about what you've looked at. You know this "
"because at the side of the page, there's a list of <quote>recently "
"viewed</quote> pages. Now, because of the architecture of the Net and the "
"function of cookies on the Net, it is easier to collect the data than "
"not. The friction has disappeared, and hence any <quote>privacy</quote> "
"protected by the friction disappears, too."
msgstr ""
"Arrive Internet, où le cout pour surveiller la navigation en particulier est "
"devenu assez minime. Si vous êtes un client d'Amazon, alors tandis que vous "
"consultez les pages, Amazon collecte les données sur ce que vous avez "
"regardé. Vous le savez car sur un coté de la page, il y a une liste des "
"pages <quote>récemment consultées</quote>. Maintenant, à cause de "
"l'architecture du Net et de la fonction des cookies sur le Net, il est plus "
"facile de collecter des données que pas. La friction a disparu, et ainsi "
"toute forme de <quote>piratage</quote> protégé par la friction disparait, "
"également."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "privacy rights in use of"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Amazon, of course, is not the problem. But we might begin to worry about "
"libraries. If you're one of those crazy lefties who thinks that people "
"should have the <quote>right</quote> to browse in a library without the "
"government knowing which books you look at (I'm one of those lefties, too), "
"then this change in the technology of monitoring might concern you. If it "
"becomes simple to gather and sort who does what in electronic spaces, then "
"the friction-induced privacy of yesterday disappears."
msgstr ""
"Amazon, bien sûr, n'est pas le problème. Mais nous pourrions commencer à "
"nous inquiéter à propos des bibliothèques. Si vous êtes un de ces "
"gauchistes fous qui pensent que le gens devraient avoir le "
"<quote>droit</quote> de chercher dans une bibliothèque sans que le "
"gouvernement sache quels livres vous regardez (et je suis aussi un de ces "
"gauchistes) alors ce changement dans la technologie de surveillance pourrait "
"vous préoccuper. Si il devient simple de rassembler et de classer qui fait "
"quoi dans les espaces électroniques, alors la vie privée d'hier induite par "
"la friction disparait."

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the "
"Architecture of Privacy (What Larry Doesn't Get),</quote> "
"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): "
"par. 6&ndash;18, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing examples "
"in which technology defines privacy policy). See also Jeffrey Rosen, "
"<citetitle>The Naked Crowd: Reclaiming Security and Freedom in an Anxious "
"Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs between "
"technology and privacy)."
msgstr ""
"Voir, par exemple, Marc Rotenberg, <quote>Fair Information Practices and the "
"Architecture of Privacy (What Larry Doesn't Get),</quote><citetitle> Stanford "
"Technology Law Review</citetitle> 1 (2001): par. 6-18, disponible au lien #72 "
"(description des exemples dans lesquels la technologie définit la politique "
"de vie privée). Voir aussi Jeffrey Rosen,<citetitle> The Naked Crowd: "
"Reclaiming Security and Freedom in an Anxious Age</citetitle> (New York: "
"Random House, 2004) (cartographie des compromis entre la technologie et la "
"vie privée)."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"It is this reality that explains the push of many to define "
"<quote>privacy</quote> on the Internet. It is the recognition that "
"technology can remove what friction before gave us that leads many to push "
"for laws to do what friction did.<placeholder type=\"footnote\" id=\"0\"/> "
"And whether you're in favor of those laws or not, it is the pattern that is "
"important here. We must take affirmative steps to secure a kind of freedom "
"that was passively provided before. A change in technology now forces those "
"who believe in privacy to affirmatively act where, before, privacy was given "
"by default."
msgstr ""
"C'est cette réalité qui explique la campagne de nombreuses personnes pour "
"définir la <quote>vie privée</quote> sur Internet. C'est la reconnaissance "
"que la technologie peut enlever ce que la friction nous donnait auparavant "
"qui pousse de nombreuses personnes à militer pour des lois pour faire ce que "
"la friction faisait<placeholder type=\"footnote\" id=\"0\"/>. Et que vous "
"soyiez en faveur de ces loi ou pas, c'est le motif qui est important ici. "
"Nous devons faire des étapes affirmatives pour sécuriser un type de "
"liberté qui était passivement fourni auparavant. Un changement dans la "
"technologie force maintenant ceux qui croient en la vie privée à agir "
"affirmativement où, auparavant, la vie privée était donnée par défaut."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Data General"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"A similar story could be told about the birth of the free software "
"movement. When computers with software were first made available "
"commercially, the software&mdash;both the source code and the "
"binaries&mdash; was free. You couldn't run a program written for a Data "
"General machine on an IBM machine, so Data General and IBM didn't care much "
"about controlling their software."
msgstr ""
"Une histoire similaire pourrait être racontée sur la naissance du mouvement "
"du logiciel libre. Quand les ordinateurs avec logiciels furent mis à "
"disposition commercialement pour la première fois, le logiciel&mdash;à la "
"fois le code source et les binaires&mdash;était libre. Vous ne pouviez pas "
"faire tourner un programme écrit pour une machine Data General sur une "
"machine IBM, donc Data General et IBM ne se préoccupaient pas de contrôler "
"leur logiciel."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Stallman, Richard"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"That was the world Richard Stallman was born into, and while he was a "
"researcher at MIT, he grew to love the community that developed when one was "
"free to explore and tinker with the software that ran on machines. Being a "
"smart sort himself, and a talented programmer, Stallman grew to depend upon "
"the freedom to add to or modify other people's work."
msgstr ""
"C'était le monde dans lequel était né Richard Stallman, et alors qu'il "
"était chercheur au MIT, il s'est attaché à aimer la communauté qui s'est "
"développée quand on était libre d'explorer et de bricoler le logiciel qui "
"tournait sur les machines. Étant lui-même d'un genre malin, et un "
"programmeur talentueux, Stallman s'était habitué à dépendre de la "
"liberté d'ajouter et de modifier le travail d'autres personnes."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In an academic setting, at least, that's not a terribly radical idea. In a "
"math department, anyone would be free to tinker with a proof that someone "
"offered. If you thought you had a better way to prove a theorem, you could "
"take what someone else did and change it. In a classics department, if you "
"believed a colleague's translation of a recently discovered text was flawed, "
"you were free to improve it. Thus, to Stallman, it seemed obvious that you "
"should be free to tinker with and improve the code that ran a machine. This, "
"too, was knowledge. Why shouldn't it be open for criticism like anything "
"else?"
msgstr ""
"Dans une configuration universitaire, tout du moins, ce n'est pas une idée "
"terriblement radicale. Dans une section de mathématiques, quiconque était "
"libre de bricoler une preuve que quelqu'un offrait. Si vous aviez une "
"meilleure manière de prover un théorème, vous pouviez prendre ce que "
"quelqu'un d'autre avait fait et le changer. Dans une section d'humanité, si "
"vous croyiez que la traduction faite par un collègue d'un texte récemment "
"découvert est imparfaite, vous étiez libre de l'améliorer. Ainsi, pour "
"Stallman, il semblait évident que vous soyiez libre de bricoler et "
"d'améliorer un code qui tournait sur une machine. Ceci, également, était "
"de la connaissance. Pourquoi ne serait-il pas ouvert à la critique comme "
"quoi que ce soit d'autre?"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "proprietary code"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"No one answered that question. Instead, the architecture of revenue for "
"computing changed. As it became possible to import programs from one system "
"to another, it became economically attractive (at least in the view of some) "
"to hide the code of your program. So, too, as companies started selling "
"peripherals for mainframe systems. If I could just take your printer driver "
"and copy it, then that would make it easier for me to sell a printer to the "
"market than it was for you."
msgstr ""
"Personne n'a répondu à cette question. À la place, l'architecture des "
"ventes pour l'informatique a changé. Comme il est devenu possible d'importer "
"des programmes d'un système à un autre, il est devenu économiquement "
"attractif (au moins aux yeux de certains) de cacher le code de votre "
"programme. De même que les compagnies commençaient à vendre des "
"périphériques pour des systèmes mainframes. Si vous pouviez juste prendre "
"le pilote de votre imprimante et le copier, alors cela serait plus facile "
"pour moi de vendre une imprimante au marché que ça le serait pour vous."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Thus, the practice of proprietary code began to spread, and by the early "
"1980s, Stallman found himself surrounded by proprietary code.  The world of "
"free software had been erased by a change in the economics of computing. And "
"as he believed, if he did nothing about it, then the freedom to change and "
"share software would be fundamentally weakened."
msgstr ""
"Ainsi, la pratique du code propriétaire commença à se répandre, et au "
"début des années 1980, Stallman s'est trouvé entouré de code "
"propriétaire.Le monde du logiciel libre avait été effacé par un "
"changement dans l'économie de l'informatique. Et comme il le croyait, si il "
"n'y faisait rien, alors la liberté de changer et de partager le logiciel "
"serait fondamentalement affaiblie."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Torvalds, Linus"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Therefore, in 1984, Stallman began a project to build a free operating "
"system, so that at least a strain of free software would survive. That was "
"the birth of the GNU project, into which Linus Torvalds's "
"<quote>Linux</quote> kernel was added to produce the GNU/Linux operating "
"system.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Ainsi, en 1984, Stallman commença un projet pour construire un système "
"d'exploitation libre, afin qu'au moins une souche de logiciel libre survive. "
"C'était la naissance du projet GNU, dans lequel le noyau "
"<quote>Linux</quote> de Linus Torvald a été ajouté pour produire le "
"système d'exploitation GNU/Linux.<placeholder type=\"indexterm\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Stallman's technique was to use copyright law to build a world of software "
"that must be kept free. Software licensed under the Free Software "
"Foundation's GPL cannot be modified and distributed unless the source code "
"for that software is made available as well. Thus, anyone building upon "
"GPL'd software would have to make their buildings free as well. This would "
"assure, Stallman believed, that an ecology of code would develop that "
"remained free for others to build upon. His fundamental goal was freedom; "
"innovative creative code was a byproduct."
msgstr ""
"La technique de Stallman était d'utiliser la loi du copyright dans un monde "
"de logiciel qui devait être gardé libre. Le logiciel contracté sous la GPL "
"de la Free Software Foundation ne peut pas être modifié et distribué à "
"moins que le code source de ce logiciel soit rendu également disponible. "
"Ainsi, quiconque réutilisant un logiciel sous GPL doit rendre sa "
"réutilisation libre également. Cela assurerait, croyait Stallman, qu'une "
"écologie de code se développerait en restant libre pour que d'autres la "
"réutilise. son but fondamental était la liberté; le code créatif "
"innovateur était un effet secondaire."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Stallman was thus doing for software what privacy advocates now do for "
"privacy. He was seeking a way to rebuild a kind of freedom that was taken "
"for granted before. Through the affirmative use of licenses that bind "
"copyrighted code, Stallman was affirmatively reclaiming a space where free "
"software would survive. He was actively protecting what before had been "
"passively guaranteed."
msgstr ""
"Stallman faisait ainsi pour le logiciel ce que les défenseurs de la vie "
"privée font maintenant pour la vie privée. Il cherchait un moyen de "
"reconstruire une sorte de liberté qui était prise pour acquise auparavant. "
"À travers l'utilisation affirmative de licences qui lient du code sous "
"copyright, Stallman récupérait affirmativement un espace où le logiciel "
"libre survivrait. Il protégeait activement ce qui était auparavant "
"passivement garanti."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "scientific journals"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Finally, consider a very recent example that more directly resonates with "
"the story of this book. This is the shift in the way academic and scientific "
"journals are produced."
msgstr ""
"Finalement, considérez un exemple très récent qui résonne plus "
"directement avec l'histoire de ce livre. C'est le changement dans la manière "
"dont les journaux universitaires et scientifiques sont produits."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Lexis and Westlaw"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "journals in"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "access to opinions of"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As digital technologies develop, it is becoming obvious to many that "
"printing thousands of copies of journals every month and sending them to "
"libraries is perhaps not the most efficient way to distribute "
"knowledge. Instead, journals are increasingly becoming electronic, and "
"libraries and their users are given access to these electronic journals "
"through password-protected sites. Something similar to this has been "
"happening in law for almost thirty years: Lexis and Westlaw have had "
"electronic versions of case reports available to subscribers to their "
"service.  Although a Supreme Court opinion is not copyrighted, and anyone is "
"free to go to a library and read it, Lexis and Westlaw are also free to "
"charge users for the privilege of gaining access to that Supreme Court "
"opinion through their respective services."
msgstr ""
"Alors que les technologies numériques se développaient, il devint évident "
"pour beaucoup qu'imprimer des milliers de copies de journaux chaque mois et "
"les envoyer aux bibliothèques n'était peut-être pas la manière la plus "
"efficace de distribuer la connaissance. Au lieu de cela, les journaux "
"deviennent de plus en plus électroniques, et les bibliothèques et leurs "
"utilisateurs se voient donner l'accès à ces journaux électroniques à "
"travers des sites protégés par mot de passe. Quelque chose de similaire à "
"ceci est arrivé à la loi pendant presque trente ans: Lexis et Westlaw "
"avaient des version électroniques de rapports d'affaires disponibles pour "
"les membres de leur service. Bien qu'une opinion de la Cour Suprême ne soit "
"pas sous copyright, et que quiconque soit libre d'aller dans une "
"bibliothèque et de la lire, Lexis et Westlaw sont également libres de faire "
"payer les utilisateurs pour le privilège d'obtenir l'accès à cette opinion "
"de la Cour Suprême à travers leurs services respectifs."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "access fees for material in"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "license system for rebuilding of"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"There's nothing wrong in general with this, and indeed, the ability to "
"charge for access to even public domain materials is a good incentive for "
"people to develop new and innovative ways to spread knowledge.  The law has "
"agreed, which is why Lexis and Westlaw have been allowed to flourish. And if "
"there's nothing wrong with selling the public domain, then there could be "
"nothing wrong, in principle, with selling access to material that is not in "
"the public domain."
msgstr ""
"Il n'y a rien de mal en général avec cela, et en effet, la possibilité de "
"faire payer l'accès même à du contenu du domaine public est une bonne "
"incitation pour que gens développent des manières nouvelles et innovantes "
"de diffusion de la connaissance. La loi est d'accord, c'est pourquoi Lexis et "
"Westlaw ont été autorisés à fleurir. Et s'il n'y a rien de mal à vendre "
"le domaine public, alors il ne pourrait y avoir rien de mal, en principe, à "
"vendre l'accès à du contenu qui n'est pas dans le domaine public."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But what if the only way to get access to social and scientific data was "
"through proprietary services? What if no one had the ability to browse this "
"data except by paying for a subscription?"
msgstr ""
"Mais que se passe-t-il si la seule manière d'obtenir l'accès à des "
"données sociales et scientifiques est à travers des services "
"propriétaires? Que se passe-t-il si personne n'a la possibilité de "
"parcourir ces données excepté en payant un abonnement?"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As many are beginning to notice, this is increasingly the reality with "
"scientific journals. When these journals were distributed in paper form, "
"libraries could make the journals available to anyone who had access to the "
"library. Thus, patients with cancer could become cancer experts because the "
"library gave them access. Or patients trying to understand the risks of a "
"certain treatment could research those risks by reading all available "
"articles about that treatment. This freedom was therefore a function of the "
"institution of libraries (norms) and the technology of paper journals "
"(architecture)&mdash;namely, that it was very hard to control access to a "
"paper journal."
msgstr ""
"Comme beaucoup commencent à le remarquer, c'est de plus en plus la réalité "
"des journaux scientifiques. Quand ces journaux étaient distribués sous "
"forme de papier, les bibliothèques pouvaient rendre les journaux disponibles "
"à quiconque avait accès à la bibliothèque. Ainsi, les patients atteints "
"de cancer pouvaient devenir des experts en cancer parce que la bibliothèque "
"leur en donnait accès. Ou bien les patients essayant de comprendre les "
"risques d'un certain traitement pouvaient rechercher ces risques en lisant "
"tous les articles disponibles sur ce traitement. Cette liberté était donc "
"une fonction de l'institution des bibliothèques (les normes) et de la "
"technologie du papier (l'architecture)&mdash;pour ainsi dire, il était trsè "
"difficile de contrôler l'accès à un journal en papier."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As journals become electronic, however, the publishers are demanding that "
"libraries not give the general public access to the journals. This means "
"that the freedoms provided by print journals in public libraries begin to "
"disappear. Thus, as with privacy and with software, a changing technology "
"and market shrink a freedom taken for granted before."
msgstr ""
"Toutefois, alors que les journaux deviennent électroniques, les éditeurs "
"exigent que les bibliothèques ne donnent pas l'accès public général aux "
"journaux. Cela signifie que les libertés fournies par les journaux imprimés "
"dans les bibliothèques publiques commencent à disparaitre. Ainsi, tout "
"comme pour la vie privée et le logiciel, une technologie changeante et un "
"marché réduisent une liberté prise pour acquise auparavant."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This shrinking freedom has led many to take affirmative steps to restore the "
"freedom that has been lost. The Public Library of Science (PLoS), for "
"example, is a nonprofit corporation dedicated to making scientific research "
"available to anyone with a Web connection. Authors of scientific work submit "
"that work to the Public Library of Science.  That work is then subject to "
"peer review. If accepted, the work is then deposited in a public, electronic "
"archive and made permanently available for free. PLoS also sells a print "
"version of its work, but the copyright for the print journal does not "
"inhibit the right of anyone to redistribute the work for free."
msgstr ""
"Cette liberté rétrécissante a mené de nombreuses personnes à prendre des "
"mesures affirmatives pour restaurer la liberté qui a été perdue. La Public "
"Library of Science (PLoS) (NdT: Bibliothèque Publique des sciences), par "
"exemple, est une société à but non lucratif dédiée à rendre la "
"recherche scientifique disponible à quiconque possédant une connexion à "
"internet. Des auteurs d'ouvrages scientifique soumettent ces ouvrages à la "
"Public Library of Science. Ces ouvrages sont ensuite soumis à revue. S'ils "
"sont acceptés, ils sont alors déposés dans une aarchive publique "
"électronique et rendus disponibles en permanence gratuitement. PLoS vend "
"également une version imprimée de ses ouvrages, mais le copyright pour le "
"journal imprimé n'inhibe pas le droit de quiconque de redistribuer "
"gratuitement l'ouvrage."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This is one of many such efforts to restore a freedom taken for granted "
"before, but now threatened by changing technology and markets.  There's no "
"doubt that this alternative competes with the traditional publishers and "
"their efforts to make money from the exclusive distribution of content. But "
"competition in our tradition is presumptively a good&mdash;especially when "
"it helps spread knowledge and science."
msgstr ""
"C'est un des nombreux efforts pour restaurer une liberté prise pour acquise "
"auparavant, mais maintenant menacée par une technologie changeante et les "
"marchés. Il n'y a pas de doute que ces alternatives font compétition aux "
"éditeurs traditionnels et à leurs efforts pour faire de l'argent à partir "
"de la distribution exclusive de contenu. Mais la compétition dans notre "
"tradition est supposée être une bonne chose&mdash;en particulier quand elle "
"aide à diffuser la connaissance et la science."

#. type: Content of: <book><chapter><section><section><title>
msgid "Rebuilding Free Culture: One Idea"
msgstr "Reconstruire la culture libre&nbsp;: une idée"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The same strategy could be applied to culture, as a response to the "
"increasing control effected through law and technology."
msgstr ""
"La même stratégie pourrait être appliquée à la culture, en tant que "
"réaction au contrôle croissant effectué à travers la loi et la "
"technologie."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Stanford University"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Enter the Creative Commons. The Creative Commons is a nonprofit corporation "
"established in Massachusetts, but with its home at Stanford University. Its "
"aim is to build a layer of <emphasis>reasonable</emphasis> copyright on top "
"of the extremes that now reign. It does this by making it easy for people to "
"build upon other people's work, by making it simple for creators to express "
"the freedom for others to take and build upon their work. Simple tags, tied "
"to human-readable descriptions, tied to bulletproof licenses, make this "
"possible."
msgstr ""
"Arrive Creative Commons. Creative Commons est une société à but non "
"lucratif fondée dans le Massachusetts, mais avec son siège à l'Université "
"de Stanford. Son but est de construire une couche de copyright "
"<emphasis>raisonnable</emphasis> par-dessus les extrèmes qui règnent "
"actuellement. Elle le fait en rendant facile aux gens la réutilisation des "
"oeuvres d'autres personnes. De simples étiquettes, liées à des "
"descriptions humainement lisibles, liées à des licences pare-balles, "
"rendent ceci possible."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"<emphasis>Simple</emphasis>&mdash;which means without a middleman, or "
"without a lawyer.  By developing a free set of licenses that people can "
"attach to their content, Creative Commons aims to mark a range of content "
"that can easily, and reliably, be built upon. These tags are then linked to "
"machine-readable versions of the license that enable computers automatically "
"to identify content that can easily be shared. These three expressions "
"together&mdash;a legal license, a human-readable description, and "
"machine-readable tags&mdash;constitute a Creative Commons license. A "
"Creative Commons license constitutes a grant of freedom to anyone who "
"accesses the license, and more importantly, an expression of the ideal that "
"the person associated with the license believes in something different than "
"the <quote>All</quote> or <quote>No</quote> extremes. Content is marked with "
"the CC mark, which does not mean that copyright is waived, but that certain "
"freedoms are given."
msgstr ""
"<emphasis>Simples</emphasis>&mdash;ce qui signifie sans personne "
"intermédiaire, ou sans avocat. En développant un ensemble libre de licences "
"que les gens peuvent attacher à leur contenu, Creative Commons vise à "
"marquer une étendue de contenu qui peut être facilement, et de manière "
"fiable, réutilisé. Ces étiquettes sont ensuite liées à des versions de "
"la licence lisibles par la machine qui permettent à des ordinateurs "
"d'identifie automatiquement du contenu qui peut être facilement partagé. "
"Ces trois expressions ensemble&mdash;une licence légale, une description "
"humainement lisible et des étiquettes lisibles par une "
"machine&mdash;constituent une licence Creative Commons. Une licence Creative "
"Commons une garantie de liberté à quiconque qui accède à la licence, et "
"de manière plus importante, une expression de l'idéal que la personne "
"associée aux licences croit en quelque chose de différent que les extrêmes "
"<quote>Tous</quote> ou <quote>Aucun</quote>. Le contenu est marqué avec la "
"marque CC, qui ne signifie pas que le copyright est abandonné, mais que "
"certaines libertés sont données."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These freedoms are beyond the freedoms promised by fair use. Their precise "
"contours depend upon the choices the creator makes. The creator can choose a "
"license that permits any use, so long as attribution is given. She can "
"choose a license that permits only noncommercial use.  She can choose a "
"license that permits any use so long as the same freedoms are given to other "
"uses (<quote>share and share alike</quote>). Or any use so long as no "
"derivative use is made. Or any use at all within developing nations. Or any "
"sampling use, so long as full copies are not made. Or lastly, any "
"educational use."
msgstr ""
"Ces libertés sont au-delà des libertés promises par l'usage loyal. Leurs "
"contours précis dépendent des choix que fait le créateur. La créatrice "
"peut choisir une licence qui permet n'importe quel usage, du moment que "
"l'attribution est donnée. Elle peut choisir une licence qui permet seulement "
"l'usage non commercial. Elle peut choisir une licence qui permet tout usage "
"du moment que les mêmes libertés soient données aux autres usages "
"(<quote>partage et partage à l'identique</quote>). Ou n'importe quel usage "
"du moment qu'aucun usage dérivé n'est fait. Ou n'importe quel usage dans "
"des pays en voie de développement. Ou n'importe quel usage "
"d'échantillonnage, du moment que des copies complètes ne sont pas faites. "
"Ou enfin, n'impore quel usage éducatif."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These choices thus establish a range of freedoms beyond the default of "
"copyright law. They also enable freedoms that go beyond traditional fair "
"use. And most importantly, they express these freedoms in a way that "
"subsequent users can use and rely upon without the need to hire a "
"lawyer. Creative Commons thus aims to build a layer of content, governed by "
"a layer of reasonable copyright law, that others can build upon. Voluntary "
"choice of individuals and creators will make this content available. And "
"that content will in turn enable us to rebuild a public domain."
msgstr ""
"Ces choix établissent ainsi une étendue de libertés au-delà du forfait de "
"la loi du copyright. Ils permettent ainsi des libertés qui vont au-delà de "
"l'usage loyal traditionnel. Et de manière plus importante, ils expriment ces "
"libertés de manière à ce que les utilisateurs ultérieurs puissent les "
"utiliser et compter dessus sans avoir à embaucher un avocat. Creative "
"Commosn vise ainsi à construire une couche de contenu, gouvernée par une "
"couche de loi de copyright raisonnable, que d'autres peuvent réutiliser. Un "
"choix volontaire d'individus et de créateurs rendra ce contenu disponible. "
"Et ce contenu nous permettra en retour à reconstruire un domaine public."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Garlick, Mia"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This is just one project among many within the Creative Commons.  And of "
"course, Creative Commons is not the only organization pursuing such "
"freedoms. But the point that distinguishes the Creative Commons from many is "
"that we are not interested only in talking about a public domain or in "
"getting legislators to help build a public domain. Our aim is to build a "
"movement of consumers and producers of content (<quote>content "
"conducers,</quote> as attorney Mia Garlick calls them)  who help build the "
"public domain and, by their work, demonstrate the importance of the public "
"domain to other creativity."
msgstr ""
"C'est juste un projet parmi les nombreux de Creative Commons. Et bien sûr, "
"Creative Commons n'est pas la seule organisation poursuivant de telles "
"libertés. Mais l'argument qui distingue Creative Commons de nombreux est que "
"nous ne somme pas seulement intéressés dans le fait de parler d'un domaine "
"public ou de faire que les législateurs aident à construire un domaine "
"public. Notre but est de construire un mouvement de consommateurs et de "
"producteurs de contenu (les <quote>conducteurs de contenu</quote> comme les "
"appelle l'avocat Mia Garlick) qui aident à construire le domaine public et, "
"par leur travail, démontrent l'importance du domaine public pour les autres "
"créativités."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The "
"aim is to complement them. The problems that the law creates for us as a "
"culture are produced by insane and unintended consequences of laws written "
"centuries ago, applied to a technology that only Jefferson could have "
"imagined. The rules may well have made sense against a background of "
"technologies from centuries ago, but they do not make sense against the "
"background of digital technologies. New rules&mdash;with different freedoms, "
"expressed in ways so that humans without lawyers can use them&mdash;are "
"needed. Creative Commons gives people a way effectively to begin to build "
"those rules."
msgstr ""
"Le but n'est pas de combattre les sortes de <quote>Tous droits "
"réservés</quote>. Le but est de les compléter. Les problèmes que la loi "
"crée pour nous en tant que culture sont produits par des conséquences "
"folles et involontaires de lois écrites il y a des siècles, appliquées à "
"une technologie que seul Jefferson aurait pu imaginer. Les règles aurait "
"bien pu avoir du sens dans un contexte de technologies d'il y a des siècles, "
"mais elles n'ont pas de sens dans le contexte des technologies numériques. "
"De nouvelles règles&mdash;avec des lbiertés différentes, exprimées de "
"manière à ce que des humains sans avocats puissent les utiliser&mdash;sont "
"requises. Creative Commons donne aux gens une manière de commencer "
"efficacement à construire ces règles."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Why would creators participate in giving up total control? Some participate "
"to better spread their content. Cory Doctorow, for example, is a science "
"fiction author. His first novel, <citetitle>Down and Out in the Magic "
"Kingdom</citetitle>, was released on-line and for free, under a Creative "
"Commons license, on the same day that it went on sale in bookstores."
msgstr ""
"Pourquoi les créateurs participeraient-ils en renonçant à un contrôle "
"total? Certains participent à une meilleure diffusion de leur contenu. Cory "
"Doctory, par exemple, est un auteur de science-fiction. Sa première "
"nouvelle, <citetitle>Down and Out in the Magic Kingdom</citetitle>, a été "
"diffusée en ligne et gratuitement, sous une licence Creative Commons, le "
"même jour que sa sortie en librairie."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Why would a publisher ever agree to this? I suspect his publisher reasoned "
"like this: There are two groups of people out there: (1)  those who will buy "
"Cory's book whether or not it's on the Internet, and (2) those who may never "
"hear of Cory's book, if it isn't made available for free on the "
"Internet. Some part of (1) will download Cory's book instead of buying "
"it. Call them bad-(1)s. Some part of (2)  will download Cory's book, like "
"it, and then decide to buy it. Call them (2)-goods.  If there are more "
"(2)-goods than bad-(1)s, the strategy of releasing Cory's book free on-line "
"will probably <emphasis>increase</emphasis> sales of Cory's book."
msgstr ""
"Pourquoi un éditeur donnerait-il son accord pour cela? Je soupçonne que son "
"éditeur a raisonné ainsi: il y a deux groupes de personnes: (1) ceux qui "
"vont acheter le livre de Cory qu'il soit ou pas sur Internet et (2) ceux qui "
"n'entendraient jamais parler du livre de Cory, s'il n'est pas rendu "
"disponible gratuitement sur Internet. Une certaine partie des (1) "
"téléchargera le livre de Cory au lieu de l'acheter. Appelez-les les "
"mauvais-(1). Une certaine partie des (2) téléchargera le livre de Cory, "
"l'aimera et décidera de l'acheter. Appelez-les les bons-(2). S'il y a plus "
"de bons-(2) que de mauvais-(1), la stratégie de diffuser le livre de Cory "
"gratuitement en ligne <emphasis>augmentera</emphasis> probablement les ventes "
"du livre de Cory."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Indeed, the experience of his publisher clearly supports that conclusion.  "
"The book's first printing was exhausted months before the publisher had "
"expected. This first novel of a science fiction author was a total success."
msgstr ""
"Indeed, the experience of his publisher clearly supports that conclusion. The "
"book's first printing was exhausted months before the publisher had expected. "
"This first novel of a science fiction author was a total success."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Free for All (Wayner)"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Wayner, Peter"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The idea that free content might increase the value of nonfree content was "
"confirmed by the experience of another author. Peter Wayner, who wrote a "
"book about the free software movement titled <citetitle>Free for "
"All</citetitle>, made an electronic version of his book free on-line under a "
"Creative Commons license after the book went out of print. He then monitored "
"used book store prices for the book. As predicted, as the number of "
"downloads increased, the used book price for his book increased, as well."
msgstr ""
"L'idée que le contenu libre puisse augmenter la valeur du contenu non-libre "
"a été confirmée par l'expérience d'un autre auteur. Peter Wayner, qui a "
"écrit un livre sur le mouvement du logiciel libre intitulé <citetitle>Free "
"dor All</citetitle>, a rendu une version électronique de ce livre gratuite "
"sous une licence Creative Commons après que le livre est devenu en rupture "
"d'impression. Il a ensuite surveillé les prix du livre dans des boutiques de "
"livres d'occasion. Comme prédit, alors que le nombre de téléchargements "
"augmentait, le prix de ce livre d'occasion augmentait, également."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Public Enemy"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "rap music"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Leaphart, Walter"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"<citetitle>Willful Infringement: A Report from the Front Lines of the Real "
"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg "
"Hittelman, a Fiat Lucre production, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #72</ulink>."
msgstr ""
"<citetitle>Willful Infringement: A Report from the Front Lines of the Real "
"Culture Wars</citetitle> (2003), produit par Jed Horovitz, réalisé par Greg "
"Hittelman, une production Fiat Lucre, disponible au lien #72."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These are examples of using the Commons to better spread proprietary "
"content. I believe that is a wonderful and common use of the Commons. There "
"are others who use Creative Commons licenses for other reasons. Many who use "
"the <quote>sampling license</quote> do so because anything else would be "
"hypocritical. The sampling license says that others are free, for commercial "
"or noncommercial purposes, to sample content from the licensed work; they "
"are just not free to make full copies of the licensed work available to "
"others. This is consistent with their own art&mdash;they, too, sample from "
"others. Because the <emphasis>legal</emphasis> costs of sampling are so high "
"(Walter Leaphart, manager of the rap group Public Enemy, which was born "
"sampling the music of others, has stated that he does not "
"<quote>allow</quote> Public Enemy to sample anymore, because the legal costs "
"are so high<placeholder type=\"footnote\" id=\"0\"/>), these artists release "
"into the creative environment content that others can build upon, so that "
"their form of creativity might grow."
msgstr ""
"Ce sont des exemples d'utilisations des Creative Commons pour mieux diffuser "
"du contenu propriétaire. Je crois que c'est un usage merveilleux et commun "
"des Commons. Il y en a d'autres qui utilisent les licences Creative Commons "
"pour d'autres raisons. De nombreux qui utilisent la <quote>sampling "
"license</quote> (NdT: licence d'échantillonnage) le font car quoi que ce "
"soit d'autre serait hypocrite. La licence d'échantillonnage dit que les "
"autres sont libres, dans des buts commerciaux ou non commerciaux, "
"d'échantillonner du contenu de l'oeuvre sous licence; ils ne sont simplement "
"pas libres de rendre disponibles à d'autres des copies complètes d'oeuvres. "
"C'est cohérent avec leur propre art&mdash;eux aussi prennent des "
"échantillons chez d'autres. Parce que les couts <emphasis>légaux</emphasis> "
"de l'échantillonnage sont si élevés (Walter Leaphart, manager du groupe de "
"rap Public Enemy, qui est né en échantillonnant la musique des autres, a "
"affirmé qu'il ne <emphasis>permettait</emphasis> plus à Public Enemy "
"d'échantillonner, parce que les couts légaux sont trop élevés<placeholder "
"type=\"footnote\" id=\"0\"/>), ces artistes diffusent dans l'environnement "
"créatif du contenu que les autres peuvent réutiliser, afin que cette forme "
"de créativité puisse croitre."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Finally, there are many who mark their content with a Creative Commons "
"license just because they want to express to others the importance of "
"balance in this debate. If you just go along with the system as it is, you "
"are effectively saying you believe in the <quote>All Rights Reserved</quote> "
"model. Good for you, but many do not. Many believe that however appropriate "
"that rule is for Hollywood and freaks, it is not an appropriate description "
"of how most creators view the rights associated with their content. The "
"Creative Commons license expresses this notion of <quote>Some Rights "
"Reserved,</quote> and gives many the chance to say it to others."
msgstr ""
"Finally, there are many who mark their content with a Creative Commons "
"license just because they want to express to others the importance of balance "
"in this debate. If you just go along with the system as it is, you are "
"effectively saying you believe in the <quote>All Rights Reserved</quote> "
"model. Good for you, but many do not. Many believe that however appropriate "
"that rule is for Hollywood and freaks, it is not an appropriate description "
"of how most creators view the rights associated with their content. The "
"Creative Commons license expresses this notion of <quote>Some Rights "
"Reserved,</quote> and gives many the chance to say it to others."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In the first six months of the Creative Commons experiment, over 1 million "
"objects were licensed with these free-culture licenses. The next step is "
"partnerships with middleware content providers to help them build into their "
"technologies simple ways for users to mark their content with Creative "
"Commons freedoms. Then the next step is to watch and celebrate creators who "
"build content based upon content set free."
msgstr ""
"Dans les six premiers mois de l'expérience Creative Commons, plus d'1 "
"million d'objets furent placés sous ces licences de culture libre. L'étape "
"suivante est des partenariats avec des fournisseurs de contenus "
"intermédiaires pour les aider à incorporer dans leur technologie des "
"manières simples pour que les utilisateurs marquent leur contenu avec des "
"libertés Creative Commons. Puis l'étape suivante est d'observer et de "
"célébrer les créateurs qui construisent du contenu en se basant sur du "
"contenu libéré."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These are first steps to rebuilding a public domain. They are not mere "
"arguments; they are action. Building a public domain is the first step to "
"showing people how important that domain is to creativity and "
"innovation. Creative Commons relies upon voluntary steps to achieve this "
"rebuilding. They will lead to a world in which more than voluntary steps are "
"possible."
msgstr ""
"Ce sont les première étapes pour la reconstruction d'un domaine public. Ce "
"ne sont pas de simples arguments; ce sont des actions. Construire un domaine "
"public est la première étape pour montrer aux gens à quel point ce domaine "
"est important pour la créativité et l'innovation. Creative Commons compte "
"sur des actions volontaires pour réussir cette reconstruction. Elles "
"mèneront à un monde dans lequel plus que des actions volontaires sont "
"possibles."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Creative Commons is just one example of voluntary efforts by individuals and "
"creators to change the mix of rights that now govern the creative field. The "
"project does not compete with copyright; it complements it. Its aim is not "
"to defeat the rights of authors, but to make it easier for authors and "
"creators to exercise their rights more flexibly and cheaply. That "
"difference, we believe, will enable creativity to spread more easily."
msgstr ""
"Creative Commons est juste un exemple d'efforts volontaires de la part "
"d'individus et de créateurs pour changer le mélange des droits qui "
"gouvernent maintenant le champ créatif. Le projet n'est pas en compétition "
"avec le copyright; il le complète. Son but n'est pas de vaincre les droits "
"des auteurs, mais de rendre plus facile aux auteurs et aux créateurs "
"l'exercice de leurs droits plus flexiblement et moins onéreusement. Cette "
"différence, nous le croyons, permettra à la créativité de se répandre "
"plus facilement."

#. type: Content of: <book><chapter><section><title>
msgid "Them, soon"
msgstr ""

#. type: Content of: <book><chapter><section><para>
msgid ""
"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by "
"individual action alone. It will also take important reforms of laws. We "
"have a long way to go before the politicians will listen to these ideas and "
"implement these reforms.  But that also means that we have time to build "
"awareness around the changes that we need."
msgstr ""
"Nous ne rétablirons pas une culture libre uniquement par l’action "
"individuelle. Cela nécessitera aussi d’importantes réformes "
"législatives. Un long chemin nous attend avant que les politiciens écoutent "
"ces idées et mettent en œuvre ces réformes. Cependant, cela veut aussi "
"dire que nous avons le temps de faire prendre conscience des changements "
"requis."

#. type: Content of: <book><chapter><section><para>
msgid ""
"In this chapter, I outline five kinds of changes: four that are general, and "
"one that's specific to the most heated battle of the day, music. Each is a "
"step, not an end. But any of these steps would carry us a long way to our "
"end."
msgstr ""
"Dans ce chapitre, je propose cinq changements&nbsp;: quatre qui sont "
"d’ordre général, et un qui est spécifique au débat le plus agité "
"d’aujourd’hui&nbsp;: la musique. Chacun n’est qu’une étape, pas une "
"fin. Cependant, chacune de ces étapes nous rapprocheraient beaucoup de notre "
"but."

#. type: Content of: <book><chapter><section><section><title>
msgid "1. More Formalities"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"If you buy a house, you have to record the sale in a deed. If you buy land "
"upon which to build a house, you have to record the purchase in a deed.  If "
"you buy a car, you get a bill of sale and register the car. If you buy an "
"airplane ticket, it has your name on it."
msgstr ""
"Si vous achetez une maison, vous devez enregistrer la vente selon un acte de "
"vente&nbsp;; si vous achetez une parcelle de terrain dans le but d’y "
"construire une maison, vous devez enregistrer cette acquisition dans un acte. "
"Si vous achetez une voiture, vous recevez une facture et vous déclarez cette "
"voiture. Si vous achetez un ticket d’avion, ce dernier portera votre nom."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These are all formalities associated with property. They are requirements "
"that we all must bear if we want our property to be protected."
msgstr ""
"Toutes ces formalités sont associées à la propriété. Ce sont des "
"obligations que nous devons supporter si nous voulons que la propriété soit "
"protégée."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In contrast, under current copyright law, you automatically get a copyright, "
"regardless of whether you comply with any formality. You don't have to "
"register. You don't even have to mark your content. The default is control, "
"and <quote>formalities</quote> are banished."
msgstr ""
"Parallèlement, selon la loi du copyright en vigueur, vous détenez "
"automatiquement un copyright, sans tenir compte du fait que vous soyez ou non "
"en conformité avec une quelconque formalité. Vous n’avez pas à "
"déclarer. Vous n’avez même pas à marquer votre contenu. Le contrôle est "
"là par défaut, les formalités sont exclues."

#. type: Content of: <book><chapter><section><section><para>
msgid "Why?"
msgstr "Pourquoi&nbsp;?"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, the motivation to abolish formalities was a good "
"one. In the world before digital technologies, formalities imposed a burden "
"on copyright holders without much benefit. Thus, it was progress when the "
"law relaxed the formal requirements that a copyright owner must bear to "
"protect and secure his work. Those formalities were getting in the way."
msgstr ""
"Comme je l’ai suggéré dans le chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, la motivation d’abolir les "
"formalités en était une bonne. Dans le mode précédant les technologies "
"numériques, les formalités imposaient un fardeau sur les titulaires de "
"copyright sans beaucoup de bénéfice. Ainsi, c’étati un progrès quand la "
"loi relacha les exigences formelles qu’un titulaire de copyright doit "
"affronter pour protéger et sécuriser son œuvre. Ces formalités étaient "
"un obstacle."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But the Internet changes all this. Formalities today need not be a "
"burden. Rather, the world without formalities is the world that burdens "
"creativity. Today, there is no simple way to know who owns what, or with "
"whom one must deal in order to use or build upon the creative work of "
"others. There are no records, there is no system to trace&mdash; there is no "
"simple way to know how to get permission. Yet given the massive increase in "
"the scope of copyright's rule, getting permission is a necessary step for "
"any work that builds upon our past. And thus, the <emphasis>lack</emphasis> "
"of formalities forces many into silence where they otherwise could speak."
msgstr ""
"Mais Internet change tout cela. Les formalités aujourd’hui n’ont pas "
"besoin d’être un fardeau. Plutôt, le monde sans formalités est le monde "
"qui encombre la créativité. Aujourd’hui, il n’y a pas de manière "
"simple de savoir qui possède quoi, ou avec qui on doit avoir affaire afin "
"d’utiliser ou de réutiliser le travail créatif des autres. Il n’y a pas "
"d’enregistrements, il n’y a pas de système pour tracer — il n’y a "
"pas de manière simple de savoir comment obtenir la permission. Et pourtant, "
"étant donné l’augmentation massive dans l’étendue de la règle du "
"copyright, obtenir la permission est une étape nécessaire pour tout travail "
"qui réutilise notre passé. Et ainsi, le <emphasis>manque</emphasis> de "
"formalités réduit de nombreuses personnes au silence au lieu de leur "
"permettre de parler."

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"The proposal I am advancing here would apply to American works only.  "
"Obviously, I believe it would be beneficial for the same idea to be adopted "
"by other countries as well."
msgstr ""
"The proposal I am advancing here would apply to American works only. "
"Obviously, I believe it would be beneficial for the same idea to be adopted "
"by other countries as well."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The law should therefore change this requirement<placeholder "
"type=\"footnote\" id=\"0\"/>&mdash;but it should not change it by going back "
"to the old, broken system. We should require formalities, but we should "
"establish a system that will create the incentives to minimize the burden of "
"these formalities."
msgstr ""
"La loi devrait donc changer cette obligation<placeholder type=\"footnote\" "
"id=\"0\"/> — mais elle ne devrait pas la changer en revenant au système "
"vieux et défectueux. Nous devrions requérir des formalités, mais nous "
"devrions établir un système qui crée les incitations pour minimiser "
"l’encombrement de ces formalités."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The important formalities are three: marking copyrighted work, registering "
"copyrights, and renewing the claim to copyright. Traditionally, the first of "
"these three was something the copyright owner did; the second two were "
"something the government did. But a revised system of formalities would "
"banish the government from the process, except for the sole purpose of "
"approving standards developed by others."
msgstr ""
"Les formalités importantes sont au nombre de trois&nbsp;: marque les œuvres "
"sous copyright, enregistrer les copyrights, et renouveler la revendication du "
"copyright. Traditionnellement, la première des trois était quelque chose "
"que le titulaire du copyright faisait&nbsp;; les deux autres étaient quelque "
"chose que le gouvernement faisait. Mais un systéme de formalités révisé "
"bannirait le gouvernement du processus, excepté dans le seul but "
"d’approuver des standards développés par d’autres."

#. type: Content of: <book><chapter><section><section><section><title>
msgid "Registration and renewal"
msgstr ""

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"Under the old system, a copyright owner had to file a registration with the "
"Copyright Office to register or renew a copyright. When filing that "
"registration, the copyright owner paid a fee. As with most government "
"agencies, the Copyright Office had little incentive to minimize the burden "
"of registration; it also had little incentive to minimize the fee.  And as "
"the Copyright Office is not a main target of government policymaking, the "
"office has historically been terribly underfunded. Thus, when people who "
"know something about the process hear this idea about formalities, their "
"first reaction is panic&mdash;nothing could be worse than forcing people to "
"deal with the mess that is the Copyright Office."
msgstr ""
"Dans l’ancien système, un titulaire de copyright devait s’enregistrer "
"auprès du Copyright Office pour enregistrer ou renouveler un copyright. En "
"faisant cet enregistrement, le titulaire de copyright payait un frais. Comme "
"avec la plupart des agences gouvernementales, le Copyright Office avait peu "
"de motivation à réduire l’encombrement de l’enregistrement&nbsp;; il "
"avait également peu de motivation pour minimiser les frais. Et étant donné "
"que le Copyright Office n’est pas une cible principale dans la politique du "
"gouvernement — en conséquence de quoi, le bureau a été historiquement "
"terriblement sous-financé. Ainsi, quand des gens qui connaissent quelque "
"chose du processus entendent cette idée de formalités, leur première "
"réaction est la panique — rien ne pourrait être pire que forcer les gens "
"à avoir affaire à ce pétrin qu’est le Copyright Office."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"Yet it is always astonishing to me that we, who come from a tradition of "
"extraordinary innovation in governmental design, can no longer think "
"innovatively about how governmental functions can be designed.  Just because "
"there is a public purpose to a government role, it doesn't follow that the "
"government must actually administer the role. Instead, we should be creating "
"incentives for private parties to serve the public, subject to standards "
"that the government sets."
msgstr ""
"Et pourtant il est toujours étonnant pour moi que nous, qui sommes issus "
"d’une tradition d’innovation extraordinaire dans la conception du "
"gouvernement, ne puissions pas penser de manière innovante à propos de "
"comment les fonctions gouvernementales peuvent être conçues. Juste parce "
"qu’il y a un but public dans un rôle gouvernemental ne signifie pas que le "
"gouvernement doit véritablement administrer ce rôle. Au contraire, nous "
"devrions créer des motivations pour que des parties privées servent le "
"public, soumises aux normes que le gouvernement fixe."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"In the context of registration, one obvious model is the Internet.  There "
"are at least 32 million Web sites registered around the world.  Domain name "
"owners for these Web sites have to pay a fee to keep their registration "
"alive. In the main top-level domains (.com, .org, .net), there is a central "
"registry. The actual registrations are, however, performed by many competing "
"registrars. That competition drives the cost of registering down, and more "
"importantly, it drives the ease with which registration occurs up."
msgstr ""
"Dans le contexte de l’enregistrement, un modèle évident est Internet. Il "
"existe au moins 32 millions de sites web enregistrés à travers le monde. "
"Les titulaires de nom de domaine pour ces sites web doivent payer des frais "
"pour maintenir leur enregistrement. Dans les domaines principaux (.com, .org, "
".net), il y a un enregistrement central. Les enregistrements à proprement "
"parler sont, toutefois, effectuées par de nombreux greffiers en concurrence. "
"Cette compétition fait baisser les couts de l’enregistrement, et de "
"manière plus importante, elle conduit la facilité avec laquelle "
"l’enregistrement se fait."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"We should adopt a similar model for the registration and renewal of "
"copyrights. The Copyright Office may well serve as the central registry, but "
"it should not be in the registrar business. Instead, it should establish a "
"database, and a set of standards for registrars. It should approve "
"registrars that meet its standards. Those registrars would then compete with "
"one another to deliver the cheapest and simplest systems for registering and "
"renewing copyrights. That competition would substantially lower the burden "
"of this formality&mdash;while producing a database of registrations that "
"would facilitate the licensing of content."
msgstr ""
"Nous devrions adopter un modèle similaire pour l’enregistrement et le "
"renouvellement des copyrights. Le Copyright Office peut bien servir de "
"registre central, mais il ne devrait pas être dans les affaires "
"d’enregistrement. Au lieu de cela, il devrait établir uen base de "
"données, et un ensemble de normes pour les greffiers. Il devrait approuver "
"les greffiers qui sont conformes à ces normes. Ces greffiers seraient "
"ensuite en compétition les uns contre les autres pour délivrer les "
"systèmes les moins onéreux et les plus simples pour enregistrer et "
"renouveler les copyrights. Cette compétition abaisserait substantiellement "
"l’encombrement de cette formalité — tout en produisant une base de "
"données d’enregistrements qui faciliterait l’obtention d’un droit "
"d’exploitation sur du contenu."

#. type: Content of: <book><chapter><section><section><section><title>
msgid "Marking"
msgstr ""

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"It used to be that the failure to include a copyright notice on a creative "
"work meant that the copyright was forfeited. That was a harsh punishment for "
"failing to comply with a regulatory rule&mdash;akin to imposing the death "
"penalty for a parking ticket in the world of creative rights.  Here again, "
"there is no reason that a marking requirement needs to be enforced in this "
"way. And more importantly, there is no reason a marking requirement needs to "
"be enforced uniformly across all media."
msgstr ""
"Il fut un temps où l’oubli d’inclure une marque de copyright sur une "
"œuvre créative signifiait que le copyright était déchu. C’était une "
"punition dure pour ne pas s’être conformé à une règle régulatoire — "
"un peu comme imposer la peine de mort pour une contravention dans le monde "
"des droits créatifs. Là encore, il n’y a pas de raison qu’une "
"obligation de marquage ait besoin d’être appliquée de cette manière. Et "
"de manière plus importante, il n’y a pas de raison qu’une obligation de "
"marquage ait besoin d’être appliquée uniformément à travers tout les "
"médias."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"The aim of marking is to signal to the public that this work is copyrighted "
"and that the author wants to enforce his rights. The mark also makes it easy "
"to locate a copyright owner to secure permission to use the work."
msgstr ""
"Le but du marquage est de signaler au public que cette œuvre est sous "
"copyright et que l’auteur veut appliquer ses droits. La marque rend "
"également facile la localisation d’un titulaire de copyright pour assurer "
"la permission d’utiliser l’œuvre."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"One of the problems the copyright system confronted early on was that "
"different copyrighted works had to be differently marked. It wasn't clear "
"how or where a statue was to be marked, or a record, or a film. A new "
"marking requirement could solve these problems by recognizing the "
"differences in media, and by allowing the system of marking to evolve as "
"technologies enable it to. The system could enable a special signal from the "
"failure to mark&mdash;not the loss of the copyright, but the loss of the "
"right to punish someone for failing to get permission first."
msgstr ""
"Un des problèmes auquel le système du copyright a été confronté tôt "
"était que différentes œuvres sous copyright devaient être marquées "
"différemment. Comment et où une statue, un enregistrement ou un film "
"devaient être marqués n’était pas clair. Une nouvelle exigence de "
"marquage pourrait résoudre ces problèmes en reconnaissant les différences "
"dans les médias, et en permettant le système de marquage d’évoluer alors "
"que les technologies le permettent. Le système pourrait rendre possible un "
"signal spécial venant de l’absence du marquage — pas la perte du "
"copyright, mais la perte du droit de punir quelqu’un pour ne pas avoir "
"obtenu la permission au préalable."

#. type: Content of: <book><chapter><section><section><section><para><footnote><para>
msgid ""
"There would be a complication with derivative works that I have not solved "
"here. In my view, the law of derivatives creates a more complicated system "
"than is justified by the marginal incentive it creates."
msgstr ""
"There would be a complication with derivative works that I have not solved "
"here. In my view, the law of derivatives creates a more complicated system "
"than is justified by the marginal incentive it creates."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"Let's start with the last point. If a copyright owner allows his work to be "
"published without a copyright notice, the consequence of that failure need "
"not be that the copyright is lost. The consequence could instead be that "
"anyone has the right to use this work, until the copyright owner complains "
"and demonstrates that it is his work and he doesn't give "
"permission.<placeholder type=\"footnote\" id=\"0\"/> The meaning of an "
"unmarked work would therefore be <quote>use unless someone "
"complains.</quote> If someone does complain, then the obligation would be to "
"stop using the work in any new work from then on though no penalty would "
"attach for existing uses.  This would create a strong incentive for "
"copyright owners to mark their work."
msgstr ""
"Commençons avec le dernier point. Si un titulaire de copyright permet que "
"son œuvre soit publiée sans une indication de copyright, la conséquence de "
"cette absence ne doit pas être que le copyright est perdu. La conséquence "
"serait plutôt que quiconque a le droit d’utiliser cette œuvre, jusqu’à "
"ce que le titulaire du copyright s’en plaigne et démontre que c’est son "
"œuvre et qu’il ne donne pas la permission<placeholder type=\"footnote\" "
"id=\"0\"/>. La signification d’une œuvre non marquée serait donc "
"<quote>utilisez-là à moins que quelqu’un ne s’en plaigne</quote>. Si "
"quelqu’un s’en plaint, alors l’obligation serait d’arrêter "
"d’utiliser l’œuvre dans n’importe quelle nouvelle œuvre à partir de "
"ce moment bien qu’aucune pénalité ne soit liée aux usages existants. "
"Cela créerait une forte incitation pour que les titulaires de copyright "
"marquent leur œuvre."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"That in turn raises the question about how work should best be marked. Here "
"again, the system needs to adjust as the technologies evolve. The best way "
"to ensure that the system evolves is to limit the Copyright Office's role to "
"that of approving standards for marking content that have been crafted "
"elsewhere."
msgstr ""
"Cela soulève en retour la question sur comment l’œuvre devrait être "
"marquée au mieux. Là encore, le système a besoin de s’adapter alors que "
"les technologies évoluent. La meilleure manière de s’assurer que le "
"système évolue est de limiter le rôle du Copyright Office à celui "
"d’approuver des normes pour le marquage de contenu qui a été conçu "
"ailleurs."

#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
msgid "copyright marking of"
msgstr ""

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"For example, if a recording industry association devises a method for "
"marking CDs, it would propose that to the Copyright Office. The Copyright "
"Office would hold a hearing, at which other proposals could be made. The "
"Copyright Office would then select the proposal that it judged preferable, "
"and it would base that choice <emphasis>solely</emphasis> upon the "
"consideration of which method could best be integrated into the registration "
"and renewal system. We would not count on the government to innovate; but we "
"would count on the government to keep the product of innovation in line with "
"its other important functions."
msgstr ""
"Par exemple, si une association d’industrie d’enregistrement conçoit une "
"méthode pour marquer les CDs, elle la proposerait au Copyright Office. Le "
"Copyright Office tiendrait une séance, dans laquelle d’autres propositions "
"pourraient être faites. Le Copyright Office sélectionnerait ensuite la "
"proposition qu’elle juge préférable, et elle baserait ce choix "
"<emphasis>uniquement</emphasis> sur la considération de quelle méthode "
"pourrait être la mieux intégrée dans le système d’enregistrement et de "
"renouvellement. Nous ne compterions pas sur le gouvernement pour "
"innover&nbsp;; mais nous compterions sur le gouvernement pour garder le "
"produit de l’innovation en accord avec ses autres fonctions importantes."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"Finally, marking content clearly would simplify registration requirements.  "
"If photographs were marked by author and year, there would be little reason "
"not to allow a photographer to reregister, for example, all photographs "
"taken in a particular year in one quick step. The aim of the formality is "
"not to burden the creator; the system itself should be kept as simple as "
"possible."
msgstr ""
"Enfin, marquer le contenu clairement simplifierait les exigences "
"d’enregistrement. Si les photographies étaient marquées par auteur et par "
"année, il y aurait peu de rasons pour ne pas permettre à un photographe "
"d’enregistrer à nouveau, par exemple, toutes les photographies prises "
"durant une année particulière en une démarche rapide. Le but de cette "
"formalité n’est pas d’encombrer le créateur&nbsp;; le système "
"lui-même devrait être gardé le plus simple possible."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"The objective of formalities is to make things clear. The existing system "
"does nothing to make things clear. Indeed, it seems designed to make things "
"unclear."
msgstr ""
"L’objectif des formalités est de clarifier les choses. Le système "
"existant ne fait rien pour clarifier les choses. En effet, il semble être "
"conçu pour rendre les choses confuses."

#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"If formalities such as registration were reinstated, one of the most "
"difficult aspects of relying upon the public domain would be removed.  It "
"would be simple to identify what content is presumptively free; it would be "
"simple to identify who controls the rights for a particular kind of content; "
"it would be simple to assert those rights, and to renew that assertion at "
"the appropriate time."
msgstr ""
"Si des formalités telles que l’enregistrement étaient réinstaurées, un "
"des aspects les plus difficiles dans la confiance envers le domaine public "
"serait enlevé. Il serait simple d’identifier quel contenu est présumé "
"libre&nbsp;; il serait simple d’identifier qui contrôle les droits pour un "
"type particulier de contenu, il serait simple de déclarer ces droits, et de "
"renouveler cette déclaration au moment approprié."

#. type: Content of: <book><chapter><section><section><title>
msgid "2. Shorter Terms"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The term of copyright has gone from fourteen years to ninety-five years for "
"corporate authors, and life of the author plus seventy years for natural "
"authors."
msgstr ""
"La durée du copyright est allée de quarante ans à quatre-vingt-quinze ans "
"pour les auteurs personnes morales, et à la vie de l’auteur plus soixante- "
"dix ans pour les auteurs naturels."

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 "
"(25 January 2003): 15, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #74</ulink>."
msgstr ""
"<quote>A Radical Rethink,</quote> <citetitle>Economist,</citetitle> 366:8308 "
"(25 January 2003): 15, available at link #74."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In <citetitle>The Future of Ideas</citetitle>, I proposed a "
"seventy-five-year term, granted in five-year increments with a requirement "
"of renewal every five years.  That seemed radical enough at the time. But "
"after we lost <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, the proposals became even more "
"radical. <citetitle>The Economist</citetitle> endorsed a proposal for a "
"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> "
"Others have proposed tying the term to the term for patents."
msgstr ""
"Dans <citetitle>L’Avenir des idées</citetitle>, j’ai proposé une durée "
"de soixante-quinze ans, accordée sous forme de tranches de cinq ans avec une "
"obligation de renouvellement tous les cinq ans. Cela semblait assez radical "
"à l’époque. Mais après que nous avons perdu <citetitle>Eldred contre "
"Ashcroft</citetitle>, les propositions sont devenues encore plus radicalse. "
"<citetitle>The Economist</citetitle> a soutenu une proposition pour une "
"durée de copyright de quarante-cinq ans<placeholder type=\"footnote\" "
"id=\"0\"/>. D’autres ont proposer d’attacher la durée à la durée des "
"brevets."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"I agree with those who believe that we need a radical change in copyright's "
"term. But whether fourteen years or seventy-five, there are four principles "
"that are important to keep in mind about copyright terms."
msgstr ""
"Je suis d’accord avec ceux qui croient que nous avons besoin d’un "
"changement radical dans la durée du copyright. Mais que ce soit quarante- "
"cinq ou soixante-quinze ans, il y a quatre principes qu’il est important de "
"garder à l’esprit à propos de la durée du copyright."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"<emphasis>Keep it short:</emphasis> The term should be as long as necessary "
"to give incentives to create, but no longer. If it were tied to very strong "
"protections for authors (so authors were able to reclaim rights from "
"publishers), rights to the same work (not derivative works) might be "
"extended further. The key is not to tie the work up with legal regulations "
"when it no longer benefits an author."
msgstr ""
"(1) <emphasis>Gardez-la courte</emphasis>&nbsp;: la durée devrait être auss "
"longue que nécessaire pour donner l’incitation de créer, mais pas plus "
"longue. Si elle était liée à des protections très fortes pour les auteurs "
"(afin que les auteurs puissent récupérer des droits des éditeurs), les "
"droits pour la même œuvre (pas les œuvres dérivées) pourraient être "
"étendus davantage. La clé n’est pas d’attacher l’œuvre à des "
"régulations légales quand elle ne bénéficie plus à un auteur."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"<emphasis>Keep it simple:</emphasis> The line between the public domain and "
"protected content must be kept clear. Lawyers like the fuzziness of "
"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> "
"and <quote>expression.</quote> That kind of law gives them lots of work. But "
"our framers had a simpler idea in mind: protected versus unprotected.  The "
"value of short terms is that there is little need to build exceptions into "
"copyright when the term itself is kept short. A clear and active "
"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair "
"use</quote> and <quote>idea/expression</quote> less necessary to navigate."
msgstr ""
"(2) <emphasis>Gardez-la simple</emphasis>&nbsp;: la ligne entre le domaine "
"public et le contenu protégé doit rester claire. Les avocats aiment le flou "
"de l’<quote>usage loyal</quote>, et la distinction entre <quote>les "
"idées</quote> et <quote>l’expression</quote>. Ce genre de loi leur donne "
"beaucoup de travail. Mais nos premiers législateurs avaient une idée plus "
"simple en tête&nbsp;: protégé contre non protégé. La valeur de la durée "
"courte est qu’il y a peu de nécessité d’incorporer des exceptions dans "
"le copyright quand la durée elle-même est gardée courte. Une <quote>zone "
"sans avocat</quote> claire et active rend moins nécessaires les complexités "
"de l’<quote>usage loyal</quote> et de l’<quote>idée/expression</quote>."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary>
msgid "veterans' pensions"
msgstr ""

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
msgid ""
"Department of Veterans Affairs, Veteran's Application for Compensation "
"and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>."
msgstr ""
"Department of Veterans Affairs, Veteran’s Application for Compensation "
"and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at "
"link #75."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed.  "
"Especially if the maximum term is long, the copyright owner should be "
"required to signal periodically that he wants the protection continued. This "
"need not be an onerous burden, but there is no reason this monopoly "
"protection has to be granted for free. On average, it takes ninety minutes "
"for a veteran to apply for a pension.<placeholder type=\"footnote\" "
"id=\"0\"/> If we make veterans suffer that burden, I don't see why we "
"couldn't require authors to spend ten minutes every fifty years to file a "
"single form."
msgstr ""
"(3) <emphasis>Gardez-la vivante</emphasis>&nbsp;: le copyright devrait être "
"renouvelable. En particulier si la durée maximale est longue, le titulaire "
"du copyright devrait être obligé de signaler de manière périodique "
"qu’il veut que la protection continue. Cela ne doit pas être un fardeau "
"onéreux, mais il n’y a pas de raison que ce monopole de protection soit "
"accordé gratuitement. En moyenne, cela prend quatre-vingt-dix minutes pour "
"qu’un vétéran fasse une demande de pension<placeholder type=\"footnote\" "
"id=\"0\"/>. Si nous infligeons ce fardeau aux vétérans, je ne vois par "
"pourquoi nous n’exigerions pas des auteurs qu’ils passent dix minutes "
"tous les cinquante ans pour remplir un unique formulaire."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright "
"should be, the clearest lesson that economists teach is that a term once "
"given should not be extended. It might have been a mistake in 1923 for the "
"law to offer authors only a fifty-six-year term. I don't think so, but it's "
"possible. If it was a mistake, then the consequence was that we got fewer "
"authors to create in 1923 than we otherwise would have. But we can't correct "
"that mistake today by increasing the term. No matter what we do today, we "
"will not increase the number of authors who wrote in 1923. Of course, we can "
"increase the reward that those who write now get (or alternatively, increase "
"the copyright burden that smothers many works that are today invisible). But "
"increasing their reward will not increase their creativity in 1923.  What's "
"not done is not done, and there's nothing we can do about that now."
msgstr ""
"(4) <emphasis>Gardez-la prospective</emphasis>&nbsp;: quoi que doit être la "
"durée du copyright, la leçon la plus claire que les économistes enseignent "
"est qu’une durée une fois accordée ne devrait pas être étendue. "
"C’était peut-être une erreur en 1923 de la part de la loi que d’offrir "
"aux auteurs une durée de seulement cinquante-six ans. Je ne le pense pas, "
"mais c’est possible. Si c’était une erreur, alors la conséquence serait "
"nous avions moins d’auteurs qui créaient en 1923 par rapport à autrement. "
"Mais nous ne pouvons pas corriger cette erreur aujourd’hui en augmentant la "
"durée. Peu importe ce que nous faisons aujourd’hui, nous n’augmenterons "
"pas le nombre d’auteurs qui ont écrit en 1923. Bien sûr, nous pouvons "
"augmenter la récompense que ceux qui écrivent maintenant obtiennent (ou "
"alternativement, augmenter le fardeau du copyright qui étouffe de nombreuses "
"œuvres qui sont aujourd’hui invisibles). Mais augmenter leur récompense "
"n’augmentera pas leur créativité en 1923. Ce qui n’est pas fait n’est "
"pas fait, et il n’y a rien que nous puissions y faire maintenant."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These changes together should produce an <emphasis>average</emphasis> "
"copyright term that is much shorter than the current term. Until 1976, the "
"average term was just 32.2 years. We should be aiming for the same."
msgstr ""
"Ces changements mis ensemble devraient produire une durée "
"<emphasis>moyenne</emphasis> de copyright qui est bien plus courte que la "
"durée actuelle. Jusqu’à 1976, la durée moyenne était juste de "
"32,2 ans. Nous devrions viser la même "
"chose."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"No doubt the extremists will call these ideas <quote>radical.</quote> (After "
"all, I call them <quote>extremists.</quote>) But again, the term I "
"recommended was longer than the term under Richard Nixon. How "
"<quote>radical</quote> can it be to ask for a more generous copyright law "
"than Richard Nixon presided over?"
msgstr ""
"Il ne fait pas de doute que les extrémistes qualifieront ces idées de "
"<citetitle>radicales</citetitle>. (Après tout, je les appelle <citetitle>extrémistes</citetitle>.) Mais là "
"encore, la durée que j’ai recommandée était plus longue que la durée "
"sous Richard Nixon. À quel point est-ce <citetitle>radical</citetitle> de demander une loi "
"du copyright plus généreuse que ce qu’elle était sous Richard "
"Nixon&nbsp;?"

#. type: Content of: <book><chapter><section><section><title>
msgid "3. Free Use Vs. Fair Use"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As I observed at the beginning of this book, property law originally granted "
"property owners the right to control their property from the ground to the "
"heavens. The airplane came along. The scope of property rights quickly "
"changed. There was no fuss, no constitutional challenge.  It made no sense "
"anymore to grant that much control, given the emergence of that new "
"technology."
msgstr ""
"Comme je l’ai observé au début de ce livre, la loi de la propriété "
"accordait à l’origine aux propriétaires le droit de contrôler leur "
"propriété du sol jusqu’au paradis. L’avion est arrivé. L’étendue "
"des droits de propriété changea rapidement. Il n’y a pas eu de scandale, "
"ni de défi constitutionnel. Cela n’avait plus de sens d’accorder autant "
"de contrôle, étant donné l’émergence de cette nouvelle technologie."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Our Constitution gives Congress the power to give authors <quote>exclusive "
"right</quote> to <quote>their writings.</quote> Congress has given authors "
"an exclusive right to <quote>their writings</quote> plus any derivative "
"writings (made by others) that are sufficiently close to the author's "
"original work. Thus, if I write a book, and you base a movie on that book, I "
"have the power to deny you the right to release that movie, even though that "
"movie is not <quote>my writing.</quote>"
msgstr ""
"Notre Constitution donne au Congrès le pouvoir de donner aux auteurs un "
"<quote>droit exclusif</quote> à <quote>leurs écrits</quote>. Le Congrès a "
"donné aux auteurs un droit exclusif à <quote>leurs écrits</quote> ainsi "
"qu’à tout écrit dérivé (fait par d’autres) suffisament proche de "
"l’œuvre originale de l’auteur. Ainsi, si j’écris un livre, et que "
"vous basez un film sur ce livre, j’ai le pouvoir de nous refuser le droit "
"de sortir ce film, même si ce film n’est pas <quote>mon écrit</quote>."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Kaplan, Benjamin"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
"York: Columbia University Press, 1967), 32."
msgstr ""
"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
"York: Columbia University Press, 1967), 32."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Congress granted the beginnings of this right in 1870, when it expanded the "
"exclusive right of copyright to include a right to control translations and "
"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The "
"courts have expanded it slowly through judicial interpretation ever "
"since. This expansion has been commented upon by one of the law's greatest "
"judges, Judge Benjamin Kaplan."
msgstr ""
"Le Congrès a accordé les débuts de ce droit en 1870, quand il a étendu le "
"droit exclusif du copyright pour inclure le droit de contrôler les "
"traductions et la théâtralisation d’une œuvre<placeholder "
"type=\"footnote\" id=\"0\"/>. Les tribunaux l’ont étendu lentement à "
"travers l’interprétation judiciaire depuis. Cette expansion a été "
"commentée par un des meilleurs juges, le Juge Benjamin Kaplan."

#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para>
msgid "Ibid., 56."
msgstr "Ibid., 56."

#. type: Content of: <book><chapter><section><section><blockquote><para>
msgid ""
"So inured have we become to the extension of the monopoly to a large range "
"of so-called derivative works, that we no longer sense the oddity of "
"accepting such an enlargement of copyright while yet intoning the "
"abracadabra of idea and expression.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Nous nous sommes tellement endurcis à l’extension du monopole à une large "
"portée de soi-disant œuvres dérivées, que nous ne sentons plus "
"l’étrangeté d’accepter un tel aggrandissement du copyright tout en "
"psalmodiant pourtant l’abracadabra d’une idée et expression.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"I think it's time to recognize that there are airplanes in this field and "
"the expansiveness of these rights of derivative use no longer make "
"sense. More precisely, they don't make sense for the period of time that a "
"copyright runs. And they don't make sense as an amorphous grant.  Consider "
"each limitation in turn."
msgstr ""
"Je pense qu’il est temps de reconnaitre qu’il y a des avions dans ce "
"champ et que l’expansion de ces droits d’usage dérivé n’a plus de "
"sens. Plus précisément, ils n’ont plus de sens pendant la période de "
"temps que le copyright dure. Et ils n’ont pas de sens en tant "
"qu’allocation amorphe. Considérez chacune de ces limitations l’une "
"après l’autre."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, "
"then that right should be for a much shorter term. It makes sense to protect "
"John Grisham's right to sell the movie rights to his latest novel (or at "
"least I'm willing to assume it does); but it does not make sense for that "
"right to run for the same term as the underlying copyright. The derivative "
"right could be important in inducing creativity; it is not important long "
"after the creative work is done.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"<emphasis>Durée</emphasis>&nbsp;: si le Congrès veut accorder un droit "
"dérivatif, alors ce droit devrait être plus une durée bien plus courte. "
"S’il y a du sens à protéger le droit de John Grisham de vendre les droits "
"du film pour sa dernière nouvelle (ou du moins je veux bien supposer qu’il "
"y en a)&nbsp;; mais il n’y a pas de sens que ce droit dure la même durée "
"que le copyright sous-jacent. Le droit dérivatif pourrait être important en "
"induisant la créativité&nbsp;; il n’est pas important longtemps après "
"que le travail créatif soit fait. <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights "
"be narrowed.  Again, there are some cases in which derivative rights are "
"important.  Those should be specified. But the law should draw clear lines "
"around regulated and unregulated uses of copyrighted material. When all "
"<quote>reuse</quote> of creative material was within the control of "
"businesses, perhaps it made sense to require lawyers to negotiate the "
"lines. It no longer makes sense for lawyers to negotiate the lines. Think "
"about all the creative possibilities that digital technologies enable; now "
"imagine pouring molasses into the machines. That's what this general "
"requirement of permission does to the creative process. Smothers it."
msgstr ""
"<emphasis>Portée</emphasis>&nbsp;: de la même manière, la portée des "
"droits dérivatifs devrait être rétrécie. Une fois de plus, il y a "
"certains cas où les droits dérivatifs sont importants. Ceux-ci devraient "
"être spécifiés. Mais la loi devrait tracer une ligne claire autour des "
"usages régulés et non régulés de contenu sous copyright. Quant toutes les "
"<quote>réutilisations</quote> d’un matériel créatif sont sous le "
"contrôle du commerce, peut-être qu’il y a du sens à avoir besoin "
"d’avocats pour négocier les lignes. Il n’y a plus de sens pour que les "
"avocats négocient les lignes. Pensez à toutes les possibilités créatives "
"que les technologies numériques permettent&nbsp;; imaginez maintenant le "
"déverlement de mélasse dans les machines. C’est ce que cette exigence "
"générale de permission fait au processus créatif. Elle l’étouffe."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This was the point that Alben made when describing the making of the Clint "
"Eastwood CD. While it makes sense to require negotiation for foreseeable "
"derivative rights&mdash;turning a book into a movie, or a poem into a "
"musical score&mdash;it doesn't make sense to require negotiation for the "
"unforeseeable. Here, a statutory right would make much more sense."
msgstr ""
"C’était l’argument qu’Alben faisait en décrivant l’élaboration du "
"CD Clint Eastwood. Alors qu’il y a du sens à requérir la négociation "
"pour des droits dérivatifs prévisibles — tirer un film d’un livre, ou "
"une piste musicale d’un poème — il n’y a pas de sens à requérir la "
"négociation pour l’impréivisible. Ici, un droit statutaire n’aurait pas "
"plus de sens."

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
msgid "Goldstein, Paul"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the "
"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
"187&ndash;216.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Paul Goldstein, <citetitle>Copyright’s Highway: From Gutenberg to the "
"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
"187-216. <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In each of these cases, the law should mark the uses that are protected, and "
"the presumption should be that other uses are not protected.  This is the "
"reverse of the recommendation of my colleague Paul Goldstein.<placeholder "
"type=\"footnote\" id=\"0\"/> His view is that the law should be written so "
"that expanded protections follow expanded uses."
msgstr ""
"Dans chacun de ces cas, la loi devrait marquer les usages qui sont "
"protégés, et la présomption devrait être que les autres usages ne sont "
"pas protégés. C’est l’inverse de la recommandation de mon collègue "
"Paul Goldstein<placeholder type=\"footnote\" id=\"0\"/>. Son point de vue est "
"que c’est la loi qui devrait être écrite afin que des protections "
"étendues suivent des usages étendus."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Goldstein's analysis would make perfect sense if the cost of the legal "
"system were small. But as we are currently seeing in the context of the "
"Internet, the uncertainty about the scope of protection, and the incentives "
"to protect existing architectures of revenue, combined with a strong "
"copyright, weaken the process of innovation."
msgstr ""
"Les analyses de Goldstein seraient totalement pertinentes si le cout du "
"système légal était faible. Mais comme nous le voyons actuellement dans le "
"contexte d’Internet, l’incertitude sur l’étendue de la protection, et "
"les incitations pour protéger les architectures existantes de revenu, "
"combinées avec un copyright fort, affaiblissent le processus d’innovation."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The law could remedy this problem either by removing protection beyond the "
"part explicitly drawn or by granting reuse rights upon certain statutory "
"conditions. Either way, the effect would be to free a great deal of culture "
"to others to cultivate. And under a statutory rights regime, that reuse "
"would earn artists more income."
msgstr ""
"La loi pourrait remédier à ce problème soit en enlevant la protection au- "
"delà de la partie explicitement tracée ou en accordant des droits de "
"réutilisation selon certaines conditions statutaires. Dans tous les cas, "
"l’effet serait de libérer une grande partie de la culture pour que "
"d’autres la cultivent. Et sous un régime de droits statutaires, cette "
"réutilisation rapporterait plus de revenus aux artistes."

#. type: Content of: <book><chapter><section><section><title>
msgid "4. Liberate the Music&mdash;Again"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The battle that got this whole war going was about music, so it wouldn't be "
"fair to end this book without addressing the issue that is, to most people, "
"most pressing&mdash;music. There is no other policy issue that better "
"teaches the lessons of this book than the battles around the sharing of "
"music."
msgstr ""
"La bataille qui entretenait toute cette guerre concernait la musique, donc il "
"ne serait pas juste de terminer ce livre sans aborder le problème qui est, "
"pour la plupart des gens, le plus pressant — la musique. Il n’y a pas "
"d’autre problème de politique qui enseigne mieux les leçosn de ce livre "
"que les batailles autour du partage de la musique."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The appeal of file-sharing music was the crack cocaine of the Internet's "
"growth. It drove demand for access to the Internet more powerfully than any "
"other single application. It was the Internet's killer app&mdash;possibly in "
"two senses of that word. It no doubt was the application that drove demand "
"for bandwidth. It may well be the application that drives demand for "
"regulations that in the end kill innovation on the network."
msgstr ""
"L’attrait de la musique par partage de fichiers était la cocaïne de la "
"croissance d’Internet. Elle a conduit la demande pour un accès à Internet "
"plus puissamment que toute autre application. Elle était l’application "
"tueuse d’Internet — probablement dans les deux sens du terme. Elle était "
"sans aucun doute l’application qui a mené la demande pour la bande "
"passante. Elle est peut-être bien l’application qui mène la demande pour "
"des régulations qui vont finalement tuer l’innovation sur le réseau."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The aim of copyright, with respect to content in general and music in "
"particular, is to create the incentives for music to be composed, performed, "
"and, most importantly, spread. The law does this by giving an exclusive "
"right to a composer to control public performances of his work, and to a "
"performing artist to control copies of her performance."
msgstr ""
"Le but du copyright, par rapport au contenu en général et à la musique en "
"particulier, est de créer les incitations pour que la musique soit "
"composée, exécutée et, de manière plus importante, diffusée. La loi fait "
"ceci en donnant un droit exclusif à un compositeur pour contrôler les "
"exécutions publiques de son œuvre, et à un artiste interprète de "
"contrôler les copies de son interprétation."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"File-sharing networks complicate this model by enabling the spread of "
"content for which the performer has not been paid. But of course, that's not "
"all the file-sharing networks do. As I described in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"piracy\"/>, they enable four "
"different kinds of sharing:"
msgstr ""
"Les réseaux d’échange de fichiers compliquent ce modèle en rendant "
"possible la diffusion de contenu pour lequel l’interprète n’a pas été "
"payé. Mais bien sûr, ce n’est pas tout ce que les réseaux de partage de "
"fichiers permettent. Comme je l’ai décrit dans le chapitre <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"piracy\"/>, ils "
"permettent quatre différents types de partage&nbsp;:"

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"There are some who are using sharing networks as substitutes for purchasing "
"CDs."
msgstr ""
"A. Il y a certains qui utilisent les réseaux de partage en tant que "
"substituts pour l’achat de CDs."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"There are also some who are using sharing networks to sample, on the way to "
"purchasing CDs."
msgstr ""
"B. Il y a aussi certains qui utilisent les réseaux de partage pour avoir des "
"échantillons, afin d’acheter des CDs."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"There are many who are using file-sharing networks to get access to content "
"that is no longer sold but is still under copyright or that would have been "
"too cumbersome to buy off the Net."
msgstr ""
"C. Il y a de nombreux qui utilisent les réseaux de partage de fichier pour "
"accéder à du contenu qui n’est plus vendu mais qui est encore soumis au "
"copyright ou qu’il serait trop pénible d’acheter sur Internet."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"There are many who are using file-sharing networks to get access to content "
"that is not copyrighted or to get access that the copyright owner plainly "
"endorses."
msgstr ""
"D. Il y a de nombreux qui utilisent les réseaux de partage de fichiers pour "
"accéder à du contenu qui n’est pas sous copyright ou pour avoir un accès "
"que le titulaire du copyright approuve totalement."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Any reform of the law needs to keep these different uses in focus. It must "
"avoid burdening type D even if it aims to eliminate type A. The eagerness "
"with which the law aims to eliminate type A, moreover, should depend upon "
"the magnitude of type B. As with VCRs, if the net effect of sharing is "
"actually not very harmful, the need for regulation is significantly "
"weakened."
msgstr ""
"Toute réforme de la loi doit garder en vue ces différents usages. Elle doit "
"éviter d’encombrer le type D même si elle vise à éliminer le type A. "
"L’avidité avec laquelel la loi vise à éliminer le type A, de plus, doit "
"dépendre de la magnitude du type B. Tout comme avec les magnétoscopes, si "
"l’effet total du partage n’est pas très nuisible, le besoin de "
"régulation est affaibli de manière importante."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"As I said in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"piracy\"/>, the actual harm caused by sharing is controversial.  "
"For the purposes of this chapter, however, I assume the harm is real. I "
"assume, in other words, that type A sharing is significantly greater than "
"type B, and is the dominant use of sharing networks."
msgstr ""
"Comme je l’ai dit dans le chapitre <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"piracy\"/>, le mal effectivement causé est sujet "
"à controverse. Dans l’objectif de ce chapitre, toutefois, je suppose que "
"le mal est réel. Je suppose, en d’autres termes, que le type A de partage "
"est bien plus grand que le type B, et est l’utilisation dominante des "
"réseaux de partage."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Nonetheless, there is a crucial fact about the current technological context "
"that we must keep in mind if we are to understand how the law should "
"respond."
msgstr ""
"Néanmoins, il y a un fait crucial à propos du contexte technologique actuel "
"que nous devons garder à l’esprit qui nous devons comprendre comment la "
"loi devrait répondre."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Today, file sharing is addictive. In ten years, it won't be. It is addictive "
"today because it is the easiest way to gain access to a broad range of "
"content.  It won't be the easiest way to get access to a broad range of "
"content in ten years. Today, access to the Internet is cumbersome and "
"slow&mdash;we in the United States are lucky to have broadband service at "
"1.5 MBs, and very rarely do we get service at that speed both up and "
"down. Although wireless access is growing, most of us still get access "
"across wires. Most only gain access through a machine with a keyboard. The "
"idea of the always on, always connected Internet is mainly just an idea."
msgstr ""
"Aujourd’hui, le partage de fichiers est addictif. Dans dix ans, il ne le "
"sera plus. Il est addictif aujourd’hui aprce que c’est la manière la "
"plus facile d’obtenir accès à une large palette de contenu. Il ne sera "
"pas la manière la plus facle d’obtenir accès à une large palette de "
"contenu dans dix ans. Aujourd’hui, l’accès à Internet est pénible et "
"lent — nous, aux États-Unis, sommes chanceux d’avoir un service de haut "
"débit à 1,5 méga, et nous avons "
"très rarement un service à cette vitesse à la fois en émission et en "
"réception. Bien que l’accès sans fil augmente, la plupart d’entre nous "
"avons accès à travers des fils. La plupart d’entre nous obtenons accès "
"à travers une machine avec u nclavier. L’idée d’un Internet toujours "
"allumé, toujours connecté est principalement juste une idée."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But it will become a reality, and that means the way we get access to the "
"Internet today is a technology in transition. Policy makers should not make "
"policy on the basis of technology in transition. They should make policy on "
"the basis of where the technology is going. The question should not be, how "
"should the law regulate sharing in this world? The question should be, what "
"law will we require when the network becomes the network it is clearly "
"becoming? That network is one in which every machine with electricity is "
"essentially on the Net; where everywhere you are&mdash;except maybe the "
"desert or the Rockies&mdash;you can instantaneously be connected to the "
"Internet. Imagine the Internet as ubiquitous as the best cell-phone service, "
"where with the flip of a device, you are connected."
msgstr ""
"Mais elle va devenir uen réalité, et cela signifiera que la manière dont "
"nous accédons à Internet aujourd’hui est une technologie en transition. "
"Les faiseurs de politique ne devraient pas faire de politique sur la base "
"d’une technologie en transition. Ils devraient faire une politique sur la "
"base d’où se dirige une technologie. La question ne devrait pas être, "
"comment la loi devrait réguler le partage dans ce monde&nbsp;? La question "
"devrait être, que requiérera la loi quand le réseau deviendra ce qu’il "
"est clairement en train de devenir&nbsp;? Ce réseau est un réseau dans "
"lequel toute machine avec électricité est essentiellement sur le Net&nbsp;; "
"dans lequel où que vous soyiez — excepté peut-être le désert des "
"Rocheuses — vous pouvez être instantanément connecté à Internet. "
"Imaginez Internet comem aussi omniprésent que le meilleur service de "
"téléphonie mobile, où en actionnant un appareil, vous êtes connecté."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "cell phones, music streamed over"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"See, for example, <quote>Music Media Watch,</quote> The J@pan "
"Inc. Newsletter, 3 April 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #76</ulink>."
msgstr ""
"See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. "
"Newsletter, 3 April 2002, available at link #76."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"In that world, it will be extremely easy to connect to services that give "
"you access to content on the fly&mdash;such as Internet radio, content that "
"is streamed to the user when the user demands. Here, then, is the critical "
"point: When it is <emphasis>extremely</emphasis> easy to connect to services "
"that give access to content, it will be <emphasis>easier</emphasis> to "
"connect to services that give you access to content than it will be to "
"download and store content <emphasis>on the many devices you will have for "
"playing content</emphasis>. It will be easier, in other words, to subscribe "
"than it will be to be a database manager, as everyone in the "
"download-sharing world of Napster-like technologies essentially is. Content "
"services will compete with content sharing, even if the services charge "
"money for the content they give access to. Already cell-phone services in "
"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs "
"for headphones). The Japanese are paying for this content even though "
"<quote>free</quote> content is available in the form of MP3s across the "
"Web.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Dans ce monde-là, il sera extrèmement facile de se connecter à des "
"services qui vous donnent accès à du contenu sur le vif — tels que des "
"webradios, le contenu est diffusé à l’utilisateur quand l’utilisateur "
"le demande. Ici, donc, est le point critique&nbsp;: quand il devient "
"<emphasis>extrèment</emphasis> facile de se connecter à des services qui "
"donnent accès à du contenu, il deviendra <emphasis>plus facile</emphasis> "
"de se connecter à des services qui vous donnent accès du contenu qu’il le "
"sera pour télécharger et stocker du contenu <emphasis>sur les nombreux "
"appareils que vous aurez pour jouer du contenu</emphasis>. Il sera plus "
"facile, en d’autres termes, de s’inscrire que d’être un gestionnaire "
"de base de donnée, comme l’est essentiellement tout le monde dans le monde "
"dans le monde du téléchargement-partage de Napster. Les services de contenu "
"seront en compétition avec le partage de contenu, même si les services font "
"payer pour le contenu auquel ils donnent accès. Il y a déjà des services "
"pour téléphones portables au Japon qui offrent de la musique (payante) "
"diffusée sur les téléphones portables (améliorés avec des prises "
"casque). Les Japonais payent pour ce contenu même si du contenu "
"<quote>gratuit</quote> est disponible sous forme de MP3s àtravers le "
"web<placeholder type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This point about the future is meant to suggest a perspective on the "
"present: It is emphatically temporary. The <quote>problem</quote> with file "
"sharing&mdash;to the extent there is a real problem&mdash;is a problem that "
"will increasingly disappear as it becomes easier to connect to the "
"Internet.  And thus it is an extraordinary mistake for policy makers today "
"to be <quote>solving</quote> this problem in light of a technology that will "
"be gone tomorrow.  The question should not be how to regulate the Internet "
"to eliminate file sharing (the Net will evolve that problem away). The "
"question instead should be how to assure that artists get paid, during this "
"transition between twentieth-century models for doing business and "
"twenty-first-century technologies."
msgstr ""
"Cette idée sur le futur a pour but de suggérer une perspective sur le "
"présent&nbsp;: il est catégoriquement temporaire. Le "
"<quote>problème</quote> avec le partage de fichiers — dans la mesure où "
"il y a un problème réel — est un problème qui va de plus en plus "
"disparaitre alors qu’il neviendre plus facile de se connecter à Internet. "
"Et ainsi c’est une erreur extraordinaire de la part des faiseurs de "
"politique que de <quote>résoudre</quote> ce problème à la lumière d’une "
"technologie qui sera partie demain. La question ne devrait pas être comment "
"réguler Internt pour éliminer le partage de fichiers (le Net fera "
"disparaitre ce problème en évoluant). La question devrait plutot être "
"comment assurer que les artistes soient payés, pendant cette transition "
"entre les modèles commerciaux du vingtième siècle et les technologies du "
"ving-et-unième siècle."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The answer begins with recognizing that there are different "
"<quote>problems</quote> here to solve. Let's start with type D "
"content&mdash;uncopyrighted content or copyrighted content that the artist "
"wants shared. The <quote>problem</quote> with this content is to make sure "
"that the technology that would enable this kind of sharing is not rendered "
"illegal. You can think of it this way: Pay phones are used to deliver ransom "
"demands, no doubt.  But there are many who need to use pay phones who have "
"nothing to do with ransoms. It would be wrong to ban pay phones in order to "
"eliminate kidnapping."
msgstr ""
"La réponse commence en reconnaissant qu’il y a ici différents "
"<quote>problèmes</quote> à résoudre. Commençons par le contenu de type D "
"— le contenu sans copyright ou le contenu sous copyright que l’artiste "
"veut voir partagé. Le <quote>problème</quote> avec ce contenu est de "
"s’assurer que la technologie qui permettra ce genre de partage ne soit pas "
"rendue illégale. Vosu pouvez le penser de cette manière&nbsp;: les cabines "
"téléphoniques sont utilisées pour délivrer les demandes de rançon, sans "
"doute. Il serait mauvais de bannir les cabines téléphoniques afin "
"d’éliminer les enlèvements."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Type C content raises a different <quote>problem.</quote> This is content "
"that was, at one time, published and is no longer available. It may be "
"unavailable because the artist is no longer valuable enough for the record "
"label he signed with to carry his work. Or it may be unavailable because the "
"work is forgotten. Either way, the aim of the law should be to facilitate "
"the access to this content, ideally in a way that returns something to the "
"artist."
msgstr ""
"Le contenu de type C soulève un <quote>problème</quote> différent. C’est "
"du contenu qui était, à une époque, publié et qui n’est plus "
"disponible. Il n’est peut-être plus disponible parce que l’artiste n’a "
"plus assez de valeur pour la maison de disques avec laquelle il a signé pour "
"transporter son œuvre. Ou il n’est peut-être plus disponible parce que "
"l’œuvre est oubliée. De toutes les façons, le but de la loi devrait "
"être de faciliter l’accès à ce contenu, idéalement d’une manière qui "
"rapporte quelque chose à l’artiste."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Again, the model here is the used book store. Once a book goes out of print, "
"it may still be available in libraries and used book stores. But libraries "
"and used book stores don't pay the copyright owner when someone reads or "
"buys an out-of-print book. That makes total sense, of course, since any "
"other system would be so burdensome as to eliminate the possibility of used "
"book stores' existing. But from the author's perspective, this "
"<quote>sharing</quote> of his content without his being compensated is less "
"than ideal."
msgstr ""
"Ici encore, le modèle est celui de la bouquinerie. Une fois qu’un livre "
"est en rupture d’impression, il peut être encore disponible dans des "
"librairies et des bouquineries. Mais les librairies et les bouquineries ne "
"payent pas le titulaire du copyright quand quelqu’un lit ou achète un "
"livre épuisé. Cela a complètement du sens, bien sûr, étant donné que "
"n’importe quel autre système serait si pénible qu’il éliminerait la "
"possibilité pour des bouquineries d’exister. Mais du point de vue de "
"l’auteur, ce <quote>partage</quote> de son contenu sans compensation est "
"moins qu’idéal."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The model of used book stores suggests that the law could simply deem "
"out-of-print music fair game. If the publisher does not make copies of the "
"music available for sale, then commercial and noncommercial providers would "
"be free, under this rule, to <quote>share</quote> that content, even though "
"the sharing involved making a copy. The copy here would be incidental to the "
"trade; in a context where commercial publishing has ended, trading music "
"should be as free as trading books."
msgstr ""
"Le modèle de la bouquinerie suggère que la loi pourrait simplement "
"considérer que la musique épuisée est similaire. Si l’éditeur ne rend "
"pas disponible à la vente des copies de la musique, alors les fournisseurs "
"comemrciaux et non comemrciaux seraient libre, sous cette règle, de "
"<quote>partager</quote> ce contenu, même si le partage implique de faire une "
"copie. La copie ici serait sans importance pour la transaction&nbsp;; dans un "
"contexte où la publication commerciale s’est terminée, vendre de la "
"musique devrait être aussi libre que vendre des livres."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Alternatively, the law could create a statutory license that would ensure "
"that artists get something from the trade of their work. For example, if the "
"law set a low statutory rate for the commercial sharing of content that was "
"not offered for sale by a commercial publisher, and if that rate were "
"automatically transferred to a trust for the benefit of the artist, then "
"businesses could develop around the idea of trading this content, and "
"artists would benefit from this trade."
msgstr ""
"Ou bien, la loi pourrait créer une licence statutaire qui assurerait que les "
"artistes obtiendraient quelque chose pour la vente de leur travail. Par "
"exemple, si la loi fixait un taux statutaire bas pour le partage commercial "
"de contenu qui n’est plus offert en vente par un éditeur commercial, et si "
"ce taux était automatiquement transféré à une trust au bénéfice de "
"l’artiste, alors des comemrces pourraient se développer autour de "
"l’idée du partage de ce contenu, et les artistes pourraient bénéficier "
"de ce commerce."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This system would also create an incentive for publishers to keep works "
"available commercially. Works that are available commercially would not be "
"subject to this license. Thus, publishers could protect the right to charge "
"whatever they want for content if they kept the work commercially "
"available. But if they don't keep it available, and instead, the computer "
"hard disks of fans around the world keep it alive, then any royalty owed for "
"such copying should be much less than the amount owed a commercial "
"publisher."
msgstr ""
"Ce système créerait également une incitation pour que les éditeurs "
"continuent à mettre à disposition commerciale les œuvres. Des œuvres qui "
"sont comemrcialement disponibles ne seraient pas soumises à cette licence. "
"Ainsi, les éditeurs pourraient protéger le droit de faire payer ce qu’ils "
"veulent pour du contenu si ils continuent à mettre à disposition "
"commerciale l’œuvre. Mais s’ils ne continuent pas, et si au lieu de "
"cela, les disques durs des ordinateurs de fans du monde entier la gardent "
"vivante, alors tout honoraire dû pour une telle copie devrait être moins "
"élevée que le montant dû à un éditeur commercial."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The hard case is content of types A and B, and again, this case is hard only "
"because the extent of the problem will change over time, as the technologies "
"for gaining access to content change. The law's solution should be as "
"flexible as the problem is, understanding that we are in the middle of a "
"radical transformation in the technology for delivering and accessing "
"content."
msgstr ""
"Le cas difficile est celui du contenu de type A et B, et là encore, ce cas "
"est difficile seulement parce que la portée du problème va changer au fil "
"du temps, alors que les tecnologies pour accéder au contenu changeront. La "
"solution de la loi devrait être aussi flexible que le problème, en "
"comprenant que nous sommes au cœur d’une transformation radicale dans la "
"technologie de livraison et d’accès au contenu."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"So here's a solution that will at first seem very strange to both sides in "
"this war, but which upon reflection, I suggest, should make some sense."
msgstr ""
"Voici donc une solution qui semblera à première vue très étrange des deux "
"côtés de cette guerre, mais qui à la réflexion, je suggère, devrait "
"avoir quelque sens."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Stripped of the rhetoric about the sanctity of property, the basic claim of "
"the content industry is this: A new technology (the Internet)  has harmed a "
"set of rights that secure copyright. If those rights are to be protected, "
"then the content industry should be compensated for that harm. Just as the "
"technology of tobacco harmed the health of millions of Americans, or the "
"technology of asbestos caused grave illness to thousands of miners, so, too, "
"has the technology of digital networks harmed the interests of the content "
"industry."
msgstr ""
"Dénuée de la réthorique sur la sainteté de la propriété, la "
"revendication basique de l’industrie du contenu est la suivante&nbsp;: une "
"nouvelle technologie (Internet) a causé du mal à un ensemble de droits qui "
"sécurisent le copyright. Si ces droits doivent être protégés, alors "
"l’industrie du contenu devrait obtenir compensation pour ce mal. Tout comme "
"la technologie du tabac a causé du mal à la santé de millions "
"d’Américains, ou que la technologie de l’amiante a cause de graves "
"maladies pour des milliers de mineurs, alors, également, la technologie des "
"réseaux numériques a causé du mal aux intérêts de l’industrie du "
"contenu."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"I love the Internet, and so I don't like likening it to tobacco or "
"asbestos.  But the analogy is a fair one from the perspective of the law.  "
"And it suggests a fair response: Rather than seeking to destroy the "
"Internet, or the p2p technologies that are currently harming content "
"providers on the Internet, we should find a relatively simple way to "
"compensate those who are harmed."
msgstr ""
"J’aime Internet, et donc je n’aime pas l’assimiler au tabac ou à "
"l’amiante. Mais l’analogie est juste du point de vue de la loi. Et elle "
"suggère une réponse juste&nbsp;: plutôt que de chercher à détruire "
"Internet, ou les technologies p2p qui causent actuellement du mal aux "
"fournisseurs de contenu sur Internet, nous devrions trouver une manière "
"relativement simple de donner une compensation à ceux qui sont victimes."

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
msgid "Promises to Keep (Fisher)"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
msgid "Fisher, William"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, "
"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last "
"revised: 10 October 2000), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #77</ulink>; William Fisher, "
"<citetitle>Promises to Keep: Technology, Law, and the Future of "
"Entertainment</citetitle> (forthcoming) (Stanford: Stanford University "
"Press, 2004), ch. 6, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel "
"has proposed a related idea that would exempt noncommercial sharing from the "
"reach of copyright and would establish compensation to artists to balance "
"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy "
"to Allow Free P2P File Sharing,</quote> available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #79</ulink>. For other proposals, "
"see Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> "
"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip "
"S. Corwin on behalf of Sharman Networks, A Letter to Senator Joseph "
"R. Biden, Jr., Chairman of the Senate Foreign Relations Committee, 26 "
"February 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, "
"<citetitle>A Quick Case for Intellectual Property Use Fee "
"(IPUF)</citetitle>, 3 March 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, "
"<quote>Kazaa, Verizon Propose to Pay Artists Directly,</quote> "
"<citetitle>USA Today</citetitle>, 13 May 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, "
"<quote>Getting Copyright Right,</quote> IEEE Spectrum Online, 1 July 2002, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #83</ulink>; "
"Declan McCullagh, <quote>Verizon's Copyright Campaign,</quote> CNET "
"News.com, 27 August 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #84</ulink>.  Fisher's proposal "
"is very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, "
"Stallman's proposal would not pay artists directly proportionally, though "
"more popular artists would get more than the less popular. As is typical "
"with Stallman, his proposal predates the current debate by about a "
"decade. See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>.  "
"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, <citetitle>Digital Music: Problems and "
"Possibilities</citetitle> (last revised: 10 October 2000), available at link "
"#77; William Fisher, <citetitle>Promises to Keep: Technology, Law, and the "
"Future of Entertainment</citetitle> (forthcoming) (Stanford: Stanford "
"University Press, 2004), ch. 6, available at link #78. Professor Netanel has "
"proposed a related idea that would exempt noncommercial sharing from the "
"reach of copyright and would establish compensation to artists to balance any "
"loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy to "
"Allow Free P2P File Sharing,</quote> available at link #79. For other "
"proposals, see Lawrence Lessig, <quote>Who’s Holding Back "
"Broadband?</quote> <citetitle>Washington Post,</citetitle> 8 January 2002, "
"A17; Philip S. Corwin on behalf of Sharman Networks, A Letter to Senator "
"Joseph R. Biden, Jr., Chairman of the Senate Foreign Relations Committee, 26 "
"February 2002, available at link #80; Serguei Osokine, <citetitle>A Quick "
"Case for Intellectual Property Use Fee (IPUF),</citetitle> 3 March 2002, "
"available at link #81; Jefferson Graham, <quote>Kazaa, Verizon Propose to Pay "
"Artists Directly,</quote> <citetitle>USA Today,</citetitle> 13 May 2002, "
"available at link #82; Steven M. Cherry, <quote>Getting Copyright "
"Right,</quote> IEEE Spectrum Online, 1 July 2002, available at link #83; "
"Declan Mc-Cullagh, <quote>Verizon’s Copyright Campaign,</quote> CNET "
"News.com, 27 August 2002, available at link #84."
"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The idea would be a modification of a proposal that has been floated by "
"Harvard law professor William Fisher.<placeholder type=\"footnote\" "
"id=\"0\"/> Fisher suggests a very clever way around the current impasse of "
"the Internet. Under his plan, all content capable of digital transmission "
"would (1) be marked with a digital watermark (don't worry about how easy it "
"is to evade these marks; as you'll see, there's no incentive to evade "
"them). Once the content is marked, then entrepreneurs would develop (2) "
"systems to monitor how many items of each content were distributed. On the "
"basis of those numbers, then (3) artists would be compensated. The "
"compensation would be paid for by (4) an appropriate tax."
msgstr ""
"L’idée serait une modification d’une proposition qui a été lancée par "
"William Fisher, professeur de droit à Harvard<placeholder type=\"footnote\" "
"id=\"0\"/>. Fisher suggère une voie très intelligente de contournement de "
"l’impasse actuelle d’Internet. Selon son plan, tout contenu pouvant être "
"transmis numériquement serait (1) marqué avec un filigrane numérique (ne "
"vous faites pas de souci sur la facilité avec laquelle on peut leur "
"échapper&nbsp;; comme vous allez le voir, il n’y a pas d’incitation à "
"leur échapper). Une fois que le contenu est marqué, alors des entrepreneurs "
"développeraient (2) des sytèmes pour surveilelr combien d’exemplaires de "
"chaque contenu seraient distribués. Sur la base de ces nombres, alors (3) "
"les artistes recevraient compensation. La compensation serait payée par (4) "
"une taxe appropriée."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Fisher's proposal is careful and comprehensive. It raises a million "
"questions, most of which he answers well in his upcoming book, "
"<citetitle>Promises to Keep</citetitle>. The modification that I would make "
"is relatively simple: Fisher imagines his proposal replacing the existing "
"copyright system.  I imagine it complementing the existing system. The aim "
"of the proposal would be to facilitate compensation to the extent that harm "
"could be shown. This compensation would be temporary, aimed at facilitating "
"a transition between regimes. And it would require renewal after a period of "
"years. If it continues to make sense to facilitate free exchange of content, "
"supported through a taxation system, then it can be continued. If this form "
"of protection is no longer necessary, then the system could lapse into the "
"old system of controlling access."
msgstr ""
"La proposition de Fisher est prudente et approfondie. Elle soulève un "
"million de questions, auxquelles pour la plupart il répond dans son prochain "
"livre <citetitle>Promises to Keep</citetitle>. La modification que "
"j’apporterais est relativement simple&nbsp;: Fisher imagine que sa "
"proposition remplacerait le système de copyright existant. J’imagine "
"qu’elle complémenterait le système existant. Le but de la proposition "
"serait de faciliter la compensation dans la mesure où le mal causé pourrait "
"être montré. Cette compensation serait temporaire, visant à faciliter une "
"transition entre les régimes. Et elle requiérerait un renouvellement après "
"quelques années. Si elle continue à être pertinente pour facilirer les "
"échanges libres de contenu, soutenus par un système de taxation, alors elle "
"peut être continuée. Si cette forme de protection n’est plus nécessaire, "
"alors le système pourrait sombrer dans l’ancien système de contrôle de "
"l’accès."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Fisher would balk at the idea of allowing the system to lapse. His aim is "
"not just to ensure that artists are paid, but also to ensure that the system "
"supports the widest range of <quote>semiotic democracy</quote> possible. But "
"the aims of semiotic democracy would be satisfied if the other changes I "
"described were accomplished&mdash;in particular, the limits on derivative "
"uses. A system that simply charges for access would not greatly burden "
"semiotic democracy if there were few limitations on what one was allowed to "
"do with the content itself."
msgstr ""
"Fisher rechignerait à l’idée de permettre au système de sombrer. Son but "
"n’est pas juste d’assurer que les artistes soient payés, mais également "
"d’assurer que le système soutient la portée de <quote>démocratie "
"sémiotique</quote> la plus large possible. Mais les objectifs de la "
"démocratie sémiotique seraient satisfaits si d’autres changements que "
"j’ai décrits étaient accomplis — en particulier, les limites des usages "
"dérivés. Un système qui ferait simplement payer pour l’accès "
"n’encombrerait pas la démocratie sémiotique s’il y avait peu de "
"limitations sur ce que l’on aurait le droit de faire avec le contenu "
"lui-même."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "MusicStore"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "prices of"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"No doubt it would be difficult to calculate the proper measure of "
"<quote>harm</quote> to an industry. But the difficulty of making that "
"calculation would be outweighed by the benefit of facilitating "
"innovation. This background system to compensate would also not need to "
"interfere with innovative proposals such as Apple's MusicStore. As experts "
"predicted when Apple launched the MusicStore, it could beat "
"<quote>free</quote> by being easier than free is. This has proven correct: "
"Apple has sold millions of songs at even the very high price of 99 cents a "
"song. (At 99 cents, the cost is the equivalent of a per-song CD price, "
"though the labels have none of the costs of a CD to pay.) Apple's move was "
"countered by Real Networks, offering music at just 79 cents a song. And no "
"doubt there will be a great deal of competition to offer and sell music "
"on-line."
msgstr ""
"Il ne fait pas de doute qu’il serait difficile de calculer la mesure "
"véritable du <quote>mal</quote> causé à une industrie. Mais la difficulté "
"de faire ce calcul serait surpassée par le bénéfice de faciliter "
"l’innovation. Ce système de compensation en arrière-plan n’aurait pas "
"non plus besoin d’interférer avec des propositions innovantes telles que "
"le MusicStore d’Apple. Comme l’ont prédit les experts quand Apple a "
"lancé le MusicStore, il pourrait battre le <quote>gratuit</quote> en étant "
"plus facile que ne l’est le gratuit. Cela s’est avéré correct&nbsp;: "
"Apple a vendu des millions de chansons même au prix trèès élevé de 99 "
"cents par chanson. (À 99 cents, le cout est équivalent à un prix de CD par "
"chanson, bien que les maisons de disques n’ont aucun des couts d’un CD à "
"payer). La décision d’Apple a été contrée par Real Networks, qui offre "
"de la musique à seulement 79 centimes par chanson. Et il y aura sans aucun "
"doute une grande part de compétition pour offrir et vendre de la musique en "
"ligne."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "cable vs. broadcast"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "luxury theatres vs. video piracy in"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This competition has already occurred against the background of "
"<quote>free</quote> music from p2p systems. As the sellers of cable "
"television have known for thirty years, and the sellers of bottled water for "
"much more than that, there is nothing impossible at all about "
"<quote>competing with free.</quote> Indeed, if anything, the competition "
"spurs the competitors to offer new and better products. This is precisely "
"what the competitive market was to be about. Thus in Singapore, though "
"piracy is rampant, movie theaters are often luxurious&mdash;with "
"<quote>first class</quote> seats, and meals served while you watch a "
"movie&mdash;as they struggle and succeed in finding ways to compete with "
"<quote>free.</quote>"
msgstr ""
"Cette compétition s’est déjà produite dans le contexte de la musique "
"<quote>gratuite</quote> des systèmes p2p. Comme l’ont su les vendeurs de "
"télévsion par câble pendant trente ans, et les vendeurs d’eau en "
"bouteille pendant plus longtemps que cela, il n’est pas du tout impossible "
"d’<quote>être en compétition contre le gratuit</quote>. En effet, la "
"compétition incite plutôt les concurrents à offrir des produits nouveaux "
"et meilleurs. C’est précisément le but du marché compétitif. Ainsi à "
"Singapour, bien que le piratage soit effrénée, les salles de cinéma sont "
"souvent luxueuses — avec des sièges <quote>première classe</quote>, et "
"des repas servis pendant que vous regardez un film — alors qu’elles "
"luttent et réussissent à trouver des manières de faire compétition avec "
"le <quote>gratuit</quote>."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"This regime of competition, with a backstop to assure that artists don't "
"lose, would facilitate a great deal of innovation in the delivery of "
"content. That competition would continue to shrink type A sharing. It would "
"inspire an extraordinary range of new innovators&mdash;ones who would have a "
"right to the content, and would no longer fear the uncertain and "
"barbarically severe punishments of the law."
msgstr ""
"Ce régime de compétition, avec un écran arrière pour assurer que les "
"artistes ne perdent pas, faciliterait une grande quantité d’innovation "
"dans la livraison de contenu. Cette compétition continuerait à rétrécir "
"le partage de type A. Elle inspirerait un éventail extraordinaire de "
"nouveaux innovateurs — ceux qui auraient un droit sur le contenu, et qui ne "
"craindraient plus les punitions incertaines et barbariquement sévères de la "
"loi."

#. type: Content of: <book><chapter><section><section><para>
msgid "In summary, then, my proposal is this:"
msgstr "En somme, donc, ma proposition est la suivante&nbsp;:"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The Internet is in transition. We should not be regulating a technology in "
"transition. We should instead be regulating to minimize the harm to "
"interests affected by this technological change, while enabling, and "
"encouraging, the most efficient technology we can create."
msgstr ""
"Internet est en transition.  Nous ne devrions pas réguler une technologie en "
"transition. Nous devrions plutôt réguler les maux causés aux intérêts "
"affectés par ce changement technologique, tout en permettant, et en "
"encourageant, les technologies les plus efficaces que nous puissions créer."

#. type: Content of: <book><chapter><section><section><para>
msgid "We can minimize that harm while maximizing the benefit to innovation by"
msgstr ""
"Nous pouvons minimiser ce mal tout en maximisant le bénéfice de "
"l’innovation en&nbsp;:"

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid "guaranteeing the right to engage in type D sharing;"
msgstr "1. garantissant le droit de s’engager dans le type D de partage&nbsp;;"

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"permitting noncommercial type C sharing without liability, and commercial "
"type C sharing at a low and fixed rate set by statute;"
msgstr ""
"2. permettant le partage non commercial de type C sans assujettissement, et "
"le partage commercial de type C à un taux bas et fixé statutaire&nbsp;;"

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
msgid ""
"while in this transition, taxing and compensating for type A sharing, to the "
"extent actual harm is demonstrated."
msgstr ""
"3. pendant cette transition, taxant et compensant pour le partage de type A, "
"dans la mesure dans laquelle le véritable mal causé est démontré."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But what if <quote>piracy</quote> doesn't disappear? What if there is a "
"competitive market providing content at a low cost, but a significant number "
"of consumers continue to <quote>take</quote> content for nothing? Should the "
"law do something then?"
msgstr ""
"Mais si le <quote>piratage</quote> ne disparaissait pas&nbsp;? Et si il y a "
"un marché compétitif fournissant du contenu à un cout bas, mais qu’un "
"nombre important de consommateurs continuent à <quote>prendre</quote> ce "
"contenu contre rien&nbsp;? La loi devrait-elle alors faire quelque "
"chose&nbsp;?"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Yes, it should. But, again, what it should do depends upon how the facts "
"develop. These changes may not eliminate type A sharing. But the real issue "
"is not whether it eliminates sharing in the abstract.  The real issue is its "
"effect on the market. Is it better (a) to have a technology that is 95 "
"percent secure and produces a market of size <citetitle>x</citetitle>, or "
"(b) to have a technology that is 50 percent secure but produces a market of "
"five times <citetitle>x</citetitle>? Less secure might produce more "
"unauthorized sharing, but it is likely to also produce a much bigger market "
"in authorized sharing. The most important thing is to assure artists' "
"compensation without breaking the Internet. Once that's assured, then it may "
"well be appropriate to find ways to track down the petty pirates."
msgstr ""
"Oui, elle devrait. Mais, encore, ce qu’elle devrait faire dépend de "
"comment les faits se développent. Ces changements peuvent ne pas éliminer "
"le partage de type A. Mais le vrai problème n’est pas si cela élimine le "
"partage en théorie. Le vrai problème est son effet sur le marché. Est-ce "
"mieux (a) d’avoir une technologie qui est sécurisée à 95 pour cent et "
"qui produit un marché de taille <citetitle>x</citetitle>, ou (b) d’avoir "
"une technologie qui est sécurisée à 50 pour cent mais qui produit un "
"marché de cinq fois <citetitle>x</citetitle>&nbsp;? Moins sécurisé "
"pourrait produre plus de partage non autorisé, mais il est susceptible de "
"produire également un marché bien plus gros dans le partage autorisé. La "
"chose la plus importante est d’assurer la compensation des artistes sans "
"casser Internet. Une fois ceci assuré, alors il serait bien approprié de "
"trouver des manières de traquer les petits pirates."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But we're a long way away from whittling the problem down to this subset of "
"type A sharers. And our focus until we're there should not be on finding "
"ways to break the Internet. Our focus until we're there should be on how to "
"make sure the artists are paid, while protecting the space for innovation "
"and creativity that the Internet is."
msgstr ""
"Mais la route est longue avant de réduire le problème à ce sous-ensemble "
"de partageurs de type A. Et notre focalisation jusqu’à ce que nous y "
"arrivions de devrait pas être sur la recherche de moyens pour casser "
"Internet. Notre focalisation jusqu’à ce que nous y arrivions devrait être "
"sur comment s’assurer que les artistes soient payés, tout en protégeant "
"l’espace pour l’innovation et la créativité qu’est Internet."

#. type: Content of: <book><chapter><section><section><title>
msgid "5. Fire Lots of Lawyers"
msgstr ""

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe "
"in the law of copyright. Indeed, I have devoted my life to working in law, "
"not because there are big bucks at the end but because there are ideals at "
"the end that I would love to live."
msgstr ""
"Je suis un avocat. Je vis de la formation d’avocats. Je crois en la loi. Je "
"crois en la loi du copyright. En effet, j’ai dévoué ma vie pour "
"travailler dans la loi, pas parce qu’il y a beaucoup de fric au bout mais "
"parce qu’il y a des idéaux au bout que j’aimerais vivre."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Yet much of this book has been a criticism of lawyers, or the role lawyers "
"have played in this debate. The law speaks to ideals, but it is my view that "
"our profession has become too attuned to the client. And in a world where "
"the rich clients have one strong view, the unwillingness of the profession "
"to question or counter that one strong view queers the law."
msgstr ""
"Et pourtant une grande partie de ce livre a été une critique des avocats, "
"ou du rôle qu’ont joué les avocats dans ce débat. La loi parle aux "
"idéaux, mais c’est mon point de vue que notre profession est devenue trop "
"sensible au client. Et dans un monde où les clients riches ont un fort point "
"de vue, le refus de la profession de remettre en question ou de contrer ce "
"point de vue fort met la loi dans une position difficile."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Nimmer, Melville"
msgstr ""

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "Supreme Court challenge of"
msgstr ""

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville "
"B. Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 "
"(2001): 1057, 1069&ndash;70."
msgstr ""
"Lawrence Lessig, <quote>Copyright’s First Amendment</quote> (Melville B. "
"Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): "
"1057, 1069-70."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The evidence of this bending is compelling. I'm attacked as a "
"<quote>radical</quote> by many within the profession, yet the positions that "
"I am advocating are precisely the positions of some of the most moderate and "
"significant figures in the history of this branch of the law. Many, for "
"example, thought crazy the challenge that we brought to the Copyright Term "
"Extension Act. Yet just thirty years ago, the dominant scholar and "
"practitioner in the field of copyright, Melville Nimmer, thought it "
"obvious.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Le preuve de cette inclinaison est persuasive. Je suis attaqué en tant que "
"<quote>radical</quote> par de nombreux dans la profession, et pourtant les "
"position pour lesquelles je me bats sont précisément les positions de "
"certaines des figures les plus modérées et importantes dans l’histoire de "
"cette branche de la loi. De nombreux, par exemple, on trouvé insensé le "
"défi que nous avions ramené au Copyright Term Extension Act. Et pourtant il "
"y a juste trente ans, l’universitaire et juriste dominant dans le champ du "
"copyright, Melville Nimmer, trouvait cela évident<placeholder "
"type=\"footnote\" id=\"0\"/>."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"However, my criticism of the role that lawyers have played in this debate is "
"not just about a professional bias. It is more importantly about our failure "
"to actually reckon the costs of the law."
msgstr ""
"Toutefois, ma critique du role que les avocats ont joué dans ce débat "
"n’est pas juste à propos d’un biais professionnel. Elle est de manière "
"plus importante à propos de notre échec à véritablement calculer les "
"couts de la loi."

#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
"commended for his careful review of data about infringement, leading him to "
"question his own publicly stated position&mdash;twice. He initially "
"predicted that downloading would substantially harm the industry. He then "
"revised his view in light of the data, and he has since revised his view "
"again.  Compare Stan J. Liebowitz, <citetitle>Rethinking the Network "
"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
"York: Amacom, 2002), (reviewing his original view but expressing skepticism) "
"with Stan J.  Liebowitz, <quote>Will MP3s Annihilate the Record "
"Industry?</quote> working paper, June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #86</ulink>.  Liebowitz's careful "
"analysis is extremely valuable in estimating the effect of file-sharing "
"technology. In my view, however, he underestimates the costs of the legal "
"system. See, for example, <citetitle>Rethinking</citetitle>, 174&ndash;76.  "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
"commended for his careful review of data about infringement, leading him to "
"question his own publicly stated position&mdash;twice. He initially predicted "
"that downloading would substantially harm the industry. He then revised his "
"view in light of the data, and he has since revised his view again. Compare "
"Stan J. Liebowitz, <citetitle>Rethinking the Network Economy: The True Forces "
"That Drive the Digital Marketplace</citetitle> (New York: Amacom, 2002), 173 "
"(reviewing his original view but expressing skepticism) with Stan J. "
"Liebowitz, <quote>Will MP3s Annihilate the Record Industry?</quote> working "
"paper, June 2003, available at link #86. Liebowitz's careful "
"analysis is extremely valuable in estimating the effect of file-sharing "
"technology. In my view, however, he underestimates the costs of the legal "
"system. See, for example, <citetitle>Rethinking</citetitle>, 174&ndash;76.  "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Economists are supposed to be good at reckoning costs and benefits.  But "
"more often than not, economists, with no clue about how the legal system "
"actually functions, simply assume that the transaction costs of the legal "
"system are slight.<placeholder type=\"footnote\" id=\"0\"/> They see a "
"system that has been around for hundreds of years, and they assume it works "
"the way their elementary school civics class taught them it works."
msgstr ""
"Les économistes sont supposés bons pour calculer les couts et les "
"bénéfices. Mais plus souvent que pas, les économistes, sans aucune idée "
"sur comment le système légal fonctionne véritablement, suppose simplement "
"que les couts de transaction du système légal sont faibles<placeholder "
"type=\"footnote\" id=\"0\"/>. Ils voient un système qui existe depuis des "
"siècles, et ils supposent qu’il fonctionne de la manière que leurs cours "
"d’éducation civique de l’école élémentaire leur ont appris."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But the legal system doesn't work. Or more accurately, it doesn't work for "
"anyone except those with the most resources. Not because the system is "
"corrupt. I don't think our legal system (at the federal level, at least) is "
"at all corrupt. I mean simply because the costs of our legal system are so "
"astonishingly high that justice can practically never be done."
msgstr ""
"Mais le système légal ne fonctionne pas. Ou plus précisément, il ne "
"fonctionne pour personne excepté ceux qui ont le plus de ressources. Non pas "
"parce que le système est corrompu. Je ne pense pas du tout que notre "
"système légal (au niveau fédéral, tout du moins) est corrompu. Je veux "
"simplement dire que les couts de notre système légal sont si étonnament "
"élevés que la justice ne peux en pratique jamais être faite."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"These costs distort free culture in many ways. A lawyer's time is billed at "
"the largest firms at more than $400 per hour. How much time should such a "
"lawyer spend reading cases carefully, or researching obscure strands of "
"authority? The answer is the increasing reality: very little.  The law "
"depended upon the careful articulation and development of doctrine, but the "
"careful articulation and development of legal doctrine depends upon careful "
"work. Yet that careful work costs too much, except in the most high-profile "
"and costly cases."
msgstr ""
"Ces couts distordent la culture libre dans de nombreuses manières. Le temps "
"d’un avocat est facturé dans les plus grandes firmes à plus de 400 "
"dollars par heure. Combien de temps un vrai avocat devrait-il passer à lire "
"attentivement les dossiers, ou à rechercher des brins obscurs "
"d’autorité&nbsp;? La réponse est la réalité croissante&nbsp;: très "
"peu. La loi dépendait de l’articulation attentive et du développement de "
"la doctrine, mais l’articulation attentive et le développement d’une "
"doctrine légale dépendent d’un travail attentif. Et pourtant ce travail "
"attentif coute trop, excepté dans les dossers les plus notoires et couteux."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The costliness and clumsiness and randomness of this system mock our "
"tradition. And lawyers, as well as academics, should consider it their duty "
"to change the way the law works&mdash;or better, to change the law so that "
"it works. It is wrong that the system works well only for the top 1 percent "
"of the clients. It could be made radically more efficient, and inexpensive, "
"and hence radically more just."
msgstr ""
"Le cout, la maladresse et le caractère aléatoire de ce système se moquent "
"de notre tradition. Et les avocats, tout comme les universitaires, devraient "
"considérer comme leur travail le fait de changer la manière dont fonctionne "
"la loi — ou mieux, de changer la loi afin qu’elle fonctionne. C’est une "
"mauvaise chose que le système fonctionne bien seulement pour les 1 pour cent "
"supérieurs des clients. Il pourrait être radcalement plus efficace, et "
"économique, et ainsi radicalement plus juste."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"But until that reform is complete, we as a society should keep the law away "
"from areas that we know it will only harm. And that is precisely what the "
"law will too often do if too much of our culture is left to its review."
msgstr ""
"Mais jusqu’à ce que cette réforme soit complète, nous, en tant que "
"société, devrions tenir éloignée la loi des zones dont savons qu’elle "
"n’y causera que du mal. Et c’est précisément ce que la loi fera trop "
"souvent si une trop grande part de notre culture est laissée à son "
"examination."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"Think about the amazing things your kid could do or make with digital "
"technology&mdash;the film, the music, the Web page, the blog. Or think about "
"the amazing things your community could facilitate with digital "
"technology&mdash;a wiki, a barn raising, activism to change something.  "
"Think about all those creative things, and then imagine cold molasses poured "
"onto the machines. This is what any regime that requires permission "
"produces. Again, this is the reality of Brezhnev's Russia."
msgstr ""
"Pensez aux choses étonnantes que votre enfant pourrait faire avec les "
"technologies numériques — le film, la musique, la page web, le blog. Ou "
"pensez aux choses étonnantes que votre communauté pourrait faciliter avec "
"la technologie numérique — un wiki, une levée de "
"fonds, l’activisme pour changer quelque chose. Pensez à toutes ces "
"choses créatives, et ensuite imaginez de la mélasse froide versée dans les "
"machines. C’est ce que tout régime qui requiert la permission produit. "
"Encore une fois, c’est la réalité de la Russie de Brezhnev."

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"The law should regulate in certain areas of culture&mdash;but it should "
"regulate culture only where that regulation does good. Yet lawyers rarely "
"test their power, or the power they promote, against this simple pragmatic "
"question: <quote>Will it do good?</quote> When challenged about the "
"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>"
msgstr ""
"La loi devrait réguler certaines zones de la culture — mais elle devrait "
"réguler la culture seulement là où la régulation fait du bien. Et "
"pourtant les avocats testent rarement leur pouvoir, ou le pouvoir qu’ils "
"promeuvent, à la lumière d’une simple question pragmatique&nbsp;: "
"<quote>Causera-t-il du bien&nbsp;?</quote> Quand ils sont questionnés à "
"propos de l’étendue croissante de la loi, les avocats répondent "
"<quote>Pourquoi pas&nbsp;?</quote>"

#. type: Content of: <book><chapter><section><section><para>
msgid ""
"We should ask, <quote>Why?</quote> Show me why your regulation of culture is "
"needed. Show me how it does good. And until you can show me both, keep your "
"lawyers away."
msgstr ""
"Nous devrions demander <quote>Pourquoi&nbsp;?</quote> Montrer-moi pourquoi "
"votre régulation de la culture est nécessaire. Montrez-moi si elle fait du "
"bien. Et tant que vous ne pouvez pas me montrer les deux, tenez vos avocats "
"éloignés."

#. type: Content of: <book><chapter><title>
msgid "Notes"
msgstr "Notes"

#. type: Content of: <book><chapter><para>
msgid ""
"Throughout this text, there are references to links on the World Wide "
"Web. As anyone who has tried to use the Web knows, these links can be highly "
"unstable. I have tried to remedy the instability by redirecting readers to "
"the original source through the Web site associated with this book. For each "
"link below, you can go to <ulink url=\"http://free-culture.cc/notes\"/> and "
"locate the original source by clicking on the number after the # sign. If "
"the original link remains alive, you will be redirected to that link. If the "
"original link has disappeared, you will be redirected to an appropriate "
"reference for the material."
msgstr ""
"Tout au long de ce texte, il y a des références à des liens sur le Web. "
"Comme toute personne ayant essayé d’utiliser le Web le sait, ces liens "
"peuvent être hautement instables. J’ai essayé de remédier à cette "
"instabilité en redirigeant les lecteurs à la source originelle via le site "
"Web associé à ce livre. Pour chaque lien, vous pouvez aller sur "
"<ulink url=\"http://free-culture.cc/notes\"/> et "
"localiser la source en cliquant sur le nombre après le signe #. Si le lien "
"originel est resté vivant, vous y serez redirigé. Si le lien originel a "
"disparu, vous serez redirigé vers une référence appropriée pour le "
"contenu."

#. type: Content of: <book><chapter><title>
msgid "Acknowledgments"
msgstr "Remerciements"

#. type: Content of: <book><chapter><para>
msgid ""
"This book is the product of a long and as yet unsuccessful struggle that "
"began when I read of Eric Eldred's war to keep books free. Eldred's work "
"helped launch a movement, the free culture movement, and it is to him that "
"this book is dedicated."
msgstr ""
"Ce livre est le produit d’un combat long et jusqu’ici sans succès, qui a "
"commencé quand j’ai lu la guerre d’Eric Eldred pour la liberté des "
"livres. Le travail d’Eldred a contribué à lancer un mouvement, le "
"mouvement pour une culture libre, et c’est à lui que ce livre est dédié."

#. type: Content of: <book><chapter><para>
msgid ""
"I received guidance in various places from friends and academics, including "
"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose, and "
"Kathleen Sullivan. And I received correction and guidance from many amazing "
"students at Stanford Law School and Stanford University. They included "
"Andrew B. Coan, John Eden, James P. Fellers, Christopher Guzelian, Erica "
"Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian Link, Ohad "
"Mayblum, Alina Ng, and Erica Platt. I am particularly grateful to Catherine "
"Crump and Harry Surden, who helped direct their research, and to Laura "
"Lynch, who brilliantly managed the army that they assembled, and provided "
"her own critical eye on much of this."
msgstr ""
"J’ai été aidé en beaucoup d’endroits par des amis et des "
"universitaires, dont Glenn Brown, Peter DiCola, Jennifer Mnookin, "
"Richard Posner, Mark Rose, et Kathleen Sullivan. Et j’ai été corrigé et "
"guidé par mes étonnants étudiants à Stanford Law School et Stanford University. Parmi eux, Andrew B. Coan, John "
"Eden, James P. Fellers, Christopher Guzelian, Erica Goldberg, Robert Hallman, "
"Andrew Harris, Matthew Kahn, Brian Link, Ohad Mayblum, Alina Ng, et Erica "
"Platt. Je suis particulièrement reconnaissant envers Catherine Crump et Harry Surden, qui ont contribué à diriger leurs "
"recherches, et envers Laura Lynch, qui a brillament dirigé cette "
"petite armée, et offert son regard critique sur une bonne part de ce "
"travail."

#. type: Content of: <book><chapter><para>
msgid ""
"Yuko Noguchi helped me to understand the laws of Japan as well as its "
"culture. I am thankful to her, and to the many in Japan who helped me "
"prepare this book: Joi Ito, Takayuki Matsutani, Naoto Misaki, Michihiro "
"Sasaki, Hiromichi Tanaka, Hiroo Yamagata, and Yoshihiro Yonezawa. I am "
"thankful as well as to Professor Nobuhiro Nakayama, and the Tokyo University "
"Business Law Center, for giving me the chance to spend time in Japan, and to "
"Tadashi Shiraishi and Kiyokazu Yamagami for their generous help while I was "
"there."
msgstr ""
"Yuko m’a aidé à comprendre les lois et la culture de son pays. Je la "
"remercie, ainsi que tous ceux, au Japon, qui m’ont aidé à préparer ce "
"livre&nbsp;: Joi Ito, Takayuki Matsutani, Naoto Misaki, Michihiro Sasaki, "
"Hiromichi Tanaka, Hiroo Yamagata et Yoshihiro Yonezawa. Je remercie aussi le "
"professeur Nobuhiro Nakayama et le Tokyo University Business Law Center, pour "
"m’avoir donné la chance de passer du temps au Japon, à Tadashi Shiraishi "
"et Kiyokazu Yamagami pour leur aide généreuse lorsque j’y étais."

#. type: Content of: <book><chapter><para>
msgid ""
"These are the traditional sorts of help that academics regularly draw "
"upon. But in addition to them, the Internet has made it possible to receive "
"advice and correction from many whom I have never even met. Among those who "
"have responded with extremely helpful advice to requests on my blog about "
"the book are Dr. Mohammad Al-Ubaydli, David Gerstein, and Peter DiMauro, as "
"well as a long list of those who had specific ideas about ways to develop my "
"argument. They included Richard Bondi, Steven Cherry, David Coe, Nik "
"Cubrilovic, Bob Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, "
"Jeremy Hunsinger, Vaughn Iverson, John Karabaic, Jeff Keltner, James "
"Lindenschmidt, K. L. Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan "
"McMullen, Fred Norton, John Pormann, Pedro A. D.  Rezende, Shabbir Safdar, "
"Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, "
"Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko "
"Williams, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> "
"and Richard Yanco. (I apologize if I have missed anyone; with computers come "
"glitches, and a crash of my e-mail system meant I lost a bunch of great "
"replies.)"
msgstr ""
"Il y a les sortes traditionnelles d’aides sur lesquelles les universitaires "
"s’appuient régulièrement. Mais en addition à celles-ci, Internet a rendu "
"possible la réception de conseils et de corrections de nombreuses personnes "
"que je n’ai même jamais rencontrées. Parmi celles qui ont répondu avec "
"un conseil extrèmement utile aux requètes sur mon blog à propos du livre "
"figurent Dr. Mohammad Al-Ubaydli, David Gerstein et Peter DiMauro, de même "
"qu’une longue liste de ceux qui ont eu des idées spécifiques sur des "
"manières de développer mon argumentation. Parmi eux figuraient Richard "
"Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob Devine, "
"Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, Vaughn "
"Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. Mann, Mark "
"Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred Norton, John "
"Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, Clay Shirky, "
"Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, Andrzej Jan "
"Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, <quote>Wink,</quote> "
"Roger Wood, <quote>Ximmbo da Jazz</quote> et Richard Yanco. (Je m’excuse si "
"j’ai oublié quelqu’un&nbsp;; avec les ordinateurs viennent les erreurs, "
"et un plantage de mon système de courriels a signifié pour moi la perte "
"d’un tas de bonnes réponses.)"

#. type: Content of: <book><chapter><para>
msgid ""
"Richard Stallman and Michael Carroll each read the whole book in draft, and "
"each provided extremely helpful correction and advice.  Michael helped me to "
"see more clearly the significance of the regulation of derivitive works. And "
"Richard corrected an embarrassingly large number of errors. While my work is "
"in part inspired by Stallman's, he does not agree with me in important "
"places throughout this book."
msgstr ""
"Richard Stallman et Michael Carroll ont tous deux lu le "
"livre entier à l’état de brouillon, et chacun a fourni des corrections et "
"des avis extrèmement utiles. Michael m’a aidé à voir plus clairement "
"l’importance de la régulation des œuvres dérivées. Et Richard a "
"corrigé un nombre d’erreurs honteusement élevé. Bien que mon œuvre soit "
"en partie inspirée de celle de Stallman, il n’est pas d’accord avec moi "
"en des endroits importants tout au long de ce livre."

#. type: Content of: <book><chapter><para>
msgid ""
"Finally, and forever, I am thankful to Bettina, who has always insisted that "
"there would be unending happiness away from these battles, and who has "
"always been right. This slow learner is, as ever, grateful for her perpetual "
"patience and love."
msgstr ""
"Pour finir, et pour toujours, je suis reconnaissant envers Bettina, qui a "
"toujours insisté pour qu’il y ait un bonheur sans fin loin de ces "
"batailles, et qui a toujours eu raison. Cet homme qui apprend lentement est, "
"comme toujours, reconnaissant pour sa perpétuelle patience et amour."

#. type: Content of: <book><chapter><title>
msgid "About this edition"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"This edition of <citetitle>Free Culture</citetitle> is the result of three "
"years of volunteer work.  The idea came from a discussion I had around ten "
"years ago with a friend about the copyright debate in Norway, and how rarely "
"the difficulties of long copyright made it into the public debate.  A bit "
"more than three years ago I finally had a look again at the idea and decided "
"to publish a printed Norwegian Bokmål version of <citetitle>Free "
"Culture</citetitle>, translated and formatted by volunteers.  The new "
"English edition is a by-product of the translation process."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Thanks to the Debian Edu / Skolelinux project, I already had experience "
"translating Docbook documents, and it seemed like a good format for this "
"book too.  I found a Docbook formatted version of the book created by Hans "
"Schou.  Initial testing showed lots of Docbook validation errors in this "
"version, but after some work I was able to transform it to PDF and EPUB.  "
"This was the start of the translation project.  The Docbook file improved "
"over time, and build rules were added to create both English and Bokmål "
"versions.  Finally, a call for volunteers went out to help me with the "
"translation."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Several people joined, and Anders Hagen Jarmund, Kirill Miazine and Odd "
"Kleiva assisted with the initial translation.  Ralph Amissah and his SiSu "
"version provided index entries.  Morten Sickel and Alexander Alemayhu helped "
"with the figures, redrawing some of the bitmaps as vector images.  Wivi "
"Reinholdtsen, Ingrid Yrvin and Johannes Larsen did very valuable "
"proofreading.  Håkon Wium Lie helped me track down a good replacement font "
"without usage restrictions instead of the one in the original PDF.  The PDF "
"typesetting is done using dblatex, which we selected over the alternatives "
"thanks to the invaluable and quick help from Benoît Guillon and Andreas "
"Hoenen.  Thomas Gramstad donated ISBN numbers needed for distribution to "
"book stores.  The support of Lawrence Lessig helped me to complete the "
"project &ndash; I am very thankful he had the original screen shots still "
"available after 11 years."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"I am also very grateful for my family for their patience with me in this "
"project."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "&mdash; Petter Reinholdtsen, Oslo 2015-08-27"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Free culture: How big media uses technology and the law to lock down culture "
"and control creativity / Lawrence Lessig."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "Copyright &copy; 2004 Lawrence Lessig.  Some rights reserved."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "<ulink url=\"http://free-culture.cc/\"/>"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Published in English and Norwegian Bokmål 2015 by Petter Reinholdtsen with "
"help from many volunteers.  Typeset with dblatex using the font Crimson "
"Text."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "First published 2004 by The Penguin Press."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Excerpt from an editorial titled <quote>The Coming of Copyright "
"Perpetuity,</quote> <citetitle>The New York Times</citetitle>, January 16, "
"2003. Copyright &copy; 2003 by The New York Times Co.  Reprinted with "
"permission."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Cartoon in figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul Conrad, copyright "
"Tribune Media Services, Inc.  All rights reserved. Reprinted with "
"permission."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Diagram in figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-1761-pattern-modern-media-ownership\"/> courtesy of the office "
"of FCC Commissioner, Michael J. Copps."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"Portrait of the author used on the back cover is copyright 2013 ActuaLitté "
"and licensed using Creative Commons Attribution-ShareAlike 2.0, fetched from "
"<ulink "
"url=\"https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/> "
"."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "Includes index."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "Classifications:"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "(Dewey)  306.4, 306.40973, 306.46, 341.7582, 343.7309/9"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "(UDK) 347.78"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "(US Library of Congress) KF2979.L47 2004"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "(ACM CRCS) K.4.1"
msgstr ""

#. type: Content of: <book><colophon><para>
msgid "Thomas Gramstad Forlag donated the ISBN numbers."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"The Docbook source is available from <ulink "
"url=\"https://github.com/petterreinholdtsen/free-culture-lessig\"/>.  Please "
"report any issues with the book there."
msgstr ""

#. type: Content of: <book><colophon><para>
msgid ""
"This book is a proof reading draft.  Please visit the github URL above to "
"get the latest version."
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
msgid "ISBN"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
msgid "Format / MIME-type"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-010-6"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "US Trade size from lulu.com"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-011-3"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "application/pdf"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-012-0"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "application/epub+zip"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-013-7"
msgstr ""

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "application/x-mobipocket-ebook"
msgstr ""

#. type: Content of: <chapter><para>
msgid "Lawrence Lessig"
msgstr ""

#. type: Content of: <chapter><para>
msgid ""
"<quote><citetitle>Free Culture</citetitle> is an entertaining and important "
"look at the past and future of the cold war between the media industry and "
"new technologies.</quote> &mdash; <emphasis>Marc Andreessen, cofounder of "
"Netscape</emphasis>"
msgstr ""

#. type: Content of: <chapter><para>
msgid ""
"<quote>America needs a national conversation about the way in which "
"so-called <quote>intellectual property rights</quote> have come to dominate "
"the rights of scholars, researchers, and everyday citizens. A copyright "
"cartel, bidding for absolute control over digital worlds, music, and movies, "
"now has a veto over technological innovation and has halted most "
"contributions to the public domain from which so many have benefited. The "
"patent system has spun out of control, giving enormous power to entrenched "
"interests, and even trademarks are being misused. Lawrence Lessig's latest "
"book is essential reading for anyone who want to join this conversation. He "
"explains how technology and the law are robbing us of the public domain; but "
"for all his educated pessimism, Professor Lessig offers some solutions, too, "
"because he recognizes that technology can be the catalyst for freedom. If "
"you care about the future of innovation, read this book.</quote> &mdash; "
"<emphasis>Dan Gillmor, author of <citetitle>We the media</citetitle>, an "
"book on the collision of media and technology</emphasis>"
msgstr ""

#. type: Content of: <chapter><para>
msgid ""
"<quote><citetitle>Free Culture</citetitle> goes beyond illuminating the "
"catastrophe to our culture of increasing regulation to show examples of how "
"we can make a different future. These new-style heroes and examples are "
"rooted in the traditions of the founding fathers in ways that seem obvious "
"after reading this book. Recommended reading to those trying to unravel the "
"shrill hype around <quote>intellectual property.</quote></quote> &mdash; "
"<emphasis>Brewster Kahle, founder of the Internet Archive</emphasis>"
msgstr ""