Adjust translation, do not assume 'close case' mean 'closed case'.

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

# Free Culture translation to Danish
# Copyright (C) 2015 Petter Reinholdtsen and contributors
# This file is distributed under the same license as the Free Culture
# book.  When the original enter the public domain, the intention is
# for this translation to do so too.
#
# The Danish translation was created by transforming the Norwegian Bokmål (nb)
# translation using apertium.  These are the translators of the nb version:
# Petter Reinholdtsen <pere@hungry.com>, 2012-2015
# Anders Hagen Jarmund <ajarmund@gmail.com>, 2012
# Ingrid Yrvin <iyrvin@hagan.no>, 2015
# Johannes Larsen <transifex.com@johslarsen.net>, 2015
# Kirill Miazine <km@krot.org>, 2012
# Translators / reviewers of the Danish text:
# Hans Schou <hsc@miracle.dk>, 2015
msgid ""
msgstr ""
"Project-Id-Version: Free Culture by Lawrence Lessig\n"
"POT-Creation-Date: 2015-11-27 08:36+0100\n"
"PO-Revision-Date: 2015-11-12 20:52+0000\n"
"Last-Translator: Hans Schou <hsc@miracle.dk>\n"
"Language-Team: Danish (http://www.transifex.com/pere/free-culture-lessig/"
"language/da/)\n"
"Language: da\n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
"Plural-Forms: nplurals=2; plural=(n != 1);\n"

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

#. type: Content of the ndash entity
msgid "–"
msgstr "–"

#. type: Content of the mdash entity
msgid "—"
msgstr "—"

#. type: Content of the hellip entity
msgid "…"
msgstr "…"

#. type: Content of the iuml entity
msgid "ï"
msgstr "ï"

#. type: Attribute 'lang' of: <book>
msgid "en"
msgstr "da"

#. type: Content of: <chapter><title>
#, fuzzy
msgid "Free Culture"
msgstr "Fri kultur"

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

#. type: Content of: <chapter><para>
#, fuzzy
msgid ""
"How big media uses technology and the law to lock down culture and control "
"creativity"
msgstr ""
"Hvordan store mediumaktører bruger teknologi og retvæsenet til at begrænse "
"kulturen og kontrollere kreativiteten"

#. type: Content of: <book><bookinfo>
#, fuzzy
msgid "<pubdate>2015-10-17</pubdate> <edition>1</edition>"
msgstr "<pubdate>2015-10-17</pubdate> <edition>1 </edition>"

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

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

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

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
#, fuzzy
msgid "Intellectual property&mdash;United States."
msgstr "Immaterielle rettigheder &ndash; USA."

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
#, fuzzy
msgid "Mass media&mdash;United States."
msgstr "Massemedierne &ndash; USA."

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
#, fuzzy
msgid "Technological innovations&mdash;United States."
msgstr "Teknologiske nyvindinger &ndash; USA."

#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
#, fuzzy
msgid "Art&mdash;United States."
msgstr "Kunst &ndash; USA."

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

#. type: Content of: <book><bookinfo>
#, fuzzy
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>
#, fuzzy
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>
#, fuzzy
msgid "Creative Commons, Some rights reserved"
msgstr "Creative Commons, nogle rettigheder forbeholdt"

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

#. type: Content of: <book><colophon><para>
#, fuzzy
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 ""
"Denne bog er licensieret med en Creative Commons-licens.  Denne licens "
"tillader ikke -kommerciel utnyttelse af værket, hvis ophavindehaveren er "
"navngitt.  For mere information om licensen, besøg <ulink url=\"http://"
"creativecommons.org/licenses/by-nc/1.0/\"/>."

#. type: Content of: <book><bookinfo><abstract><title>
#, fuzzy
msgid "About the author"
msgstr "Om forfatteren"

#. type: Content of: <book><bookinfo><abstract><para>
#, fuzzy
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."
"stjæle</ulink>) er professor i retsvidenskab og John A. Wilson Distinguished "
"Faculty Scholar ved Stanford Law School. Han er stifteren af Stanford Center "
"for Internet and Society og styreleder i Creative Commons (<ulink "
"url=\"http://creativecommons.org\">http://creativecommons.stjæle</ulink>). "
"Forfatteren har givet ud The Future of Ideas (Random House, 2001) og Code: "
"Ånd other Laws of Cyberspace (Basic Books, 1999), samt er medlem af styrerne "
"i Public Library of Science, the Electronic Frontier Foundation, og Public "
"Knowledge.  Han har vundet Free Software Foundation's Award for the "
"Advancement of Free Software, to gange været opført i BusinessWeeks <quote>e."
"biz 25,</quote> og omtalt som man af Scientific Americans <quote>50 "
"visjonærer.</quote>  Efter uddannelse ved University of Pennsylvania, "
"Cambridge University, og Yale Law School, assisterede Lessig domme Richard "
"Posner ved USAs syvende ankekreds."

#.  testing different ways to tag the cover page 
#. type: Content of: <book><bookinfo><mediaobject>
#, fuzzy
msgid ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/"
"cover-front-72dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"s\" role=\"front\"> <imagedata fileref=\"images/cover-"
"front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"xs\" role=\"front-small\"> <imagedata fileref=\"images/"
"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"cs\" role=\"thumbnail\"> <imagedata fileref=\"images/"
"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
msgstr ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/"
"nb/cover-front-72dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"s\" role=\"front\"> <imagedata fileref=\"images/nb/"
"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"xs\" role=\"front-small\"> <imagedata fileref=\"images/"
"nb/cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
"<imageobject remap=\"cs\" role=\"thumbnail\"> <imagedata fileref=\"images/nb/"
"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject>"

#.  LCCN from
#.      http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page
#.      
#. type: Content of: <book><bookinfo>
#, fuzzy
msgid ""
"  <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn"
"\">978-82-690182-0-2</biblioid> <biblioid class=\"libraryofcongress"
"\">2003063276</biblioid> <biblioid class=\"uri\">http://free-culture.cc/</"
"biblioid>"
msgstr ""
"  <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn\">978-"
"82-690182-3-3</biblioid> <biblioid class=\"libraryofcongress\">2003063276</"
"biblioid> <biblioid class=\"uri\">http://free-culture.cc/</biblioid>"

#. type: Content of: <book><dedication><title>
#, fuzzy
msgid "Also by Lawrence Lessig"
msgstr "Andre bøge af Lawrence Lessig"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid "The USA is lesterland: The nature of congressional corruption (2014)"
msgstr "The USA is lesterland: The nature of congressional corruption (2014)"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid ""
"Republic, lost: How money corrupts Congress - and a plan to stop it (2011)"
msgstr ""
"Republic, loset: How money corrupts Congress - and a plan to stop it (2011)"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid "Remix: Making art and commerce thrive in the hybrid economy (2008)"
msgstr "Remix: Making art and commerce thrive in the hybrid economy (2008)"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid "Code: Version 2.0 (2006)"
msgstr "Code: Version 2.0 (2006)"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid ""
"The Future of Ideas: The Fate of the Commons in a Connected World (2001)"
msgstr ""
"The Future of Ideas: The Fænge of the Commons in a Connected World (2001)"

#. type: Content of: <book><dedication><itemizedlist><listitem><para>
#, fuzzy
msgid "Code: And Other Laws of Cyberspace (1999)"
msgstr "Code: Ånd Other Laws of Cyberspace (1999)"

#. type: Content of: <book><dedication><para>
#, fuzzy
msgid ""
"To Eric Eldred &mdash; whose work first drew me to this cause, and for whom "
"it continues still."
msgstr ""
"Til Eric Eldred &ndash; hvis arbejde først trak mig til denne sag, og for "
"hvem sagen fortsætter."

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

#. type: Content of: <book><preface><title>
#, fuzzy
msgid "Preface"
msgstr "Forord"

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

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Code (Lessig)"
msgstr "Code (Lessig)"

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"<emphasis role=\"bold\">I slutningen af</emphasis> sin gennemgang af min "
"første bog <citetitle>Code: Ånd Other Laws of Cyberspace</citetitle>, skrev "
"David Pogue, en glimrende skribent og forfatter af utallige tekniske og "
"datarelaterte tekster, dette:"

#. type: Content of: <book><preface><blockquote><para><footnote><para>
#, fuzzy
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 . januar 2000 ."

#. type: Content of: <book><preface><blockquote><para>
#, fuzzy
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 ""
"I modsætning til retslige love, har ikke  Internet-programvare evnen til at "
"straffe.  Den påvirker ikke  folk som ikke er online (og bare en vældig "
"lille minoritet af værdets befolkning er online).  Og hvis du ikke kanlide "
"systemet med Internet, kan du altid skrue af modemet.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><preface><para>
#, fuzzy
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 var skeptisk til bogens hovedpointe &ndash; at software, eller "
"<quote>kode,</quote> fungerede som en slags lov &ndash; og foreslog i sin "
"anmeldelse den glade tanken at hvis tilværelsen i cyberspace blev slet, kan "
"vi altid, ligesom på magisk vis, slå over en bryder og være hjemme  igen. "
"Skru af modemet, koble fra computeren, og eventuelle problemer som findes i "
"<emphasis>den</emphasis> virkeligheden villes ikke  <quote>påvirke</quote> "
"os mere."

#. PAGE BREAK 12
#. type: Content of: <book><preface><para>
#, fuzzy
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 kan have haft ret i 1999 &ndash; jeg er skeptisk, men det måske. Men "
"selv om han havde ret  da, er ikke  argumentet længere gyldigt. "
"<citetitle>Fri kultur</citetitle> er om problemerne Internet forårsager selv "
" efter at modemet er slået af.  Den er et argument om hvordan slagene som nu "
"udkæmpes om livet online fundamentalt påvirker <quote>folk som ikke er "
"pålogget.</quote>  Det findes ingen bryder som kan isolere os fra Internets "
"påvirkning."

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Men i modsætning til bogen <citetitle>Code</citetitle>, er tema her ikke så "
"meget Internet i sig selv. I stedet er bogen om konsekvensen af Internet for "
"en del af vores tradition som er meget mere grundlæggende, og uanset hvor "
"hårdt dette er for man geek-wanna-bede at indrømme, meget vigtigere."

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

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Den traditionen er hvordan vores kultur bliver skabt.  Som jeg vil forklare "
"i siderne som følger, kommer vi fra en tradition af <quote>fri kultur</"
"quote> &ndash; ikke <quote>fri</quote> som i <quote>fri bar</quote> (for at "
"låne et udtryk fra stifteren af fri programvarebevægelsen<placeholder "
"type=\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i "
"<quote>talefrihed,</quote> <quote>frit marked,</quote> <quote>frihandel,</"
"quote> <quote>fri konkurrence,</quote> <quote>fri vilje</quote> og "
"<quote>frie valg.</quote>  En fri kultur støtter og beskytter skabere og "
"oppfinnere.  Dette gør den direkte ved at tildele immaterielle rettigheder.  "
"Men det gør den indirekte ved at begrænse rækkevidden for disse rettigheder, "
"for at garantere at næste generation skabere og oppfinnere forbliver "
"<emphasis>så  fri som muligt</emphasis> fra kontrol fra fortiden.  En fri "
"kultur er ikke  en kultur uden eierskap, lige så lidt som et frit marked er "
"et marked der hen alt er gratis.  Det modsatte af fri kultur er "
"<quote>tilladelsekultur</quote> &ndash; en kultur der skabere kun kan skabe "
"med tilladelse fra de mægtige, eller fra skaberne fra fortiden."

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Hvis vi forstod denne ændring, så tror jeg vi villes stå imod den.  Ikke "
"<quote>vi</quote> på venstresiden eller <quote>I</quote> på højresiden, men "
"vi som ikke har investeret i den spesifikke kulturindustrien som har "
"defineret det tyvende århundrede. Uanset om du er på venstresiden eller "
"højresiden, eller er uinteressert i det skillet, så bør historie jeg "
"fortæller her  forstyrre dig. For ændringerne jeg beskriver påvirker værdier "
"som begge sider af vores politiske kultur anser som grundlæggende."

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

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "CodePink Women in Peace"
msgstr "codePink-kvinder i fred"

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

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

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Vi så et glimt af dette tverrpolitiske raseriet på forsommeren i 2003 . Da "
"Federal Communications Commission (FCC) vurderede ændringer i skrønerne for "
"medieeierskap som villes slække på begrænsningerne rundt mediekonsentrering, "
"sendte en ekstraordinær koalition mere end 700 000 brev til FCC for at "
"modsætte sig ændringen.  Mens William Safire beskrev at marchere "
"<quote>ubehageligt sammen med CodePink Women for Peace og the National Rille "
"Association, mellem liberale Olympia Snowe og konservative Ted Stevens,</"
"quote> formulerede han  måske det enkleste udtrykket for hvad som var på "
"spil: konsentrering af magt.  Så spurgte han:"

#. type: Content of: <book><preface><blockquote><para><footnote><para>
#, fuzzy
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 Medierne Gylp,</quote> <citetitle>New York "
"Times</citetitle>, 22 . maj 2003 .  <placeholder type=\"indexterm\" id=\"0\"/"
">"

#. type: Content of: <book><preface><blockquote><para>
#, fuzzy
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 ""
"Hørtes dette ikke-konservativt ud?  Ikke for mig.  Denne konsentreringen af "
"magt &ndash; politisk, selskapsmessig, pressemessig, kulturelt &ndash; bør "
"være bandlyst af de konservative.  Spredningen af magt gennem lokal kontrol, "
"og derigennem opmuntre til  individuel deltagelse, er essensen i "
"føderalismen, og det største udtryk for demokrati.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Denne idéen er et element i argumentet til <citetitle>Fri kultur</"
"citetitle>, selv om min fokus ikke bare er på konsentreringen af magt som "
"følger af konsentreringen i eierskap, men mere vigtigt, og fordi det er "
"mindre synligt, på konsentreringen af magt som er resultat af en radikal "
"ændring i det effektive virkeområdet til retvæsenet.  Retvæsenet er i "
"ændring, og ændringen forandrer hvordan vores kultur bliver skabt. Den "
"ændringen bør bekymre dig &ndash; uanset om du generer dig om Internet eller "
"ikke, og uanset om du er til  venstre for Safires eller til højre."

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Inspirationen</emphasis> til titlen og meget af "
"argumentet i denne bog kommer fra arbejdet til Richard Stallman og Free "
"Software Foundation. Faktisk, da jeg læste Stallmans egen tekster på nyt, "
"specielt essayene i <citetitle>Free Software, Free</citetitle>Society , "
"indser jeg at alle de teoretiske indsigterne jeg udvikler her , er indsigter "
"som Stallman beskrev for årti siden.  Man kan dermed  godt argumentere for "
"at dette virket <quote>kun</quote> er et avledet værk."

#. PAGE BREAK 14
#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"Jeg godtager kritikken, hvis det faktisk er kritik.  Arbejdet til en advokat "
"er altid  avledede værk, og jeg mener ikke  at gøre noget mere i denne bog "
"end at minde en kultur om en tradition som altid har været deres egen. Som "
"Stallman forsvarer jeg denne tradition på grundlag af værdier. Som Stallman "
"tror jeg dette er værdierne til frihed.  Og som Stallman, tror jeg dette er "
"værdier fra vores fortid som må forsvares i vores fremtid.  En fri kultur "
"har været vores fortid, men vil bare  være vores fremtid hvis vi ændrer "
"retningen vi følger akkurat  nu.  På samme måde som Stallmans argumenter for "
"fri software, træffer argumenter for en fri kultur på forvirring som er "
"vanskeligt at undgå, og endnu vanskeligere at forstå.  En fri kultur er ikke "
" en kultur uden eierskap. Det er ikke  en kultur der kunstnere ikke får "
"betalt. En kultur uden eierskap, eller en der hen skaberne ikke kan få "
"betalt, er anarki, ikke frihed.  Anarki er ikke  hvad jeg fremmer her ."

#. type: Content of: <book><preface><para>
#, fuzzy
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 ""
"I stedet er den frie kulturen som jeg forsvarer i denne bog en balance "
"mellem anarki og kontrol.  En fri kultur, i lighed med et frit marked, er "
"befolket med eierskap.  Den er befolket med skrøner for eierskap og "
"kontrakter som bliver håndhævet af staten.  Men på samme måde som det frie "
"markedet bliver perverteret hvis dets eierskap bliver føydalt, så kan en fri "
"kultur blive ødelagt af ekstremisme i eierskapsrettighetene som definerer "
"den.  Det er dette jeg frygter om vores kultur i dag.  Det er som modpol til "
"sådan ekstremisme at denne bog er skrevet."

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

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Den 17 . december</emphasis> 1903, på en vindfylt "
"strand i Nord-Carolina i næsten hundrede sekunder, demonstrerede Wright-"
"brødrene at et selvdrevet fartøj tungere end luft kunne flyve.  Øjeblikket "
"var elektrisk, og dets betydning blev alment forstået. Interessen for denne "
"nye teknologi som gjorde bemandet luftfart muligt eksploderede næsten "
"umiddelbart, og en hærskare af oppfinnere begyndte at bygge videre  på den."

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

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

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

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

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Da Wright-brødrene fandt op  flymaskinen, hævdede retvæsenet i USA at en "
"grundejer blev antaget at eje ikke  bare overfladen på sit område, men også "
"helt landet under bagen, helt ned til centerpunktet i markerne, og alt "
"volumenet over bagen, <quote>i ubestemt grad, op over.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> I mange år undrede lærde over hvordan en bedst "
"skulle tolke idéen om at ejendomretten gik helt til himlen. Betød dette at "
"du ejede stjernerne?  Kunne man dømme gjess for at de regelmæssigt og med "
"vilje tog sig ind på anden mands ejendom?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Så kom flymaskiner, og for første gang havde dette princippet i lovværket i "
"USA &ndash; og som er helt grundlæggende for vores tradition, og accepteret "
"af de vigtigste juridiske tænkerne i vores fortid &ndash; en betydning. Hvis "
"min ejendom rækker til himlen, hvad sker når United flyver over mit område?  "
"Har jeg ret til at nægte dem at bruge min ejendom?  Har jeg mulighed til at "
"indgå en eksklusiv aftale med Delta Airlines?  Kan vi gennemføre en auktion "
"for at finne ud hvor mange disse rettigheder er værd?"

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

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"I 1945 blev disse spørgsmålene en føderal sag. Da bønderne Thomas Lee og "
"Tinie Causby i Nord-Carolina begyndte at miste kyllinger på grund af "
"lavtflygende militære fly/flye (vettskremte kyllinger blev hævdet at flyve i "
"staldvæggene og dø), sagsøgte Causbyene regeringen for at have behøvet sig "
"ind på deres ejendom. Flyene rørte selvfølgelig  aldrig overfladen på "
"Causbys ejendom. Men hvis det stemte som Blackstone, Kent, og Coke havde "
"sagt, at deres ejendom strakte sig <quote>i ubestemt grad, op over,</quote> "
"så havde regeringen behøvet sig ind på deres ejendom, og Causbyene ønsket at "
"sætte en stop for dette."

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

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

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "on airspace vs. land rights"
msgstr "om luftrum versus landrettigheder"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Højesteret gik med  på at tage op  Causbys sag. Kongressen havde vedtaget at "
" luftfartsveiene var tilgængelige for alle, men hvis ens ejendom virkeligt "
"rakte til himlen, da kunne måske  Kongressens vedtagelse have været i strid "
"med Grunnlovens forbud mod at <quote>tage</quote> ejendom uden kompensation. "
" Retten erkendte at <quote>det er gammel doktrin efter retpraksis at en "
"ejendom rak til udkanten af universet.</quote>  Men domme Douglas havde ikke "
" tålmodighet for forhistoriske doktriner.  I et enkelt afsnit blev "
"hundredevis af år med eiendomslovgivning strøget. Som han skrev på vegne af "
"retten:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, fuzzy
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 ""
"USA mod Causby, U.S. 328 (1946): 256, 261 . Domstolen fandt at det kunne "
"være at <quote>tage</quote> hvis regeringens brug af sit land reelt sæt "
"havde ødelagt værdien af ejendommen til Causby.  Dette eksempel blev "
"foreslået for mig i Keith Aokis flotte stykke, <quote>(intellectual) "
"Property and Sovereignty: Notes Toward a cultural Geography of Authorship,</"
"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333 . Se "
"også  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\"/>"

#. type: Content of: <book><chapter><blockquote><para>
#, fuzzy
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 ""
"[Denne] doktrinen har ingen plads i den moderne værdet.  Luften er en "
"offentlig motorvej, sådan Kongressen har erklæret.  Hvis det ikke var "
"tilfælde, villes hver eneste transkontinentale flyrute udsætte operatørerne "
"for utallige søgsmål om inntrenging på anden mands ejendom.  Idéen er i "
"strid med sund fornuft.  Å anerkende sådanne private krav til luftrummet "
"villes blokere disse motorveje, seriøst forstyrre muligheden til kontrol og "
"udvikling af dem i fællesskabets interesse, og overføre til privat eierskap "
"det som kun fællesskabet har et rimeligt krav til.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
#, fuzzy
msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr "<quote>Idéen er i strid med sund fornuft.</quote>"

#. PAGE BREAK 18
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er sådan  retvæsenet sædvanligvis fungerer.  Ikke ofte lige så brat "
"eller utålmodigt, men til slutning er dette sådan loven fungerer.  Det var "
"ikke  stilen til Douglas at udbrodere.  Andre dommere villes have skrevet "
"mange flere sider føder de nåede sin konklusion, men for Douglas holdt det "
"med en enkel linje: <quote>Idéen er i strid med sund fornuft.</quote>  Men "
"uanset om det tager flere sider, eller kun nogle få ord, så er det en genial "
"egenskab med et retpraksissystem, sådan som vores er, at retvæsenet "
"tilpasser sig til de aktuelle teknologierne.  Og mens den tilpasser sig, så "
"ændres den.  Idéer som var solide som fjeld i en tidsalder knuses i en anden."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Eller, det er hvordan ting sker når det ikke er nogle mægtige på modsat side "
"af ændringen.  Causbyene var bare  bønder.  Og selv om det uden tvivl/tvivle "
"var mange som dem som var led af den øgende trafikken i luften (og man håber "
"ikke  for mange kyllinger heldet ind i vægge), villes Causbyene i værdet "
"finde det vældig hårdt at samles for at stoppe den idéen og teknologien som "
"Wright-brødrene havde ført til værdet.  Wright-brødrene spyttede flymaskiner "
"ind i den teknologiske meme-dammen. Idéen bredte sig derefter som et virus i "
"en kyllingfarm. Causbyene i værdet fandt sig selv omringet af <quote>det "
"synes rimeligt</quote> givet teknologien som Wright-brødrene havde "
"produceret.  De kunne stå på sine gårde, med døde kyllinger i hånd, og hytte "
"knytnæven mod disse nye teknologier så meget de ville.  De kunne ringe sine "
"repræsentanter, eller til og med sagsøge.  Men når alt kom til alt, villes "
"kraften/kræfter i det som virkede <quote>åbenbaret</quote> for alle andre "
"&ndash; magt til <quote>sund fornuft</quote> &ndash; vinne frem.  Deres "
"<quote>personlige interesser</quote> villes ikke  få lov til at nedkæmpe en "
"åpenbar fordel for fællesskabet."

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

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

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "FM spectrum of"
msgstr "FM-spektrum for"

#.  PAGE BREAK 19 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> er en af USAs "
"glemmte oppfinnergenier. Han dukkede op på oppfinnerscenen efter titaner som "
"Thomas Edison og Alexander Graham Bell.  Alle hans bidrag på betænket "
"radioteknologi gør han til måske den vigtigste af alle enkeltoppfinnere i de "
"første halvtreds årene af radio.  Han var bedre uddannet end Michael "
"Faraday, som var bokbinderlærling da han opdagede elektrisk induksjon i 1831 "
".  Men han havde lige så  god intuition om hvordan radioværdet virkede, og "
"ved mindst tre anledninger fandt Armstrong op vældig vigtigt teknologier som "
"bragede vores forståelse af radio et hop videre."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Dagen efter juleaften i 1933, blev fire patenter udstedt til Armstrong for "
"hans mest signifikante oppfinnelse &ndash; FM-radio.  Indtil da havde "
"forbrukerradioer været amplitude-moduleret (AM) radio.  Tidens teoretikere "
"havde sagt at frekvens-moduleret (FM) radio ikke kunne fungere.  De havde "
"ret  når det gælder et smalt bånd af spektret.  Men Armstrong opdagede at "
"frekvens-moduleret radio i et vidt bånd i spektret leverede man forbløffende "
"gjengivelse af lyde, med meget lavere senderstyrke og mindre støj."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Den 5 . november 1935 demonstrerede han teknologien på et møde hos Institut "
"for Radioingeniører ved Empire State-bygningen i New York City.  Han knugede "
"radiosøgeren over en række AM-stationer, indtil radioen låste sig mod en "
"kringkasting som han havde sat op 27 kilometer fra.  Radioen blev helt "
"stille, som om den var død, og så, med en klarhed ingen andre i rommen "
"nogensinde havde hørt fra et elektrisk apparat, producerede det lyden af en "
"opplesers stemme: <quote>Dette er amatørstation W2AGT ved Yonkers, New York, "
"som opererer på frekvensmodulering ved to og en halv meter.</quote>"

#. type: Content of: <book><chapter><para>
#, fuzzy
msgid "The audience was hearing something no one had thought possible:"
msgstr "Publikum hørte noget ingen havde troet var muligt:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Et glas' vand blev befolket op foran mikrofonen i Yonkers, og det hørtes ud "
"som et glas som blev befolket op . &hellip;  Et papir blev krøllet og revet "
"op , og det hørtes ud som papir og ikke som en knitrende skovbrand. &hellip; "
" Sousa-marcher blev spillet af fra plader, og en pianosolo og et "
"guitarnummer blev udført. &hellip;  Musikken blev præsenteret med en "
"livaktighet som sjældent, om nogensinde før, havde været hørt fra en "
"radio<quote>musik-dåse.</quote><placeholder type=\"footnote\" id=\"0\"/>"

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

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

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

#. PAGE BREAK 20
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Som vores egen sunde fornuft fortæller os, havde Armstrong opdaget man meget "
"bedre radioteknologi.  Men på tidspunktet for hans oppfinnelse, arbejdet "
"Armstrong for RCA. RCA var den dominerende aktøren i det da dominerende AM-"
"radiomarkedet. I 1935 var det tusind radiostationer over hele USA, men alle "
"stationerne i de store byerne var ejet af en lille håndfuld selskaber."

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Præsidenten i RCA, David Sarnoff, en ven af Armstrong, var ivrig efter at få "
"Armstrong til at opdage en måde at fjerne støjen fra AM-radio. Så Sarnoff "
"var ganske  helt da Armstrong fortalte ham at han havde en enhed som "
"fjernede støj fra <quote>radio.</quote>   Men da Armstrong demonstrerede sin "
"oppfinnelse, var ikke  Sarnoff fornøjet."

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, fuzzy
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 ""
"Se <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> "
"første elektroniske kirke i USA, hos www.webstationone.com/fecha, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #1</"
"ulink>."

#. type: Content of: <book><chapter><blockquote><para>
#, fuzzy
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 ""
"Jeg troede Armstrong villes finde op et slags filter for at fjerne bygering "
"fra AM-vores radio. Jeg troede ikke  han skulle starte en revolution &ndash; "
"starte en hel forbandet ny industri i konkurrence med RCA.<placeholder "
"type=\"footnote\" id=\"0\"/>"

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Armstrongs oppfinnelse truet RCAs AM-herredømme, så selskabet lancerede en "
"kampagne for at kvæle FM-radio. Mens FM kan have været en overlegen "
"teknologi, var Sarnoff en overlegen taktiker. En forfatter beskrev det sådan:"

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

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

#. type: Content of: <book><chapter><blockquote><para>
#, fuzzy
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 ""
"Kræfterne til fordel for FM, i hovedsag ingeniørfaglige, kunne ikke  "
"overvinde tyngden til strategien udviklede af afdelingerne for salg, "
"patenter og juice for at undertrykke denne trussel til selskabets position.  "
"For FM udgjorde, hvis det fik udvikle sig uden begrænsninger &hellip;  en "
"komplet ændring i magtforholdene rundt radio &hellip;  og måske fjerningen "
"af det nøje begrænsede AM-systemet som var grundlaget for fremvæksten af "
"RCAs magt.<placeholder type=\"footnote\" id=\"0\"/>"

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

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"RCA holdt først  teknologien indendørs, og insisterede på at det var "
"nødvendigt med yderstere test/tester. Da Armstrong, efter to år med testing, "
"blev utålmodigt, begyndte RCA at bruge sin magt hos myndighederne til holde "
"tilbage den generelle spredningen af FM-radio. I 1936, beskæftigede RCA den "
"tidligere lederen af FCC, og gav ham opgaven med at sikre at  FCC tilordnet "
"radiospektret på en måde som villes kastrere FM &ndash; hovedsageligt ved at "
"flytte FM-radio til et andet band i spektret. I første omgang lykkedes ikke  "
"disse forsøg.  Men mens Armstrong og nationen var distraheret af anden "
"verdenskrig, begyndte RCAs arbejde at bære frugter.  Lige så efter at krigen "
"var over, annoncerede FCC et sæt med afgørelser som villes have en klar "
"effekt: FM-radio villes blive forkrøplet. Lawrence Lessing beskrev det sådan:"

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

#. type: Content of: <book><chapter><blockquote><para>
#, fuzzy
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 ""
"Serien med slag mod kroppen som FM-radio modtog ret efter krigen, i en serie "
"med afgørelser manipuleret gennem FCC af de store radiointeresserne, var "
"næsten  utrolige i deres kraft og underfundighet.<placeholder "
"type=\"footnote\" id=\"0\"/>"

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"For at gøre plads i spektret for RCAs nyeste satsningområde, television, "
"skulle FM-radioens brugere flyttes til et helt nyt band i spektret.  "
"Sendestyrken til FM-radioerne blev også  reduceret, og gjorde at  FM ikke "
"længere kunne bruges for at sende programmer fra en del af landet til en "
"anden.  (Denne ændring blev stærkt støttet af AT&amp;T, på grund af at "
"fjerningen af FM-videresendingsstasjoner villes betyde at radiostationerne "
"villes blive nødt til at købe kablede linjer fra AT&amp;T.)  Spredningen af "
"FM-radio var dermed  kvalt, i hvert fald midlertidigt."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 stod imod RCAs indsats. Som svar modstod RCA Armstrongs patenter.  "
"Efter at have bagt FM-teknologi ind i den nye standarden for TV, erklærede "
"RCS patenterne ugyldige &ndash; uden grund, og næsten femten år efter at de "
"blev utstedet.  De nægtede dermed  at betale ham for brugen af patenterne.  "
"I seks år kæmpede Armstrong en dyr søgsmålkrig for at forsvare sine "
"patenter.  Til slutning, samtidig som patenterne udløb, tilbød RCA et forlig "
"så lavt at det ikke engang dækkede Armstrongs advokatregning.  Beseiret, "
"knust og nu blakket, skrev Armstrong i 1954 en kort besked til sin kone, før "
"han gik ud af et vindue i trettende etage og henhørte i døden."

#. PAGE BREAK 22
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Dette er sådan  retvæsenet virker nogle gange.  Ikke ofte lige så tragisk, "
"og sjælden med heltemodig drama, men nogle gange er det sådan det virker. "
"Fra starten har myndigheder og myndighedorganer blevet taget til fange. Det "
"er mere sandsynligt at de bliver fanget når en mægtig interesse er truet af "
"enten en juridisk eller teknologisk ændring.  Denne mægtige interesse udøver "
"for ofte sin indflydelse hos myndighederne for at få myndighederne til at "
"beskytte sig.  Retorikken for denne beskyttelse er naturligvis  altid med "
"fokus på fællesskabets bedste.  Realiteten er noget andet.  Idéer som kan "
"være solide som fjeld i en tidsalder, men som overladet til sig selv, vil "
"henhøre sammen  i en anden, er videreført gennem denne subtile korruptionen "
"af vores politiske proces.  RCA havde hvad Causbyene ikke havde: Magten til "
"at undertrykke effekten af en teknologisk ændring."

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

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

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 Nøler-Shifting Internet Population: A New Look at "
"Internet Access and the Digital Divide,</quote> Pew Internet and American "
"Life Project, 15 . april 2003: 6, tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #2</ulink>."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Det er ingen</emphasis> enkeltoppfinner af "
"Internet.  En heller er det en god dato som kan bruges til at markere når "
"det blev født.  Alligevel har Internet i løbet af stort kort tid blevet en "
"del af normale amerikaneres liv.  Ifølge the Pew Internet and American Life-"
"projektet, har 58 procent af amerikanerne haft tilgang til Internet i 2002, "
"op fra 49 procent to år tidligere.<placeholder type=\"footnote\" id=\"0\"/> "
"Det tallet kan uden problemer passere to tredjedele af nationen ved udgangen "
"af 2004 ."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Efterhånden som Internet er blevet en integreret del af det normale liv, har "
"ting blevet ændret.  Nogle af disse ændringer er tekniske &ndash; Internet "
"har gjort kommunikation raskere, det har reduceret omkostningen med at samle "
"ind data, og så videre.  Disse tekniske ændringer er ikke  fokus for denne "
"bog.  De er vigtige.  De er ikke  godt forstået.  Men de er den type ting "
"som ganske enkelt villes bliver borte hvis vi alle bare slog af Internet.  "
"De påvirker ikke  folk som ikke bruger Internet, eller i det mindste "
"påvirker det ikke dem direkte.  De er et godt tema for en bog om Internet.  "
"Men dette er ikke  en bog om Internet."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"I stedet er denne bog om effekten af Internet ud over Internettet i sig "
"selv.  En effekt på hvordan kultur bliver skabt.  Min påstand er at Internet "
"har ført til en vigtig og ukendt ændring i denne proces.  Denne ændring vil "
"forandre en tradition som er lige så  gammel som republikken selv.  De "
"fleste, hvis de lagde mærke til denne ændring, villes afvise den.  Men de "
"fleste lægger ikke  engang mærke til denne ændring som Internet har "
"introduceret."

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

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

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

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "commercial vs. noncommercial"
msgstr "kommerciel versus ikke-kommerciel"

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

#.  PAGE BREAK 23 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Vi kan få en følelse af denne ændring ved at skille mellem kommerciel og "
"ikke-kommerciel kultur, ved at knytte retvæsenet reguleringer til hver af "
"dem.  Med <quote>kommerciel kultur</quote> mener jeg den delen af vores "
"kultur som er produceret og solgt, eller produceret for at blive solgt.  Med "
"<quote>ikke-kommerciel kultur</quote> mener jeg alt det andre. Da gamle mænd "
"sad rundt i parker eller på gadehjørner og fortalte historie som unger og "
"andre lyttede til, så var det ikke-kommerciel kultur.  Da Noah Webster "
"publicerede sin <quote>Reader,</quote> eller Joel Barlow sin poesi, så var "
"det kommerciel kultur."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Fra historisk tid, og i omtrent hele vores tradition, har ikke -kommerciel "
"kultur i hovedsag ikke været reguleret.  Selvfølgelig, hvis din historie var "
"utuktig, eller hvis dine sange forstyrrede freden, kunne retvæsenet gribe "
"ind.  Men retvæsenet var aldrig  direkte interesseret i skapingen eller "
"spredningen af denne form for kultur, og lod denne kultur være <quote>fri.</"
"quote>  Den almindelige måden som almindelige individer delte og formede sin "
"kultur &ndash; historiefortælling, formidling af scener fra teater eller TV, "
"delta i fan-slår, deling af musik, laging af kassettebånd &ndash; blev ikke  "
"styret af retvæsenet."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "copyright infringement lawsuits"
msgstr "søgsmål om krenkelse af ophavsret"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "commercial creativity as primary purpose of"
msgstr "kommerciel kreativitet som hovedformål for"

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

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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> <citetitle>Harvard "
"Law Review</citetitle> 4 (1890): 193, 198&ndash;200.  <placeholder type="
"\"indexterm\" id=\"0\"/>"
msgstr ""
"Dette er ikke  det eneste formålet med ophavsret, men det er helt klart "
"hovedformålet med ophavsreten sådan den er etableret i føderal grundlov.  "
"Åndsverklovene i delstaterne beskyttede historisk ikke bare kommercielle "
"interesse når det galdt publikationer, men også personværninteresser.  Ved "
"at give forfattere eneretten til at publicere først , gav delstaternes "
"åndsverklovene forfatterne magt til at kontrollere spredningen af fakta om "
"sig selv. Se Samuel D. Warren og Louis Brandeis, <quote>The Right to Privacy,"
"</quote> <citetitle>Harvard Law Review</citetitle> 4 (1890): 193, 198&ndash;"
"200 .  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Fokusset på loven var kommerciel kreativitet.  I starten forsigtigt/"
"forsigtig, efterhånden betragteligt, beskytter loven incentivet til skaberne "
"ved at tildele dem en eksklusiv ret til deres kreative værker, sådan at de "
"kan sælge disse eksklusive rettighederne på en kommerciel markedsplads."
"<placeholder type=\"footnote\" id=\"0\"/> Dette er også , naturligvis, en "
"vigtig del af kreativitet og kultur, og det har blevet en vigtigere og "
"vigtigere del i USA.  Men det var på ingen måde dominerende i vores "
"tradition.  Det var i stedet  bare en del, en kontrolleret del, balanceret "
"mod det frie."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "permission culture"
msgstr "tilladelsekultur"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "free culture vs."
msgstr "fri kultur versus"

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

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Denne grove inddeling mellem den frie og den kontrollerede har nu  blevet "
"fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internet har sat scenen "
"for denne fjerningen, og presset frem af store mediumaktører har loven nu "
"påvirket den.  For første gang i vores tradition, har de normale måderne som "
"individer skaber og deler kultur havnede inden rækkevidde for reguleringene "
"til loven, som har blevet udvidet til at afgå ind i sit dækningområde den "
"enorme antallet kultur og kreativitet som den aldrig tidligere har nået "
"over.  Teknologien som opbevarede den historiske balancen &ndash; mellem "
"brugen af den delen af vores kultur som var fri, og brugen af vores kultur "
"som krævede tilladelse &ndash; er blevet borte.  Konsekvensen er at vi er "
"mindre og mindre en fri kultur, og mere og mere en tilladelsekultur."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "protection of artists vs. business interests"
msgstr "beskyttelse af kunstnere versus forretningsinteresser"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Denne ændring bliver begrundet som nødvendigt for at beskytte kommerciel "
"kreativitet.  Og ganske rigtigt, protektionisme er nøjagtig det som "
"motiverer ændringen.  Men protektionismen som begrunder ændringerne som jeg "
"skal beskrive længer ned er ikke  den begrænsede og balancerede typen som "
"har defineret loven tidligere.  Dette er ikke  en protektionisme for at "
"beskytte artister.  Det er i stedet  en protektionisme for at beskytte "
"bestemte forretningsformer.  Selskaber som er truet af potentialet hos "
"Internet til at ændre måden både kommerciel og ikke-kommerciel kultur bliver "
"skabt og delt, har samlet sig for at få lovgiverne til at bruge loven til at "
"beskytte selskaberne.  Dette er historie om RCA og Armstrong, og det er "
"drømmen til Causbyene."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"For Internet har sluppet løs en ekstraordinær mulighed for mange til at "
"angive i processen med at bygge og kultivere en kultur som rækker lagt "
"udenfor lokale grænselinjer.  Den magten har ændret markedspladsen for at "
"dagsværk og kultivere kultur generelt, og den ændringen truer i næste omgang "
"etablerede indholdindustrier. Internet er dermed  for industrierne som "
"byggede og distribuerede indhold i det tyvende århundredet hvad FM-radio var "
"for AM-radio, eller hvad traileren var for jernbaneindustrien i det nittende "
"århundredet: begyndelsen på slutningen, eller i hvert fald en markant "
"ændring. Digitale teknologier, knyttede til Internet, kunne producere et "
"meget mere konkurrencedygtigt og levende marked for at bygge og kultivere "
"kultur.  Dette marked kunne indeholde et meget videre og mere varieret "
"udvalg af skabere.  Disse skabere kunne producere og distribuere et meget "
"mere levende udvalg af kreativitet. Og afhængigt af nogle få vigtige "
"faktorer, så kunne dirre skaberne tjene mere i snit fra dette system end "
"skaberne gør i dag  &ndash; så længe RCA-ene af i dag ikke bruge loven til "
"at beskytte dem selv mod denne konkurrence."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Alligevel, som jeg argumenterer for i siderne som følger, er dette nøjagtigt "
"det som sker i vores kultur i dag.  Disse dagens ækvivalenter til tidligt "
"tyvende århundredes radio og nittende århundredes jernbaner bruger deres "
"magt til at få loven til at beskytte dem mod denne nye, mere effektive, mere "
"levende teknologien for at bygge kultur. De lykkes i deres plan om at gøre "
"om Internet føder Internet gør om på dem."

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

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

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 Gymnasticer the Net into an Illicit Video Club,</quote> "
"<citetitle>New York Times</citetitle>, 17 . januar 2002 ."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det ser ikke  sådan ud for mange.  Kamphandlingerne over ophavsret og "
"Internet er fjernt  for de fleste.  For de få som følger dem, virker de i "
"hovedsag at handle om et enklere sæt med spørgsmål &ndash; hvorvidt "
"<quote>piratvirksomhed</quote> vil blive accepteret, og hvorvidt "
"<quote>ejendomretten</quote> vil blive beskyttet.  <quote>Krigen</quote> som "
"har blevet erklæret mod teknologierne til Internet &ndash; det præsidenten "
"for Motion Picture Association of America (MPAA), Jack Valenti, kalder sin "
"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/> "
"&ndash; har blevet ramt ind som en kamp om at følge loven og respektere "
"ejendomretten.  For at vide hvilken side vi bør tage i denne krig tænker de "
"fleste at vi kun behøver at bestemme om hvorvidt vi er for ejendomret eller "
"mod den."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Hvis dette virkeligt var alternativerne, så villes jeg være enig med Jack "
"Valenti og indholdindustrien.  Jeg tror også  på ejendomretten, og specielt "
"på vigtigheden af hvad Herre Valenti så pænt kalder <quote>kreativ "
"ejendomret.</quote>  Jeg tror at <quote>piratvirksomhed</quote> er galt, og "
"at loven, rigtigt indstillet, bør straffe <quote>piratvirksomhed,</quote> "
"både på og udenfor Internet."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men disse enkle trosoppfatninger maskerer et meget mere grundlæggende "
"spørgsmål, og en meget mere dramatisk ændring. Min frygt er at , med mindre "
"vi begynder at lægge mærke til denne ændring, så vil krigen for at befrie "
"værdet fra Internets <quote>pirater</quote> også fjerne værdier fra vores "
"kultur som har været integreret i vores tradition helt fra starten."

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "as protection of creators"
msgstr "som beskyttelse for skabere"

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

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

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Disse værdier byggede en tradition som, for i hvert fald de første 180 årene "
"af vores republik, garanterede skaberne retten til at bygge frit på sin "
"fortid, og beskyttede skaberne og innovatørerne fra både statslig og privat "
"kontrol.  Det første grundlovtillægget beskyttede skaberne fra statslig "
"kontrol.  Og som professor Neil Netanel med kraft argumenterer,<placeholder "
"type=\"footnote\" id=\"0\"/> åndsverkslov, skikkeligt balanceret, beskyttede "
"skaberne mod privat kontrol.  Vores tradition var dermed  hverken Sovjet "
"eller traditionen til velgjørere.  I stedet skar det ud et bredt "
"manøvreringsrom hvor skabere kunne kultivere og udvide vores kultur."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Alligevel har lovens respons til Internet, når det knyttes sammen  til "
"ændringer i teknologien i Internet selv, ført til massiv øgning af den "
"effektive reguleringen af kreativitet i USA.  For at bygge på eller "
"kritisere kulturen rundt os må man spørge, som Oliver Twist, om tilladelse "
"først.  Tilladelse bliver, naturligvis, ofte innvilget &ndash; men det "
"bliver ofte  ikke innvilget til den kritiske eller den uafhængige.  Vi har "
"bygget en slags kulturel adel.  De indenfor dette adelskab har et enkelt "
"liv, mens de på utsiden har det ikke.  Men det er adelskab i alle former som "
"er fremmed for vores tradition."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Historie som følger er om denne krig.  Det er ikke  om <quote>betydningen af "
"teknologi</quote> i normalt liv.  Jeg tror ikke  på guder, hverken digitale "
"eller andre typer.  Det er heller  ikke et forsøg på at demonisere nogle "
"individer eller gruppe, jeg tror heller  ikke på en djævel, selskapsmessig "
"eller på anden måde.  Dette er ikke  en moralsk historie.  En heller er det "
"et råb om hellig krig mod en industri."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er i stedet  et forsøg på at forstå en håbløst ødelæggende krig som er "
"inspireret af teknologierne til Internet, men som rækker langt  udenfor dets "
"kode.  Og ved at forstå denne kamp er dette en indsats for at finne vejen "
"til fred.  Det er ingen god grund for at fortsætte dagens batalje rundt "
"Internet-teknologierne.  Det vil være til stor skade for vores tradition og "
"kultur hvis den får lov til at fortsætte ukontrollert. Vi må forstå kilden "
"til denne krig.  Vi må finde en løsning snart."

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

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Lig Causbyenes</emphasis> kamp er denne krig, "
"delvis, om <quote>ejendomret.</quote> Ejendommen i denne krig er ikke  lige "
"så håndfast som den til Causbyene, og ingen uskyldige kyllinger har så langt "
"mistet livet.  Alligevel er idéene rundt denne <quote>ejendom retten</quote> "
"lige så åbenbare for de fleste som Causbyenes krav om ukrenkeligheten til "
"deres bondegård var for dem. De fleste af os tager for givet de usædvanligt "
"mægtige krav som ejerne af <quote>immaterielle rettigheder</quote> nu "
"fremmer.  De fleste af os, som Causbyene, behandler disse krav som åbenbare. "
" Og dermed protesterer vi, som Causbyene, når ny teknologi griber ind i "
"denne ejendom retten.  Det er så  klart for os som det var for dem at de nye "
"teknologierne til Internet <quote>tager sig til rette</quote> mod legitime "
"krav til <quote>ejendomret.</quote>  Det er lige så  klart for os som det "
"var for dem at loven skulle tage affære for at stoppe denne inntrengingen i "
"anden mands ejendom."

#. PAGE BREAK 27
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Og dermed, når nørder og teknologer forsvarer sin tids Armstrong og Wright-"
"brødrenes teknologi, får de lille sympati fra de fleste af os. Sund fornuft "
"gør ikke  oprør.  I modsætning til sagen til de uheldige Causbyene, er sund "
"fornuft på samme side som ejendomejerne i denne krig.  I modsætning til hos "
"de heldige Wright-brødrene, har Internet ikke inspireret en revolution til "
"fordel for sig."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Mit håb er at skubbe denne sunde fornuft videre.  Jeg har blevet stadigt "
"mere overrasket over kraften/kræfter til denne idéen om immaterielle "
"rettigheder og, mere vigtigt, dets evne til at slå af kritisk tanke hos "
"lovmakere og indbyggere.  Det har aldrig  før i vores historie været så  "
"meget af vores <quote>kultur</quote> som har været <quote>ejet</quote> end "
"det er nu .  Og alligevel har aldrig  før konsentreringen af magt til at "
"kontrollere <emphasis>brugen</emphasis> af kulturen været mere accepteret "
"uden spørgsmål end det er nu ."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Gåten er, hvorfor det?  Er det fordi vi fået en indsigt i sandheden om "
"værdien og betydningen af absolut eierskap over idéer og kultur? Er det "
"fordi vi har opdaget at vores tradition ved at afvise sådanne absolutte krav "
"tog fejl?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Eller er det på grund af at idéer om absolut eierskap over idéer og kultur "
"giver fordele til RCA-ene i vores tid, og passer med vores ureflekterte "
"intuition?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Er denne radikale ændring væk fra vores tradition om fri kultur en forekomst "
"af USA som korrigerer en fejl fra fortiden, sådan vi gjorde det efter en "
"blodig krig mod slaveri, og sådan vi stille gør det med forskelle?  Eller er "
"denne radikale ændring væk fra vores tradition med fri kultur nok et "
"eksempel på at vores politiske systemer er fanget af nogen få mægtige "
"særinteresser?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Fører sund fornuft til det ekstreme i dette spørgsmål på grund af at sund "
"fornuft faktisk tror på dette ekstreme?  Eller står sund fornuft i stilhed i "
"mødet med dette ekstreme fordi, som i Armstrong mod RCA, at den mere mægtige "
"siden har sikret sig at det har et meget mere mægtigt standpunkt?"

#.  PAGE BREAK 28 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg forsøger ikke  at være mystisk.  Mine egen synspunkter er klare. Jeg "
"mener det var rigtigt for sund fornuft at gøre oprør mod ekstremismen til "
"Causbyene.  Jeg mener det villes være rigtigt for sund fornuft at gøre oprør "
"mod de ekstreme krav som gøres i dag  på vegne af <quote>immaterielle "
"rettigheder.</quote>  Det som loven kræver i dag  er i større og større grad "
"lige så dumt som om lensmanden skulle arrestere en flymaskin for at behøve "
"ind på anden mands ejendom.  Men konsekvenserne af den nye dumheden vil "
"blive meget mere dyptgripende."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Slagsmålet</emphasis> som pågår akkurat nu "
"centrerer sig rundt to idéer: <quote>piratvirksomhed</quote> og "
"<quote>ejendom.</quote>  Mit mål med denne bogs næste to dele er at udforske "
"disse to idéene."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"min Metode er ikke  den normale metoden for en akademiker.  Jeg ønsker ikke  "
"at pløje dig ind i et kompliceret argument, stensat med referencer til "
"obskure franske teoretikere &ndash; uanset hvor naturligt det har blevet for "
"den mærkelige sorten vi akademikere har blevet.  Jeg vil i stedet  begynde "
"hver del med en samling historie som etablerer en sammenhæng der hen disse "
"tilsyneladende enkle idéene kan blive helt  forstået."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"De to delene sætter op kernen til påstanden i denne bog: at mens Internet "
"faktisk har produceret noget fantastisk og nyt, bidrager vores myndigheder, "
"pressede af store mediumaktører for at møde dette <quote>noget nyt,</quote> "
"til at ødelægge noget som er vældig  gammelt.  I stedet for at forstå "
"ændringerne som Internet kan gøre muligt, og i stedet for at tage den tiden "
"som trænges for at lagde <quote>sund fornuft</quote> finne ud hvordan bedst "
"svaret på udfordringen, så lader vi de som er mest truet af ændringerne "
"bruge sin magt til at ændre loven &ndash; og vigtigere, at bruge sin magt "
"til at ændre noget fundamentalt om hvordan vi altid har fungeret."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg tror vi tillader dette, ikke fordi det er rigtigt, og heller ikke fordi "
"de fleste af os tror på disse ændringer.  Vi tillader det på grund af at de "
"interesserne som er mest truet er blandt de mest mægtige aktørerne i vores "
"deprimerende kompromitterede proces for at udforme håndflade. Denne bog er "
"historie om nok en konsekvens for denne type korruption &ndash; en "
"konsekvens de fleste af os forbliver ukendt med."

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "music publishing"
msgstr "musikkpublisering"

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

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"<emphasis role=\"strong\">Helt siden</emphasis> retvæsenet begyndte at "
"regulere kreative ejerrettigheder, har det været en krig mod "
"<quote>piratvirksomhed.</quote>  Det præcise omridset af dette konceptet, "
"<quote>piratvirksomhed,</quote> har været vanskeligt at tegne op , men "
"billedet af urettferdighet er enkelt at beskrive.  Som Lord Mansfield skrev "
"i en sag som udvidede omfanget af engelsk åndsverkslov til at inkludere "
"noteark:"

#.  f1 
#. type: Content of: <book><part><partintro><blockquote><para><footnote><para>
#, fuzzy
msgid ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. "
"1274 (1777) (Mansfield)."
msgstr ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. "
"1274 (1777) (Mansfield)."

#. type: Content of: <book><part><partintro><blockquote><para>
#, fuzzy
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 ""
"En person kan bruge kopien til at spille den, men han har ingen ret til at "
"røve forfatteren for profiten, ved at fortage flere kopier og distribuere "
"efter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>"

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

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

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

#.  PAGE BREAK 31 
#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"I dag er vi midt inde i en anden <quote>krig</quote> mod "
"<quote>piratvirksomhed.</quote> Internet har fremprovokeret denne krig.  "
"Internet gør det muligt at effektivt brede indhold.  Peer-to-peer (p2p) "
"fildeling er blandt den mest effektive af de effektive teknologier Internet "
"muliggjør. Ved at bruge distribueret intelligens, kan p2p-systemer "
"muliggjøre enkel spredning af indhold på en måde som ingen forestilte sig "
"for en generation siden."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Denne effektivitet respekterer ikke  de traditionelle skillerne i "
"ophavsreten. Nettet skiller ikke  mellem deling af opphavsrettsbeskyttet og "
"ikke opphavsrettsbeskyttet indhold. Dermed har det været deling af en enorm "
"mængde opphavsrettsbeskyttet indhold.  Denne delingen har i sin tur ansporet "
"til krigen, på grund af at ejere af ophavsreter frygte delingen vil "
"<quote>røve forfatteren for profiten.</quote>"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Krigerene har skruet sig til domstolene, til lovgiverne, og i stadigt større "
"grad til teknologi for at forsvare sin <quote>ejendom</quote> mod denne "
"<quote>pirat virksomheden.</quote>  En generation amerikanere, advarer "
"krigerene, bliver opdraget til at tro at <quote>ejendom</quote> skal være "
"<quote>gratis.</quote>  Glem tatoveringer, ikke tænk på kroppspiercing "
"&ndash; vores barn bliver <emphasis>tyve</emphasis>!"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Det er ingen tvivl om <quote>at piratvirksomhed</quote> er galt, og at "
"pirater bør straffes.  Men før vi skråler på bødlerne, bør vi sætte dette "
"<quote>pirat virksomheds</quote>-begrebet i en sammenhæng.  For mens "
"begrebet bliver mere og mere brugt, har det i sin kerne en ekstraordinær idé "
"som næsten helt sikkert er fejl."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
msgid "The idea goes something like this:"
msgstr "Idéen høres omtrent  sådan ud:"

#. type: Content of: <book><part><partintro><blockquote><para>
#, fuzzy
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 ""
"Kreativt arbejde har værdi.  Når jeg bruger, eller tager, eller bygger på "
"det kreative arbejdet til andre, så tager jeg noget fra dem som har værdi.  "
"Når jeg tager noget af værdi fra nogle andre, bør jeg få tilladelse fra dem. "
" Å tage noget som har værdi fra andre uden tilladelse er galt.  Det er en "
"form for piratvirksomhed."

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

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

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

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

#. type: Content of: <book><part><partintro><indexterm><secondary>
#, fuzzy
msgid "<quote>if value, then right</quote> theory of"
msgstr "<quote>hvis værdi, så rettigheds</quote>teorien om"

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

#.  f2 
#. type: Content of: <book><part><partintro><para><footnote><para>
#, fuzzy
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 ""
"Se Rochelle Dreyfuss, <quote>Expressive Genericity: Trademark 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>
#, fuzzy
msgid "Zittrain, Jonathan"
msgstr "Zittrain, Jonathan"

#. type: Content of: <book><part><partintro><para><footnote><para>
#, fuzzy
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 . august 1996, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #3</"
"ulink>; Jonathan Zittrain, <quote>Højttalersystem 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>
#, fuzzy
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 ""
"Dette syn går dybt i de pågående debatterne.  Det er hvad juiceprofessor "
"Rochelle Dreyfuss ved New York University kritiserer som <quote>hvis værdi, "
"så rettighed</quote>-teorien for kreative ejerrettigheder <placeholder "
"type=\"footnote\" id=\"0\"/> &ndash; hvis det findes værdi, så må nogle have "
"rettigheden til denne værdi.  Det er perspektivet som fik komponisternes "
"rettighedorganisation, ASCAP, til at sagsøge jentespeiderne for at ikke "
"betale for sangene som pigerne sang rundt sine lejrbål.<placeholder "
"type=\"footnote\" id=\"1\"/> Det fandtes <quote>værdi</quote> (sangene), så "
"det måtte have været en <quote>rettighed</quote> &ndash; til og med i "
"forhold til jentespeiderne."

#.  PAGE BREAK 32 
#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Denne idéen er helt klaret en mulig forståelse om hvordan kreative "
"ejerrettigheder bør virke.  Det er helt klart et muligt design for et "
"lovsystem som beskytter kreative ejerrettigheder.  Men teorien om "
"<quote>hvis værdi, så rettighed</quote> for kreative ejerrettigheder har "
"aldrig  været USAs teori for kreative ejerrettigheder.  Det har aldrig  "
"været vores retpraksis."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on republishing vs. transformation of original work"
msgstr "på gjenpublisering versus ændring af oprindeligt værk"

#. type: Content of: <book><part><chapter><section><para><indexterm><seealso>
#, fuzzy
msgid "creativity"
msgstr "kreativitet"

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

#. type: Content of: <book><part><partintro><indexterm><secondary>
#, fuzzy
msgid "legal restrictions on"
msgstr "juridiske begrænsninger på"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"I vores tradition har immaterielle rettigheder i stedet været et instrument. "
" Det bidrager til fundamentet for et rigt kreativt samfund, men forbliver "
"underordnede værdien til kreativitet.  Dagens debat har skruet dette helt "
"rundt. Vi har blevet så  optaget af at beskytte instrumentet at vi mister "
"værdien af syne."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Kilden til denne forvirring er et skille som loven ikke længere generer sig "
"om at markere &ndash; skillet mellem at publicere på nyt nogles værker på "
"den ene siden, og bygge på og gøre om værket på den andre.  Da ophavsreten "
"kom var det kun publisering som blev berørt. Ophavsreten i dag regulerer "
"begge."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Før teknologierne til Internet dukkede op , betød ikke  denne begrepsmessige "
"sammenblandingen meget.  Teknologierne for at publicere var kostbare, som "
"betød at det meste af publisering var kommerciel. Kommercielle aktører kunne "
"håndtere byrden pålagt af loven &ndash; til og med byrden med den bysantiske "
"kompleksiteten som åndsverksloven har blevet.  Det var bare  nok en "
"omkostning ved at drive forretning."

#. type: Content of: <book><part><partintro><indexterm><secondary>
#, fuzzy
msgid "creativity impeded by"
msgstr "kreativitet hindrede af"

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

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

#. type: Content of: <book><part><partintro><para><footnote><para>
#, fuzzy
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 ""
"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic "
"Books, 2002), dokumenterer Richard Florida en ændring i arbejdstaben mod "
"kreativitetarbejde.  Hans tekst omhandler derimod  ikke direkte de juridiske "
"vilkår som kreativiteten bliver muliggjort eller hindret under.  Jeg er helt "
"klart enig med ham i vigtigheden og betydningen af denne ændring, men jeg "
"tror også  at vilkårene som disse ændringer bliver aktiveret under er meget "
"vanskeligere.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Men da Internet dukkede op , forsvandt denne naturlige begrænsning til "
"lovens virkeområde.  Loven kontrollerer ikke  bare kreativiteten til "
"kommercielle skabere, men effektivt set kreativiteten til alle. Selv om "
"udvidelsen ikke villes betyde stort  hvis åndsverksloven kun regulerede "
"<quote>kopiering,</quote> så betyder udvidelsen meget når loven regulerer så "
" bredt og obskurt som den gør.  Byrden denne lov giver opveje/opvejer nu "
"langt fordelene den gav da den blev vedtaget &ndash; helt klart sådan den "
"påvirker ikke -kommerciel kreativitet, og i stadigt større grad sådan den "
"påvirker kommerciel kreativitet.  Dermed, sådan vi ser klarere i de kommende "
"kapitler, er retsstatens rolle i stadigt mindre grad  at støtte kreativitet, "
"og i stadigt større grad at beskytte enkelte industrier mod konkurrence.  "
"Akkurat på det tidspunktet da digital teknologi kunne sluppet løs en "
"ekstraordinær mængde med kommerciel og ikke-kommerciel kreativitet, tynger "
"loven denne kreativitet med sinnsykt komplicerede og vage skrøner, og med "
"truslen om uanstendig hårde straffe.  Vi ser måske , som Richard Florida "
"skriver, <quote>Fremvæksten af den kreative klasse</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Desværre ser vi også en ekstraordinær fremvækst "
"af reguleringer af denne kreative klasse."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Disse byrder giver ingen mening i vores tradition.  Vi bør begynde med at "
"forstå den traditionen lidt mere, og ved at placere dagens slag om opførsel "
"med mærkaten <quote>piratvirksomhed</quote> i sin rette sammenhæng."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter One: Creators"
msgstr "Kapitel en: Skaberne"

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

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

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

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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\">I 1928</emphasis> blev man tegnefilmfigur født.  "
"En tidlig Mikke Mus debuterede i maj dette år, i en stille flop ved navn "
"<citetitle>Plane Crazy</citetitle>.  I november, i Colony-teateret i New "
"York City, blev den første vidt distribuerede tegnefilmen med synkroniseret "
"lyd, <citetitle>Steamboat Willy</citetitle>, vist frem med figuren som "
"skulle blive til Mikke Mus."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Film med synkroniseret lyd havde blevet introduceret et år tidligere i "
"filmen <citetitle>The Jazz Singer</citetitle>.  Succesen fik Walt Disney til "
"at kopiere teknikken og mikse lyde med tegnefilm.  Ingen vidste hvorvidt  "
"det villes virke eller ikke, og om det villes fungere, hvorvidt publikum "
"villes have sans for det.  Men da Disney gjorde en test sommeren 1928, var "
"resultatet entydigt.  Som Disney beskriver dette første eksperiment:"

#.  PAGE BREAK 35 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Et par af mine drenge kunne læse noteark, og en af dem kunne spille "
"mundspil.  Vi stoppede dem ind i et rom hvor de ikke kunne se skærmen, og "
"gjorde det sådan at lyden de spillede blev sendt videre til et rom hvor "
"vores koner og venner var placeret for at se på billedet."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Drengene brugte et note og lydeffekt-ark.  Efter nogle dårlige opstarter, "
"kom endelig lyd og handling i gang med et smæld. Mundspilleren spillede "
"melodien, og resten af os i lydavdelingen larmede på tinkasseroller og "
"blæste på slidefløjte til rytmen. Synkroniseringen var næsten  helt rigtigt."

#.  f1 
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
#, fuzzy
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&ndash;35 ."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Effekten på vores lille publikum var intet mindre end elektrisk.  De "
"reagerede næsten  instinktivt til denne union af lyde og bevægelse.  Jeg "
"troede de vrøvlet med mig.  Så de puttede mig i publikum og satte i gang  på "
"nyt.  Det var grufullt, men det var fantastisk.  Og det var noget "
"nyt!<placeholder type=\"footnote\" id=\"0\"/>"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disneys daværende partner, og en af animationverden mest ekstraordinære "
"talenter, Ub Iwerks, udtalte det stærkere: <quote>Jeg har aldrig  været så  "
"begejstret i hele mit liv. Ingenting andet har nogensinde  været lige så  "
"godt.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 havde fortaget noget helt nyt, baseret på noget relativt nyt. "
"Synkroniseret lyde gav liv til en form for kreativitet som sjældent havde "
"&ndash; undtagen fra Disneys hånd &ndash; været noget andet en fyllstoff for "
"andre film.  Gennem animasjonfilmens tidligere historie var det Disneys "
"oppfinnelser som satte standarden som andre måtte sloges for at opfylde.  Og "
"ganske ofte var Disneys store genier, hans gnist af kreativitet, bygget på "
"arbejdet til andre."

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er kendt stof.  Det du måske ikke ved er at 1928 også markerer en "
"anden vigtig overgang.  I samme år fortaget et komedie-geni (i modsætning "
"til tegnefilm-geni) sin sidste uafhængigt producerede stumfilm.  Dette geni "
"var Pjusker Keaton.  Filmen var <citetitle>Steamboat Bill, Jr</citetitle>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 blev født ind i en vaudeville-familie i 1895 .  I stumfilm-æraen "
"havde han behersket brugen af bredpenslet fysisk komedie på en måde som "
"fængede ukontrollerbar latter fra hans publikummer. <citetitle>Steamboat "
"Bill, Jr</citetitle>. var man klassiker af denne type, berømt blandt film-"
"elskere/elskerer for sine utrolige stunts.  Filmen var man klassisk Keaton "
"&ndash; fantastisk populær og blandt de bedste i sin genre."

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

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

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

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

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Jeg er taknemmeligt overfor David Gerstein og hans nøjagtige historie, "
"beskrevet på <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>.  "
"Ifølge Dave Smith ved the Disney Archives, betalte Disney for at bruge "
"musikken til fem sange i <citetitle>Steamboat Willie</citetitle>: "
"<quote>Steamboat Bill,</quote> <quote>The Simpleton</quote> (Delille), "
"<quote>Mischief Magers</quote> (Carbonara), <quote>Joyful Hurry No. 1</"
"quote> (Baron), og <quote>Gawky Rube</quote> (Lakay). En sjette sang, "
"<quote>The Turkey in the Straw,</quote> var allerede  allemannseie.  Brev "
"fra David Smith til Harry Surden, 10 . juli 2003, tilgjenglig i arkivet til "
"forfatteren."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>. kom før Disneys tegnefilm "
"Steamboat Willie.  Det er ingen tilfeldighet at titlerne er så  lige så. "
"Steamboat Willie er en direkte tegneserieparodi af Steamboat Bill,"
"<placeholder type=\"footnote\" id=\"0\"/> og begge bygger på en fælles sang "
"som kilde.  Det er ikke  kun fra nyskabningen med synkroniseret lyd i "
"<citetitle>The Jazz Singer</citetitle> at vi får <citetitle>Steamboat "
"Willie</citetitle>.  Det er også  fra Pjusker Keatons nyskabning Steamboat "
"Bill, Jr., som igen var inspireret af sangen <quote>Steamboat Bill,</quote> "
"at vi får Steamboat Willie.  Og fra Steamboat Willie får vi så Mikke Mus."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "by transforming previous works"
msgstr "ved at omforme tidligere værk"

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

#.  f3 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Han var også  tilhænger af allmannseiet. Se Chris Sprigman, <quote>The Mouse "
"that Ate the Public Domain,</quote> Findlaw, 5 . marts 2002, fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #5</ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne <quote>låningen</quote> var ikke  unik, hverken for Disney eller for "
"industrien.  Disney abede altid  efter helaftensfilmene rettet mod "
"massemarkedet rundt ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme "
"gjorde mange andre.  Tidlige tegnefilmer er stappfulle af etterapninger "
"&ndash; små variationer over suksessfulle temaer, gamle historie fortalt på "
"nyt.  Nøglen til succes var brilliansen i forskellene.  Med Disney var det "
"lyden som gav gnisten i hans animationfilm.  Senere var det kvaliteten på "
"hans arbejde i forhold  til de masseproducerede tegnefilmene som han "
"konkurrerede med .  Alligevel var disse bidragene bygget på toppen af et "
"lånt fundament.  Disney byggede på arbejdet til andre som kom før han, og "
"skabte noget nyt ud af noget som bare var lidt  gammelt."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nogle gange var etterligningen begrænset, og nogle gange var den betydeligt. "
"Tænk på eventyrene til brødrene Grimm.  Hvis du er lige så  ubevisst som jeg "
"var, så tror du sandsynligvis at disse fortællinger er glade, søde historie "
"som passer for ethvert barn ved leggetid.  Realiteten er at Grimm-eventyrene "
"er, for os, ganske dystre.  Det er nogle sjældne og måske specielt ambitiøse "
"forældre som villes våge at læse disse blodige moralistiske historie til "
"sine barn, ved leggetid eller hvilket som hilst andet tidspunkt."

#.  PAGE BREAK 37 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 tog disse historie og fortalte dem på nyt på en måde som førte dem "
"ind i en ny tidsalder. Han gav historie liv, med både karakterer og lys. "
"Uden at fjerne bidderne af frygt og fare helt , surre han morsomt det som "
"var mørkt og satte ind en ægte følelse af medfølelse der hen det før varsom "
"frygt. Og ikke bare med værkerne af brødrene Grimm.  Faktisk er katalogen "
"over Disney-arbejde som baserer sig på arbejdet til andre ganske "
"forbløffende når den bliver samlet: <citetitle>Snøhvit</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>Askepott</citetitle> (1950), <citetitle>Alice in Wonderland</"
"citetitle> (1951), <citetitle>Robin Hood</citetitle> (1952), "
"<citetitle>Peter Pan</citetitle> (1953), <citetitle>Lady og landstrykeren</"
"citetitle> (1955), <citetitle>Mulan</citetitle> (1998), "
"<citetitle>Tornerose</citetitle> (1959), <citetitle>101 Dalmatinere</"
"citetitle> (1961), <citetitle>Sværdet i stenen</citetitle> (1963), og "
"<citetitle>Jungelboken</citetitle> (1967) &ndash; for ikke at nævne et nylig "
"eksempel som vi bør måske  glemme raskt, <citetitle>Treasure Planede</"
"citetitle> (2003). I alle disse tilfælde, har Disney (eller Disney, Inc.) "
"hentet kreativitet fra kultur rundt sig, blandet med kreativiteten fra sit "
"eget ekstraordinære talenter, og derefter brændt denne blanding ind i sjelen "
"til sin kultur. Hente, blanding og brænde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er en type kreativitet.  Det er en kreativitet som vi bør huske på, og "
"fejre.  Det er nogle som vil sige at det findes ingen kreativitet bortset "
"fra denne type.  Vi behøver ikke  gå så  langt for at anerkende dens "
"betydning.  Vi kan kalde dette <quote>Disney-kreativitet,</quote> selv om "
"det vil være lidt  misvisende.  Det er mere præcist <quote>Walt Disney-"
"kreativitet</quote> &ndash; en udtrykform og genialitet som bygger på "
"kulturen rundt os,  og omformer den til noget andet."

#. type: Content of: <book><chapter><section><indexterm><primary>
#, fuzzy
msgid "copyright"
msgstr "ophavsret"

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "public domain"
msgstr "allemannseie (public domain)"

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "traditional term for conversion to"
msgstr "traditionel frist for konvertering til"

#.  f4 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Indtil 1976 gav åndsverkloven en forfatter to mulige verneperioder: en "
"initiell periode, og en fornyingsperiode.  Jeg har beregnet "
"<quote>gennemsnitligt</quote> vernetid ved at finde vektet gennemsnit af de "
"totale registreringer for et givet år, og andelen fornyinger.  Hvis 100 "
"ophavsreter blev registreret i år 1, bare 15 af dem blev fornyet, og "
"fornyingsvernetiden er 28 år, så er gennemsnitligt vernetid 32,2 år. "
"Fornyingsdata og andre relevante data ligger på netsiderne tilknyttet denne "
"bog, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #6</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I 1928 var kulturen som Disney frit kunne trække veksler på relativt fersk.  "
"Allemannseie i 1928 var ikke  rigtigt gammelt, og var dermed  ganske "
"levende.  Gennemsnitligt vernetid i ophavsreten var bare  rundt tredive år "
"&ndash; for den lille delen af kreative værker som faktisk var "
"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyder "
"at  i tredive år, i gennemsnit, havde forfattere eller "
"ophavrettighedindehaver af kreative værker en <quote>eksklusiv ret</quote> "
"til at kontrollere bestemte typer brug af værket.  Å bruge disse "
"opphavsrettsbeskyttede værkerne på de begrænsede måderne krævede tilladelse "
"fra ophavsretindehaveren."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Når ophavsretens vernetid er over, henhører et værk i det fri og bliver "
"allemannseie.  Ingen tilladelse trænges da  for at bygge på eller bruge "
"dette virkede.  Ingen tilladelse og dermed heller ingen advokater. "
"Allemannseie er en <quote>advokat-fri zone.</quote>  Det meste af indhold "
"fra det nittende århundrede var dermed  frit tilgængeligt for Disney til at "
"bruge eller bygge på i 1928 .  Det var tilgængeligt for enhver &ndash; "
"uanset om de havde forbindelser eller ikke, om de var rig eller ikke, om de "
"var accepteret eller ikke &ndash; til at bruge og bygge videre  på."

#.  PAGE BREAK 38 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er sådan  det altid har været &ndash; indtil ganske nylig.  I "
"størstedelen af vores historie, har allemannseiet været lige så  over "
"horisonten.  Frem til 1978 var den gennemsnitlige opphavsrettslige "
"vernetiden aldrig mere end trettito år, noget som gjorde at det meste af "
"kultur fra en og en halv generation tidligere var tilgængelig for enhver at "
"bygge på uden tilladelse fra nogle.  Tilsvarende for i dag villes være at "
"kreative værker fra 1960- og 1970-tallet nu villes være frit tilgængeligt "
"for den næste Walt Disney at bygge på uden tilladelse.  Men i dag er "
"allemannseie presumtivt kun for indhold fra før mellomkrigstiden."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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\">Walt Disney</emphasis> havde selvfølgelig  ikke "
"monopol på <quote>Walt Disney-kreativitet.</quote>  Det har heller  ikke "
"USA.  Normen med fri kultur har, indtil nylig, og undtaget i totalitære "
"nationer, været bredt udnyttet og vældig universell."

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vurder for eksempel  en form for kreativitet som synes underligt for mange "
"amerikanere, men som er overalt  i japansk kultur: <citetitle>manga</"
"citetitle>, eller tegneserier.  Japanerne er fanatiske når det gælder "
"tegneserier.  Over 40 procent af publikationer er tegneserier, og 30 procent "
"af publikationomsætningen stammer fra tegneserier.  De er overalt  i det "
"japanske samfundet, tilgængeligt fra ethvert tidsskriftsutsalg, og i hånd på "
"en stor andel af pendlere på Japans ekstraordinære systemer for offentlig "
"transport."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Amerikanere har en tendens til at se ned på denne form for kultur. Det er et "
"lille attraktivt kendetegn hos os.  Vi misforstår sandsynligvis  meget rundt "
"manga, på grund af at få af os nogensinde har læst noget som ligner på "
"historie som disse <quote>grafiske historie</quote> fortæller.  For man "
"japaner dækker manga ethvert aspekt ved det sociale liv.  For os er "
"tegneserier <quote>mænd i strømpebukser.</quote>  Og uanset er det ikke "
"sådan at T-banen i New York er fuld  af folk som læser Joyce eller Hemingway "
"for den sags skyld.  Folk i forskellige kulturer skiller sig ud på "
"forskellig måder, og japanerne gør det på dette interessante måde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men mit formål her er ikke  at forstå manga.  Det er at beskrive en variant "
"af manga som fra en advokats perspektiv er ganske  mærkeligt, men som fra en "
"Disneys perspektiv er ganske  godt kendt."

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

#.  PAGE BREAK 39 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er fænomenet <citetitle>doujinshi</citetitle>.  Doujinshi er også  "
"tegneserier, men de er en slags etterapingstegneserier.  En rig etik styrer "
"dem som skaber doujinshi.  Det er ikke  doujinshi hvis det <emphasis>bare</"
"emphasis> er en kopi.  Kunstneren må gøre et bidrag til kunsten han kopierer "
"ved at omforme det enten subtilt eller betydeligt.  En doujinshi-tegneserie "
"kan dermed  tage en massemarkedtegneserie og udvikle den i en anden retning "
"&ndash; med en anden historie linje.  Eller tegneserien kan beholde figuren "
"som den er, men ændre lidt  på udseendet.  Det er ingen bestemt formel for "
"hvad som gør en doujinshi tilstrækkeligt <quote>forskelligt.</quote>  Men de "
"må være forskellige hvis de skal anses som ægte doujinshi.  Det er faktisk  "
"komiteer som går igennem doujinshi for at lagde dem blive med på messer, og "
"afviser etterapninger som bare er en kopi."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse etterapingstegneseriene er ikke  en lille del af manga-markedet.  De "
"er enorme.  Mere end 33 000 <quote>cirkler</quote> af skabere over hele "
"Japan som producerer disse bidder af Walt Disney-kreativitet. Mere end 450 "
"000 japanere samles to gange i året, i den største offentlige samlingen i "
"landet, for at bytte og sælge dem.  Dette marked er parallelt med det "
"kommercielle manga-massemarkedet.  På nogle måder konkurrerer de åbenbaret "
"med hinanden, men det er ingen vedvarende indsats fra dem som kontrollerer "
"det kommercielle manga-markedet for at lukke doujinshi-markedet.  Det "
"blomstrer, på trods af konkurrencen, og på trods for loven."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den mest gåtefulle egenskaben med doujinshi-markedet, for dem som har "
"juridisk træning i hvert fald, er at det overhovedet tillades at eksistere.  "
"Under japansk åndsverkslov, som i hvert fald på dette området (på papiret) "
"spejler USAs åndsverkslov, er doujinshi-markedet ulovligt.  Doujinshi er "
"helt klart <quote>avledede værk.</quote>  Det er ingen generel praksis hos "
"doujinshi-kunstnere for at sikre sig tilladelse hos manga-skaberne.  I "
"stedet er praksissen ganske enkelt at tage, og ændre det andre har fortaget, "
"sådan Walt Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>.  For "
"både japansk og USAs lov, er at <quote>tage</quote> uden tilladelse fra den "
"oprindelige ophavsretindehaver ulovligt.  Det er et brud på ophavsreten til "
"det oprindelige værket at fortage en kopi, eller et avledet værker uden "
"tilladelse fra den oprindelige rettighedindehaveren."

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

#.  f5 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</"
"citetitle> (New York: Perennial, 2000)."
msgstr ""
"For en udmærket historie, se Scott McCloud, <citetitle>Reinventing Comics</"
"citetitle> (New York: Perennial, 2000)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel eksisterer og blomstrer faktisk  dette illegale markedet i Japan, "
"og efter manges syner er det netop fordi det eksisterer, at japansk manga "
"blomstrer.  Som USAs tegneserieskaber Judd Winick fortalte mig, <quote>I "
"amerikanske tegneseriers første dage var det ganske kunnetlide det som "
"foregår i Japan i dag. &hellip;  Amerikanske tegneserier kom til værdet ved "
"at kopiere hinanden. &hellip;  Det er sådan  [kunstnerne] lærer at tegne "
"&ndash; ved at se i tegneseriebøker,  og ikke følge streken, men ved at se "
"på dem, og kopiere dem</quote>, og bygge baseret på dem.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Superman comics"
msgstr "Supermand-tegneserier"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Amerikanske tegneserier nu er ganske  anderledes, forklarer Winick, delvis "
"på grund af de juridiske problemerne med at tilpasse tegneserier sådan "
"doujinshi får lov til.  Med for eksempel Supermand, fortalte Winick mig, "
"<quote>er det en række skrøner, og du må følge dem.</quote>  Det er ting som "
"Supermand <quote>ikke kan</quote> gøre.  <quote>For en som fortager "
"tegneserier er det frustrerende at måtte begrænse sig til nogen parameter "
"som er halvtreds år gamle.</quote>"

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

#.  f6 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why Al the Comics My Kid Watches Are Japanese Imports?</quote> "
"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182 . <quote>det "
"kan være en kollektiv økonomisk rationalitet som får manga- og anime-"
"kunstnere til ikke at sagsøge for ophavsretbrud. En hypotese er at alle "
"manga-kunstnere kan være bedre stilet hvis de sætter sin individuelle "
"egeninteresse til side og bestemmer sig for ikke at forfølge sine juridiske "
"rettigheder. Dette er essensielt en løsning på fangens dilemma.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Normen i Japan reducerer denne juridiske udfordring.  Nogle siger at det "
"netop er den oppsamlede fordelen i det japanske manga-markedet som forklarer "
"denne reduktion.  Juiceprofessor Salil Mehra ved Temple University har for "
"eksempel  en hypotese om at manga-markedet accepterer disse teoretiske brud "
"fordi de får manga-markedet til at blive rigere og mere produktivt.  Alle "
"villes få det ondere hvis doujinshi blev bandlyst, så loven bandlyser ikke  "
"doujinshi.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Problemet med denne historie, derimod, og som Mehra helt klart erkender, er "
"at  mekanismen som producerer denne <quote>hold hånd borte</quote>-responsen "
"ikke er forstået.  Det kan godt  være at markedet som helhed gør det bedre "
"hvis doujinshi tillades i stedet  for at bandlyse den, men det forklarer "
"alligevel  ikke hvorfor individuelle ophavsretindehavere ikke sagsøger.  "
"Hvis loven ikke har et generelt undtagelse for doujinshi, og det findes "
"faktisk  nogle tilfælde der individuelle manga-kunstnere har sagsøgt "
"doujinshi-kunstnere, hvorfor er det ikke et mere generelt mønster for at "
"blokere denne <quote>frie tage-ingen</quote> hos doujinshi-kulturen?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg var fire nydelige måneder i Japan, og jeg stilede dette spørgsmål så "
"ofte som jeg kunne.  Måske det bedste svaret til slutning kom fra en ven i "
"et større japansk advokatfirma. <quote>Vi har ikke  nok advokater,</quote> "
"fortalte han mig en eftermiddag.  Det er <quote>bare  ikke nok ressourcer "
"til at tiltale tilfælde som dette.</quote>"

#.  PAGE BREAK 41 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er et tema vi kommer tilbage til: at lovens regulering både er en "
"funktion af ordene i bøgerne, og omkostningerne med at få dirre ordene til "
"at have effekt.  Akkurat nu er det endel åbenbare spørgsmål som presser sig "
"frem: Villes Japan gøre det bedre med flere advokater? Villes manga være "
"rigere hvis doujinshi-kunstnere blev regelmæssigt rettsforfulgt?  Villes "
"Japan vinde noget vigtigt hvis de kunne stoppe praksissen med deling uden "
"kompensation?  Skader piratvirksomhed ofrene for piratvirksomheden, eller "
"hjælper den dem?  Villes advokaters kamp mod denne pirat virksomheden hjælpe "
"deres klienter, eller skade dem?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment."
msgstr "<emphasis role='strong'>Lad os tage</emphasis> et øjebliks pause."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvis du er som mig et årti tilbage, eller som folk flest når de først "
"begynder at tænke på disse temaer, da bør du omtrent nu være rådvill om "
"noget du ikke havde tænkt igennem før."

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/> Begrebet <citetitle>intellektuell "
"ejendom</citetitle> er af relativ ny oprindelse. Se See Siva Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York "
"University Press, 2001). Se også  Lawrence Lessig, <citetitle>The Future of "
"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26 . Begrebet "
"beskriver præcist et sæt med <quote>ejendoms</quote>-rettigheder &ndash; "
"ophavsreter, patenter, varemærker og forretningshemmeligheter &ndash; men "
"egenskaberne til disse rettigheder er vældig  forskellige."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi lever i en værdet som fejrer <quote>ejendom.</quote>  Jeg er en af de som "
"fejrer den.  Jeg tror på værdien af ejendom generelt, og jeg tror også  på "
"værdien af den sære formen for ejendom som advokater kalder "
"<quote>immateriell ejendom.</quote><placeholder type=\"footnote\" id=\"0\"/> "
"Et stort og varieret samfund kan ikke  overleve uden ejendom, og et moderne "
"samfund kan ikke  blomstre uden immaterielle ejerrettigheder."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men det tager bare  nogle sekunders refleksion for at indse at det er masse "
"af værdi der ude som <quote>ejendom</quote> ikke dækker.  Jeg mener ikke  "
"<quote>kærlighed kan ikke  købes med penge</quote>, men i stedet en værdi "
"som ganske enkelt er del af produktionsprocessen, både for kommerciel og "
"ikke-kommerciel produktion.  Hvis Disneys animatører havde stjålet et sæt "
"med blyanter for at tegne Steamboat Willie, vi villes ikke  drysset med at "
"dømme det som galet &ndash; selv om det er trivielt, og selv om det ikke "
"bliver opdaget.  Men det var intet galt, i hvert fald sådan loven var da , "
"med at Disney tog fra  Pjusker Keaton, eller fra Grimm-brødrene.  Det var "
"intet galt med at tage fra Keaton, fordi Disneys brug villes blevet anset "
"som <quote>rimeligt.</quote>  Det var intet galt med at tage fra brødrene "
"Grimm fordi deres værk var allemannseie."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "derivative works based on"
msgstr "avledede værk baseret på"

#.  PAGE BREAK 42 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dermed, selv om de tingene som Disney tog &ndash; eller mere generelt, "
"tingene som bliver taget af enhver som udøver Walt Disney-kreativitet "
"&ndash; er værdifulde, så anser ikke  vores tradition det som galet at tage "
"disse ting.  Nogle ting forbliver frie til at blive taget i en fri kultur, "
"og denne frihed er god."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er det samme med doujinshi-kulturen.  Hvis en doujinshi-kunstner brød "
"sig ind på kontoret til man forlægger, og stak af med tusind kopier af hans "
"sidste værk &ndash; eller bare en kopi &ndash; uden at betale, så ville vi "
"uden at drysse si at kunstneren har gjort noget galt.  I tillæg til at have "
"behøvet sig ind på andres ejendom, villes han have stjålet noget af værdi. "
"Loven forbyder stjeling i enhver form, uanset hvor stort eller lidt som "
"bliver taget."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel er det en åpenbar modvilje, selv blandt japanske advokater, for at "
"si at etterapende tegneseriekunstnere <quote>stjæler.</quote>  Denne form "
"for Walt Disney-kreativitet anses som rimeligt og rigtigt, selv om specielt "
"advokater synes det er vanskeligt at forklare hvorfor ."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er det samme med tusind eksempler som dukker op  over alt med en gang en "
"begynder at se efter dem.  Forskerne bygger på arbejdet til andre forskere "
"uden at spørge eller betale for privilegiet. (<quote>Undskyld mig, professor "
"Einstein, men kan jeg få tilladelse til at bruge din relativitetsteori til "
"at vise at du tog fejl om kvantefysikk?</quote>) Teatertropper viser frem "
"bearbeidelser af værkerne til Shakespeare uden at sikre sig nogle "
"tilladelser.  (Er det <emphasis>nogle</emphasis> som tror at Shakespeare "
"villes været mere bredt i vores kultur om det var et centralt "
"rettighedopklaringring kontor for Shakespeare som alle som fortog "
"Shakespeare-produktioner måtte spørge først ?)  Og Hollywood går igennem "
"cyklusser med en bestemt type film: fem astroidefilmer på slutningen af 1990-"
"tallet, to vulkankatastrofefilm i 1997 ."

#.  PAGE BREAK 43 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Skabere her og overalt ellers har altid  og til alle tider bygget på "
"kreativiteten som eksisterede før og som omringer dem nu.  Denne bygning er "
"altid  og overalt i det mindste delvis gjort uden tilladelse og uden at "
"kompensere den oprindelige skaberen.  Intet samfund, frit eller "
"kontrolleret, har nogensinde  krævet at enhver bruge skulle blive betalt "
"for, eller at tilladelse for Walt Disney-kreativitet altid måtte skaffes.  I "
"stedet har ethvert samfund ladet en bestemt bid af sin kultur være frit "
"tilgængeligt for alle at tage &ndash; frie samfund måske i større grad end "
"ufrie, men en vis grad i alle samfund."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det vanskelige spørgsmålet er derfor  ikke <emphasis>om</emphasis> en kultur "
"er fri.  Alle kulturer er frie til en vis grad. Det vanskelige spørgsmålet "
"er i stedet  <quote><emphasis>hvor</emphasis> fri er denne kultur?</quote> "
"Hvor mange og hvor bredt, er kulturen frit tilgængeligt for andre at tage, "
"og bygge på?  Er den friheden begrænset til partimedlemmer?  Til medlemmer "
"af kongefamilien?  Til de ti største selskaberne på New York-børsen?  Eller "
"at denne frihed er bredt tilgængelig? Til kunstnere generelt, uanset om de "
"er tilknyttet til Nasjonalmuseet eller ikke?  Til musikere generelt, uanset "
"om de er hvide eller ikke? Til filmskabere generelt, uanset om de er "
"tilknyttet et studio eller ikke?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Frie kulturer er kulturer som efterlader meget åbent for andre at bygge på.  "
"Ufrie, eller tilladelse-kulturer efterlader meget mindre.  Vår var en fri "
"kultur. Den er på tur til at blive mindre fri."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Two: <quote>Mere Copyists</quote>"
msgstr "Kapitel to: <quote>Kun etterapere</quote>"

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I 1839</emphasis> fandt Louis Daguerre op den første "
"praktiske teknologien for at producere det vi villes kalde "
"<quote>fotografier.</quote>  Rimeligt nok blev de kaldt "
"<quote>daguerreotyper.</quote>  Processen var kompliceret og kostbart, og "
"feltet var dermed  begrænset til professionelle og nogle få ivrige og "
"velstående amatører.  (Det var til og med en amerikansk Daguerre-forening "
"som hjalp til med at regulere industrien, sådan alle sådanne foreninger gør, "
"ved at holde konkurrencen ned sådan at priserne var høje.)"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men til trods for høje priser var efterspørgslen efter daguerreotyper stærk. "
" Dette inspirerede oppfinnere til at finde enklere og billigere måder at "
"fortage <quote>automatiske billeder.</quote>  William Talbot opdagede snart  "
"en proces for at fortagne <quote>negativer.</quote>  Men da negativerne var "
"af glas, og måtte holdes fugtige, forblev processen kostbar og tung.  På "
"1870-tallet blev tørrplater udviklet, noget som gjorde det enklere at skille "
"det at tage et billede fra at fremkalle det.  Det var fortsat  plader af "
"glas, og dermed var det fortsat ikke en proces som var indenfor rækkevidden "
"til de fleste amatører."

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

#.  PAGE BREAK 45 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den teknologiske ændringen som gjorde masse-fotografering muligt skete ikke "
"før i 1888, og det var takket være en eneste mand. George Eastman, selv en "
"amatørfotograf, var frustreret over den plade-baserede fotografi-"
"teknologien.  I et lysglimt af indsigt (for at si det sådan), forstod "
"Eastman at hvis filmen kunne gøres bøyelig, så kunne den holdes på en enkel "
"rulle.  Denne rulle kunne så sendes til en fremkaller, og sænke "
"omkostningerne til fotografering væsentligt.  Ved at reducere "
"omkostningerne, forventet Eastman at han dramatisk kunne udvide antallet "
"fotografer."

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

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

#.  f1 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 udviklede bøyelig, emulsjonsbelagt papirfilm og placerede ruller med "
"dette i små, enkle kameraer: Kodaken.  Enheden blev markedsført med fokus på "
"dets enkelhet. <quote>Du trykker på knappen og vi fikser resten.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Som han skrev i "
"<citetitle>The Kodak Primer</citetitle>:"

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

#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Princippet til Kodak-systemet er skillet mellem arbejdet som enhver kan "
"udføre når de tager fotografier, fra arbejdet som kun en ekspert kan gøre. "
"&hellip;  Vi forsynede alle, mænd, kvinder og barn med tilstrækkelig "
"intelligens til at pege en dåse i rigtig retning og trykke på en knap, med "
"et apparat som helt fjernede kravet om specielt udstyr og fra "
"fotograferingpraksissen, og helt fjernede krav om speciel kundskab inden "
"kunstarten.  Det kan tages i brug  uden forudgående studier, uden et "
"mørkerum og uden kemikaliummer.<placeholder type=\"footnote\" id=\"0\"/>"

#.  f3 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Jenkins, 177."
msgstr "Jenkins, 177 ."

#.  f4 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Based on a chart in Jenkins, p. 178."
msgstr "Baseret på et diagram i Jenkins, s. 178 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For 25 dollar kunne alle tage billeder.  Det var allerede  film i kameraet, "
"og når det var brugt blev kameraet returneret til en Eastman-fabrik hvor "
"filmen blev fremkalt.  Efterhånden, naturligvis, blev både omkostningen til "
"kameraet og hvor enkelt det var at bruge forbedret.  Film på rulle blev "
"dermed  grundlaget for en eksplosiv vækst i fotografering blandt folket. "
"Eastmans kamera blev lagt ud for salg i 1888, og et år senere trykket Kodak "
"mere end seks tusind negativer om dagen.  Fra 1888 til 1909, mens "
"produktionen i industrien voksede med 4,7 procent, øgede salget af "
"fotografisk udstyr og materiale med 11 procent.<placeholder "
"type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak oplevede i samme "
"periode en årlig vækst på over 17 procent.<placeholder type=\"footnote\" "
"id=\"1\"/>"

#.  f5 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Coe, 58."
msgstr "Coe, 58 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den virkelige betydningen af oppfinnelsen til Eastman var derimod  ikke "
"økonomisk.  Den var social.  Professionel fotografering gav individer et "
"glimt af steder de ellers aldrig vilde se. Amatørfotografering gav dem "
"muligheden til at arkivere sine liv på en måde som de aldrig havde været i "
"stand  til tidligere.  Som forfatter Brian Coe skriver: <quote>For første "
"gang tilbød fotoalbummet manden i gaden et permanent arkiv over sin familie "
"og deres aktiviteter. &hellip; For første gang i historie fandtes det en "
"autentisk visuell oppføring af udseende og aktivitet til normale mennesker "
"fortog uden [skrivefør] tolkning eller forutinntatthet.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "democracy"
msgstr "demokrati"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in technologies of expression"
msgstr "i teknologier for at udtrykke sig"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "expression, technologies of"
msgstr "udtrykke sig, teknologier for at"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"På denne måde var Kodak-kameraet og film udtrykteknologier. Blyanten og "
"malepenselen var selvfølgelig  også en udtrykteknologi. Men det tog årevis  "
"med træning føder de kunne blive brugt nyttigt og effektivt af amatører.  "
"Med Kodaken var udtryk muligt meget raskere og enklere.  Barrièren for at "
"udtrykke sig var sænket.  Snobber vilde fnyse over <quote>kvaliteten,</"
"quote> professionelle villes afvise den som irrelevant.  Men se et barn "
"studere hvordan  bedst vælge billedemotiv, og du får følelsen af hvad slags "
"kreativiteterfaring som Kodaken gjorde muligt.  Demokratiske værktøjer gav "
"normale folk en måde at udtrykke sig selv enklere end noget andet værktøj "
"kunne have gjort før."

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "photography exempted from"
msgstr "fotografering som ikke behøver"

#.  f6 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"For illustrerende sager, se for eksempel , <citetitle>Pavesich</citetitle> "
"mod <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Gav. 1905); "
"<citetitle>Foster-Milburn Co</citetitle>. mod <citetitle>Chinn</citetitle>, "
"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mod "
"<citetitle>Walker</citetitle>, 64 F. 280 (Mass.  Dist. Ct. 1894)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvad krevdes for at denne teknologi skulle blomstre?  Eastmans genialitet "
"var åbenbaret en vigtig del.  Men det juridiske miljøet som Eastmans "
"oppfinnelse voksede i var også  vigtigt.  For tidligt i historie til "
"fotografering, var det en række retafgørelser som godt kunne have ændret "
"kursen til fotograferingen betydeligt.  Domstole blev spurgt om fotografen, "
"amatør eller professionel, måtte have tilladelse føder han kunne fange og "
"trykke hvilket som hilst billede han ønskede.  Svaret var nej.<placeholder "
"type=\"footnote\" id=\"0\"/>"

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

#.  PAGE BREAK 47 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Argumenterne til fordel for at kræve tilladelser vil høres overraskende "
"kendt ud.  Fotografen <quote>tog</quote> noget fra personen eller bygningen "
"som blev fotograferet &ndash; røvet til sig noget af værdi.  Nogle troede "
"til  og med at han tog motivets sjel.  På samme måde som Disney ikke stod "
"frit til at tage blyanterne som hans animatører brugte for at tegne Mikke, "
"så skulle heller  ikke disse fotografer stå frit til at tage billeder som de "
"fandt værdi i."

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 og 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>
#, fuzzy
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 ""
"På den andre side var et argument som også bør være kendt. Jodene, det var "
"måske  noget af værdi som blev brugt.  Men borgerne burde have ret til at "
"fange i hvert fald de billederne som var taget af offentligt område.  (Louis "
"Brandeis, som senere blev høyesterettsjustitiarus, mente reglen skulle være "
"anderledes for billeder taget af private områder.<placeholder "
"type=\"footnote\" id=\"0\"/>) Det kan være at dette betyder at fotografen "
"får noget for ingenting.  På samme måde som Disney kunne hente inspiration "
"fra <citetitle>Steamboat Bill, Jr.</citetitle>, eller Grimm-brødrene, så "
"burde fotograferne stå frit til at fange et billede uden at kompensere "
"kilden."

#.  f8 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se 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> mod <citetitle>Samsung "
"Electronics America, Inc</citetitle>., 971 F.  2d 1395 (9th Cir. 1992), "
"sert. nægtet, 508 U.S. 951 (1993)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Heldigvis for Herre Eastman, og for fotografering generelt, gik disse "
"tidligere afgørelser i favør af piraterne.  Generelt blev det ikke "
"nødvendigt at sikre sig tilladelse før et billede kunne tages og deles med "
"andre.  I stedet var det antaget at tilladelse var givet.  Frihed var "
"udgangspunktet.  (Loven gav efter en stund et undtagelse for berømte "
"personer: kommercielle fotografer som tog billeder af berømte personer for "
"kommercielle formål har flere begrænsninger end resten af os.  Men i det "
"normale tilfældet kan billedet tages uden at klarere rettighederne for at "
"tage det.<placeholder type=\"footnote\" id=\"0\"/>)"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi kan kun  spekulere om hvordan fotografering villes have udviklet sig om "
"loven havde slået ud den andre vej.  Hvis den havde været mod fotografen, da "
"villes fotografen måttet dokumentere at tilladelse var på plads.  Måske "
"Eastman Kodak også måtte have dokumenteret at tilladelse var givet, før de "
"udviklede filmen som billederne blev fanget på.  Trods alt, hvis tilladelse "
"ikke var givet, da villes Eastman Kodak have nyt fordeler fra "
"<quote>tyveriet</quote> begået af fotografer.  På samme måde som Napster nød "
"fordeler fra ophavsretbrud udført af Napster-brugere, så villes Kodak nyt "
"fordeler fra <quote>billede-rettigheds</quote>-brud til deres fotografer.  "
"Vi kan forestille os at loven da ville krævet at en form for tilladelse blev "
"vist frem før et selskab fremkalte billederne.  Vi kan forestille os at et "
"system bliver udviklet for at lægge frem sådanne tilladelser."

#.  PAGE BREAK 48 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men, selv om vi kan tænke os dette godkendelse systemet, så vil det være "
"vældig  vanskeligt at se hvordan fotografering skulle have blomstret sådan  "
"det gjorde hvis det var bygget ind krav om godkendelse i skrønerne som "
"styrede det.  Fotografering villes eksisteret.  Det villes have øget sin "
"betydning over tid.  Professionelle vilde have fortsat  at bruge teknologien "
"sådan de gjorde &ndash; siden  professionelle enklere kunne håndteret "
"byrderne pålagt dem af godkendelsesystemet.  Men spredningen af "
"fotografering til normale folk villes aldrig  have sket.  Væksten det skabte "
"kunne aldrig  have sket.  Og det villes uden tvivl aldrig været realiseret "
"en sådan vækst i demokratisk udtrykteknologi."

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Hvis du kører</emphasis> gennem området Presidio i "
"San Francisco, kan det hænde du ser to gusjegule skolebusser overmalet med "
"fargefulle og iøynefallende billeder, og logoet <quote>Just Think!</quote> i "
"stedet for navnet på en skole. Men det er lidt  som er <quote>bare </quote> "
"tænkt i projekterne som disse kammerater muliggjør.  Disse busser er "
"befolket med teknologi som lærer unger at rode med film.  Ikke filmen til "
"Eastman.  Ikke en gang filmen i din videospiller.  I stedet er det snak om "
"<quote>filmen</quote> i digitale kameraer.  Just Think! er et projekt som "
"gør det muligt for unger at fortage film, som en måde at forstå og kritisere "
"den filmede kulturen som de finder over alt rundt sig.  Hvert år besøger "
"disse busser mere end tredive skoler, og giver mellem tre hundrede og fem "
"hundrede børn muligheden til at lære noget om medierne ved at gøre noget med "
"medierne.  Ved at gøre, så tænker de.  Ved at rode, så lærer de."

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

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

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

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

#.  f9 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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, februar 2002, tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #7</ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse busser er ikke  billige, men teknologien de har med sig bliver "
"billigere og billigere.  Omkostningen til et digitalt høykvalitets "
"videosystem har henhørt dramatisk.  Som man analytiker omtalte det, "
"<quote>for fem år siden kostede et godt sanntids redigeringsystem for "
"digital video 25 000 dollar.  I dag kan du få professionel kvalitet for 595 "
"dollar.</quote><placeholder type=\"footnote\" id=\"0\"/> Disse busser er "
"befolket med teknologi som villes kostet hundredetusindvis  af dollar for "
"bare ti år siden.  Og det er nu  muligt at forestille sig ikke bare sådanne "
"busser, men klasseværelse rundt om i landet hvor unger kan lære mere og mere "
"af det lærerne kalder <quote>læse- og skriveferdigheter inden medierne.</"
"quote>"

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

#.  PAGE BREAK 49 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<quote>Læse- og skriveferdigheter inden medierne,</quote> som "
"administrerende direktør Dave Yanofsky i Just Think!, siger det, <quote>er "
"evnen til &hellip;  at forstå, analysere og dekonstruere mediumbilleder. "
"Dets mål er at gøre [unger] i stand til at forstå hvordan medierne fungerer, "
"hvordan de er konstrueret, hvordan de bliver leveret, og hvordan folk bruger "
"dem.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette kan virke som en lidt mærkelig måde at tænke på <quote>læse- og -"
"skriveferdigheter.</quote> For de fleste handler læse- og skriveferdigheter "
"om at kunne læse og skrive. Folk med <quote>læse- og -skriveferdigheter</"
"quote> kender begreber som Faulkner og Hemingway, og kan kende igen  delte "
"infinitiver."

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

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

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

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

#.  f10 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 . maj "
"1997, B6 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Muligt det.  Men i en værdet hvor barn ser i gennemsnit 390 timer med TV-"
"reklamer i året, eller generelt mellem 20 000 og 45 000 reklameindslag,"
"<placeholder type=\"footnote\" id=\"0\"/> så er det mere og mere vigtigt at "
"forstå <quote>grammatikken</quote> i mediumindslag.  For på samme måde som "
"det er en grammatik for det skrevne ord, så er det også en for medierne.  Og "
"akkurat sådan som unger lærer at skrive ved at skrive masse grusom prosa, så "
"lærer unger at skrive medierne ved at konstruere en masse  (i hvert fald i "
"begyndelsen) grusomme mediumindslag."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Et voksende felt af akademikere og aktivister ser denne form for læse- og "
"skriveferdighet som afgørende for den næste generation af kultur. For selv "
"om de som har skrevet forstår hvor  vanskeligt det er at skrive &ndash; hvor "
" vanskeligt det er at bestemme rækkefølge i historie, at holde på "
"opmærksomheden hos læseren, at forme sproget sådan at det er forståeligt "
"&ndash; så har få af os en reel følelse af hvor vanskeligt medier er. Eller "
"mere fundamentalt, de færrest af os har en følelse for hvordan medierne "
"fungerer, hvordan det holder på publikum, eller leder læseren gennem "
"historie, hvordan det udløser følelser eller bygger op spændingen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det tog filmkunsten en generation føder den kunne gøre disse ting gode.  Men "
"selv da, så var kundskaben i filmingen, ikke i at skrive om filmen.  "
"Ferdigheten kom fra erfaring med at fortage en film, ikke fra at læse en bog "
"om den.  Man lærer at skrive ved at skrive, og derefter reflektere over det "
"man har skrevet.  Man lærer at skrive med billeder ved at fortage dem, og "
"derefter reflektere over det man har fortaget."

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

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

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

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

#.  f12 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se Scott Steinberg, <quote>Crichton Gets Medieval on Pcs,</quote> E!online, "
"4 . november 2000, tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #8</ulink>; <quote>Timeline,</quote> 22 . november 2000, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #9</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne grammatik har ændret sig efterhånden som medierne har ændret sig.  Da "
"det kun var film, som Elizabeth Daley, administrerende direktør ved "
"Universitetet i Syd-Califorias Anneberg-center for kommunikation og rektor "
"ved USC skole for biograf og TV, forklarede for mig, var grammatikken om "
"<quote>placeringen af objekter, farver, &hellip; rytme, skridt og tekstur.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Men efterhånden som "
"computere åbner op et interaktivt rom hvor en historie bliver "
"<quote>fremført</quote> i tillæg til oplevet, ændrer grammatikken sig.  Den "
"enkle kontrollen til fortællerstemmen er forsvundet, og dermed er andre "
"teknikker nødvendigt.  Forfatter Michael Crichton havde behersket "
"fortællerstemmen til science fiction, men da han forsøgte at fortage et "
"dataspil baseret på et af sine værker, så var det et nyt håndværk han måtte "
"lære.  Det var ikke  åbenbaret hvordan man leder folk gennem et spil uden at "
"de får følelsen af at have blevet ledt, selv for en vældig vellykket "
"forfatter.<placeholder type=\"footnote\" id=\"1\"/>"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Akkurat denne ferdigheten er håndværket en lærer til de som fortager film. "
"Som Daley skriver, <quote>folk er vældig  overrasket over hvordan de bliver "
"ledt gennem en film.  Den er perfekt konstrueret for at hindr dig fra at se "
"det, så du aner det ikke.  Hvis en som fortager film lykkes, så ved du ikke "
"at du har været ledt.</quote> Hvis du ved at du blev ledt igennem en film, "
"så har filmen fejlet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel handler indsatsen for at udvide læse- og skriveferdigheter &ndash; "
"som går ud over tekst til at også tage med elementer som høres og ses "
"&ndash; ikke  om at skabe bedre filmregissører.  Målet er ikke  at forbedre "
"filmprofessionen i det hele taget.  I stedet, som Daley forklarer:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Fra mit perspektiv er sikkert det vigtigste digitale skillet ikke om en har "
"tilgang til en dåse eller ikke.  Det er evnen til at have kontrol over "
"sproget som dåsen bruger.  I modsat fald er det bare nogle få som kan skrive "
"i dette sprog, og alle os andre er reduceret til at ikke kunne skrive."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Skrive-beskyttede.</quote> Passive mottakere af kultur produceret "
"andre steder. Sofakartofler. Forbrukere. Dette er mediumværdet fra det "
"tyvende århundrede."

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

#.  f31 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "Ibid."
msgstr "ibid."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det tjueførste århundredet kan blive anderledes .  Dette er et kritisk "
"punkt: Det kan blive både lesing og skriving.  Eller i det mindste lesing og "
"bedre forståelse for håndværket at skrive.  Eller det bedste, lesing og "
"forstå værktøjerne som giver skriving mulighed til at vejlede eller forlede. "
" Målet med enhver læse- og skriveferdighet, og denne læse- og "
"skriveferdigheten specielt, er at <quote>give befolket magt til at vælge det "
"sproget som passer for det de behøver at fortage eller udtrykke.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Det giver studenter mulighed "
"<quote>til at kommunikere i sproget til det tjueførste århundredet.</"
"quote><placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som med ethvert andet sprog, læres dette sprog lettere for nogle end for "
"andre.  Det kommer ikke  nødvendigvis lettere for dem som gør det godt "
"skriftligt. Daley og Stephanie Barish, direktør for Institut for læse- og "
"skriveferdigheter inden Multimedia ved Annenberg-centeret, beskriver et "
"specielt stærkt eksempel fra et projekt de gennemførte i en videregående "
"skole.  Den videregående skolen var en rigtigt fattig skole i den indre byen "
"i Los Angeles.  Efter alle traditionelle måleenheter for succes var denne "
"skole en svipser, men Daley og Barish gennemførte et program som gav ungerne "
"en mulighed til at bruge film til at udtrykke sine meninger om noget som "
"studenterne kendte godt  til &ndash; våben-relateret vold."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Klassen mødtes fredag eftermiddag, og skabte et relativt nyt problem for "
"skolen.  Mens udfordringen i de fleste klasser var at få ungerne til at "
"dukke op , var udfordringen for denne klasse at holde dem fra. "
"<quote>Ungerne dukkede op 06:00, og afgik igen  05:00 på natten,</quote> "
"sagde Barish. De arbejdede hårdere end i nogle andre fag for at gøre det "
"uddannelse burde handle om &ndash; at lære hvordan de skulle udtrykke sig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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, <quote>you have to do it in "
"text,</quote> 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 ""
"Ved at bruge hvad som helst  af <quote>frit tilgængeligt web-stof de kunne "
"finde,</quote> og relativt enkle værktøjer som gjorde det muligt for ungerne "
"at blande <quote>billede, lyde og tekst,</quote> sagde Barish at denne "
"klasse producerede en serie af projekter som viste noget om våben-baseret "
"vold som få ellers ville forstå. Dette var et tema rigtigt næret livene til "
"disse studenter.  Projektet <quote>gav dem et værktøj, og bemyndiget dem "
"sådan at de både blev i stand  til at forstå det og snakke om det,</quote> "
"forklarer Barish.  Dette værktøj lykkedes med at skabe udtryk &ndash; meget "
"mere vellykket og kraftfylt end noget som havde blevet fortaget ved at kun "
"bruge tekst.  <quote>Hvis du havde sagt til disse studenter at <quote>du må "
"gøre dette i tekstform</quote>, så havde de bare kastet hånd i vejret og "
"gået og gjort noget andet,</quote> forklarer Barish.  Delvis, helt klart, "
"fordi at udtrykke sig selv i tekstform ikke er noget disse studenter "
"behersker. Heller ikke er tekstform en form som kan udtrykke "
"<emphasis>disse</emphasis> idéene godt.  Kraften/Kræfter i dette budskab var "
"avhenging af hvordan det hang sammen med udtrykformen."

#.  PAGE BREAK 52 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Men handler ikke  uddannelse om at lære unger at skrive?</quote> "
"spurgte jeg. Jo delvis, naturligvis.  Men hvorfor lærer vi unger at skrive? "
"Uddannelse, forklarer Daley, handler om at give studenterne en måde at "
"<quote>konstruere mening.</quote>  Å sige at det kun betyder skriving, er "
"som at sige at  at lære væk skriving kun handler om at lære ungerne at "
"stave. Tekstforming er bare  en del &ndash; og i større grad ikke den "
"vigtigste delen &ndash; for at konstruere mening.  Som Daley forklarede i "
"den mest rørende delen af vores interview:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Det du ønsker er at give disse studenter er en måde at konstruere mening. "
"Hvis alt du giver dem er tekst, så kommer de ikke til at gøre det. Fordi de "
"kan ikke .  Du ved, du har Johnny som kan se på en video, han kan spille på "
"et TV-spil, han kan brede grafitti over alle dine vægge, han kan tage fra "
"hinanden din bil, og han kan gøre alle mulige andre ting.  Men han kan ikke  "
"læse din tekst.  Så Johnny kommer på skolen, og du siger <quote>Johnny, du "
"er analfabet.  Ingenting du gør betyder noget.</quote>  Vel, da har Johnny "
"to valg: Han kan afvise dig, eller han kan afvise sig selv.  Hvis han har et "
"sundt ego, så vil han afvise dig.  Men hvis du i stedet siger, <quote>Vel, "
"med alle disse ting som du kan gøre, lagde os snakke om dette tema.  Spil "
"musik til mig som du mener reflekterer over temaet, eller vis mig billeder "
"som du mener reflekterer over temaet, eller tegn noget til mig som "
"reflektere temaet.</quote>  Ikke ved at give en unge et videokamera og "
"&hellip; sige <quote>Lagde os afgå for at have det morsomt med videokameraet "
"og dagsværk en lille film.</quote> Men i stedet, virkeligt hjælpe ungen at "
"tage disse elementer som ungen forstår, som er vedkommendes sprog, og "
"konstruer mening om temaet. &hellip;"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Dette giver enorm oplevelse af magt.  Og det som sker til slutning, "
"selvfølgelig, som det har sket i alle disse klasser, er at de stopper op  "
"når de træffer faktummet <quote>jeg behøver at forklare dette, og da behøver "
"jeg virkeligt at skrive noget.</quote>  Og som en af lærerne fortalte "
"Stephanie, de vil skrive om afsnittet 5, 6, 7, 8 gange, helt til det bliver "
"rigtigt."

#.  PAGE BREAK 53 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Fordi de behøvede det.  De havde en grund til at gøre det.  De behøvede at "
"sige noget, i modsætning til at kun danse efter din pibe.  De behøvede "
"faktisk  at bruge det sproget de ikke håndterede rigtigt godt.  Men de havde "
"begyndt at forstå at de havde meget gennemslagkraft med dette sprog."

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Da to fly</emphasis> styrtet ind i World Trade "
"Center, og et andet ind i Pentagon, og et fjerde ind i et mark i "
"Pennsylvania, skruede alle medier værdet rundt sig mod denne nyhed.  Hvert "
"eneste øjeblik i omtrent hver eneste dag den ugen, og ugerne som fulgte, "
"gjenfortalte TV specielt, og medierne generelt, historie om disse hændelser "
"som vi netop havde været vidne til.  Genialiteten i denne forfærdelige "
"terrorhandling var at det forsinkede andre-angrebet var perfekt tidsatt for "
"at sikre at hele værdet villes være der hen for at se på."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse gjenfortellingene gav en øgende familiær følelse.  Det var musik "
"spesiallaget for mellem-indslagene, og avanceret grafik som blinkede tværs  "
"over skærmen.  Det var en formel for interview.  Det var <quote>balance</"
"quote> og seriøsitet.  Dette var nyheder koreograferet sådan  vi i stadigt "
"større grad forventer det, <quote>nyheder som underholdning,</quote> selv om "
"underholdningen er en tragedie."

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

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Cyber Rights (Godwin)"
msgstr "Cyber Rights (Godwin)"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Godwin, Mike"
msgstr "Godwin, Mike"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men i tillæg til disse producerede nyheder om <quote>tragedien 11 . "
"september,</quote> kunne de af os som er knyttet til Internet se en vældig "
"anderledes produktion. Internet er fuldt  af fortællinger om de samme "
"hændelser.  Men disse Internet-fortællingerne havde en vældig anderledes "
"fremstilling.  Nogle folk konstruerede fotosider som fangede billeder fra "
"hele værdet, og præsenterede dem som lysbilledepræsentationer med tekst.  "
"Nogle tilbød åbne breve.  Det var lydopptak.  Det var vrede og frustration.  "
"Det var forsøg på at sætte ting i sammenhæng.  Det var, kort og godt, en "
"ekstraordinær verdensomspændende frivillig, sådan Mike Godwin bruger "
"begrebet i sin bog <citetitle>Cyber Rights</citetitle>, rundt en "
"nyhedhændelse som havde fanget opmærksomheden til hele værdet.  Det var ABC "
"og CBS, men det var også  Internet."

#.  PAGE BREAK 54 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er ikke  så enkelt som at jeg ønsker at lovprise Internet &ndash; selv "
"om jeg mener at  folkene som støtter denne form for tale bør lovprises.  Jeg "
"ønsker i stedet  at pege på vigtigheden af denne form for tale.  For på "
"samme måde som en Kodak, gør Internet folk i stand til at fange billeder.  "
"Og på samme måde som med en film fortog af en af studenterne på <quote>Just "
"Think!</quote>-bussen, kan visuelle billeder blive blandet med lyde og tekst."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men i modsætning til en hvilken som hilst teknologi for at enkelt fange "
"billeder, tillader Internet at man næsten umiddelbart deler disse kreationer "
"med et ekstraordinært antal menesker.  Dette er noget nyt i vores tradition "
"&ndash; ikke bare kan kultur fanges ind mekanisk, og åbenbaret heller  ikke "
"at hændelser bliver kommenteret kritisk, men at denne blanding af  billeder, "
"lyde og kommentar kan bredes vidt omkring næsten umiddelbart."

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"11 . september var ikke  et afvigelse.  Det var en start.  Omtrent på samme "
"tid begyndte en form for kommunikation, som havde vokset dramatisk, at komme "
"ind i offentlig bevidsthed: web-loggen, eller blog.  Bloggen er en slags "
"offentligt dagbok, og i nogle kulturer, sådan som i Japan, fungerer den "
"rigtigt lig en dagbok.  I disse kulturer registrerer den private fakta på en "
"offentlig måde &ndash; det er en slags elektronisk <citetitle>Jerry Spring</"
"citetitle>, tilgængeligt overalt i værdet."

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "public discourse conducted on"
msgstr "offentlig diskussion gennemført på"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men i USA har blogger inntatt en vældig anderledes karakter.  Det er nogle "
"som bruger denne plads til at snakke om sit private liv.  Men det er mange "
"som bruger denne plads til at angive i offentlig debat. Diskuterer sager af "
"offentlig interesse, kritiserer andre som har forkerte synspunkt, kritiser "
"politikere for afgørelser de tager, tilbyder løsninger på problemer vi alle "
"ser.  Blogger skaber en følelse af et virtuelt offentligt møde, men et hvor "
"vi alle ikke må at være til præsentere på samme tid, og hvor samtalerne ikke "
"nødvendigvis er koblet sammen .  De bedste af bloggoppføringene er relativt "
"korte.  De peger direkte til ord brugt af andre, kritiserer dem eller "
"bidrager til dem.  Det kan argumenteres for at de er den vigtigste form for "
"ukoreografert offentlig debat som vi har."

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

#.  PAGE BREAK 55 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er en stærk udtalelse.  Alligevel siger den lige så meget om vores "
"demokrati som den siger om blogger.  Dette er delen af USA som det er mest "
"vanskeligt at acceptere for os som elsker USA: vores demokrati har svundet "
"hen.  Vi gennemfører naturligvis  valg, og størstedelen af tiden tillader "
"domstolene at disse valg tæller.  Et relativt lille antal mennesker stemmer "
"i disse valg.  Cyklussen med disse valg har blevet totalt professionaliseret "
"og rutinepræget.  De fleste af os tænker på dette som demokrati."

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "public discourse in"
msgstr "offentlig diskussion i"

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

#.  f15 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se for eksempel  Alexis de Tocqueville, <citetitle>Democracy in America</"
"citetitle>, bk. 1, overs.  Henry Reeve (New York: Bantam Books, 2000), kap. "
"16 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men demokrati har aldrig  kun handlet om at gennemføre valg.  Demokrati "
"betyder at  befolket styrer, og at styre betyder noget mere end at kunne "
"vælge.  I vores tradition betyder det også kontrol gennem gennemtænkt "
"meningsbrytning.  Dette var idéen som fangede fantasien til Alexis de "
"Tocqueville, den franske nittenhundretalls-advokaten som skrev den vigtigste "
"historie om det tidlige <quote>demokratiet i Amerika.</quote>  Det var ikke  "
"almen stemmeret som fascinerede ham &ndash; det var juryen, en institution "
"som gav normale folk retten til at vælge mellem liv og død over andre "
"borgere.  Og det som fascinerede ham mest var at juryen ikke bare stemte "
"over hvilket resultat de villes lægge frem.  De diskuterede.  Medlemmerne "
"argumenterede om hvad som var <quote>rigtigt</quote> resultat, de forsøgte "
"at overbevise hinanden om <quote>rigtigt</quote> resultat, og i hvert fald i "
"kriminalsaker måtte de blive enige om et enstemmigt resultat for at "
"processen skulle afsluttes.<placeholder type=\"footnote\" id=\"0\"/>"

#.  f16 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> "
"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."
msgstr ""
"Bruce Ackerman og James Fishkin, <quote>Deliberation Day,</quote> "
"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Og alligevel accentueres denne institution i USA i dag.  Og i dets sted er "
"det ingen systematisk indsats for at gøre borge-diskussion muligt. Nogle gør "
"en indsats for at fortage en sådan institution.<placeholder "
"type=\"footnote\" id=\"0\"/> Og i nogle landsbyer i New England er det noget "
"som ligner på diskussion igen.  Men for de fleste af os det meste af tiden, "
"mangler det tid og sted for at gennemføre <quote>demokratisk diskussion.</"
"quote>"

#.  f17 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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&ndash;80, 175, 182, 183, 192 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mere mærkeligt er at man generelt set ikke  engang har accept for at det "
"skal ske.  Vi, det mægtigste demokratiet i værdet, har udviklet en stærk "
"norm mod at diskutere politik.  Det er fint at diskutere politik med folk du "
"er enigt/enig med, men det er uhøflig at diskutere politik med folk du er "
"uenigt/uenig med.  Politisk debat bliver isoleret, og isoleret diskussion "
"bliver mere ekstrem.<placeholder type=\"footnote\" id=\"0\"/> Vi siger det "
"vores venner vil høre, og hører rigtigt lille udenom hvad vores venner siger."

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

#.  PAGE BREAK 56 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Så kommer bloggen.  Selve bloggens arkitektur løser en del af dette "
"problemet.  Folk publicerer det de ønsker at publicere, og folk læser det de "
"ønsker at læse.  Den vanskeligste/vanskeligeste tiden er synkron tid. "
"Teknologier som muliggjør asynkron kommunikation, sådan som e-post, øger "
"muligheden for kommunikation.  Blogger gør det muligt med offentlig debat "
"uden at folket nogensinde behøver at samle sig på et enkelt offentligt sted."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men i tillæg til arkitektur, har blogger også  løst problemet med normer.  "
"Det er (endnu) ingen norm i bloggsfæren om at ikke snakke om politik.  "
"Sfæren er faktisk  befolket med politiske indlæg, både på højre og "
"venstresiden.  Nogle af de mest populære stederne er konservative eller "
"frihetsforkjempere (libertarian), men det er mange af alle politiske farver. "
" Til og med blogger som ikke er politiske dækker politiske temaer når "
"anledningen kræver det."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Betydningerne af disse bloggene er lille nu, men ikke ubetydelig. Navnet "
"Howard Dean har i stor grad forsvundet fra 2004-præsidentvalgkampen, bortset "
"fra hos nogle få blogger.  Men selv om antallet læsere er lavt, så har det "
"at læse dem en effekt."

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

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "blog pressure on"
msgstr "blog-pres på"

#.  f18 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</"
"quote> <citetitle>New York Times</citetitle>, 16 January 2003, G5."
msgstr ""
"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Rod,</"
"quote> <citetitle>New York Times</citetitle>, 16 . januar 2003, G5 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"En direkte effekt er på historie som havde en anderledes livscyklus i de "
"store medierne.  Trend Lott-affæren er et eksempel.  Da Lott <quote>sagde "
"fejl</quote> på en party for senator Storm Thurmond, og essensielt lovpriste "
"segregeringspolitikken til Thurmond, regnede han ganske rigtigt med at "
"historie villes forsvinde fra de store medierne i løbet af førtiåtte timer.  "
"Det skete.  Men han regnede ikke  med dens livscyklus i bloggsfæren.  "
"Bloggerne fortsatte at undersøge historie.  Efterhånden dukkede flere og "
"flere tilfælde af tilsvarende <quote>fejludtalelser</quote> op. Så dukket "
"historie op igen hos de store medierne.  Lott blev til slutning tvunget til "
"at trække sig som flertalleder i senatet.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "commercial imperatives of"
msgstr "kommercielle imperativer af"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne anderledes cyklus er mulig på grund af at et tilsvarende kommercielt "
"pres ikke eksisterer hos blogger sådan  det gør hos andre kanaler.  TV og "
"aviser er kommercielle aktører.  De må arbejde for at holde på "
"opmærksomheden.  Hvis de mister læsere, så mister de indkomster.  Som hajer, "
"må de bevæge sig videre."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "peer-generated rankings on"
msgstr "ligemands-genereret rangeringer af"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men bloggere har ikke  tilsvarende begrænsninger.  De kan blive opphengt, de "
"kan fokusere, de kan blive seriøse.  Hvis en bestemt blogger skriver en "
"specielt interessant historie, så vil flere og flere folk lænke til den "
"historie.  Og efterhånden som antallet lænker til en bestemt historie øger, "
"så stiger den i rangeringen for historie.  Folk læser det som er populært, "
"og det som er populært har blevet valgt gennem en vældig demokratisk proces "
"af ligemands-genereret rangering. "

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

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

#.  PAGE BREAK 57 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er også  en anden måde, hvor blogger har en anden cyklus end de store "
"medierne.  Som Dave Winer, en af fædrene til denne bevægelse og en "
"programvareudvikler i mange årtier, fortalte mig, er en anden forskel "
"fraværet af finansiel <quote>interessekonflikt.</quote>  <quote>Jeg tror du "
"må tage interessekonflikten</quote> ud af journalismen, fortalte Winer mig. "
"<quote>En amatørjournalist har ganske enkelt  ikke interessekonflikt, eller "
"interessekonflikten er så  enkelt at afsløre at du på en måde ved du kan "
"rydde den af vejen.</quote>"

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

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

#.  f19 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr "Telefoninterview med David Winer, 16 . april 2003 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse konflikter bliver mere vigtigt efterhånden som medierne bliver mere "
"centralstyrt (mere om dette under).  Koncentrerede medier kan skjule mere "
"fra offentligheten end ikke-koncentrerede medier kan &ndash; sådan  CNN "
"indrømmne at de gjorde efter Irak-krigen fordi de var bange for "
"konsekvenserne for sine egen beskæftigede.<placeholder type=\"footnote\" "
"id=\"0\"/> De behøver også  at opretholde en mere konsistent rapportering.  "
"(Midt under Irak-krigen, læste jeg en melding på Internet fra nogle som på "
"det tidspunktet lyttede på satellit-forbindelsen til en reporter i Irak.  "
"New York-hovedkvarteret fortalte reporteren gang på gang at hendes rapport "
"om krigen var for  trist: Hun måtte tilbyde en mere optimistisk historie. "
"Når hun fortalte New York at det ikke var grundlag for det, fortalte de "
"hende at det var <emphasis>de</emphasis> som skrev <quote>historie.</quote>)"

#.  f20 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 februar "
"2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but "
"Strong Overall,</quote> Online Journalism Review, 2 . februar 2003, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #10</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Bloggsfæren giver amatører en måde at blive med i debatten &ndash; "
"<quote>amatør</quote> ikke i betydningen uerfaren, men i betydningen af en "
"olympisk atlet, det vil sige ikke  betalt af nogle for at komme med deres "
"rapport.  Det tillader man meget bredere række af optag til en historie, "
"sådan rapporteringen af Columbia-katastrofen afdækket, når hundredevis fra "
"hele sørvestlige USA vendte sig til Internet for at gjenfortelle hvad de "
"havde set.<placeholder type=\"footnote\" id=\"0\"/> Og det får læsere til at "
"læse på tværs af en række fortællinger og <quote>triangulere,</quote> som "
"Winer formulerer det, sandheden.  Blogger, siger Winer, <quote>kommunikerer "
"direkte med vores vælgermasse, og mellommannen er fjernet</quote> &ndash; "
"med alle de fordeler og ulemper det kan føre med sig."

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/>  Se Michael Falcone, <quote>Does an Editor's "
"Pencil Ruin a Web Log?</quote> <citetitle>New York Times</citetitle>, 29 . "
"september 2003, C4 . (<quote>Ikke alle nyhedorganisationer har haft lige så  "
"stor accept for beskæftigede som blogger. Kevin Sites, en CNN-korrespondent "
"i Irak som startede man blog om sin rapportering af krigen 9 . marts, "
"stoppet at publicere 12 dage senere på forespørgsel fra sine bosser. I fjor "
"fik Steve Olafson, en <citetitle>Houston Chronicle</citetitle>-reporter, "
"sparket for at have hat en personlig web-log, publiceret under pseudonymer, "
"som handlede om nogle af temaerne og folkene som han dækkede.</quote>)"

#.  PAGE BREAK 58 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er optimistisk når det gælder en journalistfremtid inficeret af "
"blogger.  <quote>Det kommer til at blive en nødvendig ferdighet,</quote> "
"spår Winer, for offentlige aktører og også i større grad for private "
"aktører.  Det er ikke  klart at <quote>journalismen</quote> er solnedgang "
"for dette &ndash; nogle journalister har blevet bedt om at løbne ud sin "
"blogging.<placeholder type=\"footnote\" id=\"0\"/> Men det er klart at vi "
"fortsat er i en overgangfase.  <quote>Meget af det vi gør nu  er "
"opvarmningøvelser,</quote> fortalte Winer mig.  Det er meget som må modne "
"føder dette felt har modnet færdigt.  Og efter som inkludering af indhold på "
"dette felt er det feltet med mindst ophavsretbrud på Internet, sagde Winer "
"at <quote>vi vil være den sidste tingen som bliver skudt ned.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Sådan tale påvirker demokratiet.  Winer mener dette sker fordi <quote>du "
"behøver ikke  job til nogle som kontrollerer, [til] en portvokter.</quote> "
"Det er sandt.  Men det påvirker demokratiet også på en anden måde. "
"Efterhånden som flere og flere borgere udtrykker hvad de mener, og forsvarer "
"det skriftligt, så vil det ændre hvordan folk forstår offentlige temaer.  "
"Det er enkelt at tage fejl og være på vildspor i dit hoved.  Det er "
"vanskeligere når resultatet fra dine tanke kan blive kritiseret af andre.  "
"Det er selvfølgelig  et sjældent menneske som indrømmer at han blev overtalt "
"til at indse at han tog fejl.  Men det er mere sjældent for et menneske at "
"ignorere at nogle har bevist at han tog fejl.  Å skrive ned idéer, "
"argumenter og kritik forbedrer demokratiet.  I dag er det sikkert et par "
"millioner blogger der det skrives på denne måde.  Når det er ti millioner, "
"så vil det være noget ekstraordinært at rapportere."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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> er bossforsker ved Xerox "
"Corporation.  Hans arbejde, ifølge hans eget netsted, er <quote>menneskeligt/"
"menneskelig læring og &hellip; at skabe kundskabøkologier for at skabt "
"&hellip; innovation.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ser dermed  på disse teknologier for digital kreativitet lidt "
"anderledes end fra perspektiverne jeg har skitseret op  så langt.  Jeg er "
"sikker på at han bliver begejstret for enhver teknologi som kan forbedre "
"demokratiet.  Men det han virkeligt bliver begejstret over er hvordan disse "
"teknologier påvirker læring."

#.  PAGE BREAK 59 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Brown tror vi lærer med at rode.  Da <quote>mange af os voksede op ,</quote> "
"forklarer han, blev fiklingen gjort <quote>på motorcykelmotorer, "
"græsklippermotorer, køre, radioer og så videre.</quote>  Men digitale "
"teknologier muliggjør en anden type fikling &ndash; med abstrakte idéer i "
"sin konkrede form.  Ungerne i Just Think! tænker ikke  bare på hvordan et "
"reklameindslag fremstiller en politiker.  Ved at bruge digital teknologi kan "
"de tage reklameindslaget fra hinanden og manipulerer det, rode med det, og "
"se hvordan det bliver gjort.  Digitale teknologier sætter i gang  et slags "
"hobbyarbejde eller <quote>frifotomontasje,</quote> som Brown kalder det.  "
"Mange får mulighed til at lægge til  eller ændre på fiklingen til mange "
"andre."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det bedste eksemplet i større skala så langt  på denne type fikling er fri "
"software og åben kildekode (FS/OS).  FS/OS er software der kildekoden deles "
"ud.  Alle kan laste ned teknologien som får et FS/OS-program til at fungere. "
" Og enhver som har lyst til at lære hvordan en bestemt bid af FS/OS-"
"teknologi fungerer kan rode med koden."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne mulighed giver en <quote>helt ny type læringsplattform,</quote> ifølge "
"Brown.  <quote>Så snart du begynder at gøre dette, så &hellip; slipper du "
"løs en frifotomontasje til fællesskabet, sådan at andre folk kan begynde at "
"se på din kode, rode med den, teste den, se om de kan forbedre den.</quote>  "
"Og hver indsats er en slags læretid.  <quote>Åben kildekode bliver en stor "
"lærlingsplattform.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I denne proces, <quote>er de konkrede tingene du roder med abstrakte. De er "
"kildekode.</quote>  Unger <quote>ændres til at få evnen til at rode med det "
"abstrakte, og denne fiklingen er ikke  længere en isoleret aktivitet som du "
"gør i din garage.  Du roder med en fællesskabplatform. &hellip;  Du roder "
"med andre folks ordener.  Og jo mere du roder, jo mere forbedrer du.</quote> "
"Jo mere du forbedrer, jo mere lærer du."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne samme ting sker også  med indhold.  Og det sker på samme samarbejdende "
"måde når dette indhold er del af verdensveven.  Som Brown formulerer det, "
"<quote>verdensveven er det første medium som virkeligt tager hensyn til "
"flere former for intelligens.</quote>  Tidligere teknologier, sådan som "
"skrivemaskine eller tekstbehandling, hjælper med at fremme tekst.  Men "
"nettet fremmer meget mere end tekst.  <quote>Nettet &hellip; si  du er "
"musikalsk, at du er kunstnerisk,  du er visuell, at du er interesseret i "
"film &hellip; da er det en masse du kan gå i gang  med på dette medium.  Det "
"kan fremme og tage hensyn til alle disse former for intelligens.</quote>"

#.  PAGE BREAK 60 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 snakker om hvad Elizabeth Daley, Stephanie Barish og Just Think! lærer "
"væk: at denne fiklingen med kultur lærer væk såvel som at den skaber. Den "
"udvikler talenter lidt anderledes, og den bygger en anden type gjenkjenning."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel er friheden til at rode med disse objekter ikke garanteret. "
"Faktisk, som vi vil se i løbet af denne bog, er den friheden i stadigt "
"større grad omstridt.  Mens det ikke er tvivl om at din far havde ret til at "
"rode med bilmotoren, så er det stor tvivl om dit barn vil have retten til at "
"rode med billeder som hun finder over alt. Loven, og teknologi i stadigt "
"større grad, forstyrrer friheden som teknologi og nysgerrigheden ellers "
"villes sikre."

#.  f22 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se for eksempel , Edward Felten og 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>
#, fuzzy
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 ""
"Disse begrænsninger har blevet fokusen for forskere og akademikere. "
"Professor Ed Felten ved Princeton (som vi vil se mere fra i kapitel <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) har udviklet et "
"kraftigt argument til fordel for <quote>retten til at rode</quote> sådan  "
"det gøres i informatik og til kundskab generelt.<placeholder "
"type=\"footnote\" id=\"0\"/> Men bekymringen til Brown er tidligere , og "
"mere fundamentalt.  Det handler om hvad slags læring unger kan få, eller "
"ikke kan få, på grund af loven."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Dette er derhen udviklingen af uddannelse i det tjueførste "
"århundredet er på vej,</quote> forklarer Brown.  Vi må <quote>forstå hvordan "
"unger som vokser op digitalt tænker og ønsker at lære.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Alligevel,</quote> fortsatte Brown, og som balancen i denne bog vil "
"føre bevis for, <quote>bygger vi et juridisk system som fuldstændig "
"undertrykker den naturlige tendensen i dagens digitale unger. &hellip;  Vi "
"bygger en arkitektur som frigør 60 procent af hjernen [og] et juridisk "
"system som lukker ned den delen af hjernen.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi bygger en teknologi som tager magien til Kodak, mikser ind bevægelige "
"billeder og lyde, og lægger ind plads for kommentarer, og en mulighed til at "
"brede denne kreativitet over alt.  Men vi bygger loven for at lukke ned "
"denne teknologi."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Kahle, Brewster"
msgstr "Kahle, Brewster"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Ikke måden at styre en kultur på,</quote> sagde Brewster Kahle, som "
"vi modarbejdede i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"collectors\"/>, kommenterede til mig i et sjældent øjeblik af "
"nedstemthet."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Three: Catalogs"
msgstr "Kapitel tre: Kataloger"

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

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

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

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

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Sommeren 2002</emphasis> blev Jesse Jordan fra "
"Oceanside, New York, indrulleret som førsteårsstudent ved Rensselaer "
"Polytechnic Institute, i Troy, New York.  Hans studieretning ved RPI var "
"informationsteknologi.  Selv om han ikke var man programmerer, bestemte "
"Jesse sig i oktober at begynde at rode med en søkemotorteknologi som var "
"tilgængeligt på RPI-netværket."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er en af Amerikas fremste teknologiske forskninginstitutioner. De "
"tilbyder grader inden områder som går fra arkitektur og ingeniørfag til "
"informationsvidenskab.  Mere end 65 procent af de fem tusind "
"laveregradsstudentene fuldførte blandt de 10 procent bedste i deres klasse "
"på videregående.  Skolen er dermed  en perfekt blanding af talenter og "
"erfaring for at se for sig og derefter bygge, en generation tilpassede "
"netværkalderen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"RPIs datanetværk knytter studenter, forelesere og administration sammen.  "
"Det kobler også  RPI til Internet.  Ikke alt som er tilgængeligt på RPI-"
"scoret er tilgængeligt på Internet.  Men netværket er udformet for at give "
"alle studenterne mulighed til at bruge Internet, i tillæg til mere direkte "
"tilgang til andre medlemmer i RPI-fællesskabet."

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

#.  PAGE BREAK 62 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Søkemotorer er en indikator på hvor intimt et datanetværk opleves at være. "
"Google bragede Internet meget nærmere os alle ved en utrolig forbedring af "
"kvaliteten på søgninger i netværket.  Specialiserede søkemotorer kan gøre "
"dette endnu bedre.  Idéen med <quote>intranett</quote>-søkemotorer, "
"søkemotorer som kun søger internt i netværket til en bestemt institution, er "
"at tilbyde brugerne i denne institution bedre tilgang til materiale fra "
"denne institution. Bedrifter gør dette hele tiden, ved at give beskæftigede "
"mulighed til at få tag i materiale som folk på utsiden af bedriften ikke kan "
"få tag i. Det gøres også  af universiteter."

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse motorer bliver muliggjort af netværkteknologien selv.  For eksempel "
"har Microsoft et nettverksfilsystem som gør det rigtigt enkelt for "
"søkemotorer tilpassede det netværket at spørge systemet efter information om "
"det offentligt (inden netværket) tilgængelige indholdet.  Søkemotoren til "
"Jesse var bygget for at afgå nytte af denne teknologi.  Den brugte "
"Microsofts nettverksfilsystem for at bygge en indeks over alle filerne "
"tilgængeligt inde i RPI-netværket."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Søkemotoren Jesse dagsværket  var ikke  den første dagsværket for RPI-"
"netværket. Hans motor var faktisk  en enkel ændring af motorer som andre "
"havde bygget.  Hans vigtigste enkeltforbedring i forhold til disse motorer "
"var at fikse en forkert i Microsofts fildelingssystem som fik en bruges "
"computer til at krasje.  Hvis du med motorerne som havde eksisteret "
"tidligere  forsøgte at koble dig ved hjælp af Windows-utforskeren til en fil "
"som var på en computer som ikke var på net, så villes din computer krasje. "
"Jesse ændrede systemet lidt for at fikse det problemet, ved at lægge til en "
"knap som en bruge kunne klikke på for at se om maskinen som havde filen "
"fortsat var på net."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Motoren til Jesse kom på net i slutningen af oktober.  I løbet af de "
"følgende seks månederne fortsatte han at justere den for at forbedre deres "
"funksjonalitet.  I marts fungerede systemet ganske godt.  Jesse havde mere "
"end en million filer i sin katalog, inkluderet alle mulige typer indhold som "
"fandtes på brugernes computere."

#.  PAGE BREAK 63 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dermed listede søkemotorindeksen han producerede op både billeder, som "
"studenterne kunne lægge ind på sine egen netsider, kopier af notater og "
"forskning, kopier af informationhæfter, filmklipp som studenterne måske "
"havde fortaget, universitetbrochurer &ndash; kort sagt alt som brugerne af "
"RPI-netværket havde gjort tilgængeligt i en offentlig mappe på sine "
"computere."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "tinkering as means of"
msgstr "fikling som metode for"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men indeksen listede også  op musikkfiler.  Faktisk var en fjerdedel af "
"filerne omtalt i Jesses søkemotor musikkfiler.  Men det betyder, "
"naturligvis, at tre fjerdedele/fjerdedeler ikke var det, og &ndash; sådan at "
"dette pointe er helt klart &ndash; Jesse gjorde ingenting for at få folk til "
"at placere musikkfiler i deres offentlige mapper.  Han gjorde ingenting for "
"at sigte søkemotoren mod disse filer.  Han var en ungdom som rodede med "
"Google-lignende teknologi ved et universitet der han studerede "
"informationsvidenskab, og dermed var fiklingen målet.  I modsætning til "
"Google, eller Microsoft for den sags skyld, tjente han ingen penge på denne "
"fiklingen.  Han var ikke  knyttet til nogen bedrift som skulle tjene penge "
"fra dette eksperiment.  Han var en ungdom som rodede med teknologi i en "
"omgivelse hvor fikling med teknologi var nøjagtigt hvad han skulle gøre."

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright infringement lawsuits of"
msgstr "søgsmål om ophavsretbrud fra"

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright infringement lawsuits filed by"
msgstr "stevning i sag om om krenkelse af ophavsret taget ud af"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den 3 . april 2003 blev Jesse kontaktet af lederen for studentkontoret ved "
"RPI.  Lederen fortalte Jesse at Foreningen for musikindustri i USA, RIAA, "
"villes levere ind et søgsmål mod ham og tre andre studenter som han ikke en "
"gang kendte, to af dem på andre universiteter.  Nogle få timer senere blev "
"Jesse prædiket søgsmålet og fik overleveret dokumenterne.  Mens han læste "
"disse dokumenter og så på nyhedrapporterne om den, blev han stadig mere "
"forbauset."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Det var absurd,</quote> fortalte han mig. <quote>Jeg mener at jeg "
"ikke gjorde noget galt. &hellip;  Jeg mener det ikke er noget galt med "
"søkemotoren som jeg kørte eller &hellip;  hvad jeg havde gjort med den.  Jeg "
"mener, jeg havde ikke  ændret den på nogen måde som fremmede eller "
"forbedrede arbejdede til pirater.  Jeg ændrede kun  søkemotoren sådan at den "
"blev enklere at bruge</quote> &ndash; igen , en <emphasis>søkemotor</"
"emphasis>, som Jesse ikke havde bygget selv, som brugte fildelingssystemet "
"til Windows, som Jesse ikke havde bygget selv, for at gøre det muligt for "
"medlemmer af RPI-fællesskabet at få tilgang til indhold, som Jesse ikke "
"havde fortaget eller gjort tilgængeligt, og der det store flertal af dette "
"ikke havde noget med musik at gøre."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "exaggerated claims of"
msgstr "overdrevne påstande om"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "statutory damages of"
msgstr "lovbestemmte skader for"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "individual defendants intimidated by"
msgstr "de enkelte sagsøgte afskrækket af"

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

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

#.  PAGE BREAK 64 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men RIAA kaldte Jesse en pirat.  De hævdede at han opererede et netværk, og "
"dermed <quote>bevidst</quote> havde brudt åndsverkslovene.  De krævede at "
"han betalte dem skadeerstatning for det han havde gjort galt.  I sagsøger "
"med <quote>bevidste krenkelser,</quote> specificerer åndsverksloven noget "
"som advokater kalder <quote>lovbestemmte skader.</quote>  Disse skader "
"tillader en ophavrettighedejer at kræve 150 000 dollar per krenkelse.  Efter "
"som RIAA påstod det var mere end et hundrede spesifikke "
"opphavsrettskrenkelser, krævede de dermed at Jesse betalte dem mindst "
"15 000 000 dollar."

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

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

#.  f1 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 Medierne "
"Group LCC</citetitle> 6 (2003): 5, tilgængeligt fra 2003 WL 55179443 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Lignende søgsmål blev gjort mod tre andre studenter: en anden student ved "
"RPI, en ved Michigan Technical University og en ved Princeton. Deres "
"situationer var lig den til Jesse.  Selv om hver sag havde forskellige "
"detaljer, var hovedpointen nøjagtigt det samme: store krav om "
"<quote>erstatning</quote> som RIAA påstod de havde ret på.  Hvis du "
"summerede op disse krav, bad disse fire søgsmålene domstolene i USA at "
"tildele saksøkerne næsten 100 <emphasis>milliarder</emphasis> dollar &ndash; "
"seks gange det <emphasis>totale</emphasis> overskudtet/overskuddet til "
"filmindustrien i 2001 .<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 kontaktede sine forældre.  De støttede ham, men var lidt  afskrækket. "
"En farbror var advokat.  Han startede forhandlinger med RIAA.  De krævede at "
"få vide hvor mange penge Jesse havde.  Jesse havde sparet op 12 000 dollar "
"fra sommerjob og andet arbejde.  De krævede 12 000 dollar for at trække "
"sagen."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"RIAA villes at Jesse skulle indrømme at han havde gjort noget galt.  Han "
"nægtede.  De villes have ham til at godtage en forføyning som i praksis "
"villes gøre det umuligt for ham at arbejde i mange områder inden teknologi "
"for resten af hans liv.  Han nægtede.  De fik ham til at forstå at denne "
"proces med at blive sagsøgt ikke  kom til at blive hyggeligt.  (Som faren "
"til Jesse refererede til mig, fortalte bossadvokaten på sagen, Matt "
"Oppenheimer, <quote>Du ønsker ikke  et tandlægebesøg hos mig flere gange</"
"quote>), og gennem det hele insisterede RIAA at de ikke villes indgå forlig "
"før de havde taget hver eneste øre som Jesse havde sparet op ."

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

#.  PAGE BREAK 65 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Familien til Jessie blev oprøret over disse påstande.  De ønskede at kæmpe.  "
"Men farbroren til Jessie gjorde en indsats for at lære familien om hvordan "
"det amerikanske juridiske systemet fungerede.  Jesse kunne sloges mod RIAA.  "
"Han kunne til  og med vinne.  Men omkostningen med at sloges mod et søgsmål "
"som dette, blev Jesse fortalt, villes være mindst 250 000 dollar.  Hvis han "
"vandt vilde han ikke få tilbage nogle af de pengeene.  Hvis han vandt, så "
"villes han have en bidder papir som sagde at han vandt, og en bidder papir "
"som sagde at  han og hans familie var konkurs."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
"$12,000 and a settlement."
msgstr ""
"Så Jesse havde et mafia-lignende valg: 250 000 dollar og en chance til at "
"vinde, eller 12 000 dollar og et forlig."

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

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

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

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

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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&ndash;2042 "
"&ndash; Musikere og Sangere). Se også  National Endowment for the Arts, "
"<citetitle>More Than One in a Blue Moon</citetitle> (2000)."

#.  f3 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 kommer med et relateret pointe i <quote>KaZaA and "
"Punishment,</quote> <citetitle>Wall Street Journal</citetitle>, 10 . "
"september 2003, A24 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Musikindustrien insisterer på at dette er et spørgsmål om lov og moral.  Lad "
"os lægge loven til side for et øjeblik og tænke på moralen.  Hvor er moralen "
"i et søgsmål som dette?  Hvad er dyden i at skabe offerlam?  RIAA er en "
"specielt mægtig lobby.  Præsidenten i RIAA tjener ifølge rapporter mere end "
"1 million dollar i året.  Artister, på den andre side, får ikke  godt "
"betalt.  Den gennemsnitlige indspilningartist tjener 45 900 dollar."
"<placeholder type=\"footnote\" id=\"0\"/> Det er utallige virkemidler som "
"RIAA kan benytte for at påvirke og styre politikken.  Så hvad er det "
"moralske i at tage penge fra en student for at drive en "
"søkemotor?<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"23 . juni overførte Jesse alle sine oppsparte midler til advokaten som "
"arbejdede for  RIAA.  Sagen mod ham blev trukket.  Og sådan blev unggutten "
"som havde rodet med en computer og blevet sagsøgt for 15 millioner dollar, "
"en aktivist:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Jeg var definitivt ikke en aktivist [tidligere].  Jeg mente egentligt aldrig "
"at være en aktivist. &hellip;  [men] jeg har blevet skubbet ind i dette.  "
"Jeg udsigte over hovedet ikke noget sådan som dette, men jeg tror det er "
"bare helt absurd det RIAA har gjort."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Forældrene til Jesse afslører man vis stolthet over deres modvillige "
"aktivist.  Som hans far fortalte mig, Jesse <quote>anser sig selv for at "
"være konservativ, og det samme gør jeg. &hellip;  Han er ingen treklemmer. "
"&hellip;  Jeg synes det er sært at de villes fortage larm med ham.  Men han "
"ønsker at lade folk vide at de sender forkerte budskab.  Og han ønsker at "
"korrigere rullebladet.</quote>"

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in development of content industry"
msgstr "i udviklingen af indholdindustri"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Hvis <quote>piratvirksomhed</quote> betyder</"
"emphasis> at bruge den kreative ejendommen til andre uden deres tilladelse "
"&ndash; hvis <quote>hvis værdi, så rettighed</quote> er tilfælde &ndash; da "
"er historie til indholdindustrien en historie om piratvirksomhed.  Hver "
"eneste vigtige sektor af <quote>store medier</quote> i dag &ndash; film, "
"plader, radio og kabel-TV &ndash; kom fra en slags piratvirksomhed efter den "
"definitionen.  Den konsekvente fortællingen er at forrige generation pirater "
"bliver del af denne generations borgerskap &ndash; indtil nu."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Hollywood film industry"
msgstr "Hollywoods filmindustri"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "film industry"
msgstr "filmindustri"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "patents"
msgstr "patenter"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on film technology"
msgstr "om filmteknologi"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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\"/> Jeg er taknemmelig til Peter "
"DiMauro for at have peget mig i retning af denne ekstraordinære historie.  "
"Se også  Sivede Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
"citetitle>, 87&ndash;93, som fortæller detaljer om Edisons <quote>eventyr</"
"quote> med ophavsret og patent."

#.  PAGE BREAK 67 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Filmindustrien i Hollywood var bygget op af flygtende pirater.<placeholder "
"type=\"footnote\" id=\"0\"/> Skabere og regissører flyttede fra  østkysten "
"til California tidlig i det tyvende århundredet delvis for at slippe fra "
"kontrollerne som patenter gav den som fandt op at fortage film, Thomas "
"Edison.  Disse kontroller blev udøvet gennem et monopol<quote>kartel,</"
"quote> The Motion Pictures Patents Company, og var baseret på Thomas Edisons "
"kreative ejerrettigheder &ndash; patenter. Edison stiftede MPPC for at "
"udøvede rettighederne som disse kreative ejerrettigheder gav ham, og MPPC "
"var seriøs med de krav om kontrol som de fremmede:"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "As one commentator tells one part of the story,"
msgstr "Som en kommentator fortæller en del af historie,"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"En tidsfrist blev sat til januar 1909 for alle selskaber at komme i "
"overensstemmelse med licensen.  Da februar kom, protesterede de ulisensierte "
"fredløse, som refererede til sig selv som uafhængige, mod kartellet, og "
"fortsatte sin forretningsvirksomhet uden at bøje sig for Edisons monopol.  "
"Sommeren 1909 var bevægelsen med uafhængige i fuld sving, med producenter og "
"biografejere som brugte ulovligt udstyr og importerede filmlager for at "
"oprette sit eget undergrundmarked."

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

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

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

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

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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) og "
"udvidede tekster lagt ud på <quote>The Edison Movie Monopoly: The Motion "
"Picture Patents Company vs. the Independent Outlaws,</quote> tilgængeligt "
"fra <ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For en "
"diskussion om det økonomiske motivet bag begge disse begrænsninger, og "
"begrænsningerne pålagt af Victor på fonografer, se 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\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Med et land som så en kolossal øgning i antal billige biografer, såkaldte "
"nickelodeons, reagerede patentselskabet på uafhængige-bevægelsen med at "
"stifte General Film Company, et hardhendt datterselskab oprettet for at "
"blokere ankomsten af de ulisensierte uafhængige.  Med tvangtaktikker som har "
"blevet legendariske, konfiskerede General Film ulisensiert udstyr, stoppede "
"varelevering til biografer som viste ulisensiert film, og effektivt "
"monopoliserede distribution ved at købe op alle USAs filmcentraler, med "
"undtagelse af den ene som var ejet af den uafhængige William Fox som modstod "
"kartellet selv efter at hans licens var trukket tilbage.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#.  f3 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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>, arkiveret på <ulink url=\"http://free-culture.cc/notes/"
"\">link #12</ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 "
"<quote>accidents</quote> 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 ""
"Napsterne i de dage, de <quote>uafhængige,</quote> var selskaber som Fox.  "
"Og ikke mindre end i dag blev disse uafhængige intenst modarbejdet.  "
"<quote>Optagelse blev afbrudt af stjålet maskineri, og <quote>uheld</quote> "
"som førte til tabte negativer, udstyr, bygninger og nogle gange liv og "
"lemmer skete ofte.</quote><placeholder type=\"footnote\" id=\"0\"/> Dette "
"fik de uafhængige til at flygte til  østkysten.  California var fjernt  nok "
"fra Edisons indflydelse til at filmskaberne der kunne røve hans nyvindinger "
"uden at frygte loven.  Og lederne blandt Hollywoods filmskabere, Fox mest "
"fremtrædende, gjorde akkurat  dette."

#.  PAGE BREAK 68 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"California voksede naturligvis  raskt, og effektiv håndhevelse af føderale "
"håndflade bredte sig til slutning vestover.  Men fordi patenter tildeler "
"patentindehaveren et i sandhed <quote>begrænset</quote> monopol (kun sytten "
"år på den tiden), så var patenterne utgått før nok føderale lovmenn dukket "
"op . En ny industri var født, delvis fra piratvirksomhed mod Edisons "
"kreative rettigheder."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Recorded Music"
msgstr "Optaget musik"

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Musikindustrien blev født af en anden type piratvirksomhed, dog for at "
"forstå hvordan  kræver det at man sætter sig ind i detaljer om hvordan loven "
"regulerer musik."

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"På den tiden da Edison og Henri Fourneaux fandt op maskiner for at "
"reproducere musik (Edison fonografen, Fourneaux det automatiske pianoet), "
"gav loven komponister eksklusive rettigheder til at kontrollere kopier af "
"sin musik, og eksklusive rettigheder til at kontrollere fremføringer af sin "
"musik.  Med andre ord, i 1900, hvis jeg ønskede et kopi af Phil Russels "
"populære lød <quote>Happy Mose,</quote> sagde loven at jeg måtte betale for "
"rettigheden til at få en kopi af notearkene, og jeg måtte også  betale for "
"at have ret til at fremføre det offentligt."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men hvad hvis jeg ønskede at spille ind <quote>Happy Mose</quote> ved hjælp "
"af Edisons fonograf eller Fourneaux automatiske pianoer?  Her snublede "
"loven.  Det var klart nok at jeg måtte købe en kopi af noterne som jeg "
"fremførte når jeg gjorde indspilningen.  Og det var klart nok at jeg måtte "
"betale for enhver offentligt fremførelse af værket jeg spillede ind.  Men "
"det var ikke  helt klart om jeg måtte betale for man <quote>offentligt "
"fremføring</quote> hvis jeg spillede ind sangen i mit eget hus (selv i dag "
"skylder du ingenting til Beatles hvis du synger en af jeres sange i "
"brusebadet), eller hvis jeg spillede ind sangen fra hukommelsen (kopier i "
"din hjerne er ikke  &ndash; endnu &ndash; reguleret af åndsverksloven).  Så "
"hvis jeg ganske enkelt sang sangen ind i et indspilningapparat i mit eget "
"hjem, så var det ikke klart at jeg skyldte komponisten noget.  Og endnu "
"vigtigere, det var ikke  klart om jeg skyldte komponisten noget hvis jeg så "
"fortog kopier af disse indspilninger.  På grund af dette hulet i loven, så "
"kunne jeg i effekt røve nogle andres sang uden at betale dets komponist "
"noget."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Komponisterne (og utgiverne) var ikke  rigtigt glade for denne anledning til "
"at røve.  Som Senator Alfred Kittredge fra Syd-Dakota formulerede "
"det:<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 ""
"Endre og slå sammen  lovforslag om at respektere ophavsreten: Høring om S. "
"6330 og H.R. 19853 foran (fælles)-komiteerne om patenter, 59 . kongr. 59, 1 "
". siddeplads. (1906) (udtalelse til senator Alfred B. Kittredge fra Syd-"
"Dakota, formand), gengivet i <citetitle>Legislative History of the 1909 "
"Copyright Act</citetitle>, E.  Fulton Brylawski og Abe Goldman, red. (South "
"Hackensack, N.J.: Rothman Reprints, 1976).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Forestill I denne urettferdigheten.  En komponist skriver en sang eller en "
"opera.  En utgiver køber rettighederne til denne for en høj sum, og "
"registrerer ophavsreten til den.  Så kommer de fonografiske selskaberne og "
"selskaberne som skærer musikruller, og med vidende og vilje stjæler arbejdet "
"som kommer fra hjernen til komponisten og utgiveren uden at genere sig om "
"[deres] rettigheder.<placeholder type=\"footnote\" id=\"0\"/>"

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

#.  f5 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 (udtalelse fra "
"Nathan Burkan, advokat for the Music Publishers Association)."

#.  f6 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 (udtalelse fra "
"Nathan Burkan, advokat for the Music Publishers Association)."

#.  f7 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 (udtalelse fra "
"John Philip Sousa, komponist)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Innovatørerne som udviklede teknologien for at spille ind andres arbejde, "
"<quote>snyltede på indsatsen, arbejdede, talentet og geniet til amerikanske "
"komponister,</quote><placeholder type=\"footnote\" id=\"0\"/> og "
"<quote>musikforlagbranchen</quote> var dermed  <quote>fuldstændig underlagt "
"denne pirat.</quote><placeholder type=\"footnote\" id=\"1\"/> Som John "
"Philip Sousa formulerede det, så direkte som det kan siges, <quote>når de "
"tjener penge på mine stykker, så vil jeg have en andel.</quote><placeholder "
"type=\"footnote\" id=\"2\"/>"

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

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

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

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

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

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

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

#.  f8 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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&ndash;84 "
"(udtalelse fra Albert Walker, repræsentant for the Auto-Music Perforating "
"Company of New York)."

#.  f9 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 (forberedt "
"indlæg fra Philip Mauro, bosspatentrådgiver for the American Graphophone "
"Company Association)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 <quote>theft,</quote></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 ""
"Disse argumenter høres omtrent  ud som argumenterne fra vores dage. Det "
"samme gør argumenterne fra den andre side.  Oppfinnerne som udviklede det "
"automatiske pianoet argumenterede med at <quote>det er fuldt  muligt at vise "
"at introduktionen af automatiske musikspillere ikke har frataget nogen "
"komponist noget han havde før det blev introduceret.</quote> I stedet øgede "
"maskinerne salget af noteark.<placeholder type=\"footnote\" id=\"0\"/> "
"Uanset, argumenterede oppfinnerne, jobbet til kongressen var <quote>at først "
"vurdere interessen til [folket], som de repræsenterede, og som de skal tjene."
"</quote>  <quote>Alt snak om <quote>tyveri</quote>,</quote> skrev "
"bossjuristen til American Graphophone Company, <quote>er kun  nonsens, for "
"det findes ingen ejendom i musikalske idéer, skriftligt eller kunstnerisk, "
"undtaget det som er defineret i loven.</quote><placeholder type=\"footnote\" "
"id=\"1\"/>"

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

#.  PAGE BREAK 70 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Loven løste snart  denne kamp i favør af <emphasis>både</emphasis> "
"komponisten og indspilningartisten.  Kongressen ændrede loven sådan at "
"komponisten fik betalt for den <quote>mekaniske reproduktionen</quote> af "
"deres musik.  Men i stedet for at ganske enkelt give komponisten fuld "
"kontrol over rettigheden til at fortage mekaniske reproduktioner, gav "
"Kongressen indspilningartister retten til at spille ind musik, til en pris "
"sad af Kongressen, så snart komponisten har tilladt at den blev spillet ind "
"en gang.  Det er denne del af åndsverksloven som gør cover-lyder muligt.  Så "
"snart en komponist tillader en indspilning af sin sang, har andre mulighed "
"til at spille ind samme sang, så længe de betaler den originale komponisten "
"et gebyr fastsat af loven."

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Amerikansk lov kalder dette sædvanligvis en <quote>tvanglicens,</quote> men "
"jeg vil referere til dette som en <quote>lovbestemmt licens.</quote>  En "
"lovbestemmt licens er en licens hvis nøglevilkår er bestemt i lovværket.  "
"Efter kongressens ændring af åndsverkloven i 1909, stod pladeselskaberne "
"frit til at distribuere kopier af indspilninger så længe som de betalte "
"komponisten (eller ophavsretindehaveren) gebyret specificeret i lovværket."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er et undtagelse i åndsverkloven.  Når John Grisham skriver en roman, "
"så kan man utgiver kun udgive denne roman hvis Grisham giver utgiveren "
"tilladelse til det.  Grisham står frit til at kræve hvilken som hilst "
"betaling for den tilladelsen.  Prisen for at publicere Grisham er dermed  "
"bestemt af Grisham, og åndsverkloven siger at du ikke har tilladelse til at "
"bruge Grishams værk med mindre du har tilladelse fra Grisham."

#.  f10 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Ændring i åndsverkloven: Høring om S. 2499, S.2900, H.R. 243, og H.R. 11794 "
"foran (fælles)-komiteen om patenter, 60 . kongr., 1 . siddeplads., 217 "
"(1908) (udtalelse fra senator Reed Smooth, formand), gengivet i "
"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E.  "
"Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman "
"Reprints, 1976)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men loven som styrer indspilninger giver indspilningartisten mindre. Og "
"dermed er effekten at loven <emphasis>subsidierer</emphasis> musikindustrien "
"med et slags piratvirksomhed &ndash; ved at give indspilningartister en "
"svagere rettighed end de giver kreative forfattere.  The Beatles har mindre "
"kontrol over deres kreative værker end Grisham har.  Og de som nyder godt  "
"af at de har mindre kontrol, er musikindustrien og folket.  Musikindustrien "
"får noget af værdi for mindre end de ellers måtte betalt, og befolket får "
"tilgang til en større mængde musikalsk kreativitet.  Kongressen var faktisk  "
"vældig eksplisitt i sine grunde for at dele ud denne rettighed.  Den "
"frygtede monopolmagten til rettighedindehaverne, og at denne magt skulle "
"kvæle påfølgende kreativitet.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mens musikindustrien har været ganske  stille om dette i det sidste, har de "
"historisk været højlydte tilhængere af den lovbestemte licensen for "
"indspilninger.  Som det stod i en rapport fra 1967 udgivet af House "
"Committee on the Judiciary:"

#.  f11 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 ""
"Ændring af åndsverkloven: Rapport som følger H.R. 2512, House Committee on "
"the Judiciary, 90 . Kongr., 1 . siddeplads., House Document no. 83, (8 . "
"marts 1967).  Jeg er taknemmelig til Glenn Brown for at have gjort mig "
"opmærksom på denne rapport."

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Pladeproducenterne argumenterede energisk for at tvanglicenssystemet måtte "
"bevares.  De tog udgangspunkt i at musikindustrien er et forretningsområde "
"på en halv milliard dollar som er rigtigt vigtigt for økonomien i USA og "
"resten af værdet. Plader er i dag  den vigtigste måden at brede musik, og "
"dette fører til specielle problemer, siden udøvere behøver uhindret tilgang "
"til musikalsk materiale på ikke-diskriminerende vilkår.  Pladeproducenterne "
"pegede på at historisk var det ingen indspilningrettigheder føder 1909, og "
"1909-ændringen i lovværket vedtog tvanglicensen som en gennemtænkt mekanisme "
"for at undgå monopol da de tildelte disse rettigheder.  De argumenterer med  "
"at resultatet har været at det har strømmet på med optaget musik, at folket "
"har fået lavere priser, bedre kvalitet og flere valg.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"By limiting the rights musicians have, by partially pirating their creative "
"work, the record producers, and the public, benefit."
msgstr ""
"Ved at begrænse rettighederne musikere havde, ved at delvis røve deres "
"kreative værker, fik indspilningproducenterne, og folket, fordele."

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Radio was also born of piracy."
msgstr "Radio kom også  fra piratvirksomhed."

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se 17 <citetitle>United States Code</citetitle>, sektion 106 og 110 . I "
"begyndelsen skrev nogle pladeselskaber <quote>Ikke licensieret for "
"radiokringkasting</quote> og andre meldinger som gav indtryk af at begrænse "
"muligheden til at spille en plade på en radiostation.  Domme Learned Hand "
"afviste argumentet om at en advarsel klisteret på en plade kunne begrænse "
"rettighederne til radiostationen. Se <citetitle>RCA Manufacturing Co</"
"citetitle>. mod <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. "
"1940).  Se også  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>
#, fuzzy
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 ""
"Når en radiostation spiller en plade på luften, så udgør dette en "
"<quote>offentlig fremføring</quote> af komponistens værk.<placeholder "
"type=\"footnote\" id=\"0\"/> Som jeg beskrev over, giver loven komponisten "
"(eller ophavsretindehaveren) en eksklusiv ret til offentlige fremføringer af "
"hans værker.  Radiostationen skylder dermed  komponisten penge for denne "
"fremføringen."

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

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

#.  PAGE BREAK 72 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men når en radiostation spiller en plade, så fremfører det ikke bare et "
"eksemplar af <emphasis>komponistens</emphasis> værk. Radiostationen "
"fremfører også  et eksemplar af <emphasis>indspilningartisten</emphasis> "
"værk.  Det er en ting at få <quote>Happy Birthday</quote> sunget på radio af "
"det lokale barnekoret.  Det er noget ganske andet at få det sunget af "
"Rolling Stones eller Lyle Lovett.  Indspilningartisten lægger til værdi på "
"kompositionen fremført af radiostationen.  Og hvis loven var fuldstændigt "
"konsistent, så burde radiostationen også været nødt til at betale "
"indspilningartisten for sit værk, på samme måde som den betaler komponisten "
"af musikken for sit værk.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men det gør den ikke.  Ifølge loven som styrer radiofremføringer, behøver "
"ikke  radiostationen at betale noget til indspilningartisten. Radiostationen "
"behøver kun  at betale komponisten.  Radiostationen får dermed  noget uden "
"at betale.  Den får fremføre indspilningartisten værk gratis, selv om den må "
"betale komponisten noget for privilegiet det er at spille sangen."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne forskel kan blive stor.  Forestill dig at du komponerer et stykke "
"musik.  Se for dig at det er dit første stykke.  Du ejer de eksklusive "
"rettighederne til at godkende offentligt fremføring af den musikken.  Så "
"hvis Madonna ønsker at synge din sang offentligt, må hun få din tilladelse."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tænk dig videre at hun synger din sang, og at hun kanlide den rigtigt godt. "
"Hun bestemmer sig derefter for at spille ind din sang, og den bliver en "
"populær hitsang.  Med vores lov vil du få lidt  penge hver gang en "
"radiostation spiller din sang.  Men Madonna får ingenting, bortset fra de "
"indirekte effekterne fra salg af hendes CD-er.  Den offentlige fremføringen "
"af hendes indspilning er ikke  en <quote>beskyttet</quote> rettighed. "
"Radiostationen får dermed  <emphasis>røve</emphasis> værdien af Madonna "
"arbejde uden at betale hende nogle ting."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Uden tvivl kan man argumentere for at indspilningartisterne totalt set "
"tjener på dette.  I snit er reklamen de får værd mere end "
"fremføringsrettighetene de siger fra sig.  Måske.  Men selv om det er sådan "
", så giver loven sædvanligvis skaberen retten til at gøre dette valg.  Ved "
"at gøre valget for ham eller hende, gear loven radiostationen ret til at "
"tage noget uden at betale."

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "cable television"
msgstr "kabel-TV"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Cable TV was also born of a kind of piracy."
msgstr "Kabel-TV kom også  fra en form for piratvirksomhed."

#.  PAGE BREAK 73 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Da kabel-TV-grundlæggere først begyndte at koble op lokalmiljø med kabel-TV "
"i 1948, nægtede de fleste at betale kringkasterne for indholdet som de "
"sendte videre  til sine kunder.  Selv da kabelselskaberne begyndte at sælge "
"tilgang til TV-kringkastinger, nægtet de at betale for det de solgte.  "
"Kabelselskaberne Napsteriserte dermed kringkasternes indhold, men grovere "
"end det Napster nogensinde gjorde &ndash; Napster tog aldrig  betalt for "
"indholdet som det blev muligt for andre at give væk."

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

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

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Ændring i åndsverkloven &ndash; Kabel-TV: Høring om S. 1006 foran "
"underkomiteen om patenter, varemærker og ophavsret af Senate Committee on "
"the Judiciary, 89 . Kongr., 2 . siddeplads., 78 (1966) (udtalelse fra Rosel "
"H. Hyde, styreleder i den føderale kommunikationkommissionen.<placeholder "
"type=\"indexterm\" id=\"0\"/>"

#.  f14 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."
msgstr ""
"Ændring i åndsverkloven &ndash; Kabel-TV, 116 (udtalelse fra Douglas A. "
"Anello, bossjuristen i Nasjonalforeningen for kringkastere)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kringkastere og ophavsretindehavere var raske til at angribe dette tyveri.  "
"Rosel Hyde, styreleder i FCC, så praksissen som en slags <quote>uretfærdig "
"og potentielt ødelæggende konkurrence.</quote><placeholder type=\"footnote\" "
"id=\"0\"/> Det kan have været en <quote>offentlig interesse</quote> i at øge "
"spredningen til kabel-TV, men som Douglas Anello, bossjurist hos "
"Nasjonalforeningen for kringkastere spurgte senator Quentin Burdick om under "
"sit vidneudsagn, <quote>Dikterer offentlig interesse at du kan bruge nogle "
"andres ejendom?</quote><placeholder type=\"footnote\" id=\"1\"/> Som en "
"anden udsender formulerede det:"

#.  f15 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."
msgstr ""
"Ændring i åndsverkloven &ndash; Kabel-TV, 126 (udtalelse fra Ernest W. "
"Jennes, bossjurist ved Association of Maximum Service Telecasters, Inc.). "

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Den usædvanlige tingen med kabel-TV-selskaberne er at det er de eneste "
"selskaberne jeg ved om hvor produktet som bliver solgt ikke  er betalt for."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Again, the demand of the copyright holders seemed reasonable enough:"
msgstr "Igen, kravene til ophavsretindehaverne virkede rimelige nok:"

#.  f16 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 ""
"Ændring i åndsverkloven &ndash; Kabel-TV, 169 (fælles udtalelse fra Arthur "
"B.  Krim, præsident i United Artists Corp. og John Sind, præsident i United "
"Artists Television Inc.)."

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Helt vi beder om er en rigtigt enkel ting, at folk som tager vores ejendom "
"gratis betaler for den.  Vi forsøger at stoppe piratvirksomhed, og jeg kan "
"ikke  tænke på et svagere ord for at beskrive det.  Jeg tror det er stærkere "
"ord som villes passe.<placeholder type=\"footnote\" id=\"0\"/>"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 &ndash; CATV, 209 (udtalelse fra Charlton Heston, "
"præsident i Screen Actors Guild).  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Disse var <quote>gratispassagerer,</quote> sagde præsidenten Charlton Heston "
"i Screen Actor's Guild, som <quote>tog lønnen fra skuespillerne.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"But again, there was another side to the debate. As Assistant Attorney "
"General Edwin Zimmerman put it,"
msgstr ""
"Men igen, det er en anden side i debatten.  Som assisterende justitsminister "
"Edwin Zimmerman sagde det:"

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

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 &ndash; CATV, 216 (udtalelse fra Edwin M. Zimmerman, "
"fungerende assisterende justitsminister).  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Vores pointe her er ikke  problemet med om hvorvidt du overhovedet har "
"ophavsretbeskyttelse.  Problemet her er hvorvidt  ophavsretindehavere som "
"allerede bliver kompenseret, som allerede har et monopol, skal få lov til at "
"udvide dette monopol. &hellip;  Spørgsmålet er hvor mange kompensation de "
"bør have, og hvor langt de kan strække sin ret på kompensation.<placeholder "
"type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Copyright owners took the cable companies to court. Twice the Supreme Court "
"held that the cable companies owed the copyright owners nothing."
msgstr ""
"Opphavsrettinnehaverne tog kabelselskaberne for retten. Højesteret fandt to "
"gange at kabelselskaber ikke skyldte ophavsretindehaverne nogle ting."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det tog Kongressen næsten tredive år føder den fik løst spørgsmålet om "
"hvorvidt kabel-TV-selskaberne måtte betale for indholdet de <quote>røvet.</"
"quote>  Til slutning løste Kongressen dette spørgsmål på samme måde som den "
"havde løst spørgsmålet om pladespillere og automatiske pianoer.  Ja, kabel-"
"TV-selskaberne måtte betale for indholdet som de udsendede/udsendte, men "
"prisen de måtte betale blev ikke  sat af ophavsretindehaveren.  Prisen blev "
"fastsat ved lov, sådan at kringkasterne ikke kunne udøve vetomagt over den "
"nye kabel-TV-teknologien. Kabel-TV-selskaberne byggede dermed  sit imperium "
"delvis ved at <quote>røve</quote> værdien skabt af kringkasternes indhold."

#.  f19 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se for eksempel  National Music Publisher's Association, <citetitle>The "
"Engine of Free Expression: Copyright on the Internet &ndash; The Myth of "
"Free</citetitle>Information , tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #13</ulink>. <quote>Truslen fra piratvirksomhed "
"&ndash; brugen af nogle andres kreative værker uden tilladelse eller "
"kompensation &ndash; har vokset med Internet.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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'>Disse separate historie</emphasis> synger en fælles "
"melodi.  Hvis <quote>piratvirksomhed</quote> betyder at bruge værdien fra "
"nogle andres kreative ejendom uden tilladelse fra dets skaber &ndash; sådan "
"det stadig oftere beskrives i dag <placeholder type=\"footnote\" id=\"0\"/> "
"&ndash; da er <emphasis>enhver</emphasis> industri påvirket af ophavsret i "
"dag et produkt af dem som har nyt godt af forskellige former for "
"piratvirksomhed.  Film, plader, radio, kabel-TV. &hellip;  Listen er lang, "
"og kunne været længere.  Hver generation ønsker piraterne fra den forrige "
"velkommen.  Hver generation &ndash; indtil nu."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Five: <quote>Piracy</quote>"
msgstr "Kapitel fem: <quote>Piratvirksomhed</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det røves opphavsrettsbeskyttet materiale.  Massevis.  Og denne pirat "
"virksomheden antager mange former.  Den mest betydningsfulde er kommerciel "
"piratvirksomhed, det at tage andres indhold uden tilladelse i en kommerciel "
"setting.  På trods af de mange forklaringer om hvorfor dette er fint som "
"fremføres i dets forsvar, så er dette galt.  Ingen bør gå god for det, og "
"loven bør stoppe det."

#.  PAGE BREAK 76 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men på samme måde som med piratkopiering, så findes det anden måde <quote>at "
"tage</quote> på som er mere direkte relateret til Internet. Denne måde at "
"tage virker galt for mange, og det er galt meget af tiden.  Men før vi "
"kalder det at tage på denne måde for <quote>piratvirksomhed,</quote> bør vi "
"dog forstå dets natur lidt mere. For skaden som denne form for at tage "
"påfører er betydeligt mere tvetydig end direkte kopiering, og lovværket bør "
"tage hensyn til denne tvetydigheten, sådan det ofte har gjort tidligere . "

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

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "CDs"
msgstr "CD-er"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "foreign piracy of"
msgstr "udenlandsk piratvirksomhed mod"

#.  f1 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
"juli 2003, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #14</ulink>. Se også  Ben Hunt, <quote>Companies Warned on Music "
"Piracy Risiko,</quote> <citetitle>Financial Times</citetitle>, 14 . februar "
"2003, 11 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Over hele værdet, men specielt i Asien og Øst-Europa, er det selskaber som "
"ikke gør andet end at tage andre folks opphavsrettsbeskyttede indhold, "
"kopierer det og sælger det &ndash; alt uden tilladelse fra ophavsretejeren.  "
"Musikindustrien estimerer at de taber rundt 4,6 milliarder dollar hvert år "
"på fysisk piratvirksomhed <placeholder type=\"footnote\" id=\"0\"/> (det "
"bliver ca. en af tre CD-er solgt på verdenbasis).  MPAA estimerer at de "
"taber 3 milliarder dollar på verdenbasis på piratvirksomhed."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er enkelt og fint piratvirksomhed.  Ingenting i argumentet i denne "
"bog, og heller ikke i argumentet til de fleste folkene som omtaler temaet i "
"denne bog, bør trække i tvivl dette enkle pointe: Sådan piratvirksomhed er "
"galt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvilket ikke er at sige at  unnskyldninger og begrundelser ikke kan fortages "
"alligevel . Vi kan, for eksempel, minde os selv på at for de første hundrede "
"årene der USA var republik, respekterede ikke  USA udenlandske "
"ophavrettigheder.  Vi blev på en måde skabt som en piratnation.  Det kan "
"dermed  synes hyklersk for os at insistere så  stærkt på at andre "
"udviklingsland skal behandle som galet det vi, for de første hundrede årene "
"vi eksisterede, behandlede som rigtigt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne unnskyldningen er ikke  specielt vektig.  Teknisk set forbød ikke  "
"vores lovværk at tage udenlandske værker.  Det begrænsede sig eksplisitt til "
"amerikanske værker.  Dermed brød de amerikanske forleggerne, som publicerede "
"udenlandske værker uden tilladelse fra de udenlandske forfattere, ikke nogle "
"skrøner.  Kopieringsselskapene i Asien bryder derimod  loven i Asien.  "
"Lovene i Asien beskytter udenlandsk ophavsret, og aktiviteten til kopierings-"
"selskaberne bryder den loven.  Så det at piratvirksomheden er galt er ikke  "
"bare moralsk galt, men juridisk galt.  Og ikke bare galt efter international "
"lovgiving, men også juridisk galt efter lokal lovgiving."

#.  PAGE BREAK 77
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jodene, disse skrøner har i praksis blevet påtvunget disse lande. Intet land "
"kan være del af verdenøkonomien, og vælge at ikke beskytte ophavsret "
"internationalt.  Vi blev måske  skabt som en piratnation, men vi tillader "
"ingen anden nation at have en tilsvarende barndom."

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

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who "
"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), "
"10&ndash;13, 209 .  Aftalen om handelsrelaterte aspekterne af immaterielle "
"rettigheder (TRIPS) forpligter medlemnationerne til at få på plads "
"administrative og håndhevingsmekanismer for immaterielle rettigheder, "
"hvilket er et kostoverskæg forslag for udviklingsland.  I tillæg kan "
"patentrettigheder føre til  højere priser for grundlæggende industrier som "
"landbrug.  Kritikerne af TRIPS stiller spørgsmål om afvigelsen mellem "
"belastningen den lægger på utviklingland og fordelene den giver til "
"industrialiserede land.  TRIPS tillader myndigheder at bruge patenter til "
"ikke-kommercielle formål som kommer folket til gode uden at først få "
"tilladelse fra patentindehaveren.  Udviklingsland kan være i stand  til at "
"bruge dette til at få fordelene fra udenlandske patenter til lavere priser.  "
"Dette er en lovende strategi for udviklingsland indenfor TRIPS-rammeværket. "
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men alligevel, hvis et land skal behandles som selvstændigt, da er landets "
"håndflade landets love, uafhængigt af deres kilde.  De internationale lovene "
"som disse lande lever efter gear dem nogle muligheder til at slippe fra "
"byrden til immaterielle rettighetslover.<placeholder type=\"footnote\" "
"id=\"0\"/> Efter mit syner burde flere udviklingsland udnytte den "
"muligheden, men når de ikke gør det, bør deres håndflade alligevel "
"respekteres.  Og i følge lovene i disse lande, er piratvirksomhed galt."

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"For en analyse af den økonomiske effekten af kopieringsteknologi, se Stan "
"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
"Amacom, 2002), 144&ndash;190 . <quote>I nogle tilfælde &hellip; vil effekten "
"af piratvirksomhed på ophavsretindehaveren mulighed til at nyde godt  af "
"værdien af værket være neglisjerbart. Et åbenbaret tilfælde er der hen "
"individet som tager nyder godt  af piratvirksomheden ikke villes have købt "
"originalen selv om piratvirksomhed ikke var en mulighed.</quote> Ibid., 149 "
".  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alternativt, så kan vi forsøge at undskylde denne pirat virksomheden ved at "
"lægge mærke til at det uanset ikke skader industrien. Kineserne, som får "
"tilgang til amerikanske CD-er for 50 cent pr. udgave, er ikke  folk som "
"villes købt disse CD-ene for 15 dollar per udgave.  Så ingen har egentligt "
"noget mindre penge end de ellers villes haft.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er ofte  rigtigt (selv om jeg har venner som har købt flere tusind "
"piratkopierte DVD-er, og som helt klart har nok  penge til at betale for "
"indholdet de har taget), og det begrænser til en vis grad skaden forårsaget "
"af at tage på denne måde.  Ekstremister i denne debat elsker at sige, "
"<quote>Du villes ikke  gå ind på Barnes &amp; Noble og tage en bog fra "
"hylden der hen uden at betale.  Hvorfor skulle det være noget anderledes med "
"musik på nettet?</quote> Forskellen er, naturligvis, at når du tager en bog "
"fra Barnes &amp; Noble så er det en mindre bog som kan sælges.  Dette er "
"forskelligt fra når du tager en MP3 fra et datanetværk, der det ikke bliver "
"en mindre CD som kan sælges.  Fysikken til røving af det uhåndgripelige er "
"forskellig fra fysikken til røving af det håndgripelige."

#.  PAGE BREAK 78 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er alligevel  et rigtigt dårligt argument.  For selv om ophavsreten er "
"en ejendomret af en rigtigt speciel type, så <emphasis>er</emphasis> det en "
"ejendomret.  På samme måde som med alle ejendomretter giver ophavsreten "
"ejeren retten til at bestemme vilkårene for når indholdet bliver delt.  Hvis "
"ophavsretejeren ikke ønsker at sælge, så må hun ikke det.  Det findes "
"undtagelse: vigtige lovbestemte licenser som gælder for "
"opphavsrettsbeskyttet indhold uafhængigt af ønsket til ophavsretejeren.  "
"Disse licenser giver folk retten til at <quote>tage</quote> "
"opphavsrettsbeskyttet indhold uafhængigt af om ophavsretejeren ønsker at "
"sælge eller ikke.  Men der loven ikke giver folk retten til at tage indhold, "
"så er det galt at tage det indholdet selv om det ikke gør nogle skadede at "
"gøre dette gale.  Hvis vi har et ejendomsystem, og det systemet er "
"skikkeligt balanceret op mod teknologien på et givet tidspunkt, så er det "
"galt at tage ejendom uden tilladelse fra ejendomejeren.  Det er nøjagtigt "
"hvad <quote>ejendom</quote> betyder."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "open-source software"
msgstr "åben kildekode-software"

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "competitive strategies of"
msgstr "konkurransemessige strategier for"

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

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Til slutning kan vi forsøge at undskylde denne pirat virksomheden med "
"argumentet om at piratvirksomheden faktisk hjælper ophavsretejeren. Når "
"kineserne <quote>stjæler</quote> Windows, så gør det kineserne afhængigt af "
"Microsoft.  Microsoft mister værdien til programvaren som blev taget, men "
"det vinder brugere som er vandt til livet i Microsoft-verden.  Over tid, "
"efterhånden som nationen bliver mere velstående, vil flere og flere folk "
"købe software i stedet for at stjæle den.  Og dermed over tid, på grund af "
"at disse køber kommer Microsoft til gode, vil Microsoft tjene på "
"piratvirksomheden. Hvis kineserne i stedet for at piratkopiere Windows, "
"brugte det frit tilgængelige operativsystemet GNU/Linux, så villes dirre "
"kinesiske brugerne ikke til slutning købe Microsoft.  Uden piratvirksomheden "
"villes dermed  Microsoft tabe."

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

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "databases of case reports in"
msgstr "databaser med saksrapporter om"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er også  noget sandt i dette argument.  Å gøre folk afhængigt er en god "
"strategi.  Mange selskaber praktiserer det.  Nogle gør det godt på grund af "
"det.  Juices-studenter, for eksempel, får gratis tilgang til de to største "
"juridiske databaserne.  Begge selskaberne markedsfører dette i håb om at "
"studenterne vil blive så vandt til deres tjenester at de vil ønske at bruge "
"deres tjeneste, og ikke konkurrentens når de bliver advokater (og må betale "
"høj abonnementafgift)."

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alligevel er ikke  dette argument specielt overbevisende.  Vi giver ikke  "
"alkoholikeren et forsvar når han stjæler sin første øl, kun på grund af at "
"det vil gøre det mere sandsynligt at han vil betale for de tre næste.  I "
"stedet lader vi sædvanligvis bedrifter bestemme selv  når det er bedst for "
"dem at give væk sine produkter.  Hvis Microsoft frygter konkurrencen fra GNU/"
"Linux, så kan Microsoft give væk sit produkt, sådan de for eksempel gjorde "
"med Internet Explorer for at bekæmpe Netscape.  En ejendomret betyder at "
"lade ejendomejeren have retten til at sige hvem som får tilgang til hvad "
"&ndash; i hvert fald sædvanligvis.  Og hvis loven balancerer skikkeligt "
"rettighederne til ophavrettighedejeren med rettighederne for tilgang, så er "
"det at bryde loven fortsat galt."

#.  PAGE BREAK 79 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dermed, selv om jeg forstår dragningen mod disse begrundelser for "
"piratvirksomhed, og helt klart ser motivationen, så er konklusionen efter "
"mit syner til slutning, at disse forsøg på at begrunde kommerciel "
"piratvirksomhed ganske enkelt ikke holder.  Denne type piratvirksomhed er "
"krampaktig, og ganske enkelt galt.  Den ændrer ikke  indholdet den stjæler, "
"den ændrer ikke  markedet den konkurrerer i. Den giver kun  nogle tilgang "
"til noget som loven siger at han ikke skulle haft.  Ingenting har ændret sig "
"som skaber tvivl om denne lov.  Denne form for piratvirksomhed er slet og "
"ret  galt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men som eksemplerne fra de fire kapitlerne som introducerede denne del "
"foreslår, selv om noget piratvirksomhed helt klart er galt, er ikke  al "
"<quote>piratvirksomhed</quote> galt.  Eller i det mindste er ikke  al "
"<quote>piratvirksomhed</quote> galt hvis udtrykket skal forstås sådan  det i "
"stadigt større grad bliver brugt i dag .  Mange typer "
"<quote>piratvirksomhed</quote> er nyttigt og produktivt, enten for at "
"producere nyt indhold, eller nye måder at drive forretninger på.  Hverken "
"vores tradition eller nogle anden tradition har nogensinde  bandlyst al "
"<quote>piratvirksomhed</quote> i den betydningen af udtrykket."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette betyder ikke  at det ikke er rejst nogen spørgsmål på grund af den "
"nyeste piratvirksomhetsbekymringen, peer-to-peer-fildeling.  Men det betyder "
"at vi behøver at forstå skaden i peer-to-peer-deling lidt mere før vi dømmer "
"den til galgen med anklager om piratvirksomhed."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For (1) på samme måde som det oprindelige Hollywood, rømmer p2p-fildeling "
"fra en alt for kontrollerende industri, og (2) på samme måde som den "
"oprindelige indspilningindustrien, udnytter den ganske enkelt nye måder at "
"brede indhold på, men (3) til forskel fra kabel-TV er det ingen som sælger "
"indholdet som bliver delt med p2p-tjenester."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Disse forskelle skiller p2p-deling fra virkelig piratvirksomhed. Forskellen "
"bør få os til at finde en måde at beskytte kunstnerne mens vi gør det muligt "
"for denne delingen at overleve."

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

#.  f4 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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)."

#.  PAGE BREAK 80 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nøglen til <quote>piratvirksomheden</quote>, som loven tager sigte på at "
"skvise, er den brugen som <quote>røver forfatteren for profiten.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Dette betyder vi må afgøre "
"hvorvidt  og hvor mange p2p-deling skader før vi ved hvor  stærkt loven bør "
"søge at enten hindre det, eller finde et alternativ for at sikre sin "
"forfatter profit."

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

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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\"/> Se Clayton M. Christensen, "
"<citetitle>The Innovator's Dilemma: The Revolutionary National Bæstceller "
"That Changed the Way We Do Business</citetitle> (New York: HarperBusiness, "
"2000).  Professor Christensen undersøger hvorfor  selskaber som giver ophav "
"til og dominerer et produktområde ofte ikke er i stand  til at komme op  med "
"de mest kreative, paradigmeskiftende måderne at bruge deres egen produkter "
"på.  Denne job ender som oftest op hos oppfinnere udefra, som sætter sammen  "
"eksisterende teknologi på nyskabende måder.  For en diskussion om "
"Christensens idéer, se Lawrence Lessig, <citetitle>Future</citetitle>, "
"89&ndash;92, 139 . <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type="
"\"indexterm\" id=\"3\"/> 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=\"4\"/>), 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\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> Peer-to-peer-deling blev gjort berømt af "
"Napster.  Men oppfinnerne af Napster-teknologien havde ikke  gjort nogle "
"store teknologiske nyskabninger.  Som ethvert stort steg i nyskabningen på "
"Internet (og, kan det argumenteres for, udenfor Internet<placeholder "
"type=\"footnote\" id=\"4\"/>) havde Shawn Fanning og hans beskæftigede "
"ganske enkelt sat sammen  deler som havde blevet udviklet uafhængigt af "
"hinanden."

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

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

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

#.  f6 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se 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 . juli 2002, 42; Benny Evangelista, <quote>Napster Names CEO, "
"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</"
"citetitle>, 23 . maj 2003, C1; <quote>Napster's Wake-Up Call,</quote> "
"<citetitle>Economist</citetitle>, 24 . juni 2000, 23; John Naughton, "
"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</"
"citetitle>, 26 . juli 2002, 18 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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\"/> Resultatet var en "
"eksplosion.  Efter lansering i juli 1999, samlet Napster over 10 millioner "
"brugere i løbet af ni måneder.  Efter atten måneder var det næsten 80 "
"millioner registrerede brugere af systemet.<placeholder type=\"footnote\" "
"id=\"0\"/> Rettsaker skød Napster raskt ned, men andre tjenester dukket op  "
"for at overtage pladsen.  (Kazaa er for tiden den mest populære p2p-"
"tjenesten.  Den skryder af over 100 millioner medlemmer.)  Disse tjenester "
"har en anderledes arkitektur selv om de ikke er rigtigt forskellige i "
"funktion: Hver af dem gør det muligt for brugerne at gøre indhold "
"tilgængeligt til et ubegrænset antal andre brugere.  Med et p2p-system kan "
"du dele dine favoritsange med dine bedste venner &ndash; eller dine 20 000 "
"bedste vænner."

#.  f7 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music "
"Distribution</citetitle> (september 2002), som rapporterer at 28 procent af "
"amerikanere ældre end tolv år havde lastet musik ned fra Internet og 30 "
"procent havde lyttet til  digitale musikkfiler lagret på sine computere."

#.  f8 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 . juni 2003, A1 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ifølge en række estimater har en stor andel af amerikanere testet "
"fildelingsteknologi.  En studie fra Ipsos-Insight i september 2002 "
"estimerede at 60 millioner amerikanere har lastet ned musik &ndash; 28 "
"procent af amerikanerne over 12 år.<placeholder type=\"footnote\" id=\"0\"/> "
"En spørreundersøkelse fra NPD-gruppen citeret i <citetitle>The New York "
"Times</citetitle> estimerede at 43 millioner indbyggere brugte "
"fildelingsnettverk for at udveksle indhold i maj 2003 .<placeholder "
"type=\"footnote\" id=\"1\"/> De aller fleste af dem er ikke  unger.  Uanset "
"hvad de egentlige tallene er, en massiv mængde indhold bliver <quote>taget</"
"quote> på disse netværk.  Enkelheten og den lave omkostningen til "
"fildelingsnettverkene har inspireret millioner til at nyde musik på måder de "
"ikke før havde gjort."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Noget af denne nytelsen involverer brud på ophavsreten.  Noget af den gør "
"det ikke.  Og selv for den delen som teknisk set er brud på ophavsreten, er "
"det at beregne den faktiske skaden som er påført ophavsretejerne mere "
"kompliceret end en skulle tro. Vurder &ndash; lidt  mere omhyggelige end de "
"polariserede stemmerne i denne debat sædvanligvis gør &ndash; de forskellige "
"typer deling som fildeling muliggjør, og hvad slags skader de indebærer."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "four types of"
msgstr "fire typer af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "range of content on"
msgstr "variation i indhold på"

#.  PAGE BREAK 81 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
msgstr ""
"Fildelerne deler forskellige typer indhold.  Vi kan dele disse forskellige "
"typer ind i fire typer."

#.  A. 
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Det er nogle som bruger delingsnettverk som erstatning for at købe indhold.  "
"Dermed vil disse i stedet for at købe når en ny Madonna-CD bliver givet ud, "
"ganske enkelt tage den.  Vi kan diskutere om alle som tager den villes have "
"købt den hvis deling ikke gjorde den gratis tilgængelig.  De fleste villes "
"sandsynligvis  ikke det, men det er åbenbaret nogle som villes det.  Den "
"sidste gruppen er målet for kategori A: Brugere som laster ned i stedet for "
"at købe."

#.  B. 
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Det er nogle som bruger delingsnettverk til at teste musik føder de køber "
"den.  For eksempel kan nogle sende en MP3 til en af sine venner med en "
"artist han aldrig har hørt om.  Denne ven køber så CD-er af denne artist.  "
"Dette er en slags målrettet reklame som har stor succesrate.  Hvis en ven "
"som anbefaler albummet ikke har nogle fordele af at give en dårlig "
"anbefaling, så kan man forvente at  anbefalingene faktisk vil være ganske  "
"gode.  Totaleffekten af denne delingen kan øge antallet musik som bliver "
"købt."

#.  C. 
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Det er mange som bruger delingsnettverk for at få tilgang til "
"opphavsrettsbeskyttet indhold som ikke længere er til salgs, eller som de "
"ikke villes have købt på grund af at transaktionomkostningerne på nettet er "
"for  høje.  Denne brug af delingsnettverk er blandt den mange finner mest "
"givende.  Sange som var del af din barndom, men som har forsvundet fra "
"markedet, dukker magisk op igen på nettet.  (En ven fortalte mig at da hun "
"opdagede Napster, tilbrakte hun en hel hellig med <quote>at mimre</quote> "
"over gamle sange.  Hun var overrasket over omfanget og variationen i indhold "
"som var tilgængeligt.  For indhold som ikke bliver solgt, så er dette "
"fortsat teknisk set brud på ophavsreten, selv om det på grund af at "
"ophavsretejeren ikke længere sælger indholdet, så er den økonomiske skaden "
"nul &ndash; den samme skade som inntreffer når jeg sælger min samling med 45-"
"rpm grammofonplader fra 1960-tallet til en lokal samler."

#.  PAGE BREAK 82 
#.  D. 
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Til slutning er det mange som bruger delingsnettverk for at få tilgang til "
"indhold som ikke er opphavsrettsbeskyttet, eller der hen ophavsretejeren "
"ønsker at give det væk."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "How do these different types of sharing balance out?"
msgstr "Hvordan balancerer disse forskellige delingstypene?"

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Lad os starte med nogle enkle, men vigtige pointer.  Fra lovens perspektiv "
"er det kun type-D-deling som helt klart er lovligt .  Fra et økonomisk "
"perspektiv er det kun type-A-deling som helt klart forårsager skade."
"<placeholder type=\"footnote\" id=\"0\"/> Type-B-deling er ulovlig men giver "
"klare fordele.  Type-C-deling er ulovlig, men godt for samfundet (siden mere "
"eksponering til musik er god), og ufarlig for artisterne (siden virket "
"ellers  ikke er tilgængeligt).  Så det er vanskeligt at afgøre hvordan "
"deling kommer ud totalt set &ndash; og helt klart meget vanskeligere end den "
"gældende retorikken rundt temaet giver indtryk af."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvorvidt deling er skadeligt/skadelig totalt set, er rigtigt afhængigt af "
"hvor skadelig type-A-deling er.  Sådan Edison klagede over Hollywood, "
"komponister klagede over pianoruller, pladeartister klagede over radio, og "
"kringkastere klagede over kabel-TV, klager musikindustrien over at type-A-"
"deling er et slags <quote>tyveri</quote> som vil <quote>ødelægge</quote> "
"industrien."

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "VCRs"
msgstr "Videospillere/opptakere"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "DAT (digital audio tape)"
msgstr "DAT (digital audio tape)"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> 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\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Se Cap Gemini Ernst &amp; Young, <citetitle>Technology Evolution "
"and the Music Industry's Business Model Crisis</citetitle> (2003), 3 .  "
"Denne rapport beskriver musikindustrien indsats for at stigmatisere den "
"voksende praksis med at tage op på kassettebånd på 1970-tallet, inkluderet "
"en reklamekampagne med en kasse-formet hodeskalle og udtrykt <quote>Home "
"taping is killing music.</quote>  På det tidspunktet som digitale "
"lydkassetter blev en trussel, udførte the Office of Technical Assessment en "
"spørreundersøkelse om forbrukeroppførsel.  I 1988 havde 40 procent af "
"forbrukerne ældre end ti taget op musik på et kassettebåndformat.  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, oktober 1989), 145&ndash;56 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mens disse tal jo indikerer at  deling er skadeligt/skadelig, så er det "
"vanskeligere at finde ud hvor skadeligt/skadelig den er.  Det har længe  "
"været praksis for pladebranchen at skylde på teknologi for al nedgang i "
"salg.  Historie til kassettebåndoptagelse er et godt eksempel.  Som det blev "
"formuleret i en studie af Cap Gemini Ernst &amp; Young: <quote>I stedet for "
"at udforske denne nye populære teknologien, sloges selskaberne imod den.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Selskaberne påstod at hvert "
"album som blev taget op på kassettebånd, var et album som ikke blev solgt, "
"og da pladesalget henhørte med 11,4 procent i 1981, påstod industrien at "
"dets pointe var bevist.  Teknologien var problemet, og forbud eller "
"regulering af teknologien var svaret."

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

#.  f11 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 <quote>crisis</"
"quote> &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 ""
"Ikke længe herpå, og før kongressen fik muligheden til at introducere "
"reguleringer, blev MTV lanceret, og industrien fik et rekordopsving. "
"<quote>Til slutning,</quote> konkluderede Cap Gemini, <quote>var ikke  "
"<quote>krisen</quote> &hellip;  forårsaget af de som tog op på kassettebånd "
"&ndash; som ikke [tog slutning efter at MTV dukkede op] &ndash; men havde i "
"stor grad været resultatet af en stagnation i musiknyskabningen hos de store "
"selskaberne.</quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men det at industrien har taget fejl før, betyder ikke  at de tager fejl i "
"dag.  For at evaluere den virkelige truslen som p2p-deling repræsenterer for "
"industrien specielt, og samfundet generelt &ndash; eller i hvert fald det "
"samfundet som arvede traditionen som gav os filmindustrien, pladeindustrien, "
"radioindustrien, kabel-TV og videospilleren &ndash; så er ikke  spørgsmålet "
"kun om type-A-deling er skadelig.  Spørgsmålet er også  <emphasis>hvor</"
"emphasis> skadelig type-A-deling er, og hvor nyttige de andre typer deling "
"er."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Vi går i gang  med at svare på dette spørgsmål ved at fokusere på netto "
"skade, set fra industrien som helhed, som delingsnettverkene forårsager.  "
"<quote>Netto skade</quote> for industrien som helhed er værdien af type-A-"
"deling som overgår type B.  Hvis pladeselskaberne solgte flere plader som "
"resultat af at folk testet musikken end de taber gennem at man lader være at "
"købe, så har delingsnettverkene totalt set faktisk  været til fordel for "
"musikselskaberne.  De villes dermed  have lille grund til at "
"<emphasis>ændre</emphasis> holdninger, og til at modarbejde dem."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kan det være rigtigt?  Kan industrien som helhed øge i omfang på grund af "
"fildeling?  Selv om det kan høres mærkeligt ud, så viser faktisk salgtal for "
"CD-er at det ikke er langt  fra sandheden."

#.  f12 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Foreningen for musikindustri i USA, <citetitle>2002 Yearend Statistics</"
"citetitle>, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #15</ulink>.  En senere rapport indikerer endnu  større tab.  Se "
"Foreningen for musikindustri i USA, <citetitle>Some Facts About Music "
"Piracy</citetitle>, 25 . juni 2003, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #16</ulink>: <quote>I de sidste fire årene har "
"antal udsendinge af enheder optaget musik henhørt med 26 procent fra 1,16 "
"milliarder enheder til 860 millioner enheder i 2002 i USA (baseret på antal "
"udsendet/udsendt).  I salg er omsætning reduceret med 14 procent, fra 14,6 "
"milliarder dollar til 12,6 milliarder dollar sidste år (baseret på US dollar-"
"værdi for udsendingene). Musikindustrien på verdenbasis har gået ned fra at "
"være en 39 milliarder dollars industri i 2000 til at blive en 32 milliarder "
"dollars industri i 2002 (baseret på US dollarværdi for udsendinge.</quote>"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 . februar 2003, tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #17</ulink>.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 2002 rapporterede RIAA at CD-salg havde henhørt med 8,9 procent, fra 882 "
"millioner til 803 millioner enheder, og indtægterne havde henhørt 6,7 "
"procent.<placeholder type=\"footnote\" id=\"0\"/> Dette bekræfter en trend "
"fra de sidste årene.  RIAA skylder på piratvirksomhed over Internet for "
"denne trend, selv om det er mange andre årsager som kan forklare denne "
"reduktion.  SoundScan rapporterede for eksempel  om en reduktion på over 20 "
"procent siden 1999 når det gælder antal CD-er som er givet ud. Dette er uden "
"tvivl årsagen til noget af nedgangen i salget.  Stigende priser kan også  "
"have bidraget til noget af tabet. <quote>Fra 1999 til 201 steg den "
"gennemsnitlige prisen for en CD med 7,2 procent, fra 13,04 dollar til 14,19 "
"dollar.</quote><placeholder type=\"footnote\" id=\"1\"/> Konkurrence fra "
"andre typer medierne kan også  forklare noget af nedgangen.  Som Jane Black "
"i <citetitle>BusinessWeek</citetitle> kommenterer, <quote>Lydsporet for "
"filmen <citetitle>High Fidelity</citetitle> har en listepris på 19,98 "
"dollar.  Du kan få hele filmen [på DVD] for 19,99 dollar.</"
"quote><placeholder type=\"footnote\" id=\"2\"/>"

#.  PAGE BREAK 84 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men lagde os antage at  RIAA har ret , at al nedgangen i CD-salg er "
"forårsaget af deling på Internet.  Her er hvor det skurrer: I samme periode "
"som RIAA estimerer at 803 milloner CD-er blev solgt, estimerer RIAA at 2,1 "
"milliarder CD-er blev lastet ned gratis.  Dermed, selv om 2,6 gange det "
"totale antallet CD-er blev lastet ned gratis, så henhørt salgindtægterne med "
"kun 6,7 procent."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er for  mange forskellige ting som sker samtidig  til at forklare disse "
"tal med sikkerhed, men en konklusion er uunngåelig: Musikindustrien spørger "
"stadig , <quote>Hvad er forskellen mellem at laste ned en sang, og at stjæle "
"en CD?</quote> &ndash; men deres egen tal afslører forskellen.  Hvis jeg "
"stjæler en CD, så er det en mindre CD at sælge.  Hvert eneste som bliver "
"taget er et tabt salg.  Men baseret på tallene som RIAA gør tilgængeligt, så "
"er det helt klart at det samme ikke er sandt for nedlastinger.  Hvis hver "
"nedlasting var et tabt salg &ndash; hvis hver brug af Kazaa <quote>røvede "
"forfatteren for profiten</quote> &ndash; da skulle industrien været påført "
"100 procent reduktion i salg i fjor, ikke en 7 procents nedgang.  Hvis 2,6 "
"gange antallet solgte CD-er blev lastet ned gratis, og salgindtægterne kun "
"blev reduceret med 6,7 procent, så er det en stor forskel mellem at "
"<quote>laste ned en sang og at stjæle en CD.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er skaderne &ndash; påståede og måske overdrevende, men lagde os "
"antage at de er reelle.  Hvad er fordelene?  Fildeling påfører måske  "
"omkostninger for pladeindustrien.  Hvad slags værdi giver det i tillæg til "
"disse omkostninger?"

#.  f15 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Et estimat fortæller at 75 procent af musikken givet ud af de store "
"pladeselskaberne ikke længere trykkes op .  Se Online Entertainment and "
"Copyright Law &ndash; Coming Soon to a Digital Device Near You: Høring foran "
"the Senate Committee on the Judiciary, 107 . kongr., 1 . sesj. (3 . april "
"2001) (forberedt indlæg af the Future of Music Coalition), tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"En fordel er type-C-deling &ndash; at gøre indhold tilgængeligt som teknisk "
"set fortsat  er opphavsrettsbeskyttet men som ikke længere er kommercielt "
"tilgængeligt.  Dette er ikke  en lille kategori med indhold. Det er "
"millioner af spor som ikke længere er kommercielt tilgængeligt.<placeholder "
"type=\"footnote\" id=\"0\"/> Og mens det kan tænkes at noget af dette "
"indholdet ikke er tilgængeligt fordi artisten som fortog indholdet ikke "
"ønsker at det bliver gjort tilgængeligt, så er det meste af dette "
"utilgjengelig kun fordi forlaget eller distributøren har bestemt at det ikke "
"længere giver økonomisk mening <emphasis>for selskabet</emphasis> at gøre "
"det tilgængeligt."

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

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "used record sales"
msgstr "bruktplatesalg"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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\"/> Mens det ikke findes nogle gode "
"estimater over antallet bruktplatebutikker, så var det i 2002 7 7198 "
"bruktbokhandler i USA, en øgning på 20 procent siden 1993 . Se Book Hunter "
"Press, <citetitle>The Quiet Revolution: The Expansion of the Usæd Book "
"Market</citetitle> (2002), tilgængeligt fra <ulink url=\"http://free-culture."
"cc/notes/\">link #19</ulink>.  Brugte plader udgjorde 260 millioner dollar i "
"salg i 2002 .  Se National Association of Recording Merchandisers, "
"<quote>2002 Annual Survey Results,</quote> tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #20</ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I den virkelige værdet &ndash; længe føder Internet &ndash; havde markedet "
"et enkelt svar på dette problem: bruktbok- og bruktplatebutikker.  Det er "
"tusindvis  af butikker for brugte bøger og plader i Amerika i dag."
"<placeholder type=\"footnote\" id=\"0\"/> Disse butikker køber indhold fra "
"ejerne, og sælger så videre indholdet de købte. Og ifølge amerikansk "
"åndsverklov, når de køber og sælger dette indhold, <emphasis>selv om "
"indholdet fortsat er værnet af åndsverkloven</emphasis>, så får ikke  "
"ophavsretejeren et ører. Bruktbok- og bruktplatebutikkene er kommercielle "
"aktører.  Deres ejere tjener penge på indholdet de sælger, men på samme måde "
"som med kabel-TV-selskaberne føder lovbestemt lisensiering, må de ikke "
"betale opphavsrettseierene for indholdet de sælger."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "out of print"
msgstr "udsolgt fra forlaget"

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

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Type-C-deling har dermed  rigtigt meget til fælles med bruktbok- og "
"bruktplatebutikker.  Det er naturligvis  også rigtigt forskelligt, fordi "
"personen som gør indhold tilgængeligt, ikke tjener penge på at gøre "
"indholdet tilgængeligt.  Det er naturligvis  også forskelligt fra den "
"fysiske værdet ved at når jeg sælger en plade, så har jeg den ikke længere, "
"mens på nettet når jeg deler min 1949-plade af Bernsteins <quote>Two Love "
"Songs</quote> med nogle, så har jeg den fortsat. Denne forskel betyder noget "
"økonomisk hvis ejeren af ophavsreten sælger pladen i konkurrence med min "
"deling.  Men vi snakker om den klassen af indhold som nu ikke er kommercielt "
"tilgængeligt. Internet gør det tilgængeligt, gennem samarbejdende deling, "
"uden at konkurrere med markedet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det kan godt  være, når alle faktorer vurderes, at det villes været bedre om "
"ophavsretejeren fik noget fra denne handel.  Men det at det kunne været "
"bedre, fører ikke  til at det villes været en god idé at forbyde "
"bruktbokhandlere.  Eller sagt på en anden måde, hvis du tror type-C-deling "
"burde været stoppet, mener du også at biblioteker og bruktbokhandler også "
"burde været lukket?"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "free on-line releases of"
msgstr "gratis online-udgivelser af"

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

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

#.  PAGE BREAK 86 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Til slutning, og måske mest vigtigt, gør fildelingsnettverk type-D-deling "
"muligt &ndash; delingen af indhold som ophavsretejerne ønsker at få delt, "
"eller der det ikke er værd efter åndsverkloven.  Denne delingen er klaret "
"til fordel for forfattere og samfundet.  Science fiction-forfatteren Cory "
"Doctorow, for eksempel, udgav sin første roman, <citetitle>Down and Out in "
"the Magic Kingdom</citetitle>, både frit tilgængeligt på nettet og i "
"boghandler på samme dag.  Han (og hans forlag) mente at distribution på "
"nettet villes være flotte markedsføring for den <quote>ægte</quote> bogen.  "
"Folk villes læse dele på nettet, og så bestemme sig for om de kunnelide "
"bogen eller ikke. Hvis de kunnelide den, så var det mere sandsynligt at de "
"købte den. Doctorows indhold er type-D-indhold.  Hvis delingsnettverkene gør "
"det muligt at brede hans værk, så kommer både han og samfundet bedre ud. "
"(Faktisk så kommer de meget bedre ud: det er en god bog!)"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det samme gælder for  allemannseide (public domain) værk: Denne delingen "
"gavner samfundet uden nogen juridisk skade mod forfattere i det hele taget. "
"Hvis indsatsen for at løse problemet med type-A-deling ødelægger muligheden "
"for type-D-deling, så mister vi noget vigtigt for at beskytte type-A-indhold."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Pointen med alt dette er: Selv om pladeindustrien forståeligt nok siger, "
"<quote>Dette er hvor mange vi har tabt,</quote> så må vi også spørge os "
"<quote>hvor mange har samfundet fået igen  fra p2p-deling? Hvad gør os mere "
"effektive?  Hvad er indholdet som ellers villes være utilgjengelig?</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For til forskel fra piratvirksomheden jeg beskrev i første del af dette "
"kapitlet, er meget af <quote>piratvirksomheden</quote> som fildeling gør "
"muligt klart lovlig og god.  Og i lighed med piratvirksomheden jeg beskrev i "
"kapitel <xref xrefstyle=\"select: labelnumber\" linkend=\"pirates\"/>, så er "
"meget af denne pirat virksomheden motiveret af de nye måderne at brede "
"indhold på som er forårsaget af ændringer i distributionteknologien.  "
"Dermed, på samme måde som med traditionen som gav os Hollywood, radio, "
"pladeindustrien og kabel-TV, er spørgsmålet vi bør stille os om fildeling, "
"hvordan vi bedst kan bevare dets fordele mens vi minimerer (så langt som "
"muligt) de uønskede skaderne de påfører kunstnere. Spørgsmålet er et om "
"balance.  Retvæsenet bør strebe efter den balancen, og den balancen bliver "
"fundet kun  efter en tid."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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>Men er ikke  krigen bare en krig mod ulovligt deling?  Er ikke  "
"angrepsmålet bare det du kalder type-A-deling?</quote>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "zero tolerance in"
msgstr "nultolerance i"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "infringing material blocked by"
msgstr "materiale som bryder ophavsreten blokeret af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "infringement protections in"
msgstr "beskyttelser mod brud på ophavsreten i"

#.  f17 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se referat fra forhandlingerne, I Re: Napster Copyright Litigation side 34-"
"35 (N.D. Cal., 11 . juli 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #21</"
"ulink>. For man oppsummering af søgsmålet og dets effekt på Napster, se "
"Joseph Mænd, <citetitle>Al the Rave: The Rise and Fall of Shawn Fanning's "
"Napster</citetitle> (New York: Crown Business, 2003), 269&ndash;82 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Man skulle tro det.  Og vi bør håbe på det.  Men så langt er det ikke "
"tilfælde.  Effekten som krigen som påstås at kun være mod type-A-deling har "
"blevet kendt langt  udover den klassen med deling.  Det er åbenbaret fra "
"Napster-sagen selv.  Da Napster fortalte regiondomstolen at den havde "
"udviklet teknologi som villes blokere for 99,4 procent af identificeret "
"opphavsrettsbrytende materiale, fortalte regiondomstolen advokaterne til "
"Napster at 99,4 procent var ikke  godt nok.  Napster måtte få "
"ophavsretbruddene <quote>ned til nul.</quote><placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis 99,4 procent ikke er godt  nok, så er dette en krig mod "
"fildelingsteknologier, og ikke en krig mod ophavsretbrud.  Det er ikke  "
"muligt at sikre at et p2p-system bruges 100 procent af tiden i henhold til "
"lovværket, lige så lidt som det er muligt at sikre at 100 procent af "
"videospillere, eller 100 procent af kopimaskiner, eller 100 procent af "
"håndvåben bliver brugt i henhold til  lovværket.  Ingen tolerance betyder "
"ingen p2p.  Rettens afgørelser betyder at  vi som samfund må miste fordelene "
"med p2p, selv for de fuldstændig lovlige og fordelaktige brugsområderne som "
"de tjener, kun for at sikre at det ikke eksisterer brud på ophavsreten "
"forårsagede af p2p."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nultolerance har ikke  været vores historie.  Det har ikke  givet os "
"indholdindustrien som vi kender i dag .  Historie til amerikansk lovgiving "
"har været en proces om balance.  Efterhånden som nye teknologier ændrede "
"måden indhold blev bredt, så har loven justeret sig, efter lidt tid, til at "
"modarbejde den nye teknologien.  I denne justeringen har loven forsøgt at "
"sikre legitime rettigheder til skaberne mens den beskytter nyskabning.  "
"Nogle gange har det givet mere rettigheder til skaberne, og nogle gange "
"mindre."

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

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "composer's rights vs. producers' rights in"
msgstr "komponistens rettigheder versus producenternes rettigheder i"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dermed, sådan vi har set, når <quote>mekanisk reproduktion</quote> truede "
"interesserne til komponister, balancerede kongressen rettighederne til "
"komponisterne mod interesserne til pladeindustrien.  Den gav rettigheder til "
"komponisterne, men også til pladeartisterne: Komponisterne skulle få betalt, "
"men til en pris sat af Kongressen. Men da radio begyndte kringkasting af "
"pladerne fortog af disse pladeartister, og de klagede til Kongressen om at "
"deres <quote>kreative ejendom</quote> ikke blev respekteret (siden en "
"radiostation ikke måtte betale dem for kreativiteten den udsendet/udsendt), "
"da afviste Kongressen kravet.  En indirekte fordel var nok ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kabel-TV fulgte samme mønster som plader.  Da retten afviste kravet om at "
"kabel-TV-kringkasterne måtte betale for indholdet de videresendte, så sorte "
"Kongressen med at give kringkasterne ret til betaling, men på et niveau "
"fastsat af loven.  De gav på samme måde kabel-TV-selskaberne ret til "
"indholdet, så længe de betalte den lovbestemte prisen."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "two central goals of"
msgstr "to centrale mål for"

#.  PAGE BREAK 88 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette kompromis, på samme måde som kompromiset som påvirkede plader og "
"automatiske pianoer, opnåede to mål &ndash; faktisk de to centrale målene i "
"enhver opphavsrettslovgiving.  For det første, sikret loven at nye "
"oppfinnere villes have friheden til at udvikle nye måder at levere indhold "
"på.  For det andre, sikret loven at ophavsretindehaverne villes få betalt "
"for indholdet som blev distribueret.  En frygt var at  hvis Kongressen "
"ganske enkelt krævede at kabel-TV-selskaberne måtte betale "
"ophavsretindehaverne uanset hvad de krævede for sit indhold, så villes "
"ophavsretindehaverne tilknyttet kringkastere bruge sin magt til at hæmme "
"denne nye kabel-TV-teknologien. Men hvis kongressen havde tilladt kabel-TV "
"at bruge kringkasternes indhold uden at betale, så villes den givet "
"uretfærdigt subsidiering til kabel-TV.  Dermed valgte Kongressen en pasning "
"som villes sikre <emphasis>kompensation</emphasis> uden at give fortiden "
"(kringkasterne) kontrol over fremtiden (kabel-TV)."

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

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "Betamax technology developed by"
msgstr "Betamax-teknologi udviklede af"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Samme år som Kongressen valgte denne balance, gik to store producenter og "
"distributører af filmindhold til sag mod en anden teknologi, Det var "
"Betamax, video-spilleren og -opptakeren som Sony havde produceret. Disneys "
"og Universals påstand mod Sony var relativt enkelt: Sony producerede en "
"enhed, påstod Disney og Universal, som gjorde det muligt for forbrukere at "
"gennemføre ophavsretbrud.  På grund af at enheden Sony havde fortaget havde "
"en <quote>optagelseknap,</quote> kunne enheden blive brugt til at tage op  "
"opphavsrettsbeskyttede film og programmer.  Sony havde derfor  fordel af "
"ophavsretbruddene til sine kunder, og skulle derfor , påstod Disney og "
"Universal, være delvis  ansvarligt/ansvarlig for disse brud."

#.  PAGE BREAK 89 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er noget i påstandene til Disney og Universal.  Sony valgte at udforme "
"sin maskine sådan at det var rigtigt enkelt at tage op Tv-programmer.  De "
"kunne have bygget maskinen sådan at den blokerede, eller hindrede enhver "
"direkte kopiering fra en TV-kringkasting.  Eller så kunne de måske have "
"bygget maskinen sådan at det kun var muligt at kopiere hvis det var et "
"specielt <quote>kopier mig</quote>-signal på linjen.  Det var klart at det "
"var mange Tv-programmer som ikke gav nogle tilladelse til at kopiere.  "
"Faktisk villes en, hvis man spurgte, uden tvivl fet besked fra flertallet af "
"programmer at de ikke tillod kopiering. Og i mødet med dette åbenbare "
"ønsket, kunne Sony have udformet sit system for at minimere muligheden for "
"ophavsretbrud.  Det gjorde de ikke, og på grund af dette vilde Disney og "
"Universal holde dem ansvarligt/ansvarlig for arkitekturen de valgte."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on VCR technology"
msgstr "på videospiller-teknologi"

#.  f18 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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): høring om S. 1758 foran "
"the Senate Committee on the Judiciary, 97 . kongr., 1 . and 2 . siddeplads., "
"459 (1982) (vidnesbyrd fra Jack Valenti, præsident, Motion Picture "
"Association of America, Inc.)."

#.  f19 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr "Copyright Infringements (Audio and Video Recorders), 475 ."

#.  f20 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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>. mod <citetitle>Sony "
"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)."

#.  f21 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
"Copyright Infringements (Audio and Video Recorders), 485 (vidnesbyrd fra "
"Jack Valenti)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 "
"<quote>tapeworms,</quote> 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 ""
"MPAA-præsidenten Jack Valenti blev studioernes mest synlige forkjemper. "
"Valenti kaldte videospillerne for <quote>båndormer</quote> (engelsk: "
"tapeworm).  Han advarede om <quote>at når det er 20, 30, 40 millioner af "
"disse video spillerne i landet, vil vi blive invaderet af millioner af "
"<quote>båndormer</quote> som spiser i vej i hjertet og essensen til den mest "
"værdifulde eiendelen som ophavsretejeren har, hans ophavsret.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> <quote>Man må ikke  være "
"oplært i sofistikert markedsføring eller kreativ vurdering,</quote> fortalte "
"han Kongressen, <quote>for at forstå ødeleggelsen af efter-biograf-markedet "
"forårsagede af de hundredevis af millioner optagelser som vil seriøst "
"påvirke fremtiden til det kreative miljøet i dette land.  Det er ganske "
"enkelt  et spørgsmål om grundlæggende økonomi og enkel sund fornuft.</"
"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske rigtigt, viser "
"senere spørreundersøkelser, 45 procent af videospillerejerne havde "
"filmbiblioteker som indeholdte ti film eller mere.<placeholder "
"type=\"footnote\" id=\"2\"/> &ndash; en brug som retten senere villes afgøre "
"ikke  var <quote>rimeligt.</quote>  Ved at <quote>tillade videospillerejerne "
"at kopiere frit ved hjælp af et undtagelse fra brud på opphavsrettsloven "
"uden at fortage en mekanisme for at kompensere ophavsretejerne,</quote> "
"forklarede Valenti, så villes Kongressen <quote>tage fra ejerne selve "
"essensen i sin ejendom: den eksklusive retten til at kontrollere hvem som "
"kan bruge deres værker, det vil sige, hvem som kan kopiere dem, og dermed "
"nyde godt  at deres reproduktion.</quote><placeholder type=\"footnote\" "
"id=\"3\"/>"

#.  f22 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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>. mod <citetitle>Sony "
"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir.  1981)."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det tog otte år føder denne sag blev afgjort af Højesteret.  I mellemtiden "
"havde den niende ankekreds, som har Hollywood i sin jurisdiktion &ndash; det "
"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, omtaler "
"som <quote>Hollywood-kredsen</quote> &ndash; fundet at Sony måtte holdes "
"ansvarligt/ansvarlig for de ophavsretbruddene som blev gjort muligt med "
"deres maskiner.  Ifølge reglen til niende ankekreds var denne kendte "
"teknologi &ndash; som Jack Valenti havde omtalt som <quote>Boston-kveleren "
"for amerikansk filmindustri</quote> (ondere end dette, det var en "
"<emphasis>japansk</emphasis> Boston-kvæler for amerikansk filmindustri) "
"&ndash; en ulovlig teknologi.<placeholder type=\"footnote\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"

#.  PAGE BREAK 90 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men Højesteret gjorde om afgørelsen til niende ankekreds.  Og i sin "
"afgørelse formulerede domstolen klart sin forståelse af når og om domstole "
"burde intervenere i sådanne konflikter.  Som retten skrev,"

#.  f23 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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> mod <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)."

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Både forsvarlig politik og vores historie, støtter vores konsistente "
"henvisning til Kongressen når store teknologiske nyvindinger ændrer markedet "
"for opphavsrettsbeskyttet materiale.  Kongressen har den konstitusjonelle "
"autoriteten og institutionevnen til at tage fuldt hensyn til de forskellige "
"sammensetningene af konkurrerende interesser som uunngåelig bliver "
"involveret af sådan ny teknologi.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kongressen blev bedt om at svare på afgørelsen fra Højesteret.  Men på samme "
"måde som med appellen fra pladeartisterne om radiokringkastinger, ignorerede "
"Kongressen denne forespørgsel.  Kongressen var overbevist om at amerikansk "
"film fik nok , på trods af at det her blev <quote>taget.</quote>  Hvis vi "
"samler disse sag, træder et mønster frem:"

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

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

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

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

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

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

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

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

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

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

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

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

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "VCR"
msgstr "Video-spiller / -opptaker"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> 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=\"1\"/> <placeholder type="
"\"indexterm\" id=\"2\"/>"
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> Dette er de vigtigste "
"forekomsterne i vores historie, men det er også  andre tilfælde.  For "
"eksempel var teknologien til digitale lydkasetter (DAT) reguleret af "
"Kongressen for at minimere risikoen for piratkopiering.  Medicinen som "
"Kongressen valgte, påførte man belastning for DAT-producenter, ved at lægge "
"en skat på kassettebåndsalg og ved at kontrollere DAT-teknologien. Se Audio "
"Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States Code</"
"citetitle>), Pub. L. No. 102-563, 106 Stat.  4237, codified at 17 U.S.C. "
"§1001 . Igen eliminerede heller  ikke denne regulereringen muligheden for "
"gratispassagerer sådan jeg har beskrevet.  Se Lessig <citetitle>Future</"
"citetitle>, 71 . Se også  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=\"1\"/> <placeholder "
"type=\"indexterm\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I hvert tilfælde gennem vores historie har ny teknologi ændret hvordan "
"indhold blev distribueret.<placeholder type=\"footnote\" id=\"0\"/> I hvert "
"tilfælde, gennem hele vores historie, har den ændringen ført til  at nogle "
"blev <quote>gratispassager</quote> på nogle andres værk."

#.  PAGE BREAK 91 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I <emphasis>ingen</emphasis> af disse tilfælde eliminerede domstolene og "
"Kongressen alle gratispassagerer.  I <emphasis>ingen</emphasis> af disse "
"tilfælde insisterede domstolene og Kongressen på at loven skulle sikre at "
"ophavsretindehaveren skulle få al værdi som hans ophavsret havde skabt.  I "
"hvert tilfælde klagede ophavsretejeren over <quote>piratvirksomhed.</quote>  "
"I hvert tilfælde valgte Kongressen at tage hensyn til noget af legitimiteten "
"i opførslen hos <quote>piraterne.</quote>  I hvert tilfælde tillod "
"Kongressen noget ny teknologi at have fordel af indhold fortaget tidligere . "
" Den balancerede interesserne som stod på spil."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Når du tænker over disse eksempler, og de andre eksempler som udgør de "
"første fire kapitlerne i denne del, så giver denne balance mening.  Var Walt "
"Disney en pirat?  Villes doujinshi være bedre hvis skaberne måtte bede om "
"tilladelse?  Bør værktøj som giver andre mulighed til at fange og brede "
"billeder sådan at de kan kultivere og kritisere vores kultur blive bedre "
"reguleret? Er det virkeligt rigtigt at at bygge en søkemotor skal udsætte "
"dig for krav på 15 millioner dollar i erstatning?  Villes det have været "
"bedre om Edison havde kontrolleret al film?  Burde ethvert coverband måtte "
"hyre ind en advokat for at få tilladelse til at spille ind en sang?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on balance of interests in copyright law"
msgstr "om interesseavveininger i opphavsrettslovgivning"

#.  f25 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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> mod <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, (1984)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Vi kunne sort ja på hvert af disse spørgsmål, men vores tradition har svaret "
"nej.  I vores tradition, sådan Højesteret udtalte, har ophavsreten "
"<quote>aldrig givet ophavsretejeren fuldstændig kontrol over al muligt brug "
"af hans værker.</quote><placeholder type=\"footnote\" id=\"0\"/> I stedet "
"har de spesifikke brugsområder som loven regulerer været defineret ved at "
"balancere de goder som kommer fra at dele ud en eksklusiv rettighed mod "
"ulempene en sådan eksklusiv rettighed skaber. Og denne balance ringen har "
"historisk været gjort <emphasis>efter</emphasis> at teknologien har modnet, "
"eller landet på en blanding af teknologier som bidrager til distributionen "
"af indhold."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Vi burde gøre det samme i dag.  Teknologien på Internet ændrer sig raskt.  "
"Måden folk kobler sig til Internet (trådbasert eller trådløst) ændrer sig "
"rigtigt raskt.  Uden tvivl bør ikke  netværket blive et værktøj for "
"<quote>stjeling</quote> fra kunstnere.  Men loven bør heller  ikke blive et "
"værktøj for at tvinge igennem en bestemt måde som kunstnere (eller mere "
"korrekt, distributører) får betalt.  Som jeg beskriver i lidt detalje i det "
"sidste kapitlet i denne bog, bør vi sikre indkomster til kunstnere mens vi "
"tillader markedet at få på plads den mest effektive måden at fremme og "
"distribuere indhold.  Dette vil kræve ændringer i loven, i hvert fald i en "
"mellomperiode.  Disse ændringer bør udformes sådan at de balancerer lovgitt "
"beskyttelse mod den stærke interessen folket har for at nyskabning "
"fortsætter."

#.  f26 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 . "
"september 2003, C3 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er specielt  rigtigt når en ny teknologi muliggjør en vældig overlegen "
"måde at distribuere på, og det har p2p gjort. P2p-teknologier kan være "
"ideelt effektivt for at flydte indhold på tværs af et stort og varieret "
"netværk.  Udviklede videre  så kan de gøre netværkene meget mere effektive.  "
"Alligevel kan disse <quote>potentielle fordelene for folket,</quote> som "
"John Schwartz skriver i <citetitle>The New York Times</citetitle>, "
"<quote>blive forsinket af p2p-kampen.</quote><placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 <quote>rebalance</quote> 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 ""
"<emphasis role='strong'>Men når nogle</emphasis> begynder at snakke om "
"<quote>balance,</quote> kommer ophavsretkrigerene med et andet argument.  "
"<quote>Al denne varme luft om balance og incentiver,</quote> siger de, "
"<quote>går glipp af det fundamentale pointen.  Vores indhold,</quote> "
"insisterer krigerene, <quote>er vores <emphasis>ejendom</emphasis>.  Hvorfor "
"burde vi vente på at Kongressen skal finde en ny balance for vores "
"ejendomretter?  Må vi vente før vi kontakter politiet når vores bil har "
"blevet stjålet?  Og hvorfor burde Kongressen i det hele taget debattere "
"nytten af dette tyveriet?  Spørger vi dem om biltyven havde god brug for "
"bilen før vi arresterer ham?</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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>Det er <emphasis>vores ejendom</emphasis>,</quote> insisterer "
"krigerene, <quote>og den bør være beskyttet på samme måde som al anden "
"ejendom er beskyttet.</quote>"

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

#.  PAGE BREAK 94 
#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Ophavsretkrigerene</emphasis> har ret : Ophavsreten "
"er en type ejendom. Den kan ejes og sælges, og lovværket beskytter den mod "
"at blive stjålet. Sædvanligvis, kan ophavsretejeren bede om hvilken som "
"hilst pris som han ønsker.  Markeder bestemmer tilbud og efterspørgsel som i "
"hvert tilfælde bestemmer prisen hun kan få."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"I normalt sprog er imidlertid  det at kalde ophavsret for en "
"<quote>ejendoms</quote>ret lidt misvisende, for ejendommen i ophavsreten er "
"en mærkelig type ejendom.  Selve idéen om ejerrettigheder til en idé eller "
"et udtryk er nemlig  rigtigt mærkeligt.  Jeg forstår hvad jeg tager når jeg "
"tager et havebord som du placerede bag dit hus.  Jeg tager en ting, "
"havebordet, og efter at jeg har taget det, har ikke  du det.  Men hvad tager "
"jeg når jeg tager den gode <emphasis>idéen</emphasis> som du havde om at "
"placere havebordet i bakhagen &ndash; ved at for eksempel afgå til butikken "
"Sears, købe et bord, og placere det i min egen bakhage? Hvad er tingen jeg "
"tager da ?"

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

#.  f1 
#. type: Content of: <book><part><partintro><para><footnote><para>
#, fuzzy
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 ""
"Brev fra Thomas Jefferson til Isaac McPherson (13 . august 1813) i "
"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. "
"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333&ndash;34 ."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Pointen er ikke  bare om hvorvidt havebord og idéer er ting, selv om det er "
"en vigtig forskel.  Pointen er i stedet  at i det normale tilfælde &ndash; "
"faktisk i praktisk talt ethvert tilfælde undtagen en begrænset række med "
"undtagelse &ndash; er idéer som er sluppet ud i værdet frie. Jeg tager "
"ingenting fra dig når jeg kopierer måden du klæder dig selv &ndash; om det "
"villes se sært ud hvis jeg gjorde det hver dag, og specielt sært hvis du er "
"en kvinde.  I stedet, som Thomas Jefferson sagde (og det er specielt  sandt "
"når jeg kopierer hvordan nogle andre klæder sig), <quote>Den som modtager en "
"idé fra mig, får selv  information uden at tage noget fra mig, på samme måde "
"som den som fænger sit lys fra min svage fure lys uden at forlade mig i "
"mørket.</quote><placeholder type=\"footnote\" id=\"0\"/>"

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

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Undtagelserne til fri brug er idéer og udtryk indenfor dækningområdet til "
"loven om patent og ophavsret, og nogle få andre betænker som jeg ikke vil "
"diskutere her .  Her siger lovværket at du ikke kan tage min idé eller "
"udtryk uden min tilladelse: Lovværket gør det immaterielle til ejendom. "

#.  f2 
#. type: Content of: <book><part><partintro><para><footnote><para>
#, fuzzy
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 ""
"Sådan de juridiske realisterne lærte væk amerikansk lov, var alle "
"ejendomretter immaterielle.  En ejendomret er ganske enkelt  den retten som "
"et individ har mod værdet til at gøre eller ikke gøre visse/vise ting som er "
"eller ikke er knyttet til et fysisk objekt.  Retten i sig selv er "
"immateriell, selv om objektet som det er (metafysisk) knyttet til er "
"materielt.  Se 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>
#, fuzzy
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 ""
"Men hvordan lovværket gør det, og i hvilken udstrækning, og i hvilken form "
"&ndash; detaljerne, med andre ord &ndash; betyder noget.  For at få en god "
"forståelse om hvordan denne praksis om at gøre det immaterielle om til "
"ejendom voksede frem, behøver vi at placere sådan  <quote>ejendom</quote> i "
"sin rette sammenhæng.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Min strategi for at gøre dette er den samme som min strategi i den "
"foregående del.  Jeg præsenterer fire historie som bidrager til at placere "
"<quote>opphavsrettsbeskyttet materiale er ejendom</quote> i sammenhæng.  "
"Hvor kom idéen fra?  Hvad er deres begrænsninger?  Hvordan fungerer dette i "
"praksis?  Efter disse historie vil betydningen til dette sande udsagn "
"&ndash; <quote>opphavsrettsbeskyttet materiale er ejendom</quote> &ndash; "
"blive lidt  mere klart, og dets implikationer vil blive afsløret som ganske "
"forskelligt fra implikationerne som ophavsretkrigerene vil at vi skal forstå."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Six: Founders"
msgstr "Kapitel seks: Grundlæggerne"

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

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

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "history of copyright law in"
msgstr "historie af opphavsrettslovgivning i"

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

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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> skrev "
"<citetitle>Romeo og Julie</citetitle> i 1595 . Skuespillet blev først  "
"udgivet i 1597 . Det var det ellevte store skuespillet Shakespeare havde "
"skrevet. Han fortsatte at skrive skuespil helt til 1613, og stykkerne han "
"skræv har fortsat  at definere angloamerikansk kultur siden. Så dybt har "
"værkerne af en 1500-tals forfatter synket ind i vores kultur at vi ofte ikke "
"engang kender kilden. Jeg overhørte en gang nogle som kommentere Kenneth "
"Branaghs udgave af Henry V: <quote>Jeg kunnelide det, men Shakespeare er så  "
"fuld af klicheer.</quote>"

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

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

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

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/> Jacob Tonson er sædvanligvis  husket for sin omgang med 1700-"
"tallets litterære storheter, specielt John Dryden, og for hans kække "
"<quote>færdige versioner</quote> af klassiske værker. I tillæg til "
"<citetitle>Romeo og Julie</citetitle>, udgav han en utrolig række liste af "
"værker som endnu er hjertet af den engelske kanon, inkluderet de samlede "
"værker af Shakespeare, Ben Jonson, John Milton, og John Dryden. Se Keith "
"Walker: <quote>Jacob Tonson, Bookseller,</quote> <citetitle>American "
"Scholar</citetitle> 61:3 (1992): 424&ndash;31 ."

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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&ndash;52 ."

#.  PAGE BREAK 97 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I 1774, næsten 180 år efter at <citetitle>Romeo og Julie</citetitle> blev "
"skrevet, mente mange at <quote>ophavsreten</quote> kun tilhørte en eneste "
"utgiver i London, Jacob Tonson. <placeholder type=\"footnote\" id=\"0\"/> "
"Tonson var den mest fremstående af en lille gruppe utgivere kaldt <quote>The "
"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerede "
"boksalget i England gennem hele 1700-tallet. The Conger hævdede at de havde "
"en evigvarende eneret over <quote>kopier</quote> af bøger de havde fået af "
"forfatterne. Denne evigvarende retten indebar at ingen andre kunne publicere "
"eksemplarer af disse bøge. Sådan blev prisen på klassiske bøger holdt oppe; "
"alle konkurrenter som fortog bedre eller billigere udgaver, blev fjernet."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "British Parliament"
msgstr "Britiske parlamentet, det"

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

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/> Som Sivede Vaidhyanathan så pænt "
"argumenterer, er det feilaktige at kalde dette en <quote>åndsverklov.</"
"quote> Se Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, "
"40 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men altså, det er noget spændende med året 1774 for alle som ved lidt  om "
"opphavsrettslovgivning. Det mest kendte året for ophavsret er 1710, da det "
"britiske parlamentet vedtog den første loven. Denne lov er kendt som "
"<quote>Statute of Anne</quote>, og sagde at alle publicerede værker skulle "
"være beskyttet i fjorten år, en periode som kunne fornyes en gang dersom "
"forfatteren endnu levede, og at alle værker publiceret i eller før 1710 "
"skulle have en ekstraperiode på 22 tilleggsår.<placeholder type=\"footnote\" "
"id=\"0\"/> På grund af denne lov, så skulle <citetitle>Romeo og Julie</"
"citetitle> have henhørt i det fri i 1731 . Hvordan kunne da  Tonson fortsat "
"have kontrol over værket i 1774?"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "common vs. positive"
msgstr "sædvane versus positiv"

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

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Årsagen var ganske enkelt  at englænderne endnu ikke havde bestemt hvad "
"ophavsret indebar &ndash; faktisk  havde ingen i værdet det. På den tiden da "
"englænderne vedtog <quote>Statute of Anne,</quote> var det ingen anden "
"lovgivning om ophavsret. Den sidste loven som regulerede utgivere var "
"lisensieringsloven af 1662, utløpt i 1695 . At loven gav utgiverne monopol "
"over publiseringen, noget som gjorde det enklere for kronen at kontrollere "
"hvad  blev publiceret. Men efter at det har utløpt, var det ingen positiv "
"lov som sagde at  utgiverne havde en eksklusiv ret til at trykke bøger."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"At det ikke fandtes nogle <emphasis>positiv</emphasis> lov, betød ikke  at "
"det ikke fandtes nogle lov. Den angloamerikanske juridiske tradition ser "
"både til love skabt af det lovgivende statorgan, og til håndflade "
"(prejudikater) skabt af domstolene for at bestemme hvordan folket skal "
"opføre sig.  Vi kalder politikernes håndflade for positiv lov, og vi kalder "
"lovene fra dommerne retpraksis.  Retpraksis angiver baggrunden for de "
"lovgivendes lovgivning; vedtagne love vil sædvanligvis  overstyre baggrunden "
"kun hvis det vedtages en lov for at erstatte den.  Så det egentlige "
"spørgsmålet efter at lisensieringslovene havde utløpt, var om retpraksis "
"beskyttede en ophavsret uafhængigt af eventuel positiv lov."

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

#.  PAGE BREAK 98 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette spørgsmål var vigtigt for utgiverne eller <quote>bokselgere,</quote> "
"som de blev kaldt, fordi det var øgende konkurrence fra udenlandske "
"utgivere, særligt fra Skottland hvor publiseringen og eksporten af bøger til "
"England havde øget rigtigt. Denne konkurrence reducerede fortjenesten til "
"<quote>The Conger,</quote> som derfor krævede at Parlamentet igen skulle "
"vedtage en lov for at give dem eksklusiv kontrol over publisering. Dette "
"krav resulterede i <quote>Statute of Anne.</quote>"

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<quote>Statute of Anne</quote> gav forfatteren eller <quote>ejeren</quote> "
"af en bog en eksklusiv ret til at publicere denne bog. Men det var, til "
"bokhandlernes forferdelse en vigtig begrænsning, nemlig hvor længe denne ret "
"skulle vare. Efter dette gik trykkeretten væk, og virkede henhørt i det fri "
"og kunne trykkes af hvem som helst. Det var i hvert fald det lovgiverne "
"havde tænkt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men nu det mest interessante med dette: Hvorfor ville Parlamentet begrænse "
"trykkeretten? Spørgsmålet er ikke  hvorfor de bestemte sig for denne "
"periode, men hvorfor ville de begrænse retten <emphasis>i det hele taget?</"
"emphasis>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Bokhandlerne, og forfatterne som de repræsenterede, havde et rigtigt stærkt "
"krav. Tag <citetitle>Romeo og Julie</citetitle> som et eksempel: Skuespillet "
"blev skrevet af Shakespeare. Det var hans kreativitet som bragede det til "
"værdet. Han skældte ikke  nogles ret da han skrev dette værket (det er en "
"kontroversiel påstand, men det er ikke  relevant), og med sin egen ret "
"skabte han værket. Han gjorde det ikke noget vanskeligere for andre at "
"fortage skuespil. Så hvorfor skulle loven tillade at nogle anden kunne komme "
"og tage Shakespeares værk uden hans, eller hans arvingers, tilladelse? "
"Hvilke begrundelser findes for at tillade at nogle <quote>stjæler</quote> "
"Shakespeares værk?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Svaret er todelt. Først må vi se på noget specielt med opfattelsen af "
"ophavsret som fandtes på tidspunktet da <quote>Statute of Anne</quote> blev "
"vedtaget. Derefter må vi se på noget specielt med bokhandlerne."

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

#.  PAGE BREAK 99 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Først om ophavsreten/kopiretten. I de sidste tre hundrede år har vi kommet "
"til at bruge begrebet <quote>kopiret</quote> i stadigt videre forstand. Men "
"i 1710 var det ikke så meget et koncept som det var en bestemt ret. "
"Ophavsreten blev født som et stort spesifikt sæt med begrænsninger: den "
"forbød andre at reproducere en bog. I 1710 var <quote>kopiret</quote> man "
"ret til at bruge en bestemt maskine til at replikere et bestemt arbejde. Den "
"gik ikke  udover dette vældig smale formålet. Den kontrollerede ikke  mere "
"generelt hvordan et værk kunne <emphasis>bruges</emphasis>. I dag inkluderer "
"retten en stor samling af restriktioner på andres frihed: den giver "
"forfatteren eksklusiv ret til at kopiere, eksklusiv ret til at distribuere, "
"eksklusiv ret til at fremføre, og så videre."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Så selv om f.eks. ophavsreten til Shakespeares værk var evigvarende, betød "
"det ifølge den oprindelige betydningen af begrebet at ingen kunne trykke "
"Shakespeares værk uden tilladelse fra Shakespeares arvinger. Den villes ikke "
" have kontrolleret noget mere, for eksempel om hvordan værket kunne "
"fremføres, om værket kunne oversættes eller om Kenneth Branagh ville haft "
"lov til at fortage film. <quote>Kopiretten</quote> var bare  en eksklusiv "
"ret til at trykke &ndash; ikke  noget mindre, selvfølgelig, men heller ikke "
"mere."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Henry VIII, King of England"
msgstr "Henry VIII, Konge af England"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "monopoly, copyright as"
msgstr "monopol, ophavsret som"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Statute of Monopolies (1656)"
msgstr "Statute of Monopoliti (1656)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Selv denne begrænsede ret blev modarbejdet med skepsis af briterne. De havde "
"haft en lang og grim erfaring med <quote>eksklusive rettigheder,</quote> "
"specielt <quote>eneret</quote> givet af kongen. Englænderne havde udkæmpet "
"en borgerkrig delvis mod kongens praksis med at dele ud monopoler &ndash; "
"specielt monopoler for værker som allerede eksisterede. Kong Henrik VIII "
"havde givet patent på at trykke Bibelen/Biblen og monopol til Darcy for at "
"dagsværk spillkort. Det engelske parlamenter begyndte at kæmpe tilbage mod "
"denne magt hos kongen. I 1656 blev <quote>Statute of Monopoliti</quote> "
"vedtaget for at begrænse monopolerne på patenter for nye oppfinnelser. Og i "
"1710 var parlamentet ivrigt efter at håndtere det voksende monopolet på "
"publisering."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dermed blev <quote>kopiretten,</quote> når den ses på som en "
"monopolrettighed, en rettighed som bør være begrænset. (Uanset hvor "
"overbevisende påstanden om <quote>at det er min ejendom, og jeg skal have "
"den for altid,</quote> prøv hvor  overbevisende det er når man siger "
"<quote>det er mit monopol, og jeg skal have det for altid.</quote>) Staten "
"villes beskytte eneretten, men bare så længe det gavnet samfundet. Briterne "
"så skaderne særinteressene kunne skabe; de vedtog en lov for at stoppe dem."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Milton, John"
msgstr "Milton, John"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "booksellers, English"
msgstr "bokselgere, Engelske"

#.  f4 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Dernæst, om bokhandlerne. Det var ikke  bare at kopiretten var et monopol. "
"Det var også  et monopol som bokhandlerne havde. Man boghandler høres fin og "
"ufarlig ud for os, men sådan var det ikke i syttenhundretallets England. "
"Medlemmerne i <quote>The Conger</quote> blev af flere og flere set på som "
"monopolister af ondeste sort &ndash; et værktøj for kongens undertrykkelse, "
"de solgte Englands frihed mod at være garanteret en monopolindtægt. Men "
"monopolistene blev kvast kritiseret: Milton beskrev dem som <quote>gamle "
"patentholdere og monopolister i bokhandlerkunsten</quote>; de var "
"<quote>mænd som derfor ikke havde  et ærligt arbejde hvor uddannelse er "
"nødvendig.</quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Enlightenment"
msgstr "opplysningstiden"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "knowledge, freedom of"
msgstr "kundskab, frihed for"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mange troede at den magten bokhandlerne udøvede over spredning af kundskab, "
"var til skade for selve spredningen, men på dette tidspunkt viste "
"Opplysningstiden vigtigheden af uddannelse og kundskab for alle.  Idéen om "
"at kundskab burde være gratis var et kendetegn i tiden, og disse kraftige "
"kommercielle interesser forstyrret denne idéen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For at balancere denne magt, bestemte Parlamentet at øge konkurrencen blandt "
"bokhandlerne, og den enkleste måden at gøre dette på var at distribuere "
"rigdommen som kom fra  værdifulde bøger.  Parlamentet begrænsede derfor  "
"vernetiden i ophavsreten, og garanterede dermed  at værdifulde bøger villes "
"være tilgængelige for nyutgivelse for enhver utgiver efter en begrænset "
"tidsperiode.  Dermed var det at vernetiden for eksisterende værk bare blev "
"på tjueen år, et kompromis for at bekæmpe magten til bokhandlerne.  "
"Begrænsningen i vernetiden var en indirekte måde at sikre konkurrence mellem "
"utgivere, og dermed oppbyggingen og spredning af kultur."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in perpetuity"
msgstr "for evigt"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Da 1731 (1710 + 21) kom, blev bokhandlerne ængstelige. De så konsekvenserne "
"af mere konkurrence, og som enhver konkurrent, kunnelide de det ikke. Først "
"ignorerede bokhandlere ganske enkelt <quote>Statute of Anne,</quote> og "
"fortsatte at kræve en evigvarende ret til at kontrollere publiseringen. Men "
"i 1735 og 1737 prøvede de at tvinge Parlamentet til at udvide perioderne. "
"Tjueen år var ikke  nok, sagde de; de behøvede mere tid."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"Parliament rejected their requests. As one pamphleteer put it, in words that "
"echo today,"
msgstr ""
"Parlamentet afslog kravene, Som det stod i en pamflet, i en formulering som "
"er gyldigt også i dag:"

#.  f5 
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
#, fuzzy
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 el Purchasers of such "
"Copies, during the Times therein mentioned (London, 1735), in Brief Amici "
"Curiae of Tyler T. Ochoa et avl., 8, <citetitle>Eldred</citetitle> v. "
"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Jeg ser ingen grund til at give en udvidet periode nu som ikke villes kunne "
"give udvidelser om igen og om igen, så foret de gamle utgår; så dersom dette "
"lovforslag bliver vedtaget, vil effekten være: at et evigt monopol bliver "
"skabt, et stort nederlag for handlen, et angreb mod kundskaben, ingen fordel "
"for forfatterne, men en stor afgift for folket; og alt dette kun for at øge "
"bokhandlernes personlige rigdom.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Efter at have mislykkedes i Parlamentet, gik utgiverne til domstolene i en "
"serie med sager. Deres argument var enkelt og direkte: <quote>Statute of "
"Anne</quote> gav forfatterne en vis beskyttelse gennem positiv lov, men "
"denne beskyttelse var ikke  ment som en erstatning for fælles lov. I stedet "
"var de ment at supplere fælles lov. Ifølge retpraksis var det galt at tage "
"en anden persons kreative ejendom og bruge den uden hans tilladelse. "
"<quote>Statute of Anne,</quote> hævdede bokhandlere, ændrede ikke  dette "
"faktum. Derfor betød ikke  det at beskyttelsen givet af <quote>Statute of "
"Anne</quote> udløb, at beskyttelsen fra retpraksis udløb: Ifølge retpraksis "
"havde de ret til at forbyde publiseringen af en bog, selv om <quote>Statute "
"of Anne</quote> sagde at de var henhørt i det fri. Dette, mente de, var den "
"eneste måden at beskytte forfatterne."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Patterson, Raymond"
msgstr "Patterson, Raymond"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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, ånd Fair Use,"
"</quote> <citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28 . For en "
"fantastisk overbevisende fortælling, se Vaidhyanathan, 37&ndash;48 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette var et snedig argument, og havde støtte fra flere af datidens ledende "
"jurister. Det viste også  en utrolig frekkhet. Indtil da, som juiceprofessor "
"Raymond Pattetson formulerede det, <quote>var utgiverne &hellip;  lige så "
"bekymret for forfatterne som man vogter for sine lam.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Bokselgerne generede sig ikke det spor om "
"forfatternes rettigheder. Deres bekymring var den monopolprofiten "
"forfatterens værk gav."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Donaldson, Alexander"
msgstr "Donaldson, Alexander"

#.  f7 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"For a compelling account, see David Saunders, <citetitle>Authorship and "
"Copyright</citetitle> (London: Routledge, 1992), 62&ndash;69."
msgstr ""
"For en fascinerende fremstilling, se David Saunders, <citetitle>Authorship "
"and Copyright</citetitle> (London: Routledge, 1992), 62&ndash;69 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men bokhandlernes argument blev ikke  godtaget uden kamp. Helten fra denne "
"kamp var den skotske bokselgeren Alexander Donaldson.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Boswell, James"
msgstr "Boswell, James"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Erskine, Andrew"
msgstr "Erskine, Andrew"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Rose, Mark"
msgstr "Rose, Mark"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/>"

#.  f9 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Ibid., 93."
msgstr "Ibid., 93 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 var en fremmed for Londons <quote>The Conger.</quote> Han startede "
"sin karriere i Edinburgh i 1750 . Hans forretningsidé var billige kopier af "
"standardværk henhørt i det fri, i hvert fald fri ifølge <quote>Statute of "
"Anne.</quote><placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag "
"voksede og blev <quote>et centrum for litterære skud.</quote> <quote>Blandt "
"dem,</quote> skriver professor Mark Rose, var <quote>den unge James Boswell "
"som, sammen med sin ven Andrew Erskine, publicerede en hel antologi af "
"skotsk samtidspoesi sammen med Donaldson.</quote><placeholder "
"type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 (der hen "
"Borwell bliver citeret)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Da Londons bokselgere prøvede at få lukket Donaldsons butik i Skottland, så "
"flyttet han butikken til London. Her solgte han billige udgaver af <quote>de "
"mest populære, engelske bøger, i kamp mod retpraksissen ret til litterær "
"ejendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> hans Bøge var "
"mellem 30 procent og 50 procent billigere end <quote>The Conger</quote>s, og "
"han baserede sin ret til at konkurrere på at bøgerne, takkede være "
"<quote>Statute of Anne,</quote> var henhørt i det fri."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Millar v. Taylor"
msgstr "Millar mod taylor"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Londons bokselgere begyndte straks  at slå ned mod <quote>pirater</quote> "
"som Donaldson. Flere tiltag var vellykket, den vigtigste var den tidligt "
"sejren i kampen mellem <citetitle>Millar</citetitle> og <citetitle>Taylor</"
"citetitle>."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Thomson, James"
msgstr "Thomson, James"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Seasons, The (Thomson)"
msgstr "Seasons, The (Thomson)"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Taylor, Robert"
msgstr "Taylor, Robert"

#.  f11 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 var man boghandler som i 1729 havde købt op rettighederne til James "
"Thomsons digt <quote>The Seasons.</quote> Millar havde da  fuld beskyttelse "
"gennem <quote>Statute of Anne,</quote> men efter at denne beskyttelse var "
"utløpt, begyndte Robert Taylor at trykke en konkurrerende udgave. Millar gik "
"til sag, og hævdede han havde man evigt ret gennem retpraksis, uanset hvad "
"<quote>Statute of Anne</quote> sagde.<placeholder type=\"footnote\" id=\"0\"/"
">"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Til moderne juristers forbløffelse, var en af, ikke bare datidens, men en af "
"de største dommere i engelsk historie, Lord Mansfield, enigt/enig med "
"bokhandlerne. Uanset hvilken beskyttelse <quote>Statute of Anne</quote> gav "
"bokhandlerne, så sagde han at den ikke fortrængte noget fra retpraksis. "
"Spørgsmålet var hvorvidt  retpraksis beskyttet forfatterne mod "
"<quote>pirater.</quote> Mansfield svar var jaer: Retpraksis nægtede Taylor "
"at reproducere Thomsons digt uden Millars tilladelse. Sådan gav retpraksis "
"bokselgerne en evig publiseringsrett til bøger solgt til dem."

#.  PAGE BREAK 103 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Ser man på det som et spørgsmål inden abstrakt juice &ndash; dersom man "
"ræsonnerer som om retfærdighed bare var logisk deduksjon fra de første bud "
"&ndash; kunne Mansfields konklusion givet mening. Men den overså det "
"Parlamentet havde kæmpet for i 1710: Hvordan man på bedst muligt vis kunne "
"indskrænke utgivernes monopolmagt. Parlamentets strategi havde været at købe "
"fred gennem at tilbyde en beskyttelseperiode også for eksisterende værker, "
"men perioden måtte være så  kort at kulturen blev udsat for konkurrence "
"inden rimelig tid. Storbritannia skulle vokse fra den kontrollerede kulturen "
"under kongen, ind i en fri og åben kultur."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Kampen for at forsvare <quote>Statute of Anne</quote>s begrænsninger "
"sluttede uanset ikke der hen, for nu kommer Donaldson."

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "House of Lords"
msgstr "Overhuset, det britiske"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "House of Lords vs."
msgstr "Overhuset, det britiske versus"

#.  f12 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Ibid., 1156."
msgstr "Ibid., 1156 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 døde kort tid efter sin sejer. Dødsboet hans solgte rettighederne "
"over Thomsons digt til et syndikat af utgivere, der i blandt Thomas Beckett."
"<placeholder type=\"footnote\" id=\"0\"/> Da gav Donaldson ud en uautorisert "
"udgave af Thomsons værk. Efter afgørelsen i <citetitle>Millar</citetitle>-"
"sagen, fik Beckett  en forføyning mod Donaldson. Donaldson tog sagen ind for "
"Overhuset, som da fungerede som en slags Højesteret. I februar 1774 havde "
"dette organet muligheden til at tolke Parlamentets mening med udløbdatoen "
"fra tres år tidligere."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Donaldson v. Beckett"
msgstr "Donaldson mod Beckett"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"På en måde som de færrest rettsaker gør, fik rettsaken <citetitle>Donaldson</"
"citetitle> mod <citetitle>Beckett</citetitle> enorm opmærksomhed over hele "
"Storbritannia.  Donaldsons advokater mente at  uafhængigt af hvilke "
"rettigheder som eksisterede i henhold til  retpraksis, så var disse "
"fortrængt af <quote>Statute of Anne.</quote>  Efter at <quote>Statute of "
"Anne</quote> var blevet vedtaget, skulle den eneste lovlige beskyttelse for "
"trykkerett komme derfra.  Og derfor, argumenterede de, villes værk som havde "
"været beskyttet, ikke længere være beskyttet når vernetiden specificeret i "
"<quote>Statute of Anne</quote> udløb."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Overhuset var en mærkelig institution. Juridiske spørgsmål blev præsenteret "
"for huset, og blev først  stemt over af <quote>juicelorder,</quote> "
"medlemmer af en speciel retslig gruppe som fungerede næsten  sådan som "
"justitiariusene i vores Højesteret. Derefter, efter at <quote>juicelorderne</"
"quote> havde stemt, stemte resten af Overhuset."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "English legal establishment of"
msgstr "den engelske juridiske etableringen af"

#.  PAGE BREAK 104 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Rapporterne om juicelorderne stemmer er uenige. På enkelte punkter ser det "
"ud som om evigvarende beskyttelse fik flertal. Men det er ingen tvivl om "
"hvordan resten af Overhuset stemte. Med en majoritet på to mod en (22 mod "
"11) stemte de ned forslaget om en evig beskyttelse. Uanset hvordan man havde "
"tolket retpraksis, var nu  ophavsreten begrænset til en periode, og efter "
"denne villes virket henhøre i det fri."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Bacon, Francis"
msgstr "Bacon, Francis"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Bunyan, John"
msgstr "Bunyan, John"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Johnson, Samuel"
msgstr "Johnson, Samuel"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Å henhøre i det fri.</quote> Før retssagen <citetitle>Donaldson</"
"citetitle> mod <citetitle>Beckett</citetitle> var det ingen klar opfattelse "
"om hvad at henhøre i det fri indebar. Før 1774 var det jo en almen "
"opfattelse om at kopiretten var evigvarende. Men efter 1774 blev "
"allemannseiet født. For første gang i angloamerikansk historie var den "
"lovlige beskyttelsen af et værk utgått, og de største værk i engelsk "
"historie &ndash; inkluderet Shakespeare, Bacon, Milton, Johnson og Bunyan "
"&ndash; var frie."

#.  f13 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid "Rose, 97."
msgstr "Rose, 97 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi kan knapt  forestille os det, men denne afgørelse fra Overhuset fyrede op "
" under en vældig populær og politisk reaktion. I Skottland, hvor de fleste "
"piratutgiverne havde holdt til, blev afgørelsen fejret i gaderne. Som "
"<citetitle>Edinburgh Advertiser</citetitle> skrev <quote>Ingen privatsak har "
"nogensinde  fået sådan opmærksomhed fra folket, og ingen sag som har blevet "
"prøvet i Overhuset har interesseret så  mange enkeltmennesker.</quote> "
"<quote>Stor glæde i Edinburgh efter sejren over litterær ejendom: "
"bålbrenning og pynting med lys.</quote><placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"In London, however, at least among publishers, the reaction was equally "
"strong in the opposite direction. The <citetitle>Morning Chronicle</"
"citetitle> reported:"
msgstr ""
"I London, i hvert fald blandt utgiverne, var reaktionen lige så stærk, men i "
"modsat retning. <citetitle>Morning Chronicle</citetitle> skræv:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Gennem denne afgørelse &hellip; er værdier til næsten 200 000 pund, som er "
"blevet ærligt købt gennem alment salg, og som i går var ejendom, nu "
"reduceret til ingenting. Bokselgerne i London og Westminster, mange af dem "
"har solgt huse og ejendom for at købe kopirettigheder, er med et ruinerede, "
"og mange som gennem mange år har oparbejdet kompetence for at brødføde "
"familien, sidder nu  uden en shilling til sine.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 105 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Ruineret</quote> er en overdrivelse. Men det er ingen overdrivelse at "
"sige at ændringen var stor. Vedtagelsen fra Overhuset betød at  bokhandlerne "
"ikke længere kunne kontrollere hvordan kulturen i England villes vokse og "
"udvikle sig. Kulturen i England var efter dette <emphasis>fri</emphasis>. "
"Ikke i den betydning at kopiretten blev ignoreret, for utgiverne havde i en "
"begrænset periode eneret over trykkingen. Og heller ikke i den betydningen "
"at bøge kunne stjæles, for selv efter at bogen var henhørt i det fri, så "
"måtte den købes. Men <emphasis>fri</emphasis> i betydningen at kulturen og "
"dens vækst ikke længere var kontrolleret af en lille gruppe utgivere. Som "
"alle frie markeder, villes dette marked vokse og udvikle sig efter tilbud og "
"efterspørgsel. Den engelske kulturen blev nu  formet sådan  flertallet af "
"Englands læsere villes at det skulle formes &ndash; gennem valget af hvad de "
"købte og skrev, gennem valget af memer (idéer) de gentog og beundrede. Valg "
"i <emphasis>en konkurrerende sammenhæng</emphasis>, ikke der hen hvor "
"valgene var om hvilken kultur som skulle være tilgængeligt for folket, og "
"hvor deres tilgang til den blev styret af nogle få, på trods af flertallets "
"ønsker."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Til sidst, dette var en værdet hvor Parlamentet var antimonopolistisk, og "
"holdt stand mod utgivernes krav. I en værdet hvor Parlamentet er let  at "
"påvirke, vil den frie kultur være mindre beskyttet."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Seven: Recorders"
msgstr "Kapitel syv: Innspillerne"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "fair use and"
msgstr "rimeligt brug og"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "documentary film"
msgstr "dokumentarfilm"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Else, Jon"
msgstr "Else, Jon"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "fair use"
msgstr "rimeligt brug"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in documentary film"
msgstr "i dokumentarfilm"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "fair use of copyrighted material in"
msgstr "rimeligt brug af opphavsrettsbeskyttet materiale i"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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> er en filmskaber. Han er mest "
"kendt for sine dokumentarer, og har på ypperligt vis klaret at brede sin "
"kunst. Han er også  en lærer, som mig selv, og jeg misunder ham den "
"loyaliteten og beundringen hans studenter har for ham. (Ved et tilfælde "
"modarbejdede jeg to af hans studenter i et middagsselskab, og han var deres "
"Gud.)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 arbejdede med en dokumentarfilm hvor jeg også var involveret. I en "
"pause fortalte han mig om hvordan det kunne være at skabe film i dagens "
"Amerika."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Wagner, Richard"
msgstr "Wagner, Richard"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "San Francisco Opera"
msgstr "San Francisco Opera"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I 1990 arbejdede Else med en dokumentar om Wagners Ring Cycle. Fokusset var "
"på scenearbejdere ved San Francisco Opera. Scenearbejderne er et specielt "
"morsomt og farverigt indslag i en opera. I løbet af forestillingen opholder "
"de sig blandt publikum og på lysloftet. De er en perfekt kontrast til "
"kunsten på scenen."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Simpsons, The"
msgstr "Simpsons, The"

#.  PAGE BREAK 107 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Under en forestilling filmede Else nogle scenearbejdere som spillede Dam. I "
"et hjørne af rommen stod det et fjernsynsapparat. På fjernsynet, mens "
"forestillingen pågikk, mens scenearbejderne spillede Dam og operakompagniet "
"spillede Wagner, gik <citetitle>The Simpsons</citetitle>. Sådan Else så det, "
"så hjalp dette tegnefilminnslaget at få med sig det specielle med scenen."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "multiple copyrights associated with"
msgstr "flere ophavrettigheder knyttede til"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Så, nogle år senere, da han endeligt havde fået ordnet den sidste "
"finansieringen, villes Else skaffe rettigheder til at bruge disse få "
"sekunder med <citetitle>The Simpson</citetitle>. For disse få sekunder var "
"selvsagt  beskyttet af ophavsreten, og for at bruge beskyttet materiale må "
"man have tilladelse fra ejeren, dersom det ikke er <quote>rimeligt brug</"
"quote>, eller det foreligger specielle aftaler."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Gracie Films"
msgstr "Gracie Films"

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "Groening, Matt"
msgstr "Groening, Matt"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 kontaktede <citetitle>Simpson</citetitle>-skaber Matt Groenings kontor "
"for at få tilladelse. Og Groening gav ham det. Det var trods alt kun snak om "
"fire og et halvt sekund på et lille fjernsyn, bagerst i et hjørne af rommen. "
"Hvordan kunne det skade? Groening var solnedgang for at få have det med i "
"filmen, men han bad Else om at kontakte Gracie Films, firmaet som producerer "
"programmet."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "Fox (film company)"
msgstr "Fox (filmselskab)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Gracie Films sagde også  at det var fint, men de, sådan som Groening, ønsket "
"at være forsigtige, og bad Else om at kontakte Fox, koncernen som ejede "
"Gracie. Else kontaktede Fox og forklarede situationen; at det var snak om et "
"klip i hjørnet i baggrunden i et rom i filmen. Matt Groening havde allerede  "
"givet sin tilladelse, sagde Else. Han villes bare  få det afklaret med Fox."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Derefter, fortalte Else: <quote>skete to ting. Først opdagede vi &hellip;  "
"at Matt Groening ikke ejede sit eget værk &ndash; i hvert fald at nogle [hos "
"Fox] troede at han ikke ejede sit eget værk.</quote> Som det andre krævede "
"Fox <quote>ti tusind dollar i licensafgift for disse fire og et halvdel "
"sekunderne med &hellip;  fuldstændigt tilfældigt <citetitle>Simpson</"
"citetitle> som var i et hjørne i et optagelse.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Herrera, Rebecca"
msgstr "Herrera, Rebecca"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 var sikker på at det var en fejl. Han fik tag i nogle som han troede "
"var souschef for lisensiering, Rebecca Herrera. Han forklarede for hende at "
"<quote>det må være en fejl her &hellip;  Vi beder dig om en uddannelseafsæt "
"på dette.</quote> Og du havde fået uddannelseafsæt, fortalte Herrera. Kort "
"tid efter ringede Else igen for at få dette bekræftede."

#.  PAGE BREAK 108 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Jeg måtte være sikker på at jeg havde rigtige oplysninger foran mig,</"
"quote> sagde han. <quote>Ja, du har rigtige oplysninger,</quote> sagde hun. "
"Det villes koste 10 000 dollar at bruge dette lille klippet af "
"<citetitle>The Simpson</citetitle>, placeret bagerst i et hjørne i en scene "
"i en dokumentar om Wagners Ring Cycle. Som om det ikke var nok , forbløffet "
"Herrera Else med at sige <quote>Og om du citerer mig, vil du høre fra vores "
"advokater.</quote> En af Herreras assistenter fortalte Else at <quote>De "
"generer sig ikke i det hele taget. Helt de vil have er pengeene.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Day After Trinity, The"
msgstr "Day After Trinity, The"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men Else havde ikke  penge til at købe licens for klippede. Så at gjenskape "
"denne del af virkeligheden lå langt  udenfor hans budgetter.  Så lige så før "
"dokumentaren skulle slippes, redigerede Else ind et andet klip på "
"fjernsynet, et klip fra en af hans andre film <citetitle>The Day After "
"Trinity</citetitle> fra ti år tidligere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er ingen tvivl om at nogle, enten det er er Matt Groening eller Fox, "
"ejer rettighederne til <citetitle>The Simpsons</citetitle>. Rettighederne er "
"deres ejendom. For at bruge beskyttet materiale kræves det ofte at man får "
"tilladelse fra ejeren eller ejerne. Dersom Else ønskede at bruge "
"<citetitle>The Simpsons</citetitle> til noget hvor loven giver virket "
"beskyttelse, så må han indhente tilladelse fra ejeren føder han kan bruge "
"det. I et frit marked er det ejeren som bestemmer hvor mange han/hun vil "
"tage for hvilken som hilst brug (der hen loven kræver tilladelse fra ejer)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<quote>Offentligt fremvisning</quote> af <citetitle>The Simpson</citetitle> "
"er for eksempel  en form for brug der loven giver ejeren kontrol. Dersom du "
"vælger ud dine favoritepisoder, leder man kinosal og sælger billetter til "
"<quote>Mine <citetitle>Simpson</citetitle>-favoritter,</quote> så må du have "
"tilladelse fra rettighedindehaveren (ejeren). Ejeren kan (med rette, sådan "
"jeg ser det) kræve så  meget han vil; 10 dollar eller 1 000 000 dollar. Det "
"er hans ret ifølge loven."

#.  f1 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Ønsker du at læse en flot redegjørelse om hvordan dette er <quote>rimelig "
"brug,</quote> og hvordan advokaterne ikke anerkender det, så læs Richard A. "
"Posner og William F. Patry, <quote>Fair Use and Statutory Reform in the Wake "
"of <citetitle>Eldred</citetitle> </quote> (udkast arkiveret hos "
"forfatteren), University of Chicago Law School, 5 . august 2003 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men når jurister hører denne historie om Jon Else og Fox, så er deres første "
"tanke <quote>rimelig brug.</quote><placeholder type=\"footnote\" id=\"0\"/> "
"Else brug af 4,5 sekunder med et indirekte klip af en <citetitle>Simpsons</"
"citetitle>-episode er et klart eksempel på rimelig brug af <citetitle>The "
"Simpsons</citetitle> &ndash; og rimelig brug kræver ingen tilladelse fra "
"nogle."

#.  PAGE BREAK 109 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's "
"his reply:"
msgstr ""
"Så jeg spurte Else om hvorfor han ikke bare stolte på <quote>rimeligt brug.</"
"quote> Han svarede:"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "legal intimidation tactics against"
msgstr "juridisk skræmseltaktik mod"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"<citetitle>Simpsons</citetitle>-svipseren lærte mig om hvor stor afstand det "
"var mellem det jurister ikke finder relevant på en abstrakt måde, og hvad "
"som er knusende relevant på en konkret måde for os som prøver at fortage og "
"udsende dokumentarer. Jeg tvivlede aldrig  på at dette helt klart var "
"<quote>åbenbaret rimeligt brug,</quote> men jeg kunne ikke  stole på "
"konceptet på nogen konkret måde. Og dette er grunden:"

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "Errors and Omissions insurance"
msgstr "Forsikring mod fejl og utelatelser"

#.  1. 
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
#, fuzzy
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 ""
"Før vores film kan udsendes, kræver TV-netværket at vi køber man "
"<quote>Forsikring mod fejl og utelatelser.</quote> Den kræver en detaljeret "
"<quote>visuell køreplan</quote> med alle kilder og lisensieringsstatus på "
"alle scener i filmen. De har et smalt syn på <quote>rimeligt brug,</quote> "
"og at påstå at noget er netop  dette kan forsinke, og i ondeste fald stoppe, "
"processen."

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "Lucas, George"
msgstr "Lucas, George"

#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "<citetitle>Star Wars</citetitle>"
msgstr "<citetitle>Star Wars</citetitle>"

#.  2. 
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
#, fuzzy
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 ""
"Jeg skulle nok  aldrig have bedt om Matt Groenings tilladelse. Men jeg "
"vidste (i hvert fald fra rygter) at Fox tidligere havde jagtet på og stoppet "
"ulisensiert brug af <citetitle>The Simpsons</citetitle>, på samme måde som "
"George Lucas var rigtigt ivrigt på at forfølge brugen af <citetitle>Star "
"Wars</citetitle>. Så jeg bestemte mig for at følge bogen, og troede at vi "
"skulle få til en gratis, i al fald rimeligt, aftale for fire sekunders brug "
"af <citetitle>The Simpsons</citetitle>. Som man næsten udmattede "
"dokumentarskaper med dårligt råd, var det sidste jeg ønsket en juridisk "
"strid, selv for at forsvare et princip."

#.  3. 
#.  PAGE BREAK 110 
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
#, fuzzy
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 ""
"Jeg snakkede faktisk  med en af dine kollegaer på Stanford Law School "
"&hellip;  som bekræftede at dette var rimelig brug. Han bekræftede også  at "
"Fox villes <quote>sagsøge og rettsforfølge dig til det næsten ikke er liv "
"igen i dig,</quote> uafhængigt af riktigheten i mine krav. Han gjorde det "
"klart at alt villes koge ned til hvem som havde flest jurister og dybeste "
"lomme, jeg eller dem."

#.  4. 
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
#, fuzzy
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 ""
"Spørgsmålet om rimeligt brug dukker som regel op helt mod slutningen af "
"projektet, når vi nærmer os sidste frist, og er tomme for penge."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I teorien betyder rimeligt brug at du ikke behøver tilladelse. Teorien "
"støtter derfor  den frie kultur, og arbejder mod tilladelsekulturen, men i "
"praksis fungerer <quote>rimeligt brug</quote> helt anderledes. De uklare "
"linjerne i lovværket, samt de frygtelige konsekvenserne dersom man tager "
"fejl, gør at  mange kunstnere ikke stoler på rimeligt brug. Loven har en "
"vældig god hensigt, men i praksis er den ikke fulgt op ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette eksempel viser hvor  langt denne lov har kommet fra sine "
"syttenhundretallsrøtter. Loven som skulle beskytte utgiverne mod uretfærdig "
"piratkonkurrence, havde udviklet sig til et sværd som slog ned på enhver "
"bruge, omformende eller ikke."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Eight: Transformers"
msgstr "Kapitel otte: Omformerne"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Allen, Paul"
msgstr "Allen, Paul"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Alben, Alex"
msgstr "Alben, Alex"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<emphasis role='strong'>I 1993</emphasis> arbejdede Alex Alben som jurist "
"hos Starwave Inc. Starwave var et innovativt firma grundlagt af Paul Allen, "
"som også havde været med som grundlægger af Microsoft. Starwaves mål var at "
"udvikle digital underholdning. Længe føder Internet blev superpopulært, "
"forskede Starwave på ny teknologi for at levere/levre underholdning uden "
"netværk."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "retrospective compilations on"
msgstr "retrospektive samlinger om"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "CD-ROMs, film clips used in"
msgstr "CD-ROM-er, filmklipp brugt i"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 var rigtigt interesseret i ny teknologi. Han var fascineret af det "
"voksende markedet for CD-RUMMELIG-teknologi &ndash; ikke for at distribuere "
"film, men for at gøre ting med filmen som før vilde været vældig  "
"vanskeligt. I 1993 lancerede han idéen om at udvikle et produkt for at visse/"
"vise tilbageblik på værkerne til bestemte skuespillere. Den første "
"skuespilleren som blev valgt, var Clint Eastwood. Idéen var at vise alle "
"Eastwoods værk, sammen med klip fra hans film og interviewer med personer "
"som havde været vigtige i hans karriere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"På den tiden havde Eastwood fortaget over halvtreds film, både som "
"skuespiller og som regissør. Alben begyndte med en serie interviewer med "
"Eastwood, hvor tema var hans karriere. Siden Starwave producerede disse "
"interview, kunne de frit have dem med på CD-en."

#.  PAGE BREAK 112 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men det alene havde ikke  blevet noget interessant produkt, så Starwave "
"ønskede at lægge ved stolt indhold fra nogle af Eastwoods film, nogle "
"plakater, manuskript og andre ting som kunne knyttes til hans film. "
"Størstedelen af Eastwoods karriere havde foregået hos Warner Brothers, og "
"det var relativt enkelt at få tilladelse for det materialet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Derefter ønskede Alben og hans team at bruge nogle faktiske klip fra  "
"aktuelle film. <quote>Vores mål var at have et klip fra alle Eastwoods film</"
"quote>, fortalte Alben mig. Det var her problemerne startet. <quote>Ingen "
"havde nogensinde  gjort dette før,</quote> forklarede Alben. <quote>Ingen "
"havde prøvet at præsentere et sådant kunstnerisk overblik over en "
"skuespillers karriere.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave.  Slade asked, "
"<quote>Well, what will it take?</quote>"
msgstr ""
"Alben tog idéen videre til Michael Slade, leder for Starwave. Slade spurgte "
"<quote>Vel , hvor mange vil det kræve?</quote>"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
#, fuzzy
msgid "publicity rights on images of"
msgstr "offentliggjøringsrettigheter for billeder af"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Teknisk set var rettighederne som Alben måtte klarere i hovedsag de om "
"publicitet &ndash; rettigheden en artist har til at kontrollere den "
"kommercielle utnyttelsen af sit billede.  Men disse rettigheder belaster "
"også  <quote>rip, miks, brænd</quote>-kreativiteten sådan dette kapitel "
"demonstrerer.  <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 svarede, <quote>Tja, vi må indhente tilladelse fra alle som optræder i "
"disse film, for musikken og for alt andet som er i disse filmklippene.</"
"quote> Slade svarede <quote>Flot! Gør det.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Problemet var at  hverken Alben eller Slade forstod hvad det indebar at "
"indhente disse tilladelser. Alle skuespillerne i hver af filmene kunne have "
"krav på kompensation for brug af sit optagelse. Men CD-ROM havde ikke  været "
"specificeret i skuespillernes kontrakter, så ingen vidste helt  hvad "
"Starwave skulle gøre."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg spurgte Alben om hvordan han løste problemet. Med en tydelig stolthet "
"som overskyggede hvor bisarr historie var, så fortalte han hvad de gjorde:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Så vi afgik og fandt frem filmene, og gjorde nogle kunstneriske beslutninger "
"om hvilke klip som skulle være med . Selvsagt skulle vi bruge <quote>Ordne "
"my day</quote>-scenen fra Dirty Harry. Men da måtte vi opsøge den personen "
"som ligger på bagen under geværet, og få hans tilladelse. Og så måtte vi "
"bestemme hvad han skulle få betalt."

#.  PAGE BREAK 113 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Vi bestemte at det villes være retfærdigt hvis vi tilbød dem en "
"dagsspillersats for retten til at bruge klippede. Vi snakker trods alt om et "
"klip på under et minut, men afsættet for at bruge klippede på CD-ROM lå på "
"den tiden på 600 dollar. Så vi måtte identificere personerne &ndash; nogle "
"var vanskeligt at identificere, siden det ofte er vanskeligt at vide hvem "
"som er skuespilleren og hvem som er stuntmannen i Eastwoods film. Og "
"derefter samlede vi os en gruppe og begyndte at ringe rundt."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Sutherland, Donald"
msgstr "Sutherland, Donald"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nogle skuespillere var glade for at kunne hjælpe &ndash; Donald Sutherland "
"fulgte for eksempel op sagen personligt for at sørge for at alt var fint. "
"Andre generede sig mest om pengeene. Alben kunne spørge <quote>Hei, kan jeg "
"betale dig 600 dollar, eller hvis du var i to film, 1200 dollar?</quote> Og "
"de kunne svare <quote>Er det sandt? Jeg vil vældig  gerne have 1200 dollar.</"
"quote> Nogle kunne være stolt vanskelige af sig (særligt krævende eks-"
"koner). Men til slutning klarede Alben og hans team at gøre rede for alle "
"rettighederne til CD-en om Clint Eastwoods karriere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var gået et <emphasis>år</emphasis> <quote>og selv da var vi ikke sikre "
"på om alt var helt klart.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er stolt af sit værk. Projektet var det første af sit slag, og første "
"gang han havde hørt om et team som havde taget på sig så meget arbejde for "
"at give ud en samling af tidligere arbejder."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Alle havde troet det skulle blive for  vanskeligt. De havde kastet hånd i "
"vejret og sagt <quote>Skrig, en film. Det er så  mange rettigheder; det er "
"musik, det er scenekunsten, det er skuespillere, det er regissører.</quote> "
"Men vi gjorde det! Vi tog delene fra hinanden og sagde <quote>okei, det er "
"så  mange skuespillere, så mange regissører ... så mange musikere,</quote> "
"så gik vi systematisk igennem det, og fik tag i rettighederne."

#.  PAGE BREAK 114 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"And no doubt, the product itself was exceptionally good. Eastwood loved it, "
"and it sold very well."
msgstr ""
"Og produktet blev uden tvivl særdeles godt. Eastwood elskede det, og det "
"solgte rigtigt godt."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Drucker, Peter"
msgstr "Drucker, Peter"

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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>, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #22</ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg spurgte Alben om hvor mærkeligt det syntes at det skulle tage et helt år "
"bare at få orden på rettigheder. Alben havde gjort det hele vældig "
"effektivt, men som Peter Drucker så berømt har sagt, <quote>Det er ikke  "
"noget som er så ubrukelig at gøre effektivt end det som egentligt ikke burde "
"gøres i det hele taget .</quote><placeholder type=\"footnote\" id=\"0\"/> "
"Var det noget fornuft i at det var sådan  et nyt værk skulle skabes, spurgte "
"jeg Alben."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For, som han indrøm, <quote>rigtigt få &hellip;  har tid og ressourcer, og "
"viljen til at gøre dette,</quote> og dermed bliver rigtigt få sådanne værk "
"nogle vrede fortaget.  Gear det mening, spurgte jeg ham, ud fra synsvinklen "
"til hvad enhver i realiteten troede de oprindeligt gav tilladelse til, at du "
"måtte gå i gang  med at klarere rettigheder for denne type optagelse?"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Jeg tror ikke  det. Når en skuespiller fremfører en scene i en film, får han "
"eller hun rigtigt godt betalt &hellip;  Og derfor, når 30 sekunder af denne "
"scene bliver brugt i et nyt produkt som er et tilbageblik på nogen karriere, "
"så tror jeg ikke at den personen &hellip;  burde få kompensation for det."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Eller er det måske <emphasis>sådan</emphasis> en kunstner burde få "
"kompensation? Gear det nogle mening, spurgte jeg, om det var en form for "
"lovbestemmt licens som nogle kan betale og frit videreudvikle, og omdigte "
"klip som disse?  Gav det virkelig mening at en videreudviklende skaber "
"skulle måtte spore op hver eneste artist, skuespiller, regissør, musiker og "
"få eksplisitt tilladelse fra hver af dem.  Villes ikke  meget mere blive "
"fortaget hvis den juridiske delen af den kreative processen kunne gøres "
"enklere."

#.  PAGE BREAK 115 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Ultimatum. Jeg tror at  hvis det fandtes en form for lisensieringsmekanisme "
"&ndash; hvor du ikke risikerede at blive offer for forglemmelser eller "
"problematiske ekskoner &ndash; villes man måske have set mange flere af "
"denne type værk, slet og ret fordi det ikke villes set så  skrekkinngytende "
"ud at sætte sammen  et tilbageblik på nogen karriere, og at bruge mange "
"medierne-illustrationer fra vedkommendes karriere.  Du villes kunne fortage "
"en budgetpost på dette, sætte op en omkostning på X dollar til talentet som "
"fremførte, og det villes være en kendt omkostning. Det er måske  "
"kerneproblemet med at producere sådanne produkter. Hvis man vidste at man "
"havde 100 minutter med film, kunne man sige at dette vil koste mig så og så "
"mange dollar, og fortage et budget rundt det. Derefter kan du skaffe "
"investorer og alt andet som trænges for at producere det. Men dersom man kun "
"kan sige <quote>Hm, jeg ønsker 100 minutter med noget, og jeg aner ikke  "
"hvor mange det vil koste mig, og et bestemt antal personer vil kræve penge,</"
"quote> vil det være ganske  vanskeligt at få til sådanne ting."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 arbejdede for et stort selskab. Hans selskab var støttet af nogle af "
"de rigeste investorerne i værdet. Derfor havde han myndighed og ressourcer "
"som en gennemsnitlig webdesigner ikke kan drømme om. Så hvis det tog ham et "
"år, hvor lang tid villes det tage nogle andre? Hvor mange kreativitet får "
"aldrig  form på grund af omkostningerne rundt at kortlægge og skaffe "
"rettigheder? "

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse omkostninger er byrderne fra en form for regulering. Vi kan prøve at "
"tage på os hatten til en republikaner, og blive sure et øjeblik. Staten "
"styrer disse rettigheders omfang, og omfanget bestemmer hvor mange det vil "
"koste at skælde disse rettigheder. (Husker I idéen om at en ejendom strakte "
"sig til universets grænse? Og se for jer piloten som må betale for at krydse "
"ejendommene han skælder ved at flyve fra Los Angeles til San Francisco.) "
"Disse rettigheder gav sikkert mening en gang, men nu som forholdene har "
"ændret sig, er meningen borte. I hvert fald så burde man veltrenet, "
"reguleringsfiendtlig republikaner se på rettighederne og spørge <quote>Gear "
"det mening nu?</quote>"

#.  PAGE BREAK 116 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg har set glimret af gjenkjennelse på dette punkt, men bare nogle få "
"gange. Første gang var på en konference for føderale dommere i California. "
"Dommerne var samlet for at diskutere det øgende temaet cyber-lov. Jeg blev "
"spurgt om at sidde i panelet. Harvey Saferstein, en respekteret advokat fra "
"et firma i Los Angeles, introducerede for panelet en film han og hans ven "
"Robert Fairbank havde fortaget."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Videoen var en glimrende sammenstilling af film fra hver periode i det "
"tyvende århundredet, ramt ind rundt idéen om en episode i TV-serien "
"<citetitle>60 Minutes</citetitle>. Utførelsen var perfekt, ned til tres "
"minutter stoppeklokke. Dommerne elskede hvert minut af den."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Da lysene kom på, kikkede jeg over til min medpaneldeltaker, David Nimmer, "
"måske den ledende opphavsrettsakademiker og -udøver i nationen. Han havde et "
"forbauset udtryk i sit ansigt, mens han kiggede ud over rommen med over 250 "
"godt adspredte dommere. Med en illevarslende tone, begyndte han sin tale med "
"et spørgsmål: <quote>Ved I hvor mange føderale håndflade som netop blev "
"brudt i dette rom?</quote>"

#. type: Content of: <book><part><chapter><para><indexterm><primary>
#, fuzzy
msgid "Boies, David"
msgstr "Boies, David"

#. type: Content of: <book><part><chapter><para><indexterm><primary>
#, fuzzy
msgid "Court of Appeals"
msgstr "Ankedomstol"

#. type: Content of: <book><part><chapter><para><indexterm><secondary>
#, fuzzy
msgid "Ninth Circuit"
msgstr "Niende kreds"

#. type: Content of: <book><part><chapter><para><indexterm><primary>
#, fuzzy
msgid "Ninth Circuit Court of Appeals"
msgstr "Niende ankekreds"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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\"/> Og "
"selvsagt havde ikke  disse to briljante talenterne gjort hvad  Alben havde "
"gjort. De havde ikke  ordnet alle rettighederne til klippene de brugte. Rent "
"teknisk havde de brudt loven. Men ingen kom til at straffeforfølge disse to "
"(selv om de viste den for 250 dommere og en gruppe føderale lovmenn). Men "
"Nimmer havde et vigtigt pointe: Et år føder nogle havde hørt ordet Napster, "
"og to år før et andet medlem af panelet, David Boies, villes forsvare "
"Napster for den niende ankekreds, prøvede Nimmer at få dommerne til at "
"forstå at loven ikke var særligt åben for de nye kapaciteterne den nye "
"teknologien villes muliggjøre. Teknologi betyder at du nu kan gøre "
"fantastiske ting enkelt, men du kan ikke  enkelt gøre dem lovligt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi lever i <quote>en klip og klistr</quote>-kultur som er muliggjort af "
"dagens teknologi. Alle som fortager præsentationer ved hvilken særskilt "
"frihed Internets <quote>klip og klistr</quote>-arkitektur giver &ndash; på "
"et sekund kan du finde akkurat  det billedet du vil have, og du kan få det "
"ind i din præsentation."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Camp Chaos"
msgstr "Camper Chaos"

#.  PAGE BREAK 117 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men præsentationer er bare  en lille start. Ved hjælp af Internet og dets "
"arkiver, er musikere i stand til at sy sammen  nye lydmikser som ingen havde "
"kunnet forestille sig; filmskabere er i stand  til at fortage film ud fra "
"klip på computere rundt om i værdet. Et specielt netsted i Sverige tager "
"billeder af politikere og blander dem med musik for at skabt bidende "
"politiske kommentarer. En netside kaldt Camp Chaos har skabt noget af den "
"skarpeste kritikken som findes mod musikindustrien, gennem at mikse Flash! "
"og musik."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alt dette er rent  teknisk ulovligt. Selv om skaberen ønskede at holde sig "
"på ret side af loven, villes omkostningerne med at følge loven været "
"umenneskelige. Derfor vil de som ønsker at følge loven blive hindret i at "
"bruge sin kreativitet, og meget bliver aldrig  skabt. Og det som er skabt, "
"vil ikke  blive publiceret fordi det ikke er i tråd med "
"opklaringringskrønerne."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For nogle insinuerer disse historie en løsning: Lad os ændre blandingen af "
"rettigheder sådan at folk står frit til at bygge på vores kultur, står frit "
"til at lægge til  eller blanding sådan de synes pas. Vi kunne introducere "
"dette uden at det blev frit som i <quote>fri bar.</quote> I stedet kunne "
"systemet gøre det lettere for nye kunstnere at kompensere den originale "
"artisten uden at det kræver en hær af jurister. Hvad med skrøner som f.eks. "
"<quote>kompensation til en ophavsretindehaver for uregistrerede værker vil "
"for avledede værker for 1 procent af netto overskud (som sættes på spærret "
"konto til fordel for rettighedejer)</quote>? Med en sådan regel villes "
"ophavsretholderen få en indtægt, men han vil ikke  have en fuld ejendomret "
"over ophavsreten (som betyder retten til at bestemme prisen selv) uden at "
"have registreret værket."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvem vil nægte at blive med på dette? Og hvilke grunde findes for at nægte "
"dette? Vi snakker om et værk som ikke bliver fortaget akkurat  nu, men om "
"det blev fortaget under denne plan, vil det skabe indkomster for artisterne. "
"Hvilke bagtanker kan nogle have for at modarbejde det?"

#.  PAGE BREAK 118 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I februar 2003</emphasis> kunne DreamWorks studios "
"kundgøre at de havde fået en aftale med komikeren Mike Myers (manden bag "
"Saturday Night Live og Austin Powers). I følge kunngjøringen skulle "
"DreamWorks og Myers arbejde for at skabe en <quote>unik filmskaberaftale.</"
"quote> Under denne aftale villes DreamWorks <quote>få ret til at benytte "
"eksisterende filmklipp, skrive nye manuskripter og &ndash; med hjælp af "
"moderne digitalteknologi &ndash; sætte ind Myers og andre skuespillere i "
"filmene, og sådan skabe et helt nyt stykke underholdning.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette blev kaldt <quote>filmsampling,</quote> og som Myers forklarede, var "
"<quote>filmsampling en fantastisk måde at få ny vridning på eksisterende "
"film, og lader publikum se gamle film i et nyt lys. Ræb-artister har gjort "
"sådant i en årrække, og nu kan vi tage det samme koncept og bruge det på "
"film.</quote> Steven Spielberg er citeret med følgende udsagn <quote>Hvis "
"nogle kan klare at bringe gamle film til et nyt publikum, så er det Mike.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 har ret . Filmsampling med Myers villes været brilliant, men hvis "
"du ikke følger godt  med, så vil du overse det forbløffende med denne "
"kunngjøringen. Siden den aller største delen af forår filmarv fortsætter at "
"være reguleret af loven, så er det virkelige indholdet i DreamWorks "
"kunngjøring følgende: Det er Mike Myers, og kun Mike Myers, som har lov til "
"at gøre sådant. Al generel frihed til at fortsætte at bygge på værdets "
"filmkultur, en frihed som i andre sammenhænge er en selvfølge, er et "
"privilegium forbeholdt de morsomme og berømte &ndash; og antageligt rige."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette privilegium er begrænset af to slags grunder: Første grund er man "
"fortsettelse af forrige kapitel, vagheten i <quote>rimeligt brug.</quote> "
"Meget af denne <quote>samplingen</quote> vil nok  betragtes som "
"<quote>rimeligt brug,</quote> men ingen våger at stole på et så vagt "
"princip. Det leder os til næste grund for at privilegiet er forbeholdt få: "
"Omkostningerne ved at skælde ophavsreten ved kreativt genbrug er "
"astronomiske. Disse omkostninger spejler omkostningen for <quote>rimeligt "
"brug</quote>: Enten betaler du en jurist til at forsvare dine "
"<quote>rimeligt brug</quote>-rettigheder, eller så betaler du en jurist for "
"at opspore og ordne med rettighederne du behøver, sådan at du slipper at "
"stole på rimeligt brug. I begge tilfælde er den kreative processen blevet en "
"proces med at betale jurister &ndash; igen, et privilegium forbeholdt de få."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Nine: Collectors"
msgstr "Kapitel ni: Samlere"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "archives, digital"
msgstr "arkiver, digitale"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "bots"
msgstr "boter"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I april 1996</emphasis> havde millioner af "
"<quote>bod-er</quote> &ndash; computerprogramkode udformet for at "
"<quote>kravle</quote>, eller automatisk søge på Internet og kopiere indhold "
"&ndash; gået i gang  på nettet. Side for side kopierede disse bod-ene "
"Internet-baseret information til et lille set maskiner placeret i en kælder "
"i San Franciscos Presidio.  Da bod-ene var færdig med hele Internet, startet "
"de på nyt.  Igen og igen, en gang hver anden måneder, tog disse snuttene med "
"kode kopier af Internet og lagrede dem."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Way Back Machine"
msgstr "Way Back Machine"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I oktober 2001 havde bod-ene samlet mere end fem år med kopier.  Ved en "
"lille kunngjøring ved Berkeley, California, blev arkivet som disse kopier "
"udgjorde, Internet-arkivet, åbnet for værdet.  Ved at bruge en teknologi ved "
"navn <quote>Way Back Machine</quote> kan du skrive ind en netside og se alle "
"deres kopier helt tilbage til 1996, samt se når disse sider ændrede sig."

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

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er en egenskab ved Internet som Orwell villes sat pris på. I den "
"dystre værdet beskrevet i <citetitle>1984</citetitle> blev gamle aviser "
"kontinuerligt opdateret for at sikre at gældende opfattelse af værdet, "
"godkendt af myndighederne, ikke blev motsagt af gamle nyhedmeldinger."

#.  PAGE BREAK 120 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Tusindvis af arbejdere redigerede konstant fortiden, hvilket gjorde at det "
"aldrig var muligt at vide om historie du læssede i dag var historie som blev "
"trykket den datoen som stod ført op på papiret."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er det samme med Internet.  Hvis du besøger en netside i dag, så har du "
"ingen måde at vide om indholdet du læser nu  er det samme som indholdet du "
"læste tidligere .  Siden kan se helt lig ud, men indholdet kan ganske enkelt "
" være helt anderledes.  Internet er Orwells bibliotek &ndash; kontinuerligt "
"opdateret, uden en pålidelig hukommelse."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "White House press releases"
msgstr "pressemeldinger fra Det hvide huse"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> 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\"/> <placeholder type=\"indexterm\" id=\"2\"/> Fristelsene er dog  "
"der hen fortsat. Brewster Kahle fortæller at Det hvide huse ændrer sine egen "
"pressemeldinger uden varsel.  En pressemelding fra 13 . maj 2003 indeholdte "
"<quote>Kampoperationer i Irak er over.</quote>  Det blev senere  ændret, "
"uden varsel, til <quote>Større kampoperationer i Irak er over.</quote>  E-"
"post fra Brewster Kahle, 1 . december 2003 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I hvert fald før Way Back Machine dukkede op .  Ved hjælp af Way Back "
"Machine, og Internet-arkivet som ligger til grund for denne, så kan du se "
"hvordan Internet var.  Du har mulighed til at se det du husker.  Og måske "
"vigtigere, så har du mulighed til at finde det du ikke husker, og det andre "
"måske fortrækker at du glemmer.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "history, records of"
msgstr "historie, arkiv over"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Vi tager det</emphasis> for givet at vi kan gå "
"tilbage at se det vi husker at have læst.  Tænk for eksempel  på aviser. "
"Hvis du ønsker at studere reaktionerne i lokalavisen din om raceoprørene i "
"Watts i 1965, eller om vandkanonen til Bull Connor i 1963, så kan du gå til "
"dit lokale bibliotek og se i aviserne.  Disse artikler findes sandsynligvis  "
"på microfiche.  Hvis du er heldig, så eksisterer de også på papir.  Uanset, "
"så står du frit til, ved at bruge et bibliotek, at gå tilbage for at gynge "
"&ndash; ikke bare det som er behageligt at huske, men at huske sådant som er "
"nær sandheden."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det siges at  de som ikke husker historie, er dømt til at gentage den. Det "
"er ikke  helt rigtigt. Vi <emphasis>alle</emphasis> glemmer historie.  "
"Nøglen er hvorvidt  vi har en måde at gå tilbage for at gjenoppdage det vi "
"har glemt.  Helt konkret er nøglen hvorvidt en objektiv fortid kan sikre at "
"vi er ærlige.  Biblioteker bidrager til dette, ved at samle indhold og "
"opbevare det, for skolebarn, for forskere, for bedstemor.  Et frit samfund "
"forudsætter denne kundskab."

#.  PAGE BREAK 121 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 var et undtagelse fra denne forudsætning.  Før Internet-arkivet var "
"det ikke muligt at gå tilbage.  Internet var i essets et flyktig medium.  Og "
"alligevel, efterhånden som det blev vigtigere og vigtigere i at forme og "
"reformere samfundet, så bliver det vigtigere og vigtigere at bevare det i en "
"eller anden historisk form. Det er helt  sært at tænke på at vi har masse "
"arkiver med aviser fra små tætbebyggelser rundt om i hele værdet, men det "
"findes bare  en kopi af Internet &ndash; den som bliver opbevaret af "
"Internet-arkivet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er stifter af Internet-arkivet.  Han var man vældig vellykket "
"Internet-entreprenør efter at han havde været en vellykket dataforsker.  På "
"1990-tallet bestemte Kahle sig for at han havde haft nok  succes som "
"forretningsmand, og at det var på tide  at lykkes på et andet område.  "
"Derfor lancerede han en serie projekter som blev udformet for at arkivere "
"menneskelig kundskab.  Internet-arkivet var bare  det første af projekterne "
"til denne Internet-filantropen.  I december 2002 havde arkivet over ti "
"milliarder sider, og det voksede med  omtrent en milliard sider i måneden."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Library of Congress"
msgstr "Kongres-biblioteket"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Television Archive"
msgstr "TV-arkivet"

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "libraries"
msgstr "biblioteker"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "archival function of"
msgstr "arkiveringsfunksjonen til"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Way Back Machine er det største arkivet over menneskelig kundskab i "
"menneskehedens historie.  Ved slutningen af 2002 indeholdte det <quote>to "
"hundrede og tredive terabyte med materiale</quote> &ndash; og var <quote>ti "
"gange større end kongresbiblioteket.</quote>  Og dette var bare  det første "
"af arkiverne som Kahle gik i gang  med at bygge.  I tillæg til Internet-"
"arkivet er Kahle i gang med at konstruere TV-arkivet.  TV, viser det sig, er "
"endnu  mere flyktig end Internet. Selv om meget af kulturen i det tyvende "
"århundredet blev til gennem fjernsyn, så er bare  en lille andel af den "
"kulturen tilgængeligt for dem som vil se det i dag.  Tre timer med nyheder "
"bliver taget op hver aften af Vanderbilt University &ndash; takket være et "
"spesifikt undtagelse i opphavsrettsloven.  Dette indhold bliver gjort "
"søkbart, og er tilgængeligt for forskere for en vældig lav afgift.  "
"<quote>Men bortset fra dette, så er [TV] næsten fuldstændig utilgjengelig,</"
"quote> fortalte Kahle mig.  <quote>Hvis du er Barbara Walters, så kan du få "
"tilgang til [arkiverne], men hvad hvis du bare er en student?</quote> Som "
"Kahle formulerede det:"

#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
#, fuzzy
msgid "Quayle, Dan"
msgstr "Quayle, Dan"

#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
#, fuzzy
msgid "60 Minutes"
msgstr "60 Minutes"

#.  PAGE BREAK 122 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Husker du da Dan Quayle snakkede med Murphy Brown?  Husker du den uvirkelige "
"oplevelsen af samtalen som gik frem og tilbage mellem en politiker og en "
"fiktiv TV-karakter?  Hvis du var en student som ønskede at studere dette, og "
"du ønskede at få tage i den originale samtalen som gik frem og tilbage "
"mellem disse to, og <citetitle>60 Minutes</citetitle>-episoden som kom ud "
"efter dette &hellip;  så villes det være næsten  umuligt &hellip;  Dette "
"materiale er næsten  umuligt at finde. &hellip;"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "newspapers"
msgstr "aviser"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "archives of"
msgstr "arkiver over"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvorfor er det sådan?  Hvor er den delen af vores kultur som er lagret i "
"aviser tilgængelige til evig tid, mens den delen som er lagret på videobånd "
"ikke er det?  Hvorfor har vi fortaget en værdet der hen forskere som "
"forsøger at forstå effekten  medierne har haft på Amerika i det nittende "
"århundrede har en enklere job end forskere som forsøger at forstå effekten  "
"medierne har haft på Amerika i det tyvende århundrede?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette er delvis  på grund af lovværket.  Ophavsretejere var tidligt  i "
"amerikansk opphavsrettslov nødt til at deponere kopier af sine værk i "
"biblioteker.  Disse kopier skulle både sikre spredning af kundskab, og sikre "
"at det fandtes en kopi af værket tilgængeligt når vernetiden udløb, sådan at "
"andre kunne få tilgang til, og kopiere virket."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "archive of"
msgstr "arkiv for"

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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&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 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse skrøner galdt også  for film, men i 1915 gjorde kongresbiblioteket et "
"undtagelse for film.  Film kunne blive opphavsrettsbeskyttet så længe det "
"blev gjort sådan  deponering, men filmskaberne fik så lov til at låne "
"tilbage de deponerede filmene &ndash; så længe de ville uden noget "
"omkostning.  Bare i 1915 var det mere end 5475 film deponeret og <quote>lånt "
"tilbage.</quote>  Dermed var det ikke noget eksemplar i noget bibliotek da "
"vernetiden til filmen udløb.  Eksemplaret findes &ndash; hvis det findes i "
"det hele taget  &ndash; i arkivbiblioteket til filmselskabet.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det samme er generelt set sandt også for TV.  Fjernsynsudsendelser var "
"oprindeligt ikke opphavsrettsbeskyttet &ndash; det fandtes ingen måde at "
"tage op sendinger, så det var ikke  noget frygt for <quote>tyveri.</quote>  "
"Men efterhånden som teknologien gjorde det muligt at tage op TV-sendinger, "
"baserede kringkastere sig i større grad på loven.  Loven krævede at de "
"fortog et eksemplar af hver kringkastingssending for at værk skulle blive "
"<quote>opphavsrettsbeskyttet.</quote>  Disse eksemplarer blev kun  lagret "
"hos kringkastingsselskapene.  Intet bibliotek havde nogle rettigheder "
"knyttet til dem, og myndighederne gjorde ikke  krav på dem. Indholdet fra "
"denne del af amerikansk kultur er i praksis usynligt for alle som kunne "
"tænke sig at se den."

#.  PAGE BREAK 123 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ivrede efter at rette på dette.  Før 11 . september 2001 havde han og "
"hans allierede begyndt at tage op TV.  De valgte tyve stationer rundt om i "
"værdet, og trykkede på optagelseknappen.  Efter 11 . september arbejdede "
"Kahle sammen med et dusin andre, og valgte tyve stationer rundt om i værdet "
"der hen de fra og med 11 . oktober 2011 gjorde optagelserne fra ugen rundt "
"11 . september frit tilgængeligt på nettet. Enhver kunne se hvordan "
"nyhedmeldingerne værdet rundt dækkede hændelserne disse dage."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Movie Archive"
msgstr "Movie Archive"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "archive.org"
msgstr "archive.stjæle"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Internet Archive"
msgstr "Internet-arkivet"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Duck and Cover film"
msgstr "Duk og skjul dig-film"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "ephemeral films"
msgstr "flyktige filmer"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Prelinger, Rick"
msgstr "Prelinger, Rick"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 havde samme idé for film.  I samarbejde med Rick Relinger, hvis "
"filmarkiv indeholder næsten  45 000 <quote>flyktige film</quote> (i "
"betydningen filmer som ikke er Hollywood-film, filmer som aldrig blev "
"opphavsrettsbeskyttet), etablerede Kahle Filmarkivet.  Prelinger lod Kahle "
"digitalisere 1 300 film i dette arkiv og publicere disse film på Internet "
"for gratis nedlasting.  Prelingers selskab er et kommercielt selskab, og "
"sælger eksemplarer af disse film som klipparkiv.  Det han opdagede efter at "
"han gjorde en anseelig andel gratis tilgængeligt, var at salget af "
"klipparkivmaterialet skridt dramatisk. Folk kunne nu  enkelt finne "
"materialet som de ønskede at bruge.  Nogle lastede ned materialet, og fortog "
"film på egen hånd.  Andre købte kopier for at gøre det muligt at fortage "
"andre filmer.  Uanset gjorde arkivet det muligt at få tilgang til denne "
"vigtige del af vores kultur.  Vil du se et eksemplar af <quote>Duk og skjul "
"dig</quote>-filmen som giver børn instrukser om hvordan de skal redde sig "
"selv under et atomangreb?  Besøg archive.stjæle, og du kan laste ned filmen "
"på nogle få minutter &ndash; gratis."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nok en gang giver Kahle tilgang til en del af vores kultur som vi ellers "
"ikke villes fået enkel tilgang til, hvis vi i det hele taget fik tilgang.  "
"Det er nok  en del af det som definerer det tyvende århundredet som er tabt "
"i historie.  Loven kræver ikke  at disse eksemplarer opbevares af nogle, "
"eller at de skal deponeres for at arkiveres af nogle. Dermed er det ikke "
"nogle enkel måde at finde dem."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nøglen her er tilgang, ikke pris.  Kahle ønsker at gøre det muligt at få "
"ubegrænset tilgang til dette indhold, men han ønsker også  at andre skal "
"have mulighed til at sælge tilgang til det.  hans Mål er at sikre "
"konkurrence rundt tilgang til denne vigtige del af vores kultur.  Ikke i den "
"kommercielle delen af en kreativ ejendoms liv, men i løbet af den andre fase "
"som al kreativ ejendom har &ndash; en ikke-kommerciel fase."

#.  PAGE BREAK 124 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Her er en idé som vi bør kende bedre.  Hver bidder af kreativ ejendom går "
"igennem forskellige <quote>faser.</quote>  I dets første fase, hvis skaberen "
"er heldig, bliver indholdet solgt.  I sådanne tilfælde er det kommercielle "
"markedet en succes for skaberen.  Det store flertallet af kreativ ejendom "
"nyder ikke  sådan succes, men nogle gør helt klart dette.  For dette indhold "
"er en kommerciel fase ekstremt vigtigt.  Uden dette kommercielle marked "
"hævder mange at det villes været mindre kreativitet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Efter at den kommercielle fasen til kreativ ejendom har taget slutning, har "
"vores tradition altid støttet op  om en anden fase.  En avis leverer nyheder "
"hver dag på dørkarmen til Amerika.  Næste dag bliver det brugt til at pakke "
"ind fisk, eller befolke dåser med skjøre gaver, eller til at bygge et arkiv "
"med kundskab om vores historie.  Dette er den andre fase, der indholdet "
"fortsat kan informere selv om informationen ikke længere bliver solgt."

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"<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, ved Metro Lake 1L. Af bøger publiceret mellem 1927 og 1946 "
"var kun  2.2 procent fortsat tilgængeligt fra forlaget i 2002 . R. Anthony "
"Reese, <quote>The First Sadle Doctrine in the Era of Digital Networks,</"
"quote> <citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51 "
"."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det samme har altid  været tilfælde for bøger.  En bog bliver udsolgt fra "
"forlaget vældig raskt (i dag sker det i snit efter et år<placeholder "
"type=\"footnote\" id=\"0\"/>).  Efter at den er udsolgt fra forlaget, kan "
"den sælges i bruktbokhandler uden at ophavsretindehaveren får noget.  Den "
"kan også  opbevares i biblioteker, hvor mange får mulighed til at læse "
"bogen, helt gratis. Bruktbokhandler og biblioteker er dermed  den andre fase "
"til en bog. Denne anden fase er ekstremt vigtig for spredningen og "
"stabiliteten til kulturen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel gælder i stadig mindre grad antagelsen om en stabil anden fase for "
"kreativ ejendom hos de vigtigste komponenterne som udgør populærkulturen i "
"det tyvende og tjueførste århundrede.  For disse &ndash; TV, filmer, musik, "
"radio, Internet &ndash; findes det ingen garanti for en anden fase.  For "
"denne type kultur, er det som om vi har byttet ud biblioteker med Barnes "
"&amp; Noble-sutmarkeder. Med denne kultur er det ingenting andet "
"tilgængeligt end det som et vist begrænset marked efterspørger.  Ud over det "
"forsvinder kulturen."

#.  PAGE BREAK 125 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I størstedelen</emphasis> af det tyvende århundrede "
"var det økonomi som sørgede for dette.  Det villes været utroligt dyrt at "
"samle og gøre alt af TV, film og musik tilgængeligt: Omkostningen for "
"analoge eksemplarer er ekstremt høj.  Så selv om loven i princippet villes "
"have begrænset muligheden for at en som Brewster Kahle kunne kopiere "
"kulturen generelt, så var den reelle begrænsningen økonomi. Markedet gjorde "
"det helt umuligt at gøre noget med denne flyktige kulturen.  Loven havde "
"lille praktisk effekt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Måske den vigtigste enkeltegenskapen i den digitale revolutionen er at  for "
"første gang siden biblioteket i Alexandria, er det gjennomførbart at tænke "
"sig at fortage et arkiv som kan holde al kultur som er produceret eller "
"distribueret offentligt.  Teknologien gør det muligt at forestille sig et "
"arkiv med alle bøge som er publiceret, og gør det stadig enklere at "
"forestille sig et arkiv over alle bevægelige billeder og lyde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Omfanget for dette potentielle arkiv er noget vi aldrig har forstilt os før. "
" Folk som Brewster Kahle har drømt om det op igennem historie, men vi er for "
" første gang ved et punkt der denne drøm er mulig.  Som Kahle beskriver det:"

#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary>
#, fuzzy
msgid "total number of"
msgstr "totalt antal"

#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
#, fuzzy
msgid "music recordings"
msgstr "musikindspilninger"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Det ser ud til at det findes omtrent  to til tre millioner optagelser af "
"musik, totalt gennem hele historie.  Det er udgivet omtrent  hundrede "
"tusinder biograffilm, &hellip;  og [distribueret] omtrent en til to "
"millioner film i det tyvende århundredet.  Det findes omtrent  tjueseks "
"millioner forskellige bogtitler.  Alt dette vil få plads på computere som "
"får plads i rommen jeg sidder i, og et lille firma villes have råd til det.  "
"Så vi er ved et vendepunkt i historie.  Universell tilgang er målet. "
"Udsigten til at få et andet liv baseret på dette er &hellip;  spændende .  "
"Det kan blive en af de tingene som menneskeheden villes være mest stolt af.  "
"Helt der oppe med biblioteket i Alexandria, placere en mand på månen, og "
"oppfinnelsen af trykpresset."

#.  PAGE BREAK 126 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er ikke  den eneste bibliotekaren.  Internet-arkivet er ikke  det "
"eneste arkivet, men Kahle og Internet-arkivet insinuerer hvad fremtiden for "
"biblioteker eller arkiver kunne være.  Jeg ved ikke  <emphasis>når</"
"emphasis> det kommercielle livet til kreativ ejendom tager slutning, men det "
"tager slutning.  Uanset når det sker, hinter Kahle og hans arkiv om en "
"værdet hvor denne kundskab, og kulturen, forbliver tilgængeligt til evig "
"tid.  Nogle vil bruge det for at forstå den. Andre for at kritisere den.  "
"Nogle vil bruge den, sådan Walt Disney gjorde, for at gjenskape fortiden for "
"fremtiden.  Disse teknologier har løftet om noget som havde blevet umuligt "
"at tænke sig i store dele af vores fortid &ndash; en fremtid <emphasis>for</"
"emphasis> vores fortid. Teknologien til digital kunst kan gøre drømmen om "
"biblioteket i Alexandria virkeligt igen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Teknologer har dermed  fjernet den økonomiske omkostningen med at bygge et "
"sådant arkiv.  Men advokatomkostningerne består.  For uanset hvor mange vi "
"ønsker at kalde falde <quote>arkiver,</quote> og uanset hvor hyggeligt idéen "
"om et <quote>bibliotek</quote> kan virke, så er <quote>indholdet</quote> som "
"er samlet i disse digitale områder også nogles <quote>ejendom.</quote>  Og "
"eiendomslover begrænser friheden til folk som Kahle."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Ten: <quote>Property</quote>"
msgstr "Kapitel ti: <quote>Ejendom</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Johnson, Lyndon"
msgstr "Johnson, Lyndon"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Kennedy, John F."
msgstr "Kennedy, John F."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "background of"
msgstr "baggrunden til"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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> har været præsident for "
"Motion Picture Assication of America siden 1966 .  Han ankom Washington D.C. "
"med Lyndon Johnson-administrationen &ndash; bogstaveligt talt.  På det "
"berømte billedet af edsavleggelsen til Johnson på Air Force One efter "
"snigmordet på præsident Kennedy befinder Valenti sig i baggrunden.  I sine "
"næsten fyrre år som leder af MPAA har Valenti etableret sig som måske den "
"mest synlige og effektive lobbyisten i Washington."

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Paramount Pictures"
msgstr "Paramount Pictures"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Twentieth Century Fox"
msgstr "Twentieth Century Fox"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Sony Pictures Entertainment"
msgstr "Sony Pictures Entertainment"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Universal Pictures"
msgstr "Universal Pictures"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Warner Brothers"
msgstr "Warner Brothers"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"MPAA er den amerikanske grenen af den internationale filmforeningen. Den "
"blev stiftet i 1922 som en handelforening hvis mål var at forsvare "
"amerikanske film mod øgende kritik indenlands.  Organisationen repræsenterer "
"ikke  bare filmskabere nu, men også producenter og distributører af "
"underholdning for TV, video og kabel-TV.  Styret er sat sammen  af "
"styrelederne og præsidenterne i de syv største producenterne og "
"distributørerne for film og Tv-programmer i USA: Walt Disney, Sony Pictures "
"Entertainment, MGM, Paramount Pictures, Twentieth Centory Fox, Universal "
"Studios og Warner Brothers."

#.  PAGE BREAK 128 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 er den tredje præsidenten i MPAA.  Ingen præsident føder ham har "
"haft lige så  meget indflydelse over organisationen, eller over Washington.  "
"Valenti, som kommer fra Texas, har behersket den vigtigste politiske "
"enkeltferdighet som trænges af en fra sydstaterne &ndash; evnen til at "
"fremstå enkel og træg mens man skjuler sit lynraske intellekt. Valenti "
"spiller fortsat  en enkel og ydmyg mand.  Men denne mand, som har MBA fra "
"Harvard, skrævede fire bøge, fuldført videregående skole i en alder af "
"femten år, og fløjet mere end halvtreds kampopgave under anden verdenskrig, "
"er ingen normal mand.  Da Valenti kom til Washington, beherskede han byen "
"lige godt som en indfødt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Ved at forsvare kunstnerisk frihed og ytringsfrihed som vores kultur er "
"afhængig af, har MPAA gjort vigtigt og positivt arbejde.  Ved at udarbejde "
"MPAAs klassifiseringsystem har de sikkert undgået betydelig skade på "
"talefriheden.  Men det er et aspekt ved organisationens mål som både er det "
"mest radikale og det vigtigste. Dette er organisationens indsats, "
"personificeret i alt Valenti gør, for at omdefinere hvad  <quote>kreativ "
"ejendom</quote> betyder."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"In 1982, Valenti's testimony to Congress captured the strategy perfectly:"
msgstr ""
"Valentis vidneudsagn i 1982 til Kongressen sætter perfekt ord på denne "
"strategi:"

#.  f1 
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
#, fuzzy
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 siddeplads. (1982)"
": 65 (vidneudsagn fra Jack Valenti)."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Uanset hvilke stærke argumenter som fremmes, uanset angreb og motangrep, "
"uanset herjing og roping, så vil fornuftige mænd og kvinder komme tilbage "
"til det fundamentale i sagen, det centrale temaer som holder liv i hele "
"denne debat: <emphasis>Ejere af kreative ejendomretter må tildeles de samme "
"rettigheder og beskyttelser som alle andre ejendom ejere i landede</"
"emphasis>.  Det er det som er sagen.  Det er det som er spørgsmålet.  Og det "
"er fundamentet som hele denne høring og debatten som følger må lægge til "
"grund for sagen.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 129 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Strategien for denne retorik, som strategien til det meste af Valentis "
"retorik, er strålende og enkel, og strålede fordi den er enkel.  Det "
"<quote>centrale temaet</quote> som <quote>fornuftige mænd og kvinder</quote> "
"vil komme tilbage til er dette: <quote>Kreative ejendomejere må få de samme "
"rettigheder og beskyttelse som gives til alle andre ejendom ejere i nationen."
"</quote>  Det findes ikke  annenrangs borgere, kunne Valenti fortsat.  Det "
"bør ikke  findes annenrangs ejendomejere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne påstand har en åpenbar og kraftig intuitiv appel.  Den er udtrykt med "
"sådan klarhed for at gøre idéen lige så åpenbare som opfattelsen om at vi "
"bruger afstemning til at vælge præsidenter.  Men faktum er at det ikke er "
"mere ekstreme påstande fremmet af <quote>nogle</quote> som er seriøs i denne "
"debat end denne påstand fra Valenti.  Jack Valenti, uanset hvor hyggeligt og "
"brilliant han fremstår, er måske  nationens fremste ekstremist når det "
"gælder egenskaberne og rækkevidden for <quote>kreativ ejendom.</quote>  Hans "
"syner har <emphasis>ingen</emphasis> fornuftig forbindelse til vores "
"faktiske juridiske tradition, selv om subtile påvirkning fra hans Texas-"
"charme stille har ændret definitionen på denne tradition, i hvert fald i "
"Washington."

#.  f2 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Advokater snakker ikke  om <quote>ejendom</quote> som en absolut ting, men "
"som en samling med rettigheder som nogle gange er knyttet til et bestemt "
"objekt.  Dermed giver <quote>ejendomretten</quote> min til min bil mig en "
"eksklusiv ret til at bruge den, men ikke retten til at køre i 200 kilometer "
"i timen.  For det bedste forsøget på at knytte den normale betydningen af "
"<quote>ejendom</quote> til <quote>advokatsprog,</quote> se Bruce Ackerman, "
"<citetitle>Private Property and the Constitution</citetitle> (New Haven: "
"Yale University Press 1977), 26&ndash;27 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mens <quote>kreativ ejendom</quote> helt klart er <quote>ejendom</quote> på "
"en nerdete og præcis måde som advokater er dresseret til at forstå,"
"<placeholder type=\"footnote\" id=\"0\"/> så har det aldrig været tilfælde, "
"og det bør det heller ikke være, at <quote>ejere af kreativ ejendom</quote> "
"har fået <quote>tildelt de samme rettigheder og beskyttelser som alle andre "
"ejendom ejere.</quote>  Faktisk villes det være en radikal og radikalt "
"uønsket ændring i vores tradition hvis ejere af kreativ ejendom blev givet "
"de samme rettigheder som alle andre ejendom ejere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ved dette.  Men han snakker på vegne af en industri som ikke generer "
"sig om vores tradition og værdierne den repræsenterer.  Han snakker i stedet "
" for en industri som sloges for at genindføre traditionen som briterne "
"gjorde slutning på i 1710 .  I en værdet skabt af ændringerne Valenti "
"foreslår, vil et fåtall mægtige aktører udøve kraftig kontrol over hvordan "
"vores kreative kultur får udvikle sig."

#.  PAGE BREAK 130 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg har to formål med dette kapitel.  Det første er at overbevise dig om at "
"historisk set er Valentis påstande helt fejl.  Det andre er at overbevise "
"dig om at det villes være frygteligt galt af os at afvise vores historie.  "
"Vi har altid  behandlet kreative ejendomretter forskelligt fra rettighederne "
"som hører til alle andre ejendom ejere. De har aldrig  været lige så .  Og "
"de bør aldrig  blive lige så , uanset hvor lidt intuitivt det kan virke, for "
"at gøre dem lige så villes være at fundamentalt svække muligheden for nye "
"skabere til at skabe. Kreativitet er afhængig af at ejerne af kreativitet "
"ikke har perfekt kontrol."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Organisationer som MPAA, der styret inkluderer de mægtigste af den gamle "
"garde, har lille interesse, på trods af deres retorik, i at sikre at det nye "
"kan erstatte dem.  Ingen organisation har det.  Ingen person har det.  "
"(Spørg for eksempel  mig om jobsikkerhed.)  Det som er godt for MPAA er ikke "
" nødvendigvis godt for Amerika.  Et samfund som forsvarer idealerne til en "
"fri kultur må specielt  opbevare muligheden for ny kreativitet til at true "
"den gamle."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>For at få</emphasis> et lille hint om at det er "
"noget fundamentalt galt med Valentis argument behøver vi ikke se længere  en "
"til Grunnloven til USA."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Forfatterne af vores Grundlov elskede <quote>ejendom.</quote>  Faktisk "
"elskede de ejendom så stærkt at de byggede ind en vigtig forudsætning i "
"Grunnloven.  Hvis myndigheden tager din ejendom &ndash; hvis den kondemnerer "
"dit hus eller eksproprierer et stykke land fra din gård &ndash; så er det et "
"krav, ifølge det femte grundlovtillægget <quote>beslagleggingsavsnitt,</"
"quote> at du må få <quote>rimelig kompensation</quote> for det som bliver "
"beslaglagt.  Grunnloven garanterer dermed  at ejendom på en måde er "
"ukrenkelig.  Den kan <emphasis>aldrig </emphasis> tages fra ejendomejeren "
"med mindre myndighederne betaler for det privilegiet."

#.  PAGE BREAK 131 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel snakker den samme Grunnloven vældig anderledes om det Valenti "
"kalder <quote>kreativ ejendom.</quote>  I bestemmelsen som giver Kongressen "
"myndighed til at skabe <quote>kreativ ejendom,</quote> <emphasis>kræver</"
"emphasis> Grunnloven at Kongressen efter en <quote>begrænset tid</quote> "
"tager tilbage rettighederne den har delt ud, og lader den <quote>kreative "
"ejendommen</quote> henhøre i det fri og blive allemannseie.  Men når "
"kongressen gør dette, når udløbet af vernetiden <quote>tager</quote> din "
"ophavsret og overleverer den til allemannseiet, så har ikke  Kongressen "
"noget pålæg om at betale <quote>rimelig kompensation</quote> for dette "
"<quote>beslag.</quote> I stedet kræver den samme Grunnloven som kræver "
"kompensation når det gælder landområder, at du skal miste din "
"<quote>kreative ejendom</quote> helt uden kompensation overhovedet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Grunnloven siger dermed  ret frem at disse to formerne for ejendom ikke skal "
"tildeles de samme rettigheder.  De skal tydelig  behandles forskelligt.  "
"Valenti beder dermed  ikke bare om at vores tradition skal ændres når han "
"argumenterer med  at ejere af kreativ ejendom skal få de samme rettigheder "
"som enhver anden ejendom ejer.  Han argumenterer effektivt  for at ændre "
"selve Grunnloven."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Å argumentere for en ændring i Grunnloven vores er ikke  nødvendigvis galt.  "
"Det var meget i vores originale Grundlov som helt tydelig var galt. "
"Grunnloven af 1789 forsvarede slaveri.  Den sagde at senatorer skulle "
"udnævnes i stedet  for at blive valgt.  Den gjorde det muligt at få en "
"valgforsamling som gav lige så  mange stemmer til præsidenten og hans egen "
"vicepræsident (som den gjorde i 1800).  Grundlovforfatterne var uden tvivl "
"ekstraordinære, men jeg vil være den første til at indrømme at de gjorde "
"store fejl.  Vi har siden  afvist nogle af disse fejl, og det er uden tvivl "
"andre som vi også burde afvise.  Så mit argument er ikke  at bare siden "
"Jefferson gjorde det, så bør også  vi gøre det."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I stedet er mit argument at siden Jefferson gjorde det, bør vi i det mindste "
"forsøge at forstå <emphasis>hvorfor </emphasis>. Hvorfor afviste "
"grundlovforfatterne, som jo var fanatiske ejendomtilhængere, påstanden om at "
"kreativ ejendom skulle tildeles de samme rettigheder som al anden ejendom?  "
"Hvorfor krævede de at for kreativ ejendom må det findes et allemannseie?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For at besvare dette spørgsmål behøver vi at få lidt  perspektiv på historie "
"til disse <quote>kreative ejendom</quote>retter, og kontrollen de har "
"muliggjort.  Når vi klarere ser hvor  forskelligt disse rettigheder har "
"været defineret, så har vi bedre mulighed til at stille spørgsmålene som bør "
"være i kernen af denne krig: Ikke <emphasis>hvorvidt</emphasis> kreativ "
"ejendom bør beskyttes, men hvordan.  Ikke <emphasis>hvorvidt</emphasis> vi "
"vil håndhæve rettighederne som lovværket giver til ejere af kreativ ejendom, "
"men hvordan den spesifikke blandingen af rettigheder bør være.  Ikke "
"<emphasis>hvorvidt</emphasis> artister bør få betalt, men hvorvidt "
"institutioner udformet for at sikre at artister får betalt også  må "
"kontrollere hvordan kultur udvikler sig."

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

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "four modalities of constraint on"
msgstr "fire modaliteter for begrænsninger på"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "regulation"
msgstr "regulering"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "four modalities of"
msgstr "fire modaliteter for"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "as ex post regulation modality"
msgstr "som <quote>ex post</quote> modalitetsregulering"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "as constraint modality"
msgstr "som begrænsningmodalitet"

#.  PAGE BREAK 132 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For at svare på disse spørgsmål behøver vi en mere generel måde at snakke om "
"hvordan ejendom er beskyttet.  For at være præcis så behøver vi en mere "
"generel måde end det som det begrænsede sproget til lovværket tillader.  I "
"<citetitle>Code and Other Laws of Cyberspace</citetitle> brugte jeg en enkel "
"model for at repræsentere dette mere generelle perspektivet.  For enhver "
"spesifikk rettighed eller regulering, spørger denne model hvordan fire "
"forskellige reguleringsmodaliteter sammenslutninger for at støtte eller "
"svække rettigheden eller reguleringen.  Jeg repræsenterede det med dette "
"diagram:"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1331.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1331.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I midten af dette billedet er en reguleret prik: individet eller gruppen som "
"er målet for reguleringen, eller indehaver af en rettighed. (I hvert "
"tilfælde gennem hele denne tekst kan vi beskrive det enten som en regulering "
"eller som en rettighed.  For enkelhets skyld vil jeg kun omtale det som en "
"regulering.)  Ovalerne repræsenterer fire måder for hvordan individet eller "
"gruppen kan reguleres &ndash; enten begrænset eller alternativt muliggjort.  "
"Lovværket er den mest åbenbare begrænsningen (i hvert fald for advokater).  "
"Den begrænser ved at true med straf i eftertid hvis forhåndsbestemte skrøner "
"bliver brudt.  Dermed, hvis du for eksempel bevidst skælder Madonna "
"ophavsret ved at kopiere en sang fra hendes sidste CD og lægge den ud på "
"nettet, så kan du blive straffet med en bod på 150 000 dollar.  Boden er en "
"<quote>ex post</quote> (efter hændelsen) straf for at bryde en <quote>ex "
"anede</quote> (før hændelsen) regel .  Den pålægges af staten.<placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "norms, regulatory influence of"
msgstr "normer, reguleringspåvirkning fra"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Normer er en anden type begrænsning.  De kan også  straffe et individ for at "
"bryde en regel.  Men straffen for normbrud kommer fra fællesskabet, ikke "
"(eller ikke bare) fra staten.  Det er måske  ingen lov mod spytting, men det "
"betyder ikke  at du ikke bliver straffet hvis du spytter på bagen mens du "
"står i en kinokø.  Straffen er måske  ikke rigtig streng, men afhængigt af "
"fællesskabet, så kan den uden problemer være strengere end mange straffe som "
"påføres af staten. Det som er skillet er ikke  hvor alvorligt reglen "
"håndhæves, men hvad som er kilden til håndhevelsen."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "market constraints"
msgstr "markedbegrænsninger"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Markedet er en tredje type begrænsning.  Dets begrensing sker gennem "
"betingelser.  Du kan gøre X hvis du betaler Y, og du vil få betalt M hvis du "
"gør N.  Disse begrænsninger er åbenbaret ikke  uafhængigt af love og normer "
"&ndash; det er ejendomretten som definerer hvad  som må købes før det skal "
"kunne tages på lovligt vis, og det er normer som siger hvad det er fint at "
"sælge.  Men givet et sæt med normer og en baggrund med ejendom og "
"kontraktslovgiving, så påfører markedet samtidig begrænsninger for hvordan "
"et individ eller en gruppe kan opføre sig."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "architecture, constraint effected through"
msgstr "arkitektur, begrænsninger med ophav i"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Til slutning, og måske for øjeblikket det mest mystiske, <quote>arkitektur</"
"quote> &ndash; den fysiske værdet sådan den opleves &ndash; er en "
"begrænsning på adfærd.  En nedrast bro kan begrænse din mulighed til at "
"komme over en elv.  Jernbanespor kan begrænse et samfunds mulighed til at "
"holde ved lige  sit sociale liv.  På samme måde som med markedet, påfører "
"ikke  sine arkitektur begrænsninger via <quote>ex post</quote> straf.  I "
"stedet, også på samme måde som med markedet, påfører sine arkitektur "
"begrænsninger gennem samtidige betingelser.  Disse betingelsene bliver ikke  "
"håndhævet af domstolene som håndhæver kontrakter,  eller af politiet som "
"straffer tyveri, men af naturen, af <quote>arkitektur.</quote>Hvis en 200 "
"kilos stenblok spærrer din vej, så er det gravitasjonsloven som håndhæver "
"den begrænsningen. Hvis en 500 dollars flybillet står mellem dig og en "
"flytur til New York, så er det markedet som håndhæver den begrænsningen."

#.  PAGE BREAK 134 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det første pointen om disse fire reguleringsmodalitetene er åbenbaret: De "
"påvirker hinanden.  Restriktioner pålagt af en kan forstærke en anden, eller "
"restriktioner pålagt af en kan blive undergravet af en anden."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det andre pointe følger direkte fra dette: Hvis vi ønsker at forstå den "
"effektive friheden som enhver har på et bestemt tidspunkt til at gøre en "
"bestemt ting, må vi vurdere hvordan disse fire modaliteterne virker sammen . "
" Uanset om det er andre begrænsninger eller ikke (det kan det godt være, jeg "
"påstår ikke  at listen er komplet), så er disse fire blandt de vigtigste. "
"Eventuelle lovendringer (uanset om den øger kontrol eller øger frihed) må "
"vurdere hvordan disse fire i særdeleshet virker sammen ."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "driving speed, constraints on"
msgstr "kjørehastighet, begrænsninger på"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "speeding, constraints on"
msgstr "hastighed, begrænsning af"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Så lad os for eksempel vurdere <quote>friheden</quote> til at køre hurtigt i "
"bil.  Den friheden er delvis  begrænset af lovværket: fartgrænser som siger "
"hvor  hurtig du kan køre på bestemte steder til bestemte tidspunkt.  Det er "
"delvis  begrænset af arkitektur: for eksempel fartshumper får de fleste "
"rasjonelle chauffører til at sænke farten.  Fartssperrer i kammerater er et "
"andet eksempel, på den makshastigheten som en fører kan køre.  Friheden er "
"delvis  begrænset af markedet: Kraftstofeffektiviteten henhører efterhånden  "
"som hastigheden øger, sådan at prisen på benzin indirekte begrænser "
"hastighed.  Og til slutning, normerne i et nærmiljø kan måske  begrænse "
"friheden til at køre hurtigt.  Kør i 80 km/t forbi skolen i dit nabolag, og "
"du vil sikkert blive straffet af naboerne.  Den samme norm vil ikke  være "
"lige så  effektiv i en anden by, eller om natten."

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Ved at beskrive hvordan loven påvirker de andre tre modaliteterne, mener jeg "
"ikke at foreslå at de andre tre ikke påvirker loven.  Det gør de "
"selvfølgelig.  Lovens eneste forskel er at kun den snakker som om den havde "
"en selvsagt ret til at ændre de andre tre.  Retten til de andre tre "
"udtrykkes mere beskedent.  Se Lawrence Lessig <citetitle>Code: Ånd 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>, juni 1998 . <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#.  PAGE BREAK 135 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det sidste pointen om denne enkle model bør også  være rimeligt klaret: Mens "
"disse fire modaliteterne er analytisk uafhængige, så har lovværket en "
"speciel rolle i at påvirke de tre andre.<placeholder type=\"footnote\" "
"id=\"0\"/> Lovværket vil med andre ord nogle gange operere for at øge eller "
"reducere begrænsningerne til en bestemt modalitet.  Loven kan bruges sådan  "
"til at øge skattene på benzin for sådan at øge incentivene til at køre "
"stillere.  Loven kan bruges til at kræve flere fartfordybninger, for sådan "
"at gøre det vanskeligere at køre raskt.  Loven kan bruges til at finansiere "
"reklamekampagner som stigmatiserer grim kørsel, eller loven kan bruges til "
"at kræve at andre håndflade bliver mere strengere &ndash; et føderalt krav "
"som siger at delstaterne må reducere fartgrænserne &ndash; for sådan at gøre "
"det mindre attraktivt at køre hurtigt."

#. type: Content of: <book><part><chapter><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1361.svg\" align=\"center\" width=\"12em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1361.svg\" align=\"center\" width=\"12em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Americans with Disabilities Act (1990)"
msgstr "Handicappede amerikanere-loven (1990)"

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

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/> "
"<placeholder type=\"indexterm\" id=\"4\"/>"
msgstr ""
"Nogle personer protesterer på denne måde at snakke om <quote>frihed.</quote> "
"De protesterer fordi deres fokus når de vurderer begrænsninger som "
"eksisterer på et bestemt tidspunkt, kun er begrænsninger påført af "
"myndighederne.  For eksempel, hvis en storm ødelægger en bro, mener disse "
"personer at det er meningsløst at snakke om at ens frihed har blevet "
"begrænset.  Å snakke om dette som et tab af frihed, siger de, er at "
"forveksle det som er politik med det som helt naturligt sker i livet.  Jeg "
"mener ikke  at fornægte værdien af dette smalere synet, som er afhængigt af "
"sammenhængen en undersøger.  Jeg ønsker derimod  at argumentere mod det som "
"mener at dette smale syn er det eneste rigtige synet på frihed.  Som jeg "
"argumenterede i <citetitle>Code</citetitle>, kommer vi fra en lang tradition "
"af politiske tanke med en videre fokus end det smale spørgsmålet om hvad "
"myndighederne gjorde når.  For eksempel forsvarede John Stuart Mill "
"talefriheden fra trangsynthetens tyranni, og ikke fra frygten for "
"myndighedforfølgelse. John Stuart Mill, <citetitle>On Liberty</citetitle> "
"(Indiana: Hackett Publishing Co., 1978), 19 . John R. Commons er berømt for "
"at have forsvaret økonomisk arbejdefrihed fra begrænsninger pålagt af "
"markedet; John R. Commons, <quote>The Right to Work,</quote> i Malcom "
"Rutherford og Warren J. Samuels, eds., <citetitle>John R. Commons: Selected "
"Essays</citetitle> (London: Routledge: 1997), 62 .  The Americans with "
"Disabilities Act (tilsvarer norske bestemmelser om universell udformning) "
"øger friheden til folk med funksjonshemninger ved at ændre udformningen på "
"udvalgte offentlige steder, og giver dermed  enklere tilgang til disse "
"steder; 42 <citetitle>United States Code</citetitle>, del 12101 (2000).  "
"Hver af disse indgreb for at ændre eksisterende vilkår ændrer friheden til "
"en bestemt gruppe.  Effekten af disse indgreb bør tages hensyn til for at "
"forstå den effektive friheden som hver af disse grupper modarbejder. "
"<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\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse begrænsninger kan dermed  ændre sig, og de kan blive ændret.  For at "
"forstå den effektive beskyttelsen til friheden eller beskyttelse for ejendom "
"på et bestemt tidspunkt, må vi holde rede på disse ændringer over tid.  En "
"begrænsning påført af en modalitet kan blive fjernet af en anden.  En frihed "
"muliggjort af en modalitet kan blive taget væk af en anden.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Why Hollywood Is Right"
msgstr "Hvorfor Hollywood har ret "

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "four regulatory modalities on"
msgstr "fire regulatoriske modaliteter til"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det mest åbenbare pointen som denne model afslører er akkurat  hvorfor, "
"eller hvordan, Hollywood har ret . Ophavsretkrigerene har kørt kampagne mod "
"Kongressen og domstolene for at forsvare ophavsreten.  Denne model hjælper "
"os at forstå hvorfor  sådan kampagne giver mening."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Let's say this is the picture of copyright's regulation before the Internet:"
msgstr ""
"Lad os sige at dette er et billede af ophavsretens regulering før Internet:"

#.  PAGE BREAK 136 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er balance mellem lovværk, normer, marked og arkitektur.  Lovværket "
"begrænser muligheden til at kopiere og dele indhold, ved at pålægge straf "
"for dem som kopierer og deler indhold.  Denne straf er forstærket af "
"teknologier som gør det vanskeligt at kopiere og dele indhold (arkitektur), "
"og dyrt at kopiere og dele indhold (marked).  Til slutning er dirre "
"straffene mildnet af normer som vi alle gjenkjenner &ndash; et eksempel er "
"barn som tager op andre barns plader. Denne brug af opphavsrettsbeskyttet "
"materiale kan det godt hænde er brud på ophavsreten, men normerne i vores "
"samfund (i hvert fald før Internet) havde ikke  noget problem med denne form "
"for ophavsretbrud."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright regulatory balance lost with"
msgstr "opphavsrettslig regulatorisk balance mistede med "

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "regulatory balance lost in"
msgstr "regulatorisk balance tabt i"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "MP3s"
msgstr "MP3-er"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så kommer Internet, eller mere præcist, teknologier som MP3-er og p2p-"
"fildeling.  Nu ændrer begrænsningerne fra arkitektur sivede dramatisk, og "
"det samme gør begrænsningerne fra markedet.  Og efterhånden som både "
"markedet og arkitekturen beroliger ned sin regulering af ophavsret, hober "
"normerne sig op.  Den glade balancen (i hvert fald for krigerene) i livet "
"før Internet bliver en effektiv anarkistat efter Internet."

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "established industries threatened by changes in"
msgstr "etableret industri truede af ændringer i"

#.  PAGE BREAK 137 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dermed, som konsekvens, fornuften i, og begrundelsen for, krigerenes "
"respons. Teknologien er ændret, siger krigerene, og effekten af denne "
"ændring når den køres igennem markedet og normerne, er at balancen i "
"beskyttelsen af opphavsrettseierenes rettigheder har gået tabt. Dette er "
"Irak efter Saddams fald, men denne gang er det ingen regering som begrunder "
"røveriet som fulgte."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1381.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1381.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Commerce, U.S. Department of"
msgstr "Handelsdepartementet, USAs"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "as establishment protectionism"
msgstr "som beskyttelse af det etablerede"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hverken denne analyse eller konklusionerne som følger af den er nye for "
"krigerene.  Faktisk blev denne blanding af regulatoriske modaliteter, i "
"<quote>en hvitebok</quote> udarbejdet af handelsdepartementet (og stærkt "
"påvirket af ophavsretkrigerene) i 1995, allerede identificeret, og "
"strategien for at respondere kortlagt den gang.  Som svar på ændringerne som "
"Internet havde ført til, argumenterede hviteboken (1) Kongressen burde "
"styrke immateriallovene, (2) bedrifter burde tage i brug  nyskabende "
"markedsføringsteknikker, (3) teknologer burde anstrenge sig for at udvikle "
"kode som beskyttede opphavsrettsbeskyttet materiale og (4) lærere burde lære "
"op unger til at beskytte ophavsreten bedre."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "farming"
msgstr "landbrug"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "steel industry"
msgstr "stålindustri"

#.  PAGE BREAK 138 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne blandede strategi var akkurat  det ophavsreten behøvede &ndash; hvis "
"den skulle bevare den bestemte balancen som eksisterede før ændringen som "
"blev påført af Internet. Og det er akkurat  det vi bør forvente at "
"indholdindustrien presser på for.  Det er så  amerikansk som det kan blive "
"at anse det glade livet du allerede har som en rettighed, og se til "
"retvæsenet for at beskytte det hvis det kommer noget for at ændre dette "
"glade liv.  Huseiere som bor i en oversvømmelseslette drysser ikke  med at "
"bede myndighederne om at genopbygge (og genopbygge på nyt) når en "
"oversvømmelse (arkitektur) raderer væk deres ejendom (lov).  Bønder drysser "
"ikke  med at bede  om erstatning fra myndighederne når et virus (arkitektur) "
"udsletter avlingen deres.  Fagforeninger drysser ikke  med at bede "
"myndighederne om erstatning når import (marked) tager knækket på USAs "
"stålindustri."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er dermed  ikke noget galt eller overraskende i indholdindustrien "
"kampagne for at beskytte sig selv mod de skadelige konsekvenserne af en "
"teknologisk nyvinding.  Jeg villes være den sidste personen til at hævde at "
"den ændrede teknologien på Internet ikke har haft vidtrækkende effekt på "
"indholdindustrien måde at gøre forretninger på, eller som John Seely Brown "
"beskriver det, dens <quote>indtægtarkitektur.</quote>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "railroad industry"
msgstr "jernbaneindustri"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "remote channel changers"
msgstr "fjernkontrol for kanalbytte"

#.  f5 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</"
"quote> BusinessWeek online, 2 . august 1999, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #23</ulink>.  For en nyere "
"analyse af Kodaks plads i markedet, se Chana R. Schoenberger, <quote>Can "
"Kodak Mage Up for Loset Moments?</quote> Forbes.com, 6 . oktober 2003, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #24</"
"ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men bare på grund af at en bestemt interesse beder om støtte fra "
"myndighederne, så er det ikke en selvfølge at de bør få sådan støtte. Selv "
"om teknologi har svækket en bestemt måde at drive forretninger, så er det "
"ingen selvfølge at myndighederne bør gribe ind for at støtte den gamle måden "
"at drive forretninger.  Kodak, for eksempel, har mistet måske  så meget som "
"20 procent af sit traditionelle filmmarkeder til den fremvoksende "
"teknologien digitalkamera.  <placeholder type=\"footnote\" id=\"0\"/> Tror "
"nogle at myndighederne bør bandlyse digitalkamera kun for at støtte Kodak?  "
"Motorveje har svækket fragt via jernbanen.  Er det nogle som mener vi bør "
"bandlyse vogntog fra vejene <emphasis>med det formål</emphasis> at beskytte "
"jernbanen? Eller nærmere temaet i denne bog, så har trådløse kanalskiftere "
"svækket hvor <quote>klebrig</quote> TV-reklamen er (hvis en kedelig reklame "
"kommer på Tvtet, så gør fjernkontrollen det enkelt at bytte kanal), og det "
"kan godt  være at denne ændring har svækket markedet for TV-reklame.  Men er "
"det nogle som tror vi bør regulere fjernkontroller for at styrke kommercielt "
"TV?  (Måske ved at begrænse dem til at fungere kun  en gang i sekundet, "
"eller til at begrænse sig til ti kanalbytter i timen?)"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "free market, technological changes in"
msgstr "frie markeder, teknologiske ændringer i"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Brezhnev, Leonid"
msgstr "Brezhnev, Leonid"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Gates, Bill"
msgstr "Gades, Bill"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "market competition"
msgstr "markedkonkurrence"

#.  f6 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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&ndash;71 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det åbenbare svaret på disse åbenbaret retoriske spørgsmålene er nej. I et "
"frit samfund, med et frit marked, støttet af frie markedaktører og fri "
"handel, er ikke  myndighedernes rolle at understøtte en bestemt måde at gøre "
"forretninger mod andre måder.  Deres rolle er ikke  at vælge vindere, og "
"beskytte dem mod tab.  Hvis myndighederne gjorde dette generelt, så villes "
"vi aldrig fået nogle fremgang.  Bill Gades, styrelederen i Microsoft, skræv "
"i 1991, i et notat som kritiserede programvarepatenter, at <quote>etablerede "
"selskaber har interesse af at ekskludere fremtidige konkurrenter.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Og i forhold til et "
"nystartet selskab har etablerede selskaber også andre virkemidler.  (Tænk "
"RCA og FM-radio.) En værdet hvor konkurrenter med nye idéer må sloges ikke  "
"bare mod markedet, men også mod myndighederne, er en værdet hvor "
"konkurrenter med nye idéer ikke vil lykkes.  Det er en værdet i "
"stillbilledestand og øgende koncentreret stagnering.  Det er Sovjetunionen "
"under Brezhnev."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dermed, selv om det er forståeligt at brancher truede af ny teknologi som "
"ændrer måden de gør forretninger på ser mod regeringen for beskyttelse, så "
"er det en speciel pligt hos beslutningstakere at garantere at den "
"beskyttelsen ikke blokerer fremgang.  Det er med andre ord en pligt hos "
"beslutningstagerne at sikre at ændringerne de skaber som svar til dem som "
"bliver skadet af teknologiske ændringer, er ændringer som bevarer incentiver "
"og muligheder for nyskabning og ændring."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "speech, freedom of"
msgstr "talefrihed"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "constitutional guarantee of"
msgstr "konstitusjonell garanti for"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I sammenhæng med håndflade som regulerer ytringer &ndash; hvilket åbenbaret "
"inkluderer opphavsrettsloven &ndash; er pligten endnu stærkere.  Når "
"industrien klager over teknologier som ændrer sig, og beder Kongressen om at "
"svare på en måde som belaster ytring og kreativitet, bør beslutningstakere "
"være specielt skeptiske til forespørgslen.  Det er altid  en dårlig aftale "
"for myndighederne at begynde at regulere ytringsmarkeder.  Risiciene og "
"fædrene med det spillet er spesifikt årsagen til at vores grundlovforsamling "
"fortog første grundlovtillæg: <quote>Kongressen skal ikke  vedtage nogen lov "
"som &hellip;  begrænser ytringsfriheden.</quote> Så når Kongressen bliver "
"spurgt om at vedtage håndflade som villes <quote>begrænse</quote> "
"ytringsfriheden, bør den vurdere &ndash; vældig  omhyggeligt &ndash; "
"hvorvidt sådan regulering er berettiget."

#.  PAGE BREAK 140 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mit argument akkurat nu har derimod  ingenting med hvorvidt ændringerne som "
"bliver fremmet af ophavsretkrigerene er <quote>berettiget.</quote>  Mit "
"argument er om ændringernes effekt. Før vi starter på spørgsmålet om "
"berettigelse, et vanskeligt spørgsmål som i stor grad er afhængigt af vores "
"værdier, så bør vi først spørge hvorvidt  vi forstår effekten af ændringen "
"som indholdindustrien ønsker."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Here's the metaphor that will capture the argument to follow."
msgstr "Her følger metaforen som forklarer argumentet."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Müller, Paul Hermann"
msgstr "Müller, Paul Hermann"

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "insecticide, environmental consequences of"
msgstr "insektmiddel, miljøkonsekvenserne fra"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1873 blev kemikaliummet DDT fremstillet første gang.  I 1948 vandt den "
"schweiziske kjemikeren Paul Hermann Müller nobelprisen for sit arbejde med "
"at demonstrere de insektdrabende egenskaberne til DDT.  I løbet af 1950-"
"tallet blev insektmiddlet meget brugt rundt om i værdet for at dræbe "
"sykdomsbærende skadedyr.  Det blev også  brugt til at øge "
"landbrugproduktionen."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ingen tvivler på at det er en god ting at dræbe sykdomsbærende skadedyr, "
"eller at øge avlingene.  Og ingen tvivler på at arbejdet til Müller var "
"vigtigt og værdifuldt, og sikkert sparede liv, måske millioner af liv."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Carson, Rachel"
msgstr "Carson, Rachel"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Silent Spring (Carson)"
msgstr "Silent Spring (Carson)"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "environmentalism"
msgstr "miljøbevægelse"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men i 1962 publicerede Rachel Carson <citetitle>Silent Spring</citetitle>, "
"som hævdede at DDT, uanset dets primære fordele, også havde utilsigtede "
"miljømessige konsekvenser.  Fugle mistede evnen til at reproducere sig.  "
"Hele keder i økologien holdt på at blive ødelagt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ingen gik ind for at ødelægge miljøet.  Paul Müller havde ikke  som mål at "
"skade fugle.  Men arbejdede med at løse et sæt med problemer fortog et nyt "
"sæt som, efter nogles syner, var meget værre end de problemerne som "
"oprindeligt blev angrebet.  Eller for at være mere præcis, problemerne som "
"DDT forårsagede var ondere end problemerne de løste, i hvert fald når man "
"vurderer andre, mere miljøvennlige tilpasser at løse problemet som DDT var "
"ment at løse."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Boyle, James"
msgstr "Boyle, James"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "innovative freedom balanced with fair compensation in"
msgstr "frihed til nyskabning balanceret med rimelig kompensation i"

#.  f7 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se for eksempel  James Boyle, <quote>A Politics of Intellectual Property: "
"Environmentalism for the Net?</quote> <citetitle>Dække Law Journal</"
"citetitle> 47 (1997): 87 ."

#.  PAGE BREAK 141 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er akkurat  dette billede som juiceprofessor James Boyle ved Dække "
"University appellerer til  når han argumenterer med  at vi behøver en "
"<quote>miljøbevægelse</quote> for kulturen.<placeholder type=\"footnote\" "
"id=\"0\"/>  Hans pointe, og pointen når jeg argumenterer for et "
"<quote>balanceret syn i dette kapitel,</quote> er for at vise til, ikke bare "
"fordelene, men også ulempene, og at ophavsreten ikke har forkerte mål.  "
"Eller at forfattere ikke skal få betalt for sit arbejde, eller at musik bør "
"gives væk <quote>gratis.</quote>  Pointen er at  nogle af måderne som vi kan "
"bruge for at beskytte forfattere, vil have uventede konsekvenser for det "
"kulturelle miljøet, ganske ligeligt sådan DDT havde det for det naturlige "
"miljøet.  Og på samme måde som kritik mod DDT ikke er at støtte malaria "
"eller et angreb på bønder, så er heller  ikke kritik af et bestemt set med "
"reguleringer som beskytter ophavsreten en støtte til anarki eller et angreb "
"på forfattere.  Det vi søger er et kreativt miljø, og vi bør være "
"opmærksomme på hvordan vores handlinger påvirker dette miljø."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mit argument for at vise til, og få frem et balanceret billede af fordele og "
"ulemper i dette kapitel, er et forsøg på at kortlægge akkurat  denne effekt. "
" Det er ingen tvivl om at teknologien til Internet har haft dramatisk effekt "
"på muligheden for ophavsretejerne til at beskytte sit indhold.  Men det bør "
"heller  ikke være nogen tvivl om at når du slår sammen  alle ændringerne i "
"opphavsrettsloven over tid, plus den teknologiske ændringen som Internet "
"gennemgår akkurat  nu, vil netto  effekt af disse ændringer ikke bare være "
"at opphavsrettsvernede værk bliver effektivt beskyttet.  I tillæg, og stort "
"set overset, er netto  effekt af denne massive øgningen i beskyttelse også "
"vil være ødelæggende for kreativitetmiljøet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For at opsummere: For at dræbe en myg sprøjter vi DDT med konsekvenser for "
"fri kultur som vil være meget mere ødelæggende end om denne myg blev borte."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Beginnings"
msgstr "Ophav"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on creative property"
msgstr "om kreativ ejendom"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "copyright purpose established in"
msgstr "ophavsretformål som er etableret i"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "Progress Clause of"
msgstr "Fremskridtbestemmelsen i"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "constitutional purpose of"
msgstr "konstitusjonelt formål med"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "constitutional tradition on"
msgstr "konstitusjonell tradition med"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Progress Clause"
msgstr "Fremskridtbestemmelsen"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"USA kopierede engelsk opphavsrettslov.  Egentligt kopierede og forbedrede vi "
"engelsk opphavsrettslov.  Grunnloven vores gør formålet med <quote>kreativ "
"ejendom</quote> helt klart; deres udtrykkelige begrænsninger forstærker det "
"engelske mål om at undgå for  mægtige utgivere."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in constitutional Progress Clause"
msgstr "i Grunnlovens Fremskridtbestemmelse"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Myndigheden til at etablere <quote>kreative ejendoms</quote>-rettigheder "
"gives til Kongressen på en måde som, i hvert fald for i forhold til vores "
"Grundlov, er rigtigt usædvanligt.  Artikel I, del 8, setningsdel 8 i vores "
"grundlov lyde:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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."
msgstr ""
"Kongressen har myndighed til at fremme udviklingen af videnskab og nyttig "
"kunst ved at sikre forfattere og oppfinnere, i et begrænset tidsrum, "
"eksklusive rettigheder til sine respektive skrifter og oppdagelser."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"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 ""
"Vi kalder dette <quote>Fremskridt bestemmelsen,</quote> og læg mærke til "
"hvad denne bestemmelse ikke siger. Den siger ikke  at Kongressen har "
"myndighed til at dele ud <quote>kreative ejendomretter.</quote>  Den siger "
"at Kongressen har myndighed til <emphasis>at fremme fremskridt</emphasis>.  "
"Tildeling af myndighed er dets formål, og dets formål er for fællesskabet. "
"Formålet er ikke  at berike utgivere, og formålet er heller  ikke "
"hovedsageligt at belønne forfattere."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "history of American"
msgstr "historie om amerikansk"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Fremskridtbestemmelsen begrænser udtrykkeligt varigheten for ophavsreten. "
"Som vi så i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"founders\"/>, begrænsede englænderne varigheten i ophavsreten for "
"at sikre at nogle få ikke kunne udøve uforholdsmessig stor kontrol over "
"kulturen ved at udøve uforholdsmessig kontrol over publisering.  Vi kan "
"antage at grundlovforfatterne tog efter England med et lignende formål.  "
"Faktisk forstærkede grundlovforfatterne, i modsætning til englænderne, dette "
"formål ved at kræve at ophavsreten kun galdt <quote>forfattere.</quote>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Senate, U.S."
msgstr "Senatet i USA"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "structural checks and balances of"
msgstr "strukturelle kontrolmekanismer i"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "electoral college"
msgstr "valgforsamling"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Udformningen af Fremskridtbestemmelsen reflekterer noget om Grunnlovens "
"udformning generelt.  For at undgå et problem byggede grundlovforfatterne en "
"struktur.  For at hindre at for meget magt samlede sig hos utgiverne, "
"byggede de en struktur som holdt ophavsreten væk fra utgiverne og gjorde "
"vernetiden kort.  For at hindre at for meget magt samlede sig hos en kirke, "
"forbød de føderale myndigheder at etablere en kirke.  For at hindre at for "
"meget magt samlede sig hos de føderale myndigheder bygget de strukturer som "
"forstærkede magten til delstaterne &ndash; inkluderet i Senatet, hvis "
"medlemmer på den tiden blev udpeget af delstaterne, og en valgforsamling, "
"også udpeget af delstaterne, som valgte præsident.  I hvert tilfælde, bygget "
"de en <emphasis>struktur</emphasis> af kontrolmekanismer ind i den "
"konstitusjonelle labben, struktureret for at hindre ellers uunngåelig "
"maktkonsentrering."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg tvivler på at deltagerne i grundlovforsamlingen vil kende igen  "
"reguleringen vi kalder <quote>ophavsret</quote> i dag.  Omfanget af den "
"regulering går langt  ud over alt de nogensinde vurderede.  For at begynde "
"at forstå hvad de gjorde behøver vi at sætte vores <quote>ophavsret</quote> "
"i sammenhæng: Vi behøver at se hvordan den har ændret sig i løbet af de 210 "
"årene som har gået siden de først afgjorde dens udformning."

#.  PAGE BREAK 143 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nogle af disse ændringer kommer fra lovværket: nogle i lys af ændringer i "
"teknologi og nogle i lys af ændringer i teknologi givet en bestemt "
"konsentrering af markedmagt.  Efter begreberne i vores model, startet vi her:"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "We will end here:"
msgstr "Vi kommer til at ende op  her:"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1442.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1442.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#.  PAGE BREAK 144 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Let me explain how."
msgstr "Lad mig forklare hvordan ."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Law: Duration"
msgstr "Loven: Varighet"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Copyright Act (1790)"
msgstr "Opphavsrettslov (1790)"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "common law protections of"
msgstr "retpraksisbeskyttelse af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "balance of U.S. content in"
msgstr "balance for indhold fra USA i"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Crosskey, William W."
msgstr "Crosskey, William W."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 "
"<quote>the supreme Law of the Land,</quote> <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 ""
"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>afskaffer, implisitt ved at være placeret i "
"<quote>landets fremste lov,</quote> <emphasis>de evige rettigheder som "
"forfattere havde, eller var antaget at have, som følge af retpraksis</"
"emphasis></quote> (min utheving). [I USA bygger rettskjennelser som "
"hovedregel på tidligere domme (prejudikat). Undtagelsen er når forholdet det "
"er tvist om reguleres af Grunnloven (<quote>landets fremste lov</quote>).  "
"Dersom Grunnloven og et prejudikat eller en lokal lov er i konflikt med "
"hinanden, går Grunnloven altid foran. o.a.] <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Da den første Kongressen vedtog loven for at beskytte kreativ ejendom, "
"modarbejdede den de samme usikkerhetene rundt status for kreativ ejendom som "
"englænderne havde blevet konfronteret med i 1774 .  Flere delstater havde "
"vedtaget håndflade som beskyttede kreativ ejendom, og nogle mente at disse "
"love enkelt og fint var tillæg til retpraksisrettigheder som allerede "
"beskyttede kreativt forfatterskab.<placeholder type=\"footnote\" id=\"0\"/> "
"Dette betød at det ikke var noget garanteret allemannseie i USA i 1790 .  "
"Hvis ophavsreten var beskyttet af retpraksis, så var det ingen enkel måde at "
"vide hvorvidt  et værk publiceret i USA var kontrolleret eller frit.  "
"Akkurat som i England villes denne vedvarende usikkerheten gøre det "
"vanskeligt for utgivere at basere sig på allemannseiet når de ønskede at "
"give ud på nyt og distribuere værk."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "federal vs. state"
msgstr "føderal versus national"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne usikkerheten tog slutning da Kongressen vedtog lovgiving som tildelte "
"ophavrettigheder.  Da føderal lov overstyrer enhver motstridende "
"delstatslov, fortrængte den føderale beskyttelsen af opphavsrettsbeskyttede "
"værker enhver beskyttelse fra delstatslover. På samme måde som Statute of "
"Anne i England betød at  ophavsretbeskyttelsen for alle engelske værker "
"udløb, betød føderale vedtekter at alle delstatophavsreter også udløb."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1790 vedtog Kongressen den første opphavsrettsloven.  Den oprettede en "
"føderal ophavsret og sikrede ophavsreten i fjorten år.  Hvis en forfatter "
"var i live ved slutningen af disse fjorten årene, så kunne han vælge at "
"fornye ophavsretbeskyttelsen for nye fjorten år.  Hvis han ikke fornyede "
"ophavsreten, så blev hans værk en del af allemannseien."

#.  f9 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Selv om 13 000 titler blev publiceret i USA fra 1790 til 1799, blev kun  det "
"kun sendt ind 556 ophavsretmeldinger; 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 .  Af 21 000 tryksakeer registreret føder 1790 var kun  tolv "
"opphavsrettsbeskyttet i henhold til 1790-loven; William J. Maher, "
"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of "
"1790 in Historical Context</citetitle>, 7&ndash;10 (2002), tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>.  Det betyder "
"at  det overvældende flertal af værk øjeblikkeligt henhørt i det fri.  Selv "
"de værkerne som blev opphavsrettsbeskyttet henhørt raskt i det fri, på grund "
"af at vernetiden i ophavsreten var kort.  Den oprindelige vernetiden i "
"ophavsreten var fjorten år, med mulighed for forlængelse i yderstere fjorten "
"år. Copyright Act af 31 . maj 1790, §1, 1 stat. 124 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Selv om det blev skabt mange værker i USA i de første 10 årene til "
"republikken, så blev kun  5 procent af værkerne registreret under det "
"føderale ophavsretregimet.  Af alle værk skabt i USA både før 1790 og fra "
"1790 frem til 1800, så blev 95 procent øjeblikkelig allemannseie (public "
"domain). Resten blev allemannseie efter maksimalt 20 år, og som oftest efter "
"14 år.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 145 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette fornyelsessystemet var en afgørende del af det amerikanske systemet "
"for ophavsret.  Det sikrede at  maksimal vernetid i ophavsreten bare blev "
"givet til værk der det var ønsket. Efter den første perioden på fjorten år, "
"hvis forfatteren ikke så værdien af at fornye sin ophavsret, var det heller "
"ikke værd det for samfundet at håndhæve ophavsreten."

#.  f10 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Få ophavsretindehavere valgte nogensinde  at fornye sine ophavsreter.  For "
"eksempel af de 25 006 ophavsreter registert i 1883, blev kun  893 fornyet i "
"1910 .  For man år-for-år-analyse af opphavsrettsfornyingsrater, se Barbara "
"A. Ringe, <quote>Study No. 31: Renewal of Copyright,</quote> "
"<citetitle>Studies on Copyright</citetitle>, vol. 1 (New York: Practicing "
"Law Institute, 1963), 618 .  For en nyere og mere fuldstændig analyse, se "
"William M. Landes og Richard A.  Posner, <quote>Indefinitely Renewable "
"Copyright,</quote> <citetitle>University of Chicago Law Review</citetitle> "
"70 (2003): 471, 498&ndash;501, og tilhørende figurer."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Fjorten år virker måske  ikke længe for os, men for det store flertal af "
"ophavsretindehavere på den tiden var den længe nok. Kun en lille minoritet "
"blandt dem fornyede sin ophavsret efter fjorten år.  Balancen tillod deres "
"værk at henhøre i det fri.<placeholder type=\"footnote\" id=\"0\"/>"

#.  f11 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "See Ringer, ch. 9, n. 2."
msgstr "Se Ringe, kap. 9, n. 2 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Selv i dag giver denne struktur mening.  De fleste kreative værker har et "
"kommercielt liv som kun varer nogle få år.  De fleste bøge er udsolgt fra "
"forlaget efter et år.<placeholder type=\"footnote\" id=\"0\"/> Når det sker, "
"købes og sælges de brugte bøgerne helt uden opphavsrettslige reguleringer.  "
"Dermed er bøgerne <emphasis>faktisk</emphasis> ikke længere kontrolleret af "
"ophavsreten.  Den eneste praktiske kommercielle brugen af bøgerne på dette "
"stadium er at sælge bøgerne som brugte bøger.  Denne brug &ndash; fordi den "
"ikke involverer publisering &ndash; er effektivt uden begrænsninger."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "copyright terms extended by"
msgstr "ophavsretens vernetid udvidede af"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "term extensions in"
msgstr "vernetidsutvidelser i"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I de første hundrede årene af republikken, blev vernetiden for ophavsreten "
"ændret en gang.  I 1831 blev vernetiden øget fra maksimalt 28 år til "
"maksimalt 42 år ved at øge den oprindelige vernetiden fra 14 til 28 år.  I "
"de næste halvtreds årene af republikken, blev vernetiden igen øget en gang.  "
"I 1909 udvidede Kongressen fornyingsvernetiden fra 14 til 28 år, og vedtog "
"dermed  en maksimal vernetid på 56 år."

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)"
msgstr "Sonny Bono udvidelse af opphavsrettsvernetid-loven (CTEA) (1998)"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "future patents vs. future copyrights in"
msgstr "fremtidige patenter versus fremtidige ophavrettigheder i"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så, fra og med 1962, startet Kongressen med den praksissen som har defineret "
"opphavsrettsloven siden.  Elleve gange de sidste fyrre årene har Kongressen "
"udvidet vernetiden for eksisterende ophavsreter.  To gange i løbet af disse "
"fyrre årene udvidede Kongressen vernetiden for fremtidige ophavsreter.  I "
"starten var udvidelsen af eksisterende ophavsreter kort, kun et til to år.  "
"I 1976 udvidede Kongressen alle eksisterende ophavsreter med nitten år.  Og "
"i 1998 blev <quote>Sonny Bonos udvidelse af opphavsrettsvernetidsloven</"
"quote> vedtaget som udvidede vernetiden for eksisterende og fremtidige "
"ophavsreter med tyve år."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "in public domain"
msgstr "i allemannseie (public domain)"

#.  PAGE BREAK 146 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Effekten af disse udvidelser er ganske enkelt  at fryse, eller forsinke, når "
"værk henhører i det fri og bliver allemannseie.  Denne sidste udvidelse "
"betyder at  allemannseie vil have været frosset i trettini af femtifem år, "
"eller 70 procent af tiden siden 1962 .  Dermed vil det i de første tyve "
"årene efter Sonny Bono-loven, samtidig som en million patenter har blevet "
"allemannseie, ikke være et eneste opphavsrettsbeskyttet værk som har henhørt "
"i det fri på grund af udløb af vernetiden i ophavsreten."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Effekten af disse ændringer har blevet forværret af en anden ændring i "
"opphavsrettsloven som få har lagt mærke til.  Husk at jeg sagde at "
"grundlovforfatterne etablerede et todelt ophavsretregime, som krævede at "
"ophavsretindehaver fornyede sin ophavsret efter en innledende vernetid.  "
"Dette fornyingskravet betød at  værk som ikke længere behøvede "
"ophavsretbeskyttelse raskt vilde blive allemannseie. De tilbageværende "
"beskyttede værk villes være de som havde en vis vedvarende kommerciel værdi."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "of natural authors vs. corporations"
msgstr "til naturlige forfattere versus selskaber"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "corporations"
msgstr "selskaber"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright terms for"
msgstr "opphavsrettsvernetid for"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"USA forlod dette fornuftige system i 1976 .  For alle værk skabt efter 1978 "
"var det kun en vernetid &ndash; maksimal vernetid.  For <quote>naturlige</"
"quote> forfattere var vernetiden livslang plus halvtreds år.  For selskaber "
"var vernetiden syttifem år.  Så, i 1992, fjernet Kongressen kravet om "
"fornying for alle værk skabt før 1978 .  Alle værk beskyttet af ophavsreten "
"villes få tildelt maksimal vernetid.  Efter Sonny Bonny-loven var vernetiden "
"nittifem år."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne ændring betød at USAs lov ikke længere havde en automatisk måde at "
"sikre at  værker som ikke længere blev udnyttet blev allemannseie. Og ganske "
"rigtigt, efter disse ændringer, er det uklart hvorvidt det i det hele taget "
"er muligt at lade et værk blive allemannseie.  Allemannseiet blev "
"foreldreløst efter disse ændringer i opphavsrettsloven.  På trods af kravet "
"om af vernetiden skal være <quote>begrænset</quote>,  så har vi ingen "
"indikationer på at noget vil begrænse den."

#.  f12 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Disse statistikker er undervurderet.  Mellem årene 1910 og 1962 (det første "
"året fornyingsvernetiden blev udvidet), var gennemsnitligt vernetid aldrig "
"mere end trettito år, og gennemsnittet tredive år.  Se Landes og Posner, "
"<quote>Indefinitely Renewable Copyright,</quote> loc. cit."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Effekten af disse ændringer på den gennemsnitlige varigheten for ophavsreten "
"er dramatisk.  I 1973 unnlot mere end 85 procent af ophavsretindehaverne at "
"fornye sin ophavsret.  Det betyder at den gennemsnitlige vernetiden i 1973 "
"var kun  32.2 år.  På grund af fjerningen af kravet om fornying, er nu  den "
"gennemsnitlige vernetiden den maksimale vernetiden.  På tredive år har "
"dermed  den gennemsnitlige vernetiden blevet tredoblet, fra 32.2 år til 95 "
"år.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Law: Scope"
msgstr "Loven: Omfang"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "scope of"
msgstr "omfang for"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"<quote>Omfanget</quote> for ophavsreten er den rækken af rettigheder tildelt "
"gennem lovværket.  Omfanget for USAs ophavsret har ændret sig dramatisk.  "
"Disse ændringer er ikke  nødvendigvis dårlige, men vi bør forstå omfanget af "
"ændringer hvis vi skal forholde os til sammenhængen i denne debat."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "historical shift in copyright coverage of"
msgstr "historisk ændring i opphavsrettslig dækning af"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1790 var omfanget rigtigt smalt.  Ophavsreten dækkede kun  <quote>kort, "
"diagrammer og bøger.</quote>  Det betyder at den ikke dækkede for eksempel  "
"musik og arkitektur.  Vigtigere, ophavsreten tildelte forfatteren eksklusiv "
"ret til at <quote>publicere</quote> opphavsrettsbeskyttede værk.  Det "
"betyder at anden kun brød ophavsreten hvis han gav ud værket på nyt uden "
"ophavsretejeren tilladelse.  Til slutning var privilegiet tildelt af "
"opphavretten en eksklusiv ret for en bestemt bog.  Privilegiet strakte sig "
"ikke til det advokater kalder <quote>avledede værk.</quote>  Det villes "
"dermed  ikke forstyrre retten til andre end forfatteren til at oversætte en "
"opphavsrettsbeskyttet bog, eller til at tilpasse historie til en anden form "
"(som et skuespil baseret på en publiceret bog)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette har også  ændret sig dramatisk.  Mens omridset af ophavsreten i dag er "
"ekstremt vanskeligt at beskrive enkelt med generelle termer, så dækker "
"retten praktisk talt ethvert kreativt værk som er reduceret til en "
"håndgripelig form.  Det dækker musik så vel som arkitektur, drama så vel som "
"computerprogrammer.  Det giver ophavsretejeren ikke bare den eksklusive "
"retten til at <quote>publicere</quote> værket, men også eksklusiv ret til at "
"kontrollere enhver <quote>kopi</quote> af dette værket.  Og vigtigst for "
"vores formål her, retten giver ophavsretejeren kontrol ikke bare over hans "
"eller hendes eget værk, men også ethvert <quote>avledet værk</quote> som kan "
"gro ud af det originale værket.  På denne måde dækker retten flere kreative "
"værker, beskytter det kreative værket bredere og beskytter værker som i "
"hovedsag er baseret på det oprindelige kreative værket."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "marking of"
msgstr "merking af"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "formalities"
msgstr "formaliteter"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "registration requirement of"
msgstr "registreringkrav for"

#.  PAGE BREAK 148 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mens omfanget af ophavsreten har udvidet sig, har prosessuelle  "
"begrænsninger i retten blevet slækket på.  Jeg har allerede  beskrevet den "
"fuldstændige fjerningen af fornyelseskravet i 1992 .  I tillæg til "
"fornyelseskravet var det, i det meste af historie til USAs opphavsrettslov, "
"et krav om at et værk måtte registreres før det kunne nyde godt  af "
"ophavsretbeskyttelsen.  Det var også  et krav om at ethvert "
"opphavsrettsbeskyttet værk enten måtte mærkes med det berømte © eller ordet "
"<emphasis>copyright</emphasis>.  For størstedelen af historie til USAs "
"opphavsrettslov var det også et krav at værket blev indleveret til "
"myndighederne før en ophavsret kunne sikres."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Årsagen til registreringkravet var den fornuftige forståelsen af at for de "
"fleste værk var det ikke nødvendigt med ophavsretbeskyttelse. Igen, i de "
"første ti årene af republikken blev 95 procent af værk som kunne modtaget "
"beskyttelse aldrig opphavsrettsbeskyttet.  Dermed reflekterede reglen "
"normen: De fleste værk behøvede tydeligvis  ikke ophavsretbeskyttelse, så "
"registrering begrænsede lovreguleringen til de få som behøvede det.  Den "
"samme begrundelse begrundede kravet om at et værk måtte mærkes som "
"opphavsrettsbeskyttet &ndash; sådan var det enkelt at vide hvorvidt  nogle "
"påberåbte sig ophavsretbeskyttelse.  Kravet om at værket blev deponeret, var "
"for at sikre at efter at vernetidens udløb, villes det eksistere et "
"eksemplar af værket en eller anden plads sådan at det kunne kopieres af "
"andre uden at spore op  den oprindelige forfatteren."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "European"
msgstr "europæisk"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alle disse <quote>formaliteter</quote> blev afskaffet i USAs system da vi "
"bestemte os for at følge europæisk opphavsrettslov.  Det er ikke  længere "
"krav om at du registrerer et værk for at få ophavsretbeskyttelse.  "
"Ophavsretbeskyttelsen er nu  automatisk. Ophavsreten eksisterer uanset om du "
"mærker dit værk med ©, og ophavsreten eksisterer uanset om du faktisk gør "
"virket tilgængeligt for kopiering af andre."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Consider a practical example to understand the scope of these differences."
msgstr ""
"Lad os se på et praktisk eksempel for at forstå omfanget af disse forskelle."

#.  f13 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Thomas Binder og 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), og James Gilraeth, "
"ed., Federal Copyright Records, 1790&ndash;1800 (U.S. G.P.O., 1987)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis du skrev en bog i 1790, og du var en af de fem procenterne som faktisk "
"registrerede ophavsreten for den bogen, så villes opphavsrettsloven beskytte "
"dig mod at andre utgivere tog din bog og publicerede den på nyt uden din "
"tilladelse.  Målet med loven var at regulere utgivere for derved at hindre "
"denne type urimelig konkurrence.  I 1790 var det 174 utgivere i USA."
"<placeholder type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed "
" en lille regulering af en lille andel af en lille del af det kreative "
"markedet i USA &ndash; utgivere."

#.  PAGE BREAK 149 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Loven lod andre skabere være helt uregulert.  Hvis jeg kopierede dit digt "
"til rådighed, om og om igen, som en måde at lære det skikkeligt, var min "
"handling helt uregulert ifølge 1790-loven.  Hvis jeg tog din roman og fortog "
"et skuespil baseret på den, hvis jeg oversatte den eller fortog man "
"oppsummering af den, så var ingen af disse aktiviteter reguleret af den "
"oprindelige opphavsrettsloven.  Disse kreative aktiviteter forblev frie, "
"mens aktiviteterne til utgiverne blev begrænset."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I dag er historie vældig anderledes: Hvis du skriver en bog er din bog "
"automatisk beskyttet.  Faktisk gælder det ikke bare din bog.  Enhver e-post, "
"hver notat til din kære, hver krusedulle, <emphasis>hver eneste</emphasis> "
"kreative handling som bliver reduceret til en håndgripelig form &ndash; alt "
"dette er automatisk opphavsrettsbeskyttet.  Det er intet behov for at "
"registrere eller dit mærke værk.  Beskyttelsen følger af det at skabe, ikke "
"de steg du tager for at beskytte det."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Den beskyttelsen giver dig retten til (begrænset af et smalt spekter af "
"undtagelse for rimeligt brug) at kontrollere hvordan andre kopierer værket, "
"uanset om de kopierer for at videredistribuere det, eller for at dele et "
"uddrag."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så langt er dette den åbenbare delen. Ethvert ophavsretsystem villes "
"kontrollere konkurrerende publisering.  Men det er en anden del af "
"ophavsreten i dag som slet ikke er åpenbare.  Dette er beskyttelsen af "
"<quote>avledede værk.</quote>  Hvis du skriver en bog, så kan ingen fortage "
"en film baseret på bogen uden tilladelse.  Ingen kan oversætte den uden "
"tilladelse.  CliffsNotes kan ikke  fortage en oppsummering med mindre "
"tilladelse er givet.  Alle disse avledede brugsområderne af dit originale "
"værker er kontrolleret af ophavsretindehaveren. Ophavsreten er med andre ord "
"ikke bare en eksklusiv ret til dine skrifter, men en eksklusiv ret til dine "
"skrifter,  og en stor andel af skrifterne inspireret af dem."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er denne ret til avledede værker som villes synes mest sært for dem som "
"fortog Grunnloven vores, selv om det har blevet helt naturligt for os.  I "
"udgangspunktet blev denne udvidelse fortaget for at håndtere de åbenbare "
"unnvikelsene af en smalere ophavsret.  Hvis jeg skriver en bog, kan du ændre "
"et ord, og så ophøjede ophavsret til en ny og anderledes bog?  Det villes "
"åbenbaret gøre ophavsreten til en spøg, så loven blev udvidet på ordentligt "
"vis til at inkludere sådanne små ændringer på samme måde som identiske "
"originale værker."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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>, juli/august 2003, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #26</ulink>.  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For at undgå at rettigheden blev en spøg, skabte loven en forbløffende magt "
"inden fri kultur &ndash; det er i hvert fald forbløffende når du forstår at "
"loven ikke bare gælder for den kommercielle utgiver, men for enhver med en "
"computer.  Jeg forstår at det er galt at duplikere og sælge andres værk.  "
"Men uanset hvor galt <emphasis>det</emphasis> er, omforming af andres værk "
"er en anden type galt.  Nogle ser ikke  på omforminger som galt i det hele "
"taget &ndash; de mener at vores lovværk, sådan grundlovforfatterne "
"formulerede det, ikke skulle beskytte avledede værk i det hele taget."
"<placeholder type=\"footnote\" id=\"0\"/> Uanset om du går så langt eller "
"ikke, så virker det klart at det som er galt med omforming, er fundamentalt "
"forskelligt fra det som er galt med direkte piratvirksomhed."

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Professor Rubenfeld har præsenteret et kraftfullt konstitusjonelt argument "
"om skillet som ophavsreten burde sætte (fra perspektivet til det første "
"grundlovtillægget) mellem kun <quote>kopier</quote> og avledede værk.  Se "
"Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's "
"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 (2002)"
": 1&ndash;60 (se specielt  siderne 53&ndash;59).  <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alligevel behandler opphavsrettsloven disse to forskellige forbudte "
"handlingerne på samme måde.  Jeg kan gå til domstolen at få en forføyning "
"mod din piratkopiering af min bog.  Jeg kan gå til domstolen at få en "
"forføyning mod din omformende bruge af min bog.<placeholder "
"type=\"footnote\" id=\"0\"/> Disse to forskellige brugsmåderne for mit "
"kreative værker behandles ligeligt ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette kan virke rigtig for dig.  Hvis jeg skrev en bog, hvorfor skal du have "
"mulighed til at fortage en film som tager min historie, og tjener penge fra "
"den, uden at betale mig eller kreditere mig?  Eller hvis Disney fortager en "
"figur kaldt <quote>Mikke Mus,</quote> hvorfor skal du have mulighed til at "
"fortage Mikke Mus-lege, og være den som tjener penge på værdien som Disney "
"oprindeligt skabte."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er gode argumenter, og generelt set er ikke  mit pointe at sådanne "
"deriverede rettigheder er grundløse.  Mit mål akkurat nu er meget smalere: "
"ganske enkelt at gøre det klart at denne udvidelse er en betydelig ændring "
"fra de oprindeligt tildelte rettighederne."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Law and Architecture: Reach"
msgstr "Lov og arkitektur: Rækkevidde"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copies as core issue of"
msgstr "kopier som kernetema for"

#.  f16 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Dette er man forenkling af loven, men ikke en særligt stor en.  Loven "
"regulerer helt klart mere end <quote>eksemplarer</quote> &ndash; en "
"offentlig fremføring af en opphavsrettsbeskyttet sang er for eksempel  "
"reguleret selv om fremføringen i sig selv ikke fortager et eksemplar; 17 "
"<citetitle>United States Code</citetitle>, del 106(4).  Og det er helt klart "
"at nogle gange regulerer det ikke et <quote>eksemplar</quote>; 17 "
"<citetitle>United States Code</citetitle>, del 112(a).  Men antagelsen under "
"gældende lov (som regulerer <quote>eksemplarer</quote> 17 <citetitle>United "
"States Code</citetitle>, del 102) er at  hvis det er et eksemplar, så er det "
"også en rettighed knyttet til det."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mens loven oprindeligt kun regulerede forleggere, så betyder ændringen i "
"ophavsretens omfang at loven i dag regulerer forleggere, brugere og "
"forfattere.  Det regulerer dem på grund af at alle tre er i stand  til at "
"fortage kopier, og kernen til reguleringen i opphavsrettsloven er kopier."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "other property rights vs."
msgstr "andre ejendom retter versus"

#.  PAGE BREAK 151 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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>Kopier.</quote> Det høres helt klart ud som noget opphavsrettsloven "
"åbenbaret regulerer.  Men som med argumentet til Jack Valenti i starten af "
"dette kapitlet, om <quote>at kreativ ejendom</quote> fortjener <quote>de "
"samme rettigheder</quote> som al anden ejendom, så er det dette "
"<emphasis>åbenbare</emphasis> vi må være mest forsigtigt/forsigtig med.  For "
"selv om det kan have været åbenbaret i værdet føder Internet, at "
"eksemplarfremstilling var en åpenbare udløser for  opphavsrettsloven, så bør "
"det ved nærmere eftertanke være åbenbaret i værdet med Internet, så bør "
"eksemplarfremstilling <emphasis>ikke</emphasis> aktivisere "
"opphavsrettsloven.  For at være præcis, bør de ikke <emphasis>altid</"
"emphasis> aktivisere opphavsrettsloven."

#.  f17 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Dermed er mit argument at for hvert sted der hen opphavsrettsloven udvides, "
"så bør vi afvise det.  Det er i stedet  at vi bør have gode argumenter for "
"dens udvidelse når det gøres, og bør ikke  afgøre rækkevidden baseret på "
"vilkårlige og automatiske ændringer forårsaget af teknologi."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er måske  den centrale påstanden i denne bog, så lagde mig tage dette "
"rigtigt stille sådan at man ikke går let  glipp af pointen.  Min påstand er "
"at Internet i hvert fald bør tvinge os til at tænke gennem forholdene der "
"hen opphavsrettsloven automatisk kommer til  anvendelse,<placeholder "
"type=\"footnote\" id=\"0\"/> da det er klart at dagens rækkevidde for "
"ophavsreten aldrig blev vurderet, og langt mindre valgt, af lovgiverne som "
"vedtog opphavsrettsloven."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"We can see this point abstractly by beginning with this largely empty circle."
msgstr ""
"Vi kan se dette pointe helt abstrakt ved at starte med denne i hovedsag "
"tomme cirkel."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1521.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1521.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "three types of uses of"
msgstr "tre typer brugsmåder for"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright applicability altered by technology of"
msgstr "anvendelighet for ophavsret ændrede af teknologien til"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright intent altered by"
msgstr "ophavsretens hensigt ændrede af"

#.  PAGE BREAK 152 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tænk på en bog i den virkelige værdet, og forestill dig at denne cirkel "
"repræsenterer alle potentielle <emphasis>brugsmåder</emphasis>.  De fleste "
"af disse brugsmåder er ikke  reguleret af åndsverksloven, fordi brugen ikke "
"skaber et eksemplar.  Hvis du læser en bog, så er ikke  den handlingen "
"reguleret af åndsverkloven.  Hvis du giver nogle bogen, så er ikke  den "
"handlingen reguleret af åndsverkloven.  Hvis du sælger bogen brugt, så er "
"ikke  dette reguleret (åndsverksloven siger udtrykkeligt at efter det første "
"salget af en bog kan ophavsretejeren ikke stille ytteligere betingelser til "
"hvordan bogen håndteres).  Hvis du sover på bogen eller bruger den til at "
"holde oppe en lampe, eller lader din hvalp tygge den op, så er dette "
"brugsmåder som ikke er reguleret af åndsverksloven, da de ikke fortager en "
"kopi."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1531.png\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1531.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Derimod er det åbenbaret at nogle brugsmåder af et opphavsrettsbeskyttet "
"værk er reguleret af åndsverksloven.  Å publicere bogen på nyt, for "
"eksempel, fortager et eksemplar.  Det er dermed  reguleret af "
"opphavsrettsloven. Faktisk står denne bestemmte brug i kernen af cirklen "
"over mulig brug af et opphavsrettsbeskyttet værk.  Det er den paradigmatiske "
"brugen som er korrekt reguleret af opphavsrettsreguleringen (se diagram i "
"figur <xref xrefstyle=\"template:%n\" linkend=\"fig-1541\"/>)."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1541.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1541.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Til slutning er det en tynd skive af ellers reguleret kopieringsbruk som "
"forbliver uregulert på grund af at loven anser dette som <quote>rimelig brug."
"</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er brugsmåder som selv involverer kopiering, men som loven håndterer "
"som uregulert da samfundhensyn kræver at de forbliver uregulert. Du står "
"frit til at citere fra denne bog, selv i en anmeldelse som er ganske  "
"negativ, uden min tilladelse, selv om sitering fortager en kopi.  Den kopien "
"villes normalt give ophavsretejeren eksklusiv ret til at sige hvorvidt  "
"kopien er tilladt eller ikke, men loven nægter ejeren enhver eksklusiv ret "
"over sådan <quote>rimelig brug</quote> af samfundhensyn (og måske første "
"grundlovtillæghensyn.)"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1542.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1542.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#.  PAGE BREAK 154 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I den fysiske værdet er dermed  muligt brug af en bog delt i tre typer: (1) "
"uregulert brug, (2) reguleret brug og (3) reguleret brug som alligevel anses "
"<quote>rimeligt</quote> uafhængigt af ophavsretejeren syn."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on Internet"
msgstr "på Internet"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "Internet burdens on"
msgstr "Internet-byrder på"

#.  f18 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Jeg mener ikke  <quote>natur</quote> i betydningen at det ikke kunne været "
"anderledes, men heller at dagens nuværende tilstand indebærer en kopi.  "
"Optiske netværk behøver ikke  fortage kopier af indhold de distribuerer, og "
"et digitalt netværk kan fortages sådan at det sletter alt det kopierer sådan "
"at det forbliver samme antal kopier."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så kom Internet &ndash; et distribueret, digitalt netværk hvor enhver bruge "
"af et opphavsrettsbeskyttet værker producerer en kopi.<placeholder "
"type=\"footnote\" id=\"0\"/> På grund af denne ene, vilkårlige egenskaben i "
"udformningen af digitale netværk, ændres dækningområdet for kategori 1 "
"dramatisk.  Bruk som tidligere blev antaget at ikke være reguleret er nu  "
"antaget at være reguleret.  Det findes ikke  længere et sæt med antaget "
"uregulerte brugsområder som definerer friheder bylten til et "
"opphavsrettsbeskyttet værk.  I stedet er enhver bruge nu omfavnet af "
"ophavsreten, fordi enhver bruge også fortager en kopi &ndash; kategori 1 "
"bliver suget ind i kategori 2 .  Og de som vil forsvare den uregulerte "
"brugen af opphavsrettsbeskyttede værk må nu  kun se til kategori 3, rimeligt "
"brug, for at bære byrden af denne ændring."

#.  PAGE BREAK 155 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så lad mig være vældig  spesifikk for at gøre dette generelle pointe helt "
"klart.  Før Internet, hvis du købte en bog og læste den ti gange, så villes "
"det ikke være noget troverdig <emphasis>ophavsrets</emphasis>-relateret "
"argument som ophavsretejeren kunne bruge for at kontrollere brugen af sin "
"bog. Opphavsrettsloven villes ikke  have noget at sige om du læste bogen en "
"gang, ti gange, eller hver nat føder du gik til sengs.  Ingen af disse "
"forekomster af brug &ndash; lesing &ndash; kunne blive reguleret af "
"opphavsrettsloven fordi ingen af disse brugsmåder producerede et eksemplar."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "e-books"
msgstr "e-bøger"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "technological developments and"
msgstr "teknologisk udvikling og"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men samme bog som en e-bog styres effektivt set af et andet sæt med skrøner. "
" Nu, hvis ophavsretindehaveren siger at du kun kan læse bogen en gang, eller "
"kun en gang i måneden, så vil <emphasis>opphavsrettsloven</emphasis> hjælpe "
"ophavsretindehaveren med at udøve en sådan grad af kontrol, på grund af den "
"uheldige egenskaben til opphavsrettsloven som træder ind når det fortages en "
"kopi. Nu, når du læser en bog ti gange, og brugvilkårene siger at du kun kan "
"læse den fem gange, så vil du fortage en kopi i strid med "
"ophavsretindehaveren ønske hver gang du læser bogen (eller deler af den) ud "
"over den femte gangen."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1551.svg\" align=\"center\" width=\"10em\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/nb/1551.svg\" align=\"center\" width=\"10em\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er nogle folk som mener at dette giver fuldstændig mening.  Mit mål "
"akkurat nu er ikke  at argumentere om hvorvidt dette giver mening eller "
"ikke.  Mit mål er kun  at gøre det klart at dette er en ændring.  Når du "
"forstår dette pointe, bliver nogle andre pointer også forståelige:"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For det første, det at fjerne kategori 1 var ikke  noget lovgiver nogensinde "
"planlagde.  Kongressen tænkte ikke  gennem kollapsen i den antaget "
"uregulerte brugen af opphavsrettsbeskyttede værk.  Det findes ingen "
"indikatorer i det hele taget at lovgiverne havde en sådan idé i tankene da "
"de tillod et sådant skifte i vores politik her.  Uregulert brug var en "
"vigtig del af fri kultur føder Internet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For det andre, dette skiftet er specielt  bekymringsfullt i sammenhæng med "
"omformende brug af kreativt indhold.  Igen kan vi alle forstå at det er galt "
"med kommerciel piratvirksomhed.  Men loven giver nu  indtryk af at regulere "
"<emphasis>enhver</emphasis> omforming som du kan gøre med en maskine.  "
"<quote>Kopier og lim</quote>, og <quote>klip og klistr</quote> bliver "
"kriminelle handlinger.  Å rode med en historie og derefter give den ud til "
"andre, kræver at  den som roder, som et minimum kan begrunde det som er "
"gjort.  Uanset hvor bekymringsfull udvidelsen med hensyn til kopiering af et "
"bestemt værk er, så er det vældig bekymringsfullt med hensyn til omformende "
"brug af kreative værker."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "fair use vs."
msgstr "rimeligt brug versus"

#.  PAGE BREAK 156 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For det tredje, giver dette skift fra kategori 1 til kategori 2 en "
"ekstraordinær byrde på kategori 3 (<quote>rimelig brug</quote>) som rimelig "
"brug aldrig før har måttet bære.  Hvis en ophavsretindehaver nu forsøger at "
"kontrollere hvor mange gange jeg kan læse en bog på nettet, så villes den "
"naturlige responsen være at argumentere med  at dette er i strid med min ret "
"til rimelig brug.  Men det har aldrig  været nogle rettsaker om hvorvidt "
"rimeligt brug gælder for min ret til at læse, da lesing før Internet ikke "
"førte til  at opphavsrettsloven kom til  anvendelse, og det dermed heller "
"ikke var behov for at argumentere med rimelig brug for at forsvare sig. "
"Retten til at læse var effektivt beskyttet tidligere på grund af at lesing "
"ikke var reguleret."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette pointe om rimeligt brug er fuldstændig  ignoreret, selv af talsmænd "
"for fri kultur.  Vi har havnet i et hjørne der vi må argumentere for at "
"vores rettigheder er avhenging af rimeligt brug &ndash; og har aldrig  "
"adresseret det tidligere nævnte spørgsmålet om udvidelsen af effektiv "
"regulering.  En svag beskyttelse med udgangspunkt i rimelig brug giver "
"mening når det store flertal af brugsområder <emphasis>ikke er reguleret</"
"emphasis>.  Men når alt bliver antaget at være reguleret, så bliver rimeligt "
"brug-beskyttelsen ikke nok."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Video Pipeline"
msgstr "Video Pipeline"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "trailer advertisements of"
msgstr "filmtrailer-reklamerne til"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tilfældet Video Pipeline er et godt eksempel.  Video Pipeline sin forretning "
"var at gøre <quote>filmtrailere</quote> tilgængelige i videobutikker.  "
"Videobutikkerne viste frem trailerne for at få solgt film.  Video Pipeline "
"fik trailerne fra filmdistributørerne, puttede trailerne på kassettebånd, og "
"solgte kassettebåndene til utsalgsstedene."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "browsing"
msgstr "surfing"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Selskabet gjorde dette i omtrent femten år.  Så, i 1997, begyndte det at "
"tænke på Internet som en anden måde for at distribuere disse "
"forhåndsvisningene.  Idéen var at udvide deres <quote>sælge ved at vise "
"prøver</quote>-teknik ved at give online-butikker den samme mulighed til at "
"muliggjøre <quote>surfing.</quote>  Akkurat sådan som du i en boghandel kan "
"læse nogle få sider af en bog føder du køber bogen, så villes du på samme "
"måde også kunne tage en kig på en bidder af filmen på nettet før du købte "
"den."

#.  PAGE BREAK 157 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1998 informerede Video Pipeline Disney og andre film distributører at de "
"planlagde at distribuere trailere via Internet (i stedet for at sende "
"kassettebånd) til distributører af jeres film.  To år senere bad Disney "
"Video Pipeline om at stoppe.  Ejeren af Video Pipeline bad Disney om at de "
"snakkede om sagen &ndash; han havde bygget op sin forretning for "
"distribution af dette indholdet som en måde at hjælpe Disney at sælge film, "
"og havde kunder som var afhængigt af at han leverede dette indhold.  Disney "
"villes kun  gå med  på at snakke med ham hvis Video Pipeline stoppede "
"distributionen øjeblikkeligt.  Video Pipeline mente det var indenfor deres "
"rimeligt brug-rettigheder at distribuere klippene sådan de havde gjort.  Så "
"de leverede ind et søgsmål for at bede domstolene om at erklære at disse "
"rettigheder faktisk var deres rettigheder."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "willful infringement findings in"
msgstr "bevidst krenkelse-kjennelser i"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "willful infringement"
msgstr "bevidst krenkelse"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 sendte ind motsøksmål &ndash; om 100 millioner dollar i "
"skadeerstatning. Disse skader blev estimeret ud fra et krav om at Video "
"Pipeline havde <quote>bevidst skældt</quote> Disneys ophavsret.  Når en "
"domstol konkluderer med bevidst krenkelse, så kan de tildele skader, ikke "
"baseret på faktisk skade som ophavsretejeren har lidt, men baseret på et "
"beløb fastsat i forskrift.  På grund af at Video Pipeline havde distribueret "
"syv hundrede klip fra Disneys film for at gøre det muligt for videobutikker "
"at sælge eksemplarer af disse film, sagsøgte nu  Disney Vide Pipeline for "
"100 millioner dollar."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 har lov til at kontrollere sin ejendom, naturligvis.  Men "
"videobutikkerne som sælger filmene til Disney har også  en slags ret til at "
"være i stand  til at sælge filmene de har købt fra Disney. Disneys påstand i "
"retten var at butikkerne havde lov til at sælge filmene, og de havde lov til "
"at liste op titlerne til filmene de solgte, men de havde ikke  lov til at "
"vise klip fra filmene for at kunne sælge dem, uden tilladelse fra Disney."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "first-sale doctrine"
msgstr "førstesalgsdoktrinen"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Du tænker måske  nu at dette er en afgjort sag, og jeg tror domstolene også "
"anser dette som en afgjort sag.  mit Pointe her er at kortlægge ændringen "
"som giver Disney denne magt.  Før Internet kunne ikke  Disney egentligt "
"kontrollere hvordan folk fik tilgang til jeres indhold.  Når en video var i "
"markedet, villes <quote>førstesalgsdoktrinen</quote> gøre sælgeren fri til "
"at bruge videoen som han ønsker, inkluderet at vise dele af den for at skabt "
"salg af hele filmen.  Men med Internet blev det muligt for Disney at "
"centralisere kontrollen over tilgang til dette indhold.  På grund af at hver "
"brug over Internet fortager en kopi, bliver brug på Internet underlagt "
"ophavsretejeren kontrol.  Teknologien udvider omfanget af effektiv kontrol, "
"på grund af at teknologien bygger en kopi ind i hver eneste transaktion."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Barnes &amp; Noble"
msgstr "Barnes &amp; Noble"

#.  PAGE BREAK 158 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er ingen tvivl, et potentiale er endnu  ikke et misbrug, og dermed er "
"potentialet for kontrol endnu ikke misbrug af kontrol.  Barnes &amp; Noble "
"har lov til at sige at du ikke får tage på en bog i jeres butik.  "
"Ejendomretten giver dem denne rettighed.  Men markedet beskytter effektivt "
"mod sådant misbrug.  Hvis de forbød at bladre i bøgerne, så villes "
"forbrukerne vælge andre bokhandlere.  Konkurrence beskytter mod "
"yderpunkterne.  Og det kan godt  være (mit argument så langt stiller ikke  "
"en gang spørgsmål ved dette) at konkurrence villes hindre enhver lignende "
"fare når det gælder ophavsret.  Jodene, utgivere som udøver de rettigheder "
"som forfattere har tildelt dem, kan forsøge at regulere hvor mange gange du "
"kan læse en bog, eller forsøge at stoppe dig fra at dele en bog med andre.  "
"Men i et konkurranseutsatt marked sådan som bokmarkedet, er fædrene for at "
"noget sådant sker vældig  lille."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Igen, mit mål så langt  er ganske enkelt  at kortlægge ændringerne som denne "
"ændrede arkitektur muliggjør.  Å give teknologi mulighed til at håndhæve "
"kontrollen over ophavsreten betyder at kontrollen over ophavsreten ikke "
"længere er defineret af en balanceret politik. Kontrollen over ophavsreten "
"er ganske enkelt  det private ejere vælger.  I hvert fald i nogle "
"sammenhænge er dette faktum harmløst, men i andre sammenhænge er det "
"oppskriften på katastrofe."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Architecture and Law: Force"
msgstr "Arkitektur og lov: Magt"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"At uregulert brug forsvinder, burde være ændring nok, men en anden vigtig "
"ændring forårsaget af Internet forstærker dens betydning. Denne anden "
"ændring ændrer ikke  rækkevidden til opphavsrettreguleringen.  Den påvirker "
"hvordan  sådan regulering bliver håndhævet."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "technology as automatic enforcer of"
msgstr "teknologi som automatisk håndhæver af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "copyright enforcement controlled by"
msgstr "opphavsrettshåndheving kontrolleret af"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I værdet føder digital teknologi var det generelt retvæsenet som "
"kontrollerede hvorvidt  og hvordan noget blev reguleret af åndsverkloven. "
"Retvæsenet, i betydningen en domstol, i betydningen en domme.  Til sidst var "
"det et menneske, dresseret i traditionen til retvæsenet, og følsom for "
"balancerne som denne tradition omfavnet, som sagde hvorvidt  og hvordan "
"loven skulle begrænse din frihed."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Marx Brothers"
msgstr "Marx-brødrene"

#.  f19 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"See David Lange, <quote>Recognizing the Public Domain,</quote> "
"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172&ndash;73."
msgstr ""
"Se David Lange, <quote>Recognizing the Public Domain,</quote> <citetitle>Law "
"and Contemporary Problems</citetitle> 44 (1981): 172&ndash;73 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er en berømt historie om en kamp mellem Marx-brødrene (the Marx "
"Brothers) og Warner Brothers.  Marx-brødrene planlagde at fortage en parodi "
"af <citetitle>Casablanca</citetitle>. Warner Brothers protesterede.  De "
"skrev et ufint brev til Marx-brødrene og advarede dem om at det villes få "
"seriøse juridiske konsekvenser hvis de gik videre  med sin plan.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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. Se også  Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 1&ndash;3 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette fik Marx-brødrene til at svare tilbage med samme mønt.  De advarede "
"Warner Brothers om at Marx-brødrene <quote>var brødre længe føder I var det."
"</quote><placeholder type=\"footnote\" id=\"0\"/> Marx-brødrene ejede derfor "
" ordet <citetitle>Brothers</citetitle>, og hvis Warner Brothers insisterede "
"på at forsøge at kontrollere <citetitle>Casablanca</citetitle>, så villes "
"Marx-brødrene insistere på kontrol over <citetitle>Brothers</citetitle>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det var man absurd og hul trussel, selvfølgelig, fordi Warner Brothers, på "
"samme måde som Marx-brødrene, vidste at ingen domstol nogensinde villes "
"håndhæve et sådant dumt krav. Denne ekstremisme var irrelevant for de ægte "
"friheder som alle (inkluderet Warner Brothers) nød godt  af."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"På Internet er det derimod ingen check mod tullede skrøner, fordi på "
"Internet, i stadigt større grad, bliver ikke  skrønerne håndhævet af folk, "
"men af en maskine.  I stadigt større grad bliver skrønerne i "
"opphavsrettsloven, sådan de bliver tolket af ophavsretindehaveren, bygget "
"ind i teknologien som leverer opphavsrettsbeskyttet indhold. Det er "
"kildekoden, mere end domstolene, som bestemmer.  Og problemet med "
"kildekodebaserte reguleringer er at  kildekode, i modsætning til domstolene, "
"ikke ejer skam.  Kildekode forstår ikke  humoren til Marx-brødrene.  "
"Konsekvensen af det er overhovedet  ikke morsomt."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Adobe eBook Reader"
msgstr "Adobe eBook Reader"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "Consider the life of my Adobe eBook Reader."
msgstr "Lad os se på livet til min Adobe eBook Reader."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"En e-bog er en bog leveret i elektronisk form.  En Adobe eBook er ikke  en "
"bog som Adobe har publiceret.  Adobe producerer kun  programvaren som "
"utgivere bruger til at levere e-bøger.  Den bidrager med teknologien, og "
"utgiveren leverer indholdet ved hjælp af teknologien."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
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>
#, fuzzy
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 ""
"I figur <xref xrefstyle=\"template:%n\" linkend=\"fig-example-adobe-ebook-"
"reader\"/> er et billede af en ældre version af min Adobe eBook Reader."

#.  PAGE BREAK 160 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Som du kan se, har jeg en lille samling med e-bøger i dette e-bog-"
"biblioteket.  Indholdet i nogle af disse bøge er allemannseie.  For eksempel "
"er <citetitle>Middlemarch</citetitle> har henhørt i det fri.  Indholdet i "
"nogle af de andre bøge er ikke  allemannseie.  Min egen bog <citetitle>The "
"Future of Ideas</citetitle> er endnu  ikke henhørt i det fri.  Lad os se på "
"<citetitle>Middlemarch</citetitle> først.  Hvis du klikker på min e-bog-kopi "
"af <citetitle>Middlemarch</citetitle>, så får du se et avanceret omslag og "
"en knapp nederst ved navn Tilladelser."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis du klikker på Tilladelser-knappen, så får du se en liste med "
"tilladelser som utgiveren ønsker at tildele med denne bog."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1612.png\" align=\"center\" width=\"50%\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/1612.png\" align=\"center\" width=\"50%\"></"
"graphic>"

#.  PAGE BREAK 161 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I henhold til min eBook Reader, så har jeg tilladelse til at kopiere til  "
"utklippstavlen på min computer ti tekstudsnit hver tiende dag. (Så langt har "
"jeg ikke kopieret noget tekst til utklippstavlen.)  Jeg har også  tilladelse "
"til at skrive ud ti sider fra bogen hver tiende dag. Til sidst har jeg "
"tilladelse til at bruge Læs Højt -knappen for at høre "
"<citetitle>Middlemarch</citetitle> læst højt ved hjælp af computeren."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Aristotle"
msgstr "Aristoteles"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "<citetitle>Politics</citetitle>, (Aristotle)"
msgstr "<citetitle>Politik</citetitle>, (Aristoteles)"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Here's the e-book for another work in the public domain (including the "
"translation): Aristotle's <citetitle>Politics</citetitle>."
msgstr ""
"Her er e-bogen for et andet allemannseid værk (inkluderet oversættelsen): "
"Aristoteles <citetitle>Politik</citetitle>."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/aristotele-ebook.png\" align=\"center\" width=\"50%"
"\"></graphic>"
msgstr ""
"<graphic fileref=\"images/aristotele-ebook.png\" align=\"center\" width=\"50"
"%\"></graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I henhold til deres tilladelser, er det absolut ikke tilladt med utskrift "
"eller kopiering.  Heldigvis kan man bruge Læs Højt -knappen for at høre "
"bogen."

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1622.png\" align=\"center\" width=\"50%\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/1622.png\" align=\"center\" width=\"50%\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Future of Ideas, The (Lessig)"
msgstr "Future of Ideas, The (Lessig)"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Til slutning (og mest pinligt), her er tilladelserne for den originale e-bog-"
"versionen af min sidste bog, <citetitle>The Future of Ideas</citetitle>:"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1631.png\" align=\"center\" width=\"50%\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/1631.png\" align=\"center\" width=\"50%\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "No copying, no printing, and don't you dare try to listen to this book!"
msgstr ""
"Ingen kopiering, ingen utskrift, og våg ikke  at prøve at lytte til denne "
"bog!"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"I princippet kan en kontrakt pålægge mig et krav.  Jeg kan for eksempel  "
"købe en bog fra dig der det følger med en kontrakt som siger at jeg kun skal "
"læse den tre gange, eller at jeg lover at læse den tre gange.  Men den "
"forpligtelsen (og begrænsningerne for at skabe den forpligtelsen) villes "
"komme fra kontrakten og ikke fra opphavsrettslovgiving, og forpligtelserne i "
"kontrakten villes ikke  nødvendigvis videreføres til alle som senere købte "
"bogen.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I Adobe eBook Reader kaldes disse kontroller <quote>tilladelser</quote> "
"&ndash; som om utgiver har myndighed til at kontrollere hvordan du bruger "
"disse værker.  For værk værnet af ophavsreten har ophavsretindehaveren helt "
"klaret denne myndighed &ndash; indenfor begrænsningerne i opphavsrettsloven. "
" Men for værk som ikke er værnet af ophavsreten er det ingen sådan "
"opphavsrettslig myndighed.<placeholder type=\"footnote\" id=\"0\"/> Når min "
"e-bog <citetitle>Middlemarch</citetitle> siger at jeg kun har tilladelse til "
"at kopiere ti tekstudvalg ind i mindet hver tiende dag, så betyder dette "
"egentligt at eBook Reader har gjort det muligt for utgiveren at kontrollere "
"hvordan jeg bruger bogen på min computer, langt ud over kontrollen som "
"lovgivingen villes gjort muligt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kontrollen kommer i stedet  fra kildekoden &ndash; fra teknologien der hen e-"
"bogen <quote>lever.</quote>  Selv om e-bogen siger at disse er tilladelser, "
"så er de ikke den type <quote>tilladelser</quote> som de fleste af os "
"forholder os til.  Når en teenager får <quote>tilladelse</quote> til at være "
"ude til midnatt, så ved hun (med mindre hun er Askepott) at hun kan blive "
"ude til 02:00, men vil blive straffet hvis hun bliver taget.  Men når Adobe "
"eBook Reader siger at jeg har tilladelse til at fortage ti kopier af teksten "
"i mindet til computeren, så betyder det at efter at jeg har fortaget ti "
"kopier, så vil ikke  computeren fortage flere.  Det samme gælder "
"utskriftsbegrensningene: Efter ti sider vil ikke  eBook Reader skrive ud "
"flere sider.  Det er det samme med den tullede begrænsningen som siger at du "
"ikke kan bruge Læs Højt -knappen til at læse min bog højt &ndash; det er "
"ikke  at selskabet vil sagsøge dig hvis du gør det.  I stedet er det at hvis "
"du trykker på Læs Højt -knappen med min bog, så vil maskinen ganske enkelt "
"ikke læse højt ."

#.  PAGE BREAK 163 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er kontroller, ikke tilladelser.  Forestill dig en værdet der hen Marx-"
"brødrene solgte tekstbehandlingprogramvare der hen, hvis du forsøgte at "
"skrive <quote>Warner Brothers,</quote> blev ordet <quote>Brothers</quote> "
"fjernet fra sætningen."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er fremtiden for opphavsrettsloven.  Ikke så meget "
"ophavsrets<emphasis>lov</emphasis> som ophavsrets<emphasis>kildekode</"
"emphasis>.  Kontrollerne for tilgang til indhold vil ikke  være kontrollerne "
"som er bekræftet af domstolene. Kontrollerne over indholdet vil være "
"kontrollerne som er skrevet af programmerere.  Og der hen kontrollerne som "
"er bygget ind i lovværket altid bliver tjekket af en domme, vil kontrollerne "
"som er bygget ind i teknologien ikke have en tilsvarende innebygget check."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvor vigtigt er dette?  Er det ikke altid muligt at komme rundt kontrollerne "
"som er bygget ind i teknologien?  Programvare blev tidligere  solgt med "
"teknologier som begrænsede muligheden for brugere til at kopiere "
"programvaren, men disse var trivielle beskyttelser at overvinde.  Hvorfor "
"vil det ikke være trivielt at overvinde også  disse beskyttelser?"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"We've only scratched the surface of this story. Return to the Adobe eBook "
"Reader."
msgstr ""
"Vi har kun  såvidt berørt overfladen til denne historie. Lad os gå tilbage "
"til Adobe eBook reader."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Alice's Adventures in Wonderland (Carroll)"
msgstr "Alice i Eventyrland (Carroll)"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "e-book restrictions on"
msgstr "e-bog-begrænsninger på"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tidligt i eksistensen til Adobe eBook Reader, oplevede Adobe et "
"markedsmessig mareridt.  Blandt bøgerne du kunne laste ned gratis på Adobes "
"netsted var en kopi af <citetitle>Alice i eventyrland</citetitle>. Denne "
"vidunderlige bog er allemannseie.  Alligevel fik du se følgende oversigt når "
"du trykkede på Tilladelser for denne bog:"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/1641.png\" align=\"center\" width=\"50%\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/1641.png\" align=\"center\" width=\"50%\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Her var man barnebok som var henhørt i det fri som du ikke fik lov til at "
"kopiere, ikke lov til at låne væk, ikke lov til at give væk, og som "
"<quote>tilladelserne</quote> indikerede, ikke fik lov til at <quote>læse "
"højt </quote>!"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det markedsmessige mareridtet var knyttet til den sidste tilladelsen. For "
"teksten sagde ikke  at du ikke fik lov til at bruge Læs Højt -knappen. Den "
"sagde at du ikke havde tilladelse til at læse bogen højt.  Dette fik nogle "
"til at tro at  Adobe lagde begrænsninger på retten som for eksempel forældre "
"havde til at læse bogen højt for sine børn.  Det var, for at si det mildt, "
"absurd."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 svarede raskt at det var absurd at tro at de forsøgte at begrænse "
"retten til at læse bogen højt.  Selvsagt begrænsede de kun muligheden til at "
"bruge Læs Højt -knappen for at få bogen til at blive læst op .  Men "
"spørgsmålet som Adobe aldrig besvarte er dette: Villes Adobe dermed godtage "
"at man forbruger stod frit til at bruge software til at arbejde sig rundt "
"begrensingen som var bygget ind i eBook Reader?  Hvis et eller andet selskab "
"(lagde os kalde det Elcomsoft) udviklede et program som koblede ud denne "
"tekniske begrænsning som var bygget ind i Adobe eBook, sådan at en blind "
"person kunne, lagde os si, bruge en computer til at læse bogen højt, villes "
"Adobe acceptere at sådan bruge af en eBook Reader var rimelig?  Adobe "
"svarede ikke  fordi svaret, uanset hvor absurd det høres ud, er nej."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Pointen er ikke  at skylde på Adobe.  Faktisk er Adobe blandt de mest "
"nyskabende selskaberne som udvikler strategier for at balancere åben tilgang "
"til indhold med incentiver for selskaber til at være nyskabende.  Men Adobes "
"teknologi muliggjør kontrol, og Adobe har et incentiv til at forsvare denne "
"kontrol.  Dette incentivet er forståeligt, selv om resultatet ofte er "
"galskab."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"To see the point in a particularly absurd context, consider a favorite story "
"of mine that makes the same point."
msgstr ""
"For at se dette pointe i man specielt absurd sammenhæng, lagde os se på en "
"af mine favorithistorie som får frem det samme pointe."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Aibo robotic dog"
msgstr "Aibo robothund"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "robotic dog"
msgstr "robothund"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "Aibo robotic dog produced by"
msgstr "Aibo robothund produceret af"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Lad os se på robothunden fra Sony ved navn <quote>Aibo.</quote> Aiboen lærer "
"trick, hygger og følger dig rundt.  Den spiser kun  elektricitet, og "
"efterlader ikke  så meget gris (i hvert fald ikke i huset)."

#.  PAGE BREAK 165
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Aiboen er dyr og populær.  Tilhængere over hele værdet har fortaget klubber "
"for at udveksle historie.  En bestemt tilhænger har sat op et netsted som "
"fodrer det muligt at dele information om Aibo-hunden.  Denne tilhænger satte "
"op  aibopet.com (og aibohack.com, men det ender op på samme net sted), og "
"gav ud information på dette nettestedet om hvordan man kan lære en Aibo at "
"gøre flere trick end de trickene som Sony havde lært den."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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>Lære</quote> her har en speciel betydning.  Aiboer er bare  søde "
"computere.  Du lærer en computer hvordan den skal gøre noget nyt ved at "
"programmere den anderledes.  Det at sige at  aibopet.com gav information om "
"hvordan man kunne lære hunden nye trick er bare  en måde at sige at  aibopet."
"com gav brugere af Aibo-kæledyret information om hvordan de skulle hacke sin "
"data<quote>hund</quote> for at få den til at gøre nye trick (deraf aibohack."
"com)."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "hacks"
msgstr "hack"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis du ikke er man programmerer, eller ikke kender mange programmerere, så "
"giver ordet <citetitle>hack</citetitle> specielt uvennlige associationer.  "
"Ikke-programmerere hakker buske/busker og ugress. Ikke-programmerere i "
"skrækfilm gør meget ondere ting.  Men for programmerere, eller kodere som "
"jeg kalder dem, er ordet <citetitle>hack</citetitle> et meget mere positivt "
"begreb. <citetitle>Hack</citetitle> betyder ganske enkelt  kode som gør det "
"muligt for et program at gøre noget det oprindeligt ikke var tiltænkt for, "
"eller havde mulighed til at gøre.  Hvis du køber en ny skriver til en gammel "
"computer, så kan det hænde du opdager at den gamle computeren ikke kan "
"håndtere skriveren.  Hvis du opdager dette, så vil du senere blive "
"solnedgang for at opdage et hack på nettet af nogle som har skrevet man "
"<quote>driver</quote> som gør det muligt for computeren at håndtere "
"skriveren du netop har købt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nogle hack er enkle.  Nogle er utroligt vanskelige.  Hackere har som "
"felleskap at de kanlide at udfordre sig selv og andre med stadigt "
"vanskeligere opgaver.  Det følger en vis respekt med talentet at kunne hacke "
"godt. Det er en velfortjent respekt som følger talenter for etisk hacking."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne Aibo-tilhængeren demonstrerede lidt  af begge dele da han hacket "
"programmet, og lagde tilgængeligt for hele værdet en bidder kode som fik "
"Aiboen til at danse jazz.  Hunden var i udgangspunktet ikke programmeret til "
"at kunne danse jazz.  Det var utroligt smart fikling som gjorde hunden til "
"en mere talentfull skabning end det Sony havde bygget."

#.  PAGE BREAK 166 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg har fortalt denne historie i mange sammenhænge, både i og udenfor USA.  "
"En gang blev jeg spurgt af et forbløffet medlem af publikum om det er "
"tilladt for en hund at danse jazz i USA.  Vi glemmer at historie om landet "
"der hen hjemme fortsat flyder rundt omkring i store dele af værdet.  Så "
"lagde os bare være helt klare før vi fortsætter: Det er ikke  (længer) "
"kriminelt noget sted at danse jazz.  Det er ikke  kriminelt at lære din hund "
"at danse jazz.  Og det bør heller  ikke være kriminelt (selv om vi ikke har "
"så  meget at gå på her) at lære din robothund at danse jazz.  Jazz-dansning "
"er en fuldstændig lovlig aktivitet.  Man kan se for sig at ejeren af aibopet."
"com tænkte at  <emphasis>Hvad i alle dage kan være galt med at lære en "
"robothund at danse?</emphasis>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "government case against"
msgstr "myndighetssak mod"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Lad os lagde den hunden sove et øjeblik, og skrue os mod et ponyshow &ndash; "
"ikke bogstaveligt, men heller en artikel som akademikeren Ed Felten ved "
"Princeton skrev til en konference.  Denne Princeton-akademikeren er velkendt "
"og respekteret.  Han blev hyret ind af myndighederne i Microsoft-sagen for "
"at teste påstanden fra Microsoft om hvad som kunne og ikke kunne gøres med "
"deres egen kildekode.  I rettsaken demonstrerede han både sin brillans og "
"sin sinnsro.  Under tunge slag fra Microsofts advokat holdt Ed Felten stand. "
" Han lod sig ikke bølle til stilhed om noget som han kunne vældig  godt."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Electronic Frontier Foundation"
msgstr "Elektronisk Forpost-stiftelsen (EFF)"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se 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>, januar 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>, maj 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> tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #27</ulink>.  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men Feltens mod blev virkeligt testet i april 2001 .<placeholder "
"type=\"footnote\" id=\"0\"/> Han og en gruppe kollegaer arbejdede med en "
"artikel som skulle sendes ind til en konference.  Artiklen skulle beskrive "
"svaghederne i et krypteringssystem som blev udviklet af Secure Digital Music "
"Initiative (SDMI) som en teknik for at kontrollere distribution af musik."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"SDMI-koalitionen havde som sit mål en teknologi som gjorde det muligt for "
"indholdejere at udøve meget bedre  kontrol over sit indhold end Internet, "
"sådan det oprindeligt fungerer, gav dem.  Ved at bruge kryptering håbede de "
"at udvikle en standard som villes tillade indholdejere at sige <quote>denne "
"musik kan ikke  kopieres,</quote> og få en computeren til at respektere "
"denne ordre.  Teknologien skulle blive del af et <quote>tiltroet system</"
"quote> for kontrol som villes få indholdejere til at stole meget mere på "
"Internet-systemet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Når SDMI troede at de var nær ved at have klar en standard, så arrangerede "
"de en konkurrence.  I bytte for at give deltagerne tilgang til en bidder "
"SDMI-krypteret indhold skulle deltagerne få forsøge at knække koden, og hvis "
"de klarede det, rapportere problemet til konsortiet."

#.  PAGE BREAK 167 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 og hans gruppe fandt raskt ud af krypteringssystemet.  Han og gruppen "
"så svagheden i dette system som en type fejl som mange krypteringssystemer "
"villes lide under, og Felten og hans gruppe mente det var værd at påpege "
"dette til dem som studerer kryptering."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Lad os vurdere nøjagtigt hvad Felten gjorde.  Igen, dette er USA.  Vi har et "
"princip om ytringsfrihed.  Vi har dette princip ikke bare på grund af at det "
"er sådan  loven er, men også fordi det er en virkeligt god idé.  En stærkt "
"beskyttet tradition for ytringsfrihed vil sandsynligvis  opmuntre til et "
"bredt spekter af kritik.  Denne kritik vil sandsynligvis  i sin tur forbedre "
"systemet eller folkene eller idéene som bliver kritiseret."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det Felten og hans kollegaer gjorde var at publicere en artikel som beskrev "
"svagheden i en teknologi.  De bredte ikke  gratis musik, eller byggede og "
"implementerede denne teknologi.  Artiklen var en akademisk artikel, "
"ulæseligt for folk flest.  Men det viste klart svagheden i SDMI-systemet, og "
"hvorfor SDMI ikke ville lykkes, sådan det var konstrueret i dag ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det som kobler disse to, aibopet.com og Felten, er brevet de derefter "
"modtog.  Aibopet.com modtog et brev fra Sony om aibopet.com-hacket. Selv om "
"en jazz-dansende hund er helt lovligt, skrev Sony:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Dit netsted indeholder information som tilbyder midler for at omgå AIBO-"
"programvarens kopibeskyttelseprotokol, og udgør et brud på anti-"
"omgåelsesbestemmelsene i Opphavsrettslov for et Digitalt Århundrede (DMCA)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Og selv om en akademisk artikel som beskriver svagheden i et "
"krypteringssystem også bør være helt lovligt, modtog Felten et brev fra "
"advokaten til RIAA som lød:"

#.  PAGE BREAK 168 
#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Enhver offentliggjøring af information modtaget ved at angive i den "
"Offentlige Udfordringen (Public Challenge)  vil være udenfor labben af "
"aktiviteter tilladt af Aftalen, og kan udsætte dig og din forskergruppe for "
"reaktioner i henhold til Opphavsrettslov for et Digitalt Århundrede "
"(<quote>DMCA</quote>)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I begge tilfælde har denne sære Orwellske loven blevet taget i brug  for at "
"kontrollere spredning af information.  Opphavsrettsloven for et digitalt "
"århundrede (DMCA) gjorde spredning af sådan information til et brud på "
"åndsverkloven."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"DMCA-en blev vedtaget som et svar på ophavsretejerne første frygt om "
"kyberrommet.  Frygten var at ophavsretkontrollen effektivt set var død, og "
"svaret var at finde teknologier som kunne motvirke dette. Disse nye "
"teknologier villes være opphavsrettsbeskyttelesesteknologier &ndash; "
"teknologier for at kontrollere kopiering og distribution af "
"opphavsrettsbeskyttet materiale.  De blev udformet som <emphasis>kode</"
"emphasis> for at ændre den oprindelige <emphasis>koden</emphasis> til "
"Internet, for at genetablere i hvert fald noget beskyttelse for "
"ophavsretejerne."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"DMCA-en var en bidder af loven ment for at give rygdækning til beskyttelsen "
"af denne kode som blev udformet for at værne opphavsrettsbeskyttet "
"materiale.  Vi kan sige det var <emphasis>juridisk kode</emphasis> ment for "
"at støtte op om <emphasis>programvarekode</emphasis> som igen var ment for "
"at støtte op om den <emphasis>juridisk koden til ophavsreten</emphasis>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men DMCA-man blev ikke  udformet til at kun beskytte opphavsrettsbeskyttete "
"værk i den grad opphavsrettsloven beskyttet dem.  Det vil sige, dens "
"beskyttelse tog ikke  slutning der opphavsrettslovens beskyttelse tog "
"slutning.  DMCA-en regulerede enheder som blev udformet for at omgå "
"ophavsretbeskyttelsemekanismer.  Den blev udformet til at forbyde disse "
"enheder, uanset om brugen af opphavsrettsbeskyttet materiale som blev gjort "
"muligt ved denne omgåelsen villes været brud på ophavsreten eller ikke."

#.  PAGE BREAK 169 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Aibopet.com og Felten demonstrerer dette pointe.  Aibo-hacket omgik et "
"ophavsretbeskyttelsesystem med det formål at gøre det muligt for hunden at "
"danse jazz.  Å gøre dette muligt involverede uden tvivl brug af "
"opphavsrettsbeskyttet materiale.  Men efter som netstedet aibopet.com var "
"ikke -kommercielt, og brugen ikke gjorde det muligt at gøre påfølgende "
"ophavsretbrud, var det ingen tvivl om at hacket til aibopet.com var rimeligt "
"brug af Sonys opphavsrettsbeskyttede materiale.  Men rimeligt brug er ikke  "
"et forsvar mod DMCA-en. Spørgsmålet var ikke  hvorvidt brugen af det "
"opphavsrettsbeskyttede materiale var brud på ophavsreten.  Spørgsmålet var "
"hvorvidt  et ophavsretbeskyttelsesystem var omgået."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Truslen mod Felten var mere dæmpet, men fulgte det samme ræsonnement.  Ved "
"at publicere en artikel som beskrev hvordan man kunne komme sig rundt et "
"opphavsrettsbeskyttelsesystem, distribuerede Felten selv, ifølge RIAAs "
"advokat, en teknologi for at omgå ophavsreten.  Dermed, selv om han ikke "
"selv brød nogles ophavsret, gjorde hans akademiske artikel det muligt for "
"andre at bryde andres ophavsret."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Conrad, Paul"
msgstr "Conrad, Paul"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Særheten i disse argumenter  blev taget på kornet i en vitsetegning fra 1981 "
"af Paul Conrad.  På den tiden afgjorde en domstol i California at man "
"videoopptaker kunne forbydes på grund af at det var opphavsrettsbrytende "
"teknologi.  Det gav forbrukere mulighed til at kopiere film uden tilladelse "
"fra ophavsretejeren.  Det var ingen tvivl om at det fandtes lovlige "
"brugsområder for denne teknologi: For eksempel havde Fred Rogers, kendt som "
"<quote><citetitle>Herre Rogers</citetitle>,</quote> vidnet i sagen at han "
"ønskede folk skulle stå frit til at tage op Mr. Rogers Neighborhood. "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 ""
"<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 ændrede aldrig  sit syner om "
"videoopptakeren.  Se James Lardner, <citetitle>Fast Forward: Hollywood, the "
"Japanese, and the Onslaught of the VCR</citetitle> (New York: W. W. Norton, "
"1987), 270­71 .  <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Nogle allmennkringkastere, i tillæg til kommercielle stationer, lægger "
"<quote>Neighborhood</quote> ind i sendeplanen på tidspunkt der hen nogle "
"barn ikke kan se det.  Jeg tror det er en virkelig tjeneste for familier at "
"de er i stand  til at tage op sådanne programmer, og vise dem på mere "
"hensigtsmæssige tidspunkter.  Jeg har altid  følt det sådan med fremvæksten "
"af al denne nye teknologi som gør det muligt for folk at tage op  "
"<quote>Neighborhood,</quote> og jeg snakker på vegne af <quote>Neighborhood</"
"quote> for det er dette jeg producerer, at de dermed bliver mere aktivt "
"involveret i at styre TV-livet til sin familie. For at være ærligt så er jeg "
"imod at folk bliver styret af andre.  min Hele tilnærmelse til kringkasting "
"har altid  været at <quote>Du er en vigtig person akkurat sådan du er.  Du "
"kan tage sunde afgørelser.</quote> Måske holder jeg på for længe, men jeg "
"føler bare  at alt som tillader en person at være mere aktiv i at "
"kontrollere hans eller hendes liv, på en sund måde, er vigtigt.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 170 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Selv om det fandtes brugsområder som var lovlige, på grund af at det var "
"nogle brugsområder som var ulovlige, så holdt domstolen selskaberne som "
"producerede videoopptakere ansvarlige."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette fik Conrad til at tegne vitsetegningen i figur <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-1711-vcr-handgun-cartoonfig\"/>, som "
"vi  også kan tage i brug  for DMCA. <placeholder type=\"indexterm\" id=\"0\"/"
">"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "No argument I have can top this picture, but let me try to get close."
msgstr ""
"Intet argument jeg har kan overgå dette billede, men lagde mig forsøge at "
"komme i nærheden."

#. type: Content of: <book><part><chapter><section><figure><title>
#, fuzzy
msgid ""
"&mdash; On which item have the courts ruled that manufacturers and retailers "
"be held responsible for having supplied the equipment?"
msgstr ""
" &ndash; For hvilken enhed har retvæsenet bedømt at  producenter og "
"forhandlere skal holdes ansvarligt/ansvarlig for at have forsynet udstyret?"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"55%\"></"
"graphic>"
msgstr ""
"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"55%\"></"
"graphic>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Målet for antiomgåelsesbestemmelsene i DMCA-man er "
"opphavsrettsomgåelsesteknologier.  Omgåelsesteknologier kan bruges for andre "
"formål.  De kan for eksempel  bruges til at muliggjøre massiver "
"piratvirksomhed mod opphavsrettsbeskyttet materiale &ndash; et dårligt "
"formål.  Eller de kan bruges til at gøre brug af udvalgte "
"opphavsrettsbeskyttede materiale muligt på måder som villes anses som "
"rimeligt brug &ndash; et godt formål."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "handguns"
msgstr "håndvåben"

#.  PAGE BREAK 171 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Et håndvåben kan bruges til at skyde en politimand eller et barn.  De fleste "
"vil være enigt/enig i at sådan brug er galt.  Eller et håndvåben kan bruges "
"til at skyde på blink, eller til at beskytte sig mod en inntrenger.  I hvert "
"fald nogle vil sige at  sådan bruge er godt.  Dette er også  en teknologi "
"som har gode og dårlige brugsområder."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det åbenbare pointen med vitsetegningen til Conrad er det mærkelige med en "
"værdet hvor håndvåben er lovlige, på trods af skaden de gør, mens "
"videospillere (og omgåelsesteknologier) er ulovlige.  Mærk: <emphasis>Ingen "
"har nogensinde  død af omgåelse af ophavsreten.</emphasis> Alligevel "
"forbyder loven omgåelsesteknologier fuldstændig, på trods af potentialet de "
"har for at bidrage positivt, men tillader håndvåben, på trods den åbenbare "
"og tragiske skaden de gør."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Eksemplerne med Aibo og RIAA demonstrerer hvordan ophavsretejere ændrer "
"balancen som ophavsreten giver.  Ved hjælp af programkode begrænser "
"ophavsretejerne rimeligt brug.  Ved hjælp af DMCA straffer de dem som vil "
"forsøge at omgå begrænsningerne på rimeligt brug som de kan påføre ved hjælp "
"af programkode.  Teknologi bliver formidlet som kan bruges til at fjerne "
"rimeligt brug, og DMCA-loven giver rygdækning for det som bliver fjernet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er sådan  <emphasis>programkode</emphasis> bliver <emphasis>lovværk</"
"emphasis>.  Kontrollerne som er bygget ind i teknologien for beskyttelse mod "
"kopiering og tilgang bliver skrøner, som hvis de brydes, også bliver et "
"lovbrud.  På denne måde udvider programkoden lovværket &ndash; udvider dets "
"regulering, selv om subjektet den regulerer (aktiviteter som ellers helt "
"klart villes været rimelig brug) er udenfor dækningområdet til loven.  "
"Programkode bliver lovværk. Programkode udvider lovværket og programkode "
"udvider dermed  effekten af kontrollen til ophavsretejerne &ndash; i hvert "
"fald for de ophavsretindehaverne som har advokater som kan skrive sådanne "
"ubehagelige breve som Felten og aibopet.com modtog."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Der er et sidste aspekter af samspillet mellem arkitektur og lovværk som "
"bidrager til at styrke kraften/kræfter til opphavsrettsreguleringen.  Dette "
"er hvor  enkelt sådanne brud på opphavsrettsloven kan opdages.  For i "
"modsætning til retorikken som var normalt da cyberspace blev skabt, om at på "
"Internet ved ingen at du er en hund, så er det i stadig større grad på grund "
"af ændrede teknologier som rulles ud på Internet, enkelt at finde hunden som "
"har gjort noget juridisk galt.  Teknologierne på Internet er åbent for både "
"snushaner og de som vil dele, og snushanene bliver stadig  bedre i at spore "
"op identiteten til dem som bryder skrønerne."

#.  f24 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 en tidlig og udsigende analyse, se 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>
#, fuzzy
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 ""
"Se for eksempel  for dig at du er del af en <citetitle>Star Track</"
"citetitle>-fanklub.  I samles hver måned for at dele trivia, og måske "
"rollespille en slags tilhængerfantasi om showet.  En person spiller Spock, "
"en anden Kaptajn Kirk.  Karaktererne villes starte med et plot fra en "
"virkelig historie, og derefter ganske enkelt fortsætte historie.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Før Internet var dette effektivt set en helt uregulert aktivitet. Uanset "
"hvad som skete på innsiden i din egen klub, så villes du aldrig blive "
"forstyrret af ophavsretpolitiet.  Du var her  fri til at gøre som du villes "
"med denne del af vores kultur.  Du havde lov til at bygge på den som du "
"ønskede uden at frygte juridisk kontrol."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men hvis du flyttede din klub til Internet, og gjorde den generelt "
"tilgængeligt for andre at angive, så villes historie blive vældig  "
"forskelligt.  Robotter som søger igennem nettet efter brud på varemærke og "
"opphavsrettslovgivingen villes raskt finde netstedet dit.  Dine «fanklub-"
"værk» kunne gerne  resultere i en advokattrussel, afhængigt af eierskapet "
"til serierne som du publicerede. Og at ignorere en sådan advokattrussel "
"kunne blive ekstremt kostoverskæg.  Opphavsrettsloven er ekstremt effektiv.  "
"Straffene er alvorlige, og processen er affald."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne ændring i den effektive magten til retvæsenet er forårsaget af en "
"ændring i hvor enkelt lovværket kan håndhæves.  Denne ændring flytter også  "
"retvæsenet balance radikalt.  Det er som om din bil sendte ud hastigheden du "
"kørte med på ethvert tidspunkt.  Det villes bare  være et skridt igen før "
"staten begyndte at udstede fartsbøter baseret på informationen du sender ud. "
" Det er effektivt set det som sker her ."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Market: Concentration"
msgstr "Marked: Konsentrering"

#.  PAGE BREAK 173 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ophavsretens varighet har øget dramatisk &ndash; tredoblet sig de sidste "
"tredive årene, og ophavsretens omfang har også  øget &ndash; fra at kun "
"regulere utgivere til at nå regulere omtrent  alle.  Og ophavsretens "
"rækkevidde har ændret sig, efterhånden som hver handling fortager en kopi og "
"dermed bliver antaget reguleret.  Efterhånden som teknologer finder bedre "
"måder at kontrollere brugen af indhold, og efterhånden som ophavsreten i "
"stadigt større grad bliver kontrolleret gennem teknologi, ændres "
"ophavsretens kraft også.  Misbrug er enklere at finde og enklere at "
"kontrollere.  Denne reguleringen af den kreative processen, som startede som "
"en lille myndighetsregulering af en lille del af markedet for kreative "
"værker, har blevet den ene mest vigtige regulatoren for kreativitet som "
"findes.  Det er man massiv øgning i omfanget til myndighedens kontrol over "
"nyskabning og kreativitet.  Den villes være fuldstændigt ugenkendelig for "
"dem som skabte ophavsretens kontrol."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alligevel villes, efter mit syner, ikke disse ændringer betyde så  meget "
"hvis det ikke var for endnu en ændring som vi også må tage hensyn til.  Det "
"er en ændring som på en måde er den vi er mest kendt med , selv om dens "
"betydning og omfang ikke er godt  forstået.  Det er den som netop giver "
"grund til at være bekymret over alle de andre ændringer jeg har beskrevet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det gælder ændringen i konsentreringen og integrationen i medierne.  I de "
"sidste tyve årene, har egenskaberne til mediaeierskap gennemgået en radikal "
"ændring, forårsaget af ændringer i juridiske skrøner som styrer medierne. "
"Før denne ændring skete, var forskellige former for medierne ejet af "
"forskellige mediumselskaber.  Nu er medierne i stadig større grad ejet af "
"kun nogle få selskaber.  Faktisk, efter ændringerne som FCC annoncerede i "
"juni 2003, forventer de fleste at inden nogle få år vi vil leve i en værdet "
"der kun tre selskaber kontrollerer mere end 85 procent af medierne."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"These changes are of two sorts: the scope of concentration, and its nature."
msgstr ""
"Det er to typer ændringer her: omfanget af konsentrering, og dets egenskaber."

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

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

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Universal Music Group"
msgstr "Universal Music Group"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Warner Music Group"
msgstr "Warner Music Group"

#.  f25 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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-kontrol: Høring foran senatets komite for handel, videnskab og "
"transport, 108 . samling, 1 øget. (22 . maj 2003) (udtalelse fra senator "
"John McCain)."

#.  f26 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 Sadles Continue to "
"Slide,</quote> <citetitle>New York Times</citetitle>, 23 . december 2002 ."

#.  f27 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> "
"<citetitle>Charleston Gazette</citetitle>, 31 May 2003."
msgstr ""
"Molly Ivins, <quote>Medierne Consolidation Must Bede Stopped,</quote> "
"<citetitle>Charleston Gazette</citetitle>, 31 . maj 2003 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ændringer i omfang er blandt de enklere at beskrive.  Som senator John "
"McCain opsummerede i data produceret i FCCs gennemgang af medium-eierskap, "
"<quote>fire selskaber kontrollerer 85 procent af vores mediumkilder.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> De fem pladeselskaberne "
"Universal Music Group, BMG, Sony Music Entertainment, Warner Music Group, og "
"EMI kontrollerer 84,8 procent af musikmarkedet i USA.<placeholder "
"type=\"footnote\" id=\"1\"/> De <quote>fem største kabelselskaberne "
"formidler sendinger til 74 procent af kabel-TV-abonnenter over hele landet.</"
"quote><placeholder type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "ownership consolidation in"
msgstr "eierskapskonsolideringer i"

#.  PAGE BREAK 174 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Radioens historie er endnu  mere dramatisk.  Før avreguleringen, ejede "
"landets største konglomerat inden radiokringkasting mindre end syttifire "
"stationer.  I dag ejer <emphasis>et</emphasis> selskab mere end 1 200 "
"stationer.  I perioden med konsolideringer har det totale antal radioejere "
"blevet reduceret med 34 procent.  I dag, i de fleste markeder, kontrollerer "
"de to største kringkasterne 74 procent af indkomsterne i dette marked.  "
"Totalt kontrollerer kun  fire selskaber 90 procent af nationens "
"annonseinntekter på radio."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "ownership consolidation of"
msgstr "eierskapskonsolideringer af"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Aviseierskap er også  i færd med at blive mere koncentreret.  I dag er det "
"seks hundrede færre dagsaviser i USA end det var for firs år siden, og ti "
"selskaber kontrollerer halvdelen af nationens avisdistribution. Det er tyve "
"større avisutgivere i USA.  De ti største filmstudierne modtager 99 procent "
"af alle filmindtægter.  De ti største kabel-TV-selskaberne står for 85 "
"procent af al kabelindtægt.  Dette er et marked langt fra den frie presset "
"som grundlovforfatterne ønskede at beskytte.  Faktisk, så er dette et marked "
"som er vældig  godt beskyttet &ndash; af markedet."

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Størrelseskonsentrering er en ting.  En mere betenkelig ændring er i "
"egenskaberne til denne konsentreringen.  Som forfatter James Fallows "
"formulerer det i en fersk artikel om Rupert Murdoch:"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 Ærefrygt of Murdoch,</quote> <citetitle>Atlantic "
"Monthly</citetitle> (September 2003): 89 .  <placeholder type=\"indexterm\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Murdochs selskaber udgør nu  et produktionsystem uden lige når det gælder "
"dets integration.  De forsyner indhold &ndash; Fox-filmer &hellip; Fox TV-"
"show &hellip; Fox-kontrollerede sportsendinger, plus aviser og bøger.  De "
"sælger indhold til offentligheten og til annoncører &ndash; i aviser, i "
"kringkastingsnettet og på kabel-TV-kanaler.  Og de opererer et fysisk "
"distributionsystem som lader indholdet nu forbrukerne.  Murdochs "
"satellitsystem distribuerer nu  News Corp.-indhold i Europa og Asien.  Hvis "
"Murdoch bliver største enkelteier i DirecTV, så vil dette systemet få samme "
"funktion i USA.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mønsteret med Murdoch er mønsteret til moderne medier.  Ikke bare at store "
"selskaber ejer mange radiostationer, men nogle få selskaber som ejer så  "
"mange mediumkilder som muligt.  Et billede beskriver bedre end tusind ord "
"dette mønster:"

#. type: Content of: <book><part><chapter><section><figure>
#, fuzzy
msgid ""
"<graphic fileref=\"images/pattern-modern-media-ownership.png\" align=\"center"
"\" width=\"100%\"></graphic>"
msgstr ""
"<graphic fileref=\"images/pattern-modern-media-ownership.png\" "
"align=\"center\" width=\"100%\"></graphic>"

#.  PAGE BREAK 175 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Betyder denne konsentreringen noget?  Påvirker det hvad som bliver fortaget, "
"eller hvad som bliver distribueret?  Eller er det bare en mere effektiv måde "
"at producere og distribuere indhold?"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mit syner var at konsentreringen ikke betød noget.  Jeg tænkte det ikke var "
"noget mere end en mere effektiv finansiel struktur.  Men nu, efter at have "
"læst og hørt på en høj af skabere som prøver at overbevise mig om det "
"modsatte, har jeg begyndt at ændre mening."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Here's a representative story that begins to suggest how this integration "
"may matter."
msgstr ""
"Her er en repræsentativ historie som kan foreslå hvorfor  denne "
"integreringen er vigtig."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Lear, Norman"
msgstr "Lear, Norman"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "All in the Family"
msgstr "Al in the Family"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1969 fortog Norman Lear en pilot for <citetitle>Al in the Family</"
"citetitle>.  Han tog piloten til ABC, og netværket kunnelide det ikke.  De "
"sagde til  Lear at den var for på kanten.  Gør det på nyt. Lear fortog "
"piloten på nyt, mere på kanten end den første.  ABC blev fra sig.  Du får "
"ikke  med dig pointen, fortalte de Lear.  Vi vil have det mindre på kanten, "
"ikke mere."

#.  f29 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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> udtalelser ved Weidenbaum "
"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> "
"St. Louis, Missouri, 3 . april 2003 (avskrift af forberedt udtalelse "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #28</"
"ulink>; for Lear-historie som ikke er inkluderet i den forberedte "
"udtalelsen, se <ulink url=\"http://free-culture.cc/notes/\">link #29</"
"ulink>)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I stedet for at føje sig, tog Lear ganske enkelt sin serie til nogle andre.  "
"CBS var solnedgang for at have serierne, og ABC kunne ikke  hindre Lear fra "
"at gå til andre.  Ophavsreten Lear havde sikret at han var uafhængighed af "
"netværkkontrol.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 176 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Netværket kontrollerede ikke  disse ophavsreter fordi loven forbød "
"netværkene at kontrollere indholdet de syndikerede.  Loven krævede et skille "
"mellem netværkene og indholdproducenterne.  Den delingen garanterede Lear "
"friheden. Og så sent som i 1992, på grund af disse skrøner, var majoriteten "
"af kjernetids-TV &ndash; 75 procent &ndash; <quote>uafhængigt</quote> af "
"netværkene."

#.  f30 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 Medierne Consolidation: Hearings on Medierne "
"Ownership Before the Senate Commerce Committee, 108th Cong., 1st siddeplads. "
"(2003) (vidneudsagn fra Gene Kimmelman på vegne af Consumers Union og the "
"Consumer Federation of America), tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #30</ulink>. Kimmelman citerer Victoria Riskin, "
"præsident for Writers Guild of America, West, i sine kommentarer ved FCC En "
"Banc Hearing, Richmond, Virginia, 27 . februar 2003 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1994 forlod FCC skrønerne som krævede denne uafhængighed.  Efter denne "
"ændring forandrede netværkene raskt balancen.  I 1985 var det tjuefem "
"uafhængige produktionstudioer for TV. I 2002 var det kun fem uafhængige TV-"
"studioer igen.  <quote>I 1992 blev kun  15 procent af nye serier produceret "
"for et netværk holdet af et selskab netværket kontrollerede. I fjor var "
"procentandelen show produceret af kontrollerede selskaber mere end "
"firedoblet til 77 procent.</quote> <quote>I 1992 blev 16 nye serier "
"produceret uafhængigt af konglomeratkontrol.  I fjor var det kun en.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> I 2002 var 75 procent af "
"kjernetids-TV ejet af netværket som sendte det. <quote>I årtiperioden mellem "
"1992 og 2002 øgede antal timer per uge produceret af netværks-studioer med "
"over 200 procent, mens antal timer per uge med kjernetids-TV produceret af "
"uafhængige studioer blev reduceret med 63 procent.</quote><placeholder "
"type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I dag villes en anden Norman Lear med en anden <citetitle>Al in the Family</"
"citetitle> opdage at han har valget mellem at enten gøre serien mindre på "
"kanten, eller få sparket.  Indholdet i ethvert show udviklede for et netværk "
"er i stadigt større grad ejet af netværket."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Diller, Barry"
msgstr "Sniksnakke, Barry"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Moyers, Bill"
msgstr "Moyers, Bill"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mens antal kanaler har øget dramatisk, har eierskapet til disse kanaler "
"snævrede ind fra få til stadigt færre.  Som Barry Tuller sagde til Bill "
"Moyers:"

#.  f32 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 Tuller Takes on Medierne Deregulation,</quote> <citetitle>Now "
"with Bill Moyers</citetitle>, Bill Moyers, 25 . april 2003, redigeret "
"avskrift tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link "
"#31</ulink>."

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Vel, hvis du har selskaber som producerer, som finansierer, som udsender på "
"sin egen kanal, og så distribuerer over hele værdet helt som går gennem "
"jeres kontrollerede distributionsystem, så får du færre og færre faktiske "
"stemmer som angiver i processen.  Vi havde tidligere  dusinvis med levende "
"uafhængige produktionsselskaber som fortog Tv-programmer. Nu har vi mindre "
"end en håndfuld.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "media concentration and"
msgstr "mediekonsentrering og"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne innsnevringen har en effekt på det som bliver produceret. Produktet "
"fra sådanne store og koncentrerede netværk er stadig  mere ensrettet.  "
"Stadig mere trygt.  Stadig mere sterilt.  Produktet med nyhedsendinger fra "
"sådanne netværk er i stadigt større grad skreddersydd med budskabet som "
"netværket ønsker at formidle.  Dette er ikke  kommunistpartiet, selv om det "
"nok fra innsiden må føles lidt  som kommunistpartiet.  Ingen kan stille "
"spørgsmål uden at risikere konsekvenser &ndash; ikke nødvendigvis forvisning "
"til Sibir, men likefullt straf.  Uafhængige, kritiske, afvigende syner "
"bliver skviset ud. Dette er ikke  et miljø for demokrati."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Clark, Kim B."
msgstr "Clark, Kim B."

#.  f33 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 Bæstceller that Changed the Way We Do Business</"
"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen "
"anerkender at  idéen blev først  foreslået af Dean Kim Clark. Se 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 en nyere undersøgelse, se Richard Foster og Sarah "
"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to "
"Last Underperform the Market &ndash; and How to Successfully Tranform Them</"
"citetitle> (New York: Currency/Doubleday, 2001)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Økonomifaget tilbyder selv  en parallel som forklarer hvorfor  denne "
"integration påvirker kreativitet.  Clay Christensen har skrevet om "
"<quote>innovatørernes dilemma</quote>: faktummet at store traditionelle "
"selskaber finder det rasjonelt at ignorerer nye, gjennombrytende teknologier "
"som konkurrerer med deres kernevirksomhed.  Den samme analyse kan bidrage "
"til at forklare hvorfor  traditionelle mediumselskaber finder det rasjonelt "
"at ignorere nye kulturelle trender.<placeholder type=\"footnote\" id=\"0\"/> "
"Sovende giganter lader ikke  bare være, men bør ikke  løbe.  Og alligevel, "
"hvis banen kun er åben for giganterne, så vil det blive alt for lidt løping. "
"<placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg tror ikke  vi ved nok  om økonomien i mediummarkedet til at sige med "
"sikkerhed hvad konsentreringen og integrationen vil gøre. "
"Effektivitetændringerne er vigtige, og effekten på kulturen er vanskeligt at "
"male."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"But there is a quintessentially obvious example that does strongly suggest "
"the concern."
msgstr ""
"Men det er et væsentligt og åbenbaret eksempel som stærkt foreslår denne "
"bekymringen."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I tillæg til ophavsretkrigen, så er vi midt inde i narkotikakrigene.  "
"Myndighedernes politik er stærkt rettet mod narkotikakartellerne.  Straf og "
"civildomstolene er befolket op med konsekvenserne af denne kamp."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "criminal justice system"
msgstr "kriminal-juridisk system"

#.  PAGE BREAK 178 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Lad mig herved diskvalificere mig fra enhver muligt oppnevning til en "
"hvilken som hilst stilling hos myndighederne ved at sige at jeg tror denne "
"krig er en diger tabbe.  Jeg er ikke  for narkotika.  Faktisk kommer jeg fra "
"en familie som en gang havarerede på grund af narkotika &ndash; selv om al "
"narkotikaen som havarerede min familie var helt lovligt.  Jeg tror denne "
"krig er man diger tabbe fordi den utilsigtede skaden fra den er så  stor at "
"at føre denne krig er galskab.  Når du summerer byrden på det kriminal-"
"juridiske systemet, desperationen for generationer af barn hvis eneste "
"økonomiske mulighed er som narkotikakrige, ødeleggelsen af de "
"grunnlovsfestede beskyttelserne på grund af den kontinuerlige overvåkningen "
"denne krig kræver, og mest dybtgående, den totale ødeleggelsen af de "
"juridiske systemerne i mange søramerikanske land på grund af magten de "
"lokale narkotikakartellerne har.  Jeg finder det umuligt at tro at den "
"marginale fordelen i reduceret narkotikaforbrug hos amerikanerne på noget "
"måde kan oppveie for disse omkostninger."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Du er måske  ikke overbevist.  Det er helt fint.  Vi lever i et demokrati, "
"og det er gennem afstemning vi skal vælge politikken.  Men for at gøre det "
"er vi fundamentalt afhængigt af presset for at hjælpe til med at informere "
"amerikanerne om disse temaer."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Nick and Norm anti-drug campaign"
msgstr "Nick og Norm anti-narkotikakampagnen"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1998 lancerede kontoret for den nationale narkotikapolitikken en "
"mediumkampagne som del af <quote>krigen mod narkotika.</quote> Kampagnen "
"producerede en række korte filmklipp om temaer relateret til ulovlige "
"rusmidler.  I en af serierne (Nick og Norm-serien) er det to mænd i en bar "
"som diskuterer idéen om at legalisere narkotika som en måde at undgå nogle "
"af de utilsigtede skaderne fra krigen.  Man fremmer et argument til fordel "
"for at legalisere narkotika.  Den anden responderer på en kraftig og "
"effektiv måde mod argumentet til den første.  Til slutning ændrer den første "
"fyren mening (hei, det er TV).  Plakaten på slutningen er et fordømmende "
"angreb på pro-legaliseringskampanjen."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"Fair enough. It's a good ad. Not terribly misleading. It delivers its "
"message well. It's a fair and reasonable message."
msgstr ""
"Rimeligt nok.  Det er en god annonse.  Ikke rigtigt forledende.  Den leverer "
"sit budskab godt.  Det er et rimeligt og fornuftigt budskab."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men lagde os si at du mener dette er et galt budskab, og du ønsker at køre "
"en motkampanje.  Lad os sige at du ønsker at sende en serie med "
"reklameindslag som forsøger at vise den ekstraordinære utilsigtede skade som "
"krigen mod narkotika fører til.  Kan du gøre det?"

#.  PAGE BREAK 179 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Naturligvis koster disse annonsene meget penge.  Antag at du klarer at "
"skaffe pengeene.  Antag at en gruppe med bekymrede borgere donerer alle "
"pengeene i værdet for at hjælpe dig med at få dit budskab ud.  Kan du da "
"være sikker på at dit budskab vil blive hørt?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on television advertising bans"
msgstr "om TV-reklame-bandlysning"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "controversy avoided by"
msgstr "kontrovers undgået af"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Marijuana Policy Project"
msgstr "Marihuana-politikprojektet"

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

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

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"<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\"/> Marihuana-politikprojektet forsøgte i februar 2003 at få placeret "
"reklameindslag som direkte svarede på Nick og Norm-serien på stationer i "
"Washington D.C.-området.  Comcast afviste indslagene som <quote>mod [deres] "
"skrøner.</quote>  Den lokale NBC-fillialen, WRC, afviste indslagene uden at "
"kigge på dem.  Den lokale ABC-fillialen, WJOA, gik oprindeligt med på at "
"køre indslagene, og tog imod betaling for at gøre det, men bestemte sig "
"senere for at ikke køre indslagene, og returnerede pengeene.  Interview med "
"Neal Levine, 15 . oktober 2003 . Disse begrænsninger er naturligvis  ikke "
"begrænset til narkotikapolitik.  Se for eksempel  Nat Ive, <quote>On the "
"Issue of an Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</"
"quote> <citetitle>New York Times</citetitle>, 13 . marts 2003, C4 .  Ud over "
"valgkamprelatert sendetid er det rigtigt lidt som FCC eller domstolene er "
"villigt til at gøre for at få give lige vilkår for alle.  For en generel "
"oversigt, se 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, og for man nylig oppdatering af "
"positionen til FCC og domstolene, se <citetitle>Radio-Television News "
"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d "
"872 (D.C. Cir. 1999).  Kommunale administrationer udøver den samme autoritet "
"som netværkene.  I et nylig eksempel fra San Francisco, afviste kollektiv "
"transportmyndighederne en reklame som kritiserede deres Muni diesel-busser.  "
"Phillip Matier og Andrew Ross, <quote>Antidiesel Group Fuming After Muni "
"Rejects Ad,</quote> SFGate.com, 16 . juni 2003, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #32</ulink>. Begrundelsen var at "
"kritikken var <quote>for  kontroversiel.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nej, det kan du ikke.  TV-stationer har en generel regel om at undgå "
"<quote>kontroversielle</quote> reklameindslag.  Indslag sponsoreret af "
"myndighederne anses som ukontroversielle.  Indslag som er uenigt/uenig med "
"myndighederne er kontroversielle.  Denne utvelgelsen kan måske  tænkes at "
"være i strid med det første grundlovtillægget, men Højesteret har afgjort at "
"stationerne har ret til at vælge hvad de sender.  Dermed vil de store "
"kommercielle mediumkanalerne blokere muligheden som den ene siden af en "
"vigtig debat har til at lægge frem sin sag.  Og domstolene vil forsvare "
"stationernes ret til at være så  ensidigt.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg villes også  med glæde forsvaret netværkenes rettigheder &ndash; hvis vi "
"levede i et mediummarked som virkeligt var mangfoldig.  Men konsentreringen "
"i medierne får en til at tvivle på den forudsætningen. Hvis en håndfuld "
"selskaber kontrollerer tilgangen til medierne, og denne  lille  gruppe "
"selskaber får bestemme hvilke politiske holdninger den vil tillade at  "
"fremmes på sine kanaler, da er det på en åpenbar og vigtig måde klart at "
"konsentrering betyder noget.  Det måske du kanlide holdningerne som denne "
"håndfulle gruppen med selskaber vælger, men du bør ikke  lige så en værdet "
"der et lille mindretal får bestemme hvilke sager resten af os får høre om."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Together"
msgstr "Sammen"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er noget uskyldigt og åbenbaret i kravet fra ophavsretkrigerene om at "
"myndighederne bør <quote>beskytte min ejendom.</quote>  Som abstrakter idé "
"er det åbenbaret rigtigt, og sædvanligvis helt ufarlig.  Ingen fornuftig "
"person som ikke er anarkist vil være uenig."

#.  PAGE BREAK 180 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men når vi ser hvor  dramatisk denne <quote>ejendom</quote> har ændret sig "
"&ndash; når vi indser hvordan den, sådan den nu er knyttet til både "
"teknologi og marked, betyder at de effektive begrænsningerne i friheden til "
"at kultivere vores kultur er dramatisk forskelligt &ndash; begynder kravet "
"at se mindre uskyldigt og åbenbaret ud. Givet (1) kraften/kræfter i "
"teknologien til at supplere lovens kontrol, og (2) kraften/kræfter i "
"indsnævrede markeder til at svække muligheden til at være uenigt/uenig, når "
"strikt håndheving af den massivt udvidede <quote>ejendomretten</quote> "
"innvilget af ophavsreten fundamentalt ændrer friheden i denne kultur til at "
"kultivere og bygge på vores fortid, så må vi spørge os om denne ejendom bør "
"omdefineres."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ikke fjernes, og ikke fuldstændig.  Mit pointe er ikke  at vi bør afskaffe "
"ophavsreten, eller gå tilbage til det attende århundrede.  Det villes være "
"et totalt fejlgreb, katastrofalt for størstedelen af de vigtigste kreative "
"bedrifterne i vores kultur i dag."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men det er et område mellem nul og en, på trods af Internet-kultur. Og disse "
"massive ændringerne i den effektive magten til opphavsrettsregulering, "
"bylten til den øgende konsentreringen i indholdindustrien og hvilende i "
"teknologiens hånd som i øgende grad kan kontrollere brugen af kultur, bør få "
"os til at vurdere hvorvidt  en anden justering er nødvendigt.  Ikke en "
"justering som øger ophavsretens magt.  Ikke en justering som øger deres "
"vernetid.  I stedet en justering som genetablerer balancen som traditionelt "
"har defineret ophavsretens regulering &ndash; en svekkelse af denne "
"reguleringen for at styrke kreativiteten."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Åndsverksloven har ikke  været nogle uforanderlig naturlov, sikker og solid "
"som Rock of Gibraltar. Den er ikke  et sæt med konstante forpligtelser som "
"teenagere og geeks (nørder) nu, af en eller anden mystisk overfladisk, giver "
"blaffen i.  I stedet har ophavsretens magt vokset dramatisk på kort tid, "
"efterhånden som teknologi for distribution og skaping har ændret sig, og "
"efterhånden som lobbyister har presset på for mere kontrol hos "
"ophavsretindehaverne.  Tidligere ændringer som respons på ændringerne i "
"teknologi foreslår at vi godt kan behøve lignende ændringer i fremtiden.  Og "
"disse ændringer må være <emphasis>reduktion</emphasis> i omfanget til "
"ophavsreten, som svar på den ekstraordinære øgningen i kontrol som teknologi "
"og marked gør muligt."

#.  PAGE BREAK 181 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For det enkeltpoenget som går tabt i denne krig mod pirater er et pointe som "
"vi kun ser efter at have kortlagt alle disse ændringer.  Når du slår sammen  "
"effekten af et ændret lovværk, koncentreret markedet og ændret teknologi, så "
"kommer en til en forbløffende konklusion: <emphasis>Aldrig før i vores "
"historie har så  få haft juridisk ret til at kontrollere mere af udviklingen "
"af vores kultur end nu</emphasis>."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 fanger et "
"lignende pointe i hans <quote>fire kapitulationer</quote> for åndsverkloven "
"i den digitale tidsalder. Se Vaidhyanathan, 159&ndash;60 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ikke da ophavsreten var evigvarende, for da ophavsret var evigvarende, "
"påvirkede de kun det spesifikke kreative værket.  Ikke da kun utgivere havde "
"publiseringsutstyr, for markedet var da  meget mere varieret.  Ikke når det "
"kun fandtes tre TV-netværk, for selv da var aviser, filmstudie, "
"radiostationer og utgivere uafhængige af netværkene. <emphasis>Aldrig</"
"emphasis> har ophavsreten beskyttet en så stor mængde af rettigheder, mod en "
"så stor mængde af aktører, med en vernetid som var i nærheden af så lang.  "
"Denne form for regulering &ndash; en lille regulering af en lille del af den "
"kreative energien til en nation i emning &ndash; er nu  en massiv regulering "
"af hele den kreative processen.  Lovværker plus teknologi plus marked "
"arbejder nu  sammen for at gøre denne historisk ubetydelige regulering til "
"den mest betydningsfulde reguleringen af kulturen som vores frie samfund har "
"kendt.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point "
"can now be briefly stated."
msgstr ""
"<emphasis role='strong'>Dette har været</emphasis> et langt kapitel. Dets "
"pointe kan nu  formuleres ganske  kort."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I starten af denne bog, pointerede jeg forskellen mellem kommerciel og ikke-"
"kommerciel kultur.  I løbet af dette kapitlet har jeg skilt mellem kopiering "
"af et værk, og at omforme det.  Vi kan nu  kombinere disse to skillerne, og "
"tegne et klart kort over ændringerne som opphavsrettsloven har gennemgået.  "
"I 1790, så loven sådan ud:"

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

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

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

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "&copy;"
msgstr "©"

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

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "Noncommercial"
msgstr "Ikke-kommerciel"

#.  PAGE BREAK 182 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det at publicere et kort, diagram og bog var reguleret af opphavsrettsloven. "
" Ingenting andet.  Omforminger var frit frem.  Og i og med at ophavsreten "
"kun galdt ved registrering, og kun de som planlagde at have kommerciel nytte "
"villes registrere, var kopiering gennem publisering af ikke-kommercielle "
"værker også frit frem."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "By the end of the nineteenth century, the law had changed to this:"
msgstr ""
"På slutningen af det nittende århundrede havde loven blevet ændret til dette:"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Avledede værk var nu  reguleret af opphavsrettsloven &ndash; hvis de var "
"publiceret, som betød, givet økonomien til publisering på den tiden, at "
"tilbyde den kommercielt.  Men det var fortsat  i hovedsag frit frem for ikke-"
"kommerciel publisering og omforming."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1909 blev loven ændret til at regulere eksemplarer og ikke publisering, og "
"efter denne ændring var omfanget af loven knyttet til teknologi.  "
"Efterhånden som teknologien for eksemplarfremstilling/kopiering blev mere "
"udbredt, udvidede rækkevidden til loven sig. Dermed kan vi sige at  i 1975, "
"efterhånden som fotokopimaskiner blev mere normalt, begyndte loven at se "
"sådan  ud:"

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

#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "&copy; / Free"
msgstr "©/Fri"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Loven blev tolket til at nu ikke-kommerciel kopiering ved hjælp af, f.eks. "
"kopimaskiner, men fortsat forblev meget af kopieringen udenom det "
"kommercielle markedet fri.  Men konsekvensen fra fremvæksten af digitale "
"teknologier, specielt i sammenhæng med digitale netværk, betyder at loven nu "
"ser sådan  ud:"

#.  PAGE BREAK 183 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvert område er styret af åndsverksloven, mens størstedelen af kreativiteten "
"ikke var styret af den tidligere.  Loven regulerer nu  hele omfanget af "
"kreativiteten &ndash; kommerciel eller ikke, omformende eller ikke &ndash; "
"med de samme skrøner som blev udformet for at regulere kommercielle utgivere."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Åndsverkloven er åbenbaret ikke  fjenden.  Fjenden er regulering som ikke "
"gør noget godt.  Så spørgsmålet vi bør stille os akkurat nu er hvorvidt  at "
"udvide reguleringene i åndsverkloven ind i hver af disse områder faktisk gør "
"noget godt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg er ikke  i tvivl om at det er en god idé at regulere kommerciel "
"kopiering.  Men jeg har heller  ingen tvivl om at det gør mere skade end "
"gavn når man regulerer (sådan det reguleres akkurat  nu) ikke-kommerciel "
"kopiering, og specielt ikke-kommerciel omforming.  Og i stadigt større grad, "
"af årsager skitseret specielt  i kapitlerne <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"recorders\"/> og <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"transformers\"/>, kan man godt undre på hvorvidt den "
"gør mere skade end gavn for kommerciel omforming.  Flere kommercielle "
"omformede værker villes været skabt hvis avledede rettigheder var skarpere "
"begrænset."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "legal realist movement"
msgstr "juridiske realist-bevægelsen"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"<placeholder type=\"indexterm\" id=\"0\"/> Det at demonstrere at alle "
"ejendomrettigheder altid har været udformet for at balancere interesserne "
"til fællesskabet og private, var det vigtigste enkeltbidrag fra den "
"juridiske realist-bevægelsen.  Se Thomas C. Grey, <quote>The Disintegration "
"of Property,</quote> i <citetitle>Nomos XXII: Property</citetitle>, J. "
"Roland Pennock og John W.  Chapman, eds. (New York: New York University "
"Press, 1980)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Temaet her er dermed  ikke så enkelt som hvorvidt ophavsret er ejendom eller "
"ikke.  Selvfølgelig er ophavsret en type <quote>ejendom,</quote> og "
"selvfølgelig, som med enhver ejendom, bør staten beskytte den.  Men uanset "
"førsteinntrykk, så har denne eiendomretten, historisk set (som med alle "
"ejendomretter<placeholder type=\"footnote\" id=\"0\"/>) været udformet for "
"at balancere det vigtige behovet at give forfattere og artister incentiver "
"med det lige så vigtige behovet at sikre tilgang til kreative værker.  Denne "
"balance har altid  blevet fundet i lys af nye teknologier.  Og i næsten "
"halve vores tradition kontrollerede ikke  <quote>ophavsreten</quote> "
"<emphasis>i det hele taget</emphasis> friheden andre havde til at bygge på "
"og omforme et kreativt værk.  USAs kultur blev født fri, og i næsten 180 år "
"beskyttet vores land konsistent en pulserende og rig fri kultur."

#.  PAGE BREAK 184 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Vi opnåede den frie kulturen på grund af at vores lovværk respekterede "
"vigtige begrænsninger i rækkevidden af interesserne beskyttede af "
"<quote>ejendom.</quote>  Selve fødslen til <quote>ophavsreten</quote> som en "
"lovfæstet ret gjenkjente disse begrænsninger, ved at at give ophavsretejerne "
"beskyttelse kun for en begrænset tidsperiode (historie i kapitel <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>).  Traditionen til "
"<quote>rimeligt brug</quote> er drevet af en lignende bekymring som i "
"stadigt større grad er under pres efterhånden som omkostningen ved at udøve "
"en hvilken som helst rimelig brug bliver uunngåelig høj (historie i kapitel "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>).  Å lægge "
"til  lovbestemmte rettigheder der hen markeder kan hæmme nyskabning er en "
"anden kendt begrænsning på ejendomrettigheden som ophavsreten udgør (kapitel "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>).  Og at "
"tildele arkiver og biblioteker en bred frihed til at samle, uafhængigt af "
"krav om ejendom, er en afgørende del af det at garantere sjelen til en "
"kultur (kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"collectors\"/>).  Fri kultur, på samme måde som frie markeder, er "
"bygget på ejendom.  Men naturen til ejendommen som bygger en fri kultur er "
"vældig  forskelligt fra den ekstremistvisionen som dominerer debatten i dag."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Fri kultur er stadig  større grad ofret i denne krig mod piratvirksomhed.  "
"Som respons på en reel, men endnu ikke kvantificeret trussel som "
"teknologierne på Internet giver til det tyvende århundredets "
"forretningsmodeller for produktion og distribution af kultur, har lovværk og "
"teknologi blevet omformet på en sådan måde at det undergraver vores "
"tradition for fri kultur.  Ejendomretten som ophavsreten udgør, er ikke  "
"længere den balancerede rettigheden som det var, eller var ment at være.  "
"Ejendomretten som ophavsreten udgør har blevet ubalansert, med udslag mod et "
"yderpunkt.  Muligheden til at skabe og omforme bliver svækket i en værdet "
"der det at skabe kræver tilladelse, og kreativitet må tjekke med en advokat."

#. type: Content of: <book><part><title>
#, fuzzy
msgid "Puzzles"
msgstr "Nøtter"

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Eleven: Chimera"
msgstr "Kapitel elleve: Kimære"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "chimeras"
msgstr "kimærer"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Wells, H. G."
msgstr "Wells, H. G."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "<quote>Country of the Blind, The</quote> (Wells)"
msgstr "<quote>Country of the Blind, The</quote> (Wells)"

#.  f1. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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). Se 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>
#, fuzzy
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'>I en velkendt</emphasis> novelle af H. G. Wells, "
"snublet man fjellklatrer ved navn Nunez ned en is-skråning ind i en ukendt "
"og isoleret dal i de Peruanske Andesbjergene.<placeholder type=\"footnote\" "
"id=\"0\"/> Dalen er utroligt smuk, med <quote>friskt vand, beiteland, et "
"jævnt klima og bage/bager med rig brun jord med virvar af buskads som bar "
"man velsmakende frugt.</quote>  Men landsbyboerne er alle blinde.  Nunez ser "
"dette som en mulighed.  <quote>I de blindes rige,</quote> fortæller han sig "
"selv, <quote>er den enøyde konge.</quote>  Så han bestemmer sig for at slå "
"sig ned hos landsbyboerne for at udforske livet som konge."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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><quote>You don't understand,</quote> he cried, in a voice that was "
"meant to be great and resolute, and which broke. <quote>You are blind and I "
"can see. Leave me alone!</quote></quote>"
msgstr ""
"Ting bliver ikke  helt som han har planlagt.  Han forsøger at forklare idéen "
"om syner til landsbyboerne.  De forstår ikke .  Han fortæller dem at de er "
"<quote>blind.</quote>  De mangler et ord for <citetitle>blind</citetitle>.  "
"De tror han bare er træg.  Efterhånden som de opdager tingene han ikke kan "
"gøre (for eksempel høre lyden af græs som bliver trampet på), forsøger de "
"mere og mere at kontrollere ham. Han bliver dermed  mere og mere frustreret. "
" <quote><quote>I forstår ikke ,</quote> skrålede han, i en stemme som var "
"ment at være storslået og bestemt, og som skar ud.  <quote>I er blinde og "
"jeg kan se.  Lad mig være i fred!</quote></quote>"

#.  PAGE BREAK 187 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Landsbyboerne lod ham ikke være i fred.  Og de ser (for at si det sådan) "
"ikke det fine i hans specielle kræfter.  Ikke engang det ultimate målet for "
"hans hengivenhet, en ung kvinde som for ham synes <quote>den smukkeste "
"tingen i hele skapelsen,</quote> forstår skjønnheten i at kunne se.  Nunez "
"sine beskrivelser af det han ser <quote>virket for hende at være de mest "
"poetiske af fantasier, og hun hørte på hans beskrivelser af stjernerne og "
"fjeldene og hendes egen søde hvid-lysnende skjønnhet som om det var en "
"skyldigt/skyldig tilfredsstillelse .</quote>  <quote>Hun troede ikke ,</"
"quote> fortæller Wells os, og <quote>hun kunne bare  halvvejs forstå, men "
"hun var underligt glædet.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Når Nunez kundgør sit ønske om at gifte sig med sin <quote>underligt "
"herlige</quote> kærlighed, protesterede faren og landsbyen.  <quote>Du "
"skønner, kære,</quote> instruerer hendes far, <quote>han er en idiot.  Han "
"har vrangforestillinger.  Han kan ikke  gøre noget rigtigt.</quote> De tager "
"Nunez til landsbylægen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"After a careful examination, the doctor gives his opinion. <quote>His brain "
"is affected,</quote> he reports."
msgstr ""
"Efter en omhyggelig undersøgelse giver sin læge vurdering.  <quote>hans "
"Hjerne er påvirket,</quote> rapporterer han."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Hvad påvirker den?</quote> spørger faren.  <quote>De sære tingene som "
"kaldes øjnene &hellip;  er sygelige &hellip; på en måde som påvirker hans "
"hjerne.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Lægen fortsætter: <quote>Jeg tror jeg med rimelig sikkerhed kan sige at  for "
"at kunne helbrede ham er alt vi behøver at gøre en enkel og let kirurgisk "
"operation &ndash; nemlig at fjerne disse irriterede organer [øjnene].</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Tak Gud for videnskaben!</quote> siger faren til doktoren.  De "
"fortæller Nunez om dette krav som han må opfylde for at få sin brud.  (Du "
"får læse originalen for at lære hvordan historie ender. Jeg tror på fri "
"kultur, men ikke på at afsløre hvordan en historie ender.)"

#.  PAGE BREAK 188 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Det sker</emphasis> nogle gange at æggene til "
"tvillinger svejses sammen  i morens livmor.  Den sammensveisingen skaber en "
"<quote>kimære.</quote>  En kimære er en skabning med to sæt med DNA.  DNA-et "
"i blodet kan for eksempel  være forskelligt fra DNA-et i huden.  Denne "
"mulighed er en for lidt brugt handling i mordmysterier.  <quote>Men DNA-et "
"viser med 100 procent sikkerhed at hendes blod ikke er det som var på "
"åstedet.  &hellip;</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Før jeg havde læst om kimærer, så villes jeg have sagt at det var umuligt.  "
"En enkelt person kan ikke  have to sæt med DNA.  Selve idéen med DNA er at "
"det er koden til et individ.  Alligevel er det jo faktisk sådan at ikke bare "
"kan to individer have samme set med DNA (identiske tvillinger), men en "
"person kan have to forskellige set med DNA (en kimære).  Vores forståelse af "
"en <quote>person</quote> bør genspejle denne virkelighed."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jo mere jeg arbejder for at forstå den nuværende <quote>ophavsretkrigen</"
"quote> rundt ophavsret og kultur, som jeg både har kaldt uretfærdigt og ikke "
"uretfærdigt nok, jo mere tænker jeg at det er man kimære vi snakker om.  For "
"eksempel i kampen om spørgsmålet <quote>Hvad er p2p-fildeling?</quote> har "
"begge sider ret, og begge sider tager fejl.  En side siger, <quote>fildeling "
"er akkurat  som om to unger tager op hinandens plader på bånd &ndash; "
"akkurat sådan vi har gjort det de sidste tredive årene uden at nogle har "
"stilet spørgsmål ved det i det hele taget.</quote>  Det er rigtigt, i hvert "
"fald delvis. Når jeg beder min bedste ven om at høre på en ny CD jeg har "
"købt, og i stedet for at bare sende CD-en, så viser jeg han til min p2p-"
"tjener, så er det på alle relevante måder akkurat det samme som enhver leder "
"i ethvert pladeselskab uden tvivl gjorde som barn: deling af musik."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men beskrivelsen er også  delvis urigtig.  For når min p2p-tjener er på et "
"p2p-netværk der hen enhver kan få tilgang til min musik, så kan helt klart "
"mine venner få tilgang, men det strækker betydningen af <quote>venner</"
"quote> forbi bristepunktet når man siger <quote>mine ti tusind bedste "
"venner</quote> kan få tilgang.  Uanset om <quote>vi altid har haft lov til</"
"quote> at dele min musik med min bedste venner, så har vi ikke altid haft "
"lov til at dele musik med <quote>vores ti tusind bedste venner.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Tilsvarende, når den andre side siger, <quote>Fildeling er som at gå ind hos "
"Tower Records at tage en CD fra hyllede og gå ud af butikken med den,</"
"quote> så er det rigtigt, i hvert fald delvis.  Hvis jeg, efter at Lyle "
"Lovett (endeligt) gear ud et nyt album, i stedet for at købe den går på "
"Kazaa og finder et gratis eksemplar jeg kan tage, så er det rigtigt ligeligt "
"det at stjæle et eksemplar fra Tower.<placeholder type=\"indexterm\" "
"id=\"0\"/>"

#.  PAGE BREAK 189 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men det er ikke  helt som at stjæle fra Tower.  Trods alt har Tower Record "
"en CD mindre de kan sælge når jeg tager en CD fra Tower.  Når jeg tager en "
"CD fra Tower Records, så får jeg en bidder plastic og et omslag, og noget at "
"vise frem på mine hylde.  (Og når vi først er i gang , bør vi også tage med  "
"at når jeg tager en CD fra Tower Records, så er den maksimale boden jeg kan "
"pådrage mig, i hvert fald ifølge loven i California, 1 000 dollar.  I følge "
"RIAA kan jeg derimod, hvis jeg laster ned en CD med ti sange, blive "
"ansvarligt/ansvarlig for 1 500 000 dollar i erstatning.)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Pointen er ikke  at beskrivelsen fra begge sider er fejl.  Pointen er at "
"begge sider har ret  &ndash; både som RIAA beskriver det, og som Kazaa "
"beskriver det.  Det er en kimære.  Og i stedet for at ganske enkelt benægte "
"det den andre side hævder, så må vi begynde at tænke på hvordan vi kan svare "
"på dette kimære.  Hvilke skrøner bør styre det?"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "ISPs (Internet service providers), user identities revealed by"
msgstr "ISP-er (Internet-tilbydere), brugeridentiteter afsløret af"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Berman, Howard L."
msgstr "Berman, Howard L."

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"<placeholder type=\"indexterm\" id=\"0\"/> For man udmærkede oppsummering, "
"se rapporten fortaget af GartnerG2 og Berkman Center for Internet and "
"Society at Harvard Law School, <quote>Copyright and Digital Medierne in a "
"Post-Napster World,</quote> 27 . juni 2003, tilgængeligt ved <ulink "
"url=\"http://free-culture.cc/notes/\">link #33</ulink>. Repræsentanterne "
"John Conyers Jr. (demokrat i Michigan) og Howard L. (demokrat i California) "
"har introduceret et lovforslag som vil behandle uautorisert elektronisk "
"kopiering som en strafferettslig forbrydelse med op til fem års "
"fængselstraf; se Jon Healey <quote>House Bill Aims to Up Stages on Piracy,</"
"quote> <citetitle>Los Angeles Times</citetitle>, 17 . juli 2003, "
"tilgængeligt ved <ulink url=\"http://free-culture.cc/notes/\">link #34</"
"ulink>. Nu er erstatningskravet 150 000 dollar per kopierede sang. Det blev "
"lagt frem i en nylig (og mislykket) udfordring af et RIAA krav til en "
"internetleverandør om at afsløre identiteten til en bruge som var anklaget "
"for at have delt mere end 600 sange gennem familiens computer, se "
"<citetitle>RIAA</citetitle> v. <citetitle>Verizon Internet Services (In re. "
"Verizon Internet Services)</citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). En "
"sådan bruger kan være ansvarligt/ansvarlig for erstatningskrav op til 90 "
"millioner dollar. Sådanne astronomisk store værdier giver RIAA et kraftigt "
"arsenal til dens forfølgelse af fildelere. Fire studenter som er anklaget "
"for massiv fildeling ved universitetnetværk har forliget for mellem 12 000 "
"og 17 500 dollar, og dette må virke som man luselønn i forhold til de 98 "
"millioner dollar RIAA kunne have krævet dersom sagen blev afgjort ved "
"rettsak. Se Elizabeth Young, <quote>Downloading Could Lead to Fines,</quote> "
"redandblack.com, august 2003, tilgængeligt ved <ulink url=\"http://free-"
"culture.cc/notes/\">link #35</ulink>. For et eksempel på RIAAs målretter "
"fildeling gjort af studenter, og stevningene de gav til universiteter for at "
"få dem til at afsløre identiteten til fildelende studenter, se James "
"Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to Name Students,</quote> "
"<citetitle>Boston Globe</citetitle>, 8 . august 2003, D3, tilgængeligt ved "
"<ulink url=\"http://free-culture.cc/notes/\">link #36</ulink>.<placeholder "
"type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi kunne svare ved at ganske enkelt lade som om det ikke er en kimære.  Vi "
"kunne, sammen med RIAA, bestemme at hver eneste fildeling bør være en "
"forbrydelse.  Vi kan straffeforfølge familier for millioner af dollar i "
"skade kun på baggrund af at fildelingen skete på en af familiens computere.  "
"Og vi kan få universiteter til at overvåge al datatrafik for at sikre at "
"ingen computer bliver brugt til at gennemføre denne forbrydelse.  Disse svar "
"er måske  ekstreme, men hver af dem har enten blevet foreslået, eller er "
"allerede  gennemført.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alternativt kan vi svare på fildeling sådan mange unger opfører sig som om "
"vi har svaret.  Vi kan legalisere det fuldstændig.  Fjern alt ansvar for "
"brud på ophavsreten, både civilt og strafferettslig, når man gør "
"opphavsrettsbeskyttet materiale tilgængeligt på nettet. Fodrer med fildeling "
"som sladder: reguleret af sociale normer i stedet for med lov, hvis det er "
"reguleret i det hele taget ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Begge svarene er mulige.  Jeg tror hver af dem villes være en tabbe. I "
"stedet for at vælge en af disse to ekstremerne, så bør vi vælge noget som "
"gjenkjenner sandheden i begge.  Og selv om jeg afslutter denne bog med en "
"skisse til et system som gør akkurat  det, så er mit mål med næste kapitel "
"at vise akkurat  hvor grufullt det villes være for os om vi adopterer "
"nultolerance-ekstremet.  Jeg tror <emphasis>begge</emphasis> ekstremerne vil "
"være ondere end et rimeligt alternativ.  Men jeg tror nultolerance-løsningen "
"vil være den ondeste af de to ekstremerne."

#.  PAGE BREAK 190 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel er nultolerance i stadig større vores grad myndigheders politik.  "
"Midt i dette kaos som Internet har skabt, finder et ekstraordinært "
"ejendomtyveri fra fællesskabet sted.  Retten og teknologien ændres til at "
"give indholdindehaverne en type kontrol over vores kultur som de aldrig har "
"haft før.  Og i denne ekstremitet vil mange muligheder for nye oppfinnelser "
"og ny kreativitet gå tabt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg snakker ikke  om muligheden for unger til at <quote>stjæle</quote> "
"musik.  Min fokus er i stedet  på den kommercielle og kulturelle "
"nyskabningen som denne krig også vil tage knækket på.  Vi har aldrig  før "
"set muligheden til at skabe brede sig så bredt blandt vores borgere, og vi "
"har bare  så vidt begyndt at se nyskabningen som denne mulighed vil frigøre. "
" Alligevel har Internet allerede set slutningen på en generation af "
"nyskabning rundt teknologier for at distribuere indhold. Lovværket er "
"ansvarligt/ansvarlig for at den forsvandt.  Som vicepræsidenten for global "
"offentlig politik hos en af disse nye oppfinnerne, eMusic.com, formulerede "
"det da han kritiserede hvordan  DMCA lagde til værn for "
"opphavsrettsbeskyttet materiale."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
msgid ""
"eMusic opposes music piracy. We are a distributor of copyrighted material, "
"and we want to protect those rights."
msgstr ""
"eMusic er imod piratkopiering af musik.  Vi er en distributør af "
"opphavsrettsbeskyttet materiale, og vi ønsker at beskytte disse rettigheder."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Men at bygge en teknologisk fæstning som låser ind interesserne til de store "
"pladeselskaberne er ikke  nødvendigvis den eneste måden at beskytte "
"ophavsretinteresser, og heller ikke nødvendige den bedste.  Det er ganske "
"enkelt  for tidligt at svare på det spørgsmålet.  Markedkræfter som opererer "
"frit kan godt  give en helt anden industri model."

#.  f3. 
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
#, fuzzy
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 Lader: Assessing Consumer Access to Digital "
"Entertainment on the Internet and Other Medierne: Hearing Before the "
"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
"Committee on Commerce, 106th Cong. 29 (1999) (udtalelse fra Peter Harter, "
"vicepræsident, Global Public Policy and Standards, EMusic.com), tilgængeligt "
"i LEXIS, Federal Document Clearing House Congressional Testimony File."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Dette er et kritisk pointe.  Valgene som industrisektorer gør relateret til "
"disse systemer, vil på mange vis direkte forme markedet for digitale "
"medierne, og hvordan digitale medier bliver distribueret.  Dette påvirker så "
" hvilke valg som er tilgængeligt for forbrukere, både når det gælder hvor  "
"enkelt de vil være i stand  til at få tilgang til digitale medier, og "
"udstyret som de vil kræve for at gøre dette. Dårlige valg som gøres tidligt  "
"i dette spil, vil hæmme væksten i dette marked, og skade alles interesser."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Vivendi Universal"
msgstr "Vivendi Universal"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I april 2001 blev eMusic.com købt op af Vivendi Universal, et af <quote>de "
"store pladeselskaberne.</quote>  Selskabets holdning rundt disse temaer har "
"nu  ændret sig. <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Å nu reversere vores tolerante tradition vil ikke  bare knuse "
"piratvirksomhed.  Det vil ofre værdier som er vigtige for denne kultur, og "
"det vil dræbe muligheder som kan være stort værdifulde."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Twelve: Harms"
msgstr "Kapitel tolv: Skader"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Ved at bekæmpe</emphasis> <quote>piratvirksomhed</"
"quote> for at beskytte <quote>ejendom</quote> har indholdindustrien erklæret "
"krig.  Lobbyvirksomhed og mange valgkampbidrag har nu  afgået myndighederne "
"ind i denne krig.  Og som med enhver krig vil en både have direkte og "
"utilsigtet skadevirkning.  Og som med enhver forbudkrig, er det mest vores "
"egen folk som lider under disse ødeleggelsene."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Så langt har mit mål været at beskrive konsekvenserne af denne krig, og "
"specielt konsekvenserne for <quote>fri kultur.</quote>  Men nu er mit mål at "
"udvide denne beskrivelse af konsekvenserne til et argument.  Er dette en "
"godt begrundet krig?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Efter mit syner er den ikke det.  Det er ingen god grund nu, for første "
"gang, at loven burde forsvare det gamle mod det nye, akkurat når magten til "
"ejendomretten som kaldes <quote>immateriell ejendom</quote> er større end "
"den nogensinde har været i vores historie."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel ser ikke  <quote>sund fornuft</quote> det sådan.  Sund fornuft er "
"fortsat  enig med Causbyene og indholdindustrien.  Det ekstreme krav om "
"kontrol som fremmes på vegne af ejendomret, accepteres fortsat . "
"<quote>Piratvirksomhed</quote> afvises fortsat  ukritisk."

#.  PAGE BREAK 193 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det vil være mange konsekvenser ved at fortsætte denne krig.  Jeg ønsker at "
"beskrive kun  tre.  Alle tre kan siges at være utilsigtet.  Jeg er ganske  "
"sikker på at den tredje er utilsigtet, men jeg er mindre sikker om de første "
"to.  De første to beskytter de moderne RCA-ene, men det er ingen Howard "
"Armstrong på flankerne for at sloges mod dagens kulturmonopolister."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Constraining Creators"
msgstr "Læger/Lægge bånd på skaberne"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I de næste ti årene vil vi se en eksplosion af digitale teknologier. Disse "
"teknologier vil gøre det muligt for næsten hvem som helst at lagre og dele "
"indhold.  Å lagre og dele indhold er naturligvis  det mennesker har gjort "
"siden  historie begyndelse.  Det er sådan  vi lærer og kommunikerer.  Men "
"lagring og deling ved hjælp af digital teknologi er anderledes .  "
"Gjengivelsen og styrken er forskellig.  Du kunne sendt en e-post og fortalt "
"nogle om en vits du så på Comedy Central, eller du kan sende selve klippet.  "
"Du kan skrive et indlæg om inkonsekvenser i argumenterne til en politiker "
"som du elsker at hade, eller du kan fortage en kort film som sætter "
"udtalelser mod hinanden. Du kan skrive et digt som udtrykker din kærlighed, "
"eller du kan væve sammen  en tråd &ndash; en nettfletting &ndash; af sange "
"fra dine favoritartister i en slags fotomontage, og gøre den tilgængelig på "
"nettet."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "digital sharing within"
msgstr "digital deling inden"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne digitale <quote>erobring og deling</quote> er delvis  en udvidelse af den "
"erobringen og delingen som altid har været en del af vores kultur, og delvis "
"noget som er nyt.  Det er fortsettelsen af Kodaken, men det sprænger "
"grænserne for Kodak-lignende teknologier. Teknologien for digital "
"<quote>erobring og deling</quote> lover os en værdet med ekstraordinær "
"varieret kreativitet som kan blive enkelt og bredt delt.  Og når denne "
"kreativitet anvendes på demokratiet, vil den gøre muligt for et bredt "
"spekter af borgere at bruge teknologien til at udtrykke og kritisere og "
"bidrage til kulturen over det hele."

#.  PAGE BREAK 194 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Teknologien har dermed  givet os en mulighed til at gøre noget med kultur "
"som bare har været muligt for enkeltpersoner i små grupper, isoleret fra "
"andre grupper. Forestill dig en gammel mand som fortæller en historie til en "
"samling med naboer i en lille landsby.  Forestill dig så den samme historie "
"fortællingen udvidet til at nå over hele værdet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Alligevel er alt dette kun muligt hvis aktiviteten antages at være lovligt . "
"I dagens juridiske reguleringsregime er det ikke det.  Lad os glemme "
"fildeling et øjeblik.  Tænk på dine fantastiske favoritsteder på nettet.  "
"Netsteder som tilbyder oppsummeringer af handlingen for glemte TV-serier, "
"steder som samler tegneserier fra 1960-tallet, steder som mikser billede og "
"lyde for at kritisere politikere eller bedrifter, steder som samler "
"avisartikler fra smale temaer om videnskab eller kultur.  Det er store antal "
"kreative værker bredt rundt om på Internet.  Men sådan loven er sat sammen  "
"i dag er dirre værkerne antaget at være ulovligt."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "doctors malpractice claims against"
msgstr "lægers fejlbehandlinganklager mod"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Lune W. Jette, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</"
"citetitle> (Hoboken, N.J.: John Wiley &amp; Sons, 2003), 176, 204; for "
"detaljer om dette forlig, se pressemelding fra MCI, <quote>MCI Wins U.S. "
"District Court Approval for SEC Koloni</quote> (7 . juli 2003), tilgængeligt "
"fra <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>.  "
"<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "tort reform"
msgstr "erstatningretreform"

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Bush, George W."
msgstr "Bush, George W."

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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: <quote>We'll Be "
"Back,</quote> 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\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"
msgstr ""
"Lovforslaget, som var modelleret efter Californias erstatningretreform-"
"model, blev vedtaget i Repræsentanternes hus, men stoppet i Senatet i juli "
"2003 .  For en oversigt, se Tanya Albert, <quote>Measure Stalds in Senate: "
"<quote>We'll Bede Back,</quote> Say Tørret Reformers,</quote> amednews.com, "
"28 . juli 2003, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #38</ulink>, og <quote>Senate Turns Back Malpractice Caps,</quote> "
"CBSNews.com, 9 . juli 2003, tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #39</ulink>. Præsident Bush har fortsat  at "
"argumentere for erstatningretreform de sidste månederne. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne antagelsen vil i stadigt større grad køle ned kreativiteten, "
"efterhånden som eksemplerne på ekstreme straffe for vage ophavsretbrud "
"fortsætter at brede sig.  Det er umuligt at få en klar forståelse for hvad "
"som er tilladt og hvad som ikke er det, og samtidig er straffene for at "
"krydse linjen forbløffende hårde.  De fire studenterne som blev truet af "
"RIAA (Jesse Jordan i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"catalogs\"/> er bare  en af dem), blev truet med et 98-milliarder "
"dollar-søgsmål for at dagsværk søkemotorer som tillod sange at blive "
"kopieret.  Mens World-Com &ndash; som svindlede investorer for 11 milliarder "
"dollar, og førte til et tab hos investorer i markedkapital på over 200 "
"milliarder dollar &ndash; førte til en bod som kun var på 750 millioner "
"dollar.<placeholder type=\"footnote\" id=\"0\"/> Og i henhold til lovgiving "
"som fremmes i Kongressen akkurat nu, kan en læge som skjødesløst fjerner "
"forkert fødder i en operation villes risikere ikke  mere end 250 000 dollar "
"i skadeerstatning for smerte og lidelse.<placeholder type=\"footnote\" "
"id=\"1\"/> Kan sund fornuft kende igen  det absurde i en værdet der hen den "
"maksimale boden for at laste ned to sange fra Internet er højere end boden "
"til en læge som skjødesløst slagter en patient?"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "art, underground"
msgstr "kunst, undergrunds"

#.  f3. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Danit Lidor, <quote>Artists Just Wanna Bede Free,</quote> "
"<citetitle>Wired</citetitle>, 7 . juli 2003, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #40</ulink>. For en oversigt over "
"udstillingen, se <ulink url=\"http://free-culture.cc/notes/\">link #41</"
"ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Konsekvensen af denne juridiske usikkerheten, sammen med disse ekstremt høje "
"straffene, er at en ekstraordinær mængde kreativitet aldrig vil gennemføres, "
"eller aldrig vil gennemføres åpnelyst.  Vi tvinger denne kreative proces "
"under markerne ved at hævde at de moderne Walt Disney-ene er <quote>pirater."
"</quote>  Vi gør det umuligt for bedrifter at basere sig på et allemannseie "
"på grund af at grænserne for allemannseiet er fortaget for at være uklare.  "
"Det betaler sig aldrig at gøre noget andet end at betale for retten til at "
"skabe, og dermed vil kun  de som kan betale få lov til at skabe.  Sådan det "
"var tilfælde i Sovjetunionen, dog af helt andre årsager, så vil vi begynde "
"at se en værdet af undergrundkunst &ndash; ikke fordi budskabet nødvendigvis "
"er politisk, eller fordi temaet er kontroversielt, men på grund af at selve "
"det at skabe denne kunst er juridisk skummelt.  Udstillinger med "
"<quote>ulovlig kunst</quote> har allerede  været på turné i USA.<placeholder "
"type=\"footnote\" id=\"0\"/> Hvad består deres <quote>ulovlighet</quote> i?  "
"I det at mikse kulturen rundt os med et udtryk som er kritisk eller "
"eftertænksomt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"En del af årsagen til denne frygt for ulovligheter har at gøre med ændringer "
"i lovværket. Jeg beskrev ændringen i detalje i kapitel <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>.  Men man endnu "
"større del har at gøre med  hvordan det bliver stadig  enklere at spore op "
"ophavsretbrud.  Sådan brugerne af fildelingssystemer opdagede i 2002, er det "
"en triviell sag for ophavsretejere at få domstolene til at beordre Internet-"
"leverandører til at afsløre hvem som har hvilket indhold.  Det er som om din "
"kassettebåndspiller sender en liste med sange du har spillet i privatsfæren "
"i dit eget hjem som enhver kan lytte på efter eget forgodtbefinnende."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Aldrig før i vores historie har en skabeloner behøvet at bekymre sig om hans "
"maleri skælder nogle andres værk.  Men en moderne maler, som bruger "
"værktøjerne til Photoshop og deler indholdet på nettet, må bekymre sig for "
"dette hele tiden.  Billeder er over alt, men de eneste trygge billederne at "
"bruge i skapelsesprosessen er de som er købt fra Corbis eller en anden af "
"billedebutikkerne.  Og i denne køb processen sker det sensurering.  Det er "
"et frit marked for blyanter.  Vi behøver ikke  bekymre os for dets effekt på "
"kreativiteten.  Men det er et strengt reguleret og monopoliseret marked for "
"kulturelle ikoner, retten til at kultivere og ændre på dem er ikke  "
"tilsvarende frit."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Advokater ser sjælden  dette på grund af at advokater sjældent er empiriske. "
" Som jeg beskrev i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"recorders\"/>, som respons på historie om dokumentarfilmskaber Jon "
"Else, har jeg blevet belært gang på gang af advokater som insisterer på at "
"Else brug var rimeligt brug, og at jeg derfor tog fejl når jeg sagde at "
"loven regulerer sådan  brug."

#.  PAGE BREAK 196 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men rimeligt brug i USA betyder bare  at man har ret til at hyre ind en "
"advokat til at forsvare din ret til at skabe.  Og som advokater kanlide at "
"glemme er vores system for at forsvare æns ret  utroligt dårligt &ndash; i "
"nær sagt enhver sammenhæng, men specielt her.  Det koster for  meget, det "
"leverer for  trægt, og det som bliver leveret har ofte  lille tilknytning "
"til retfærdigheden i det underliggende kravet.  Retsystemet er måske  "
"tolererbart for de rigtigt rige.  Men for alle andre er det pinligt for en "
"tradition som ellers kanlide at være stolt af retsikkerheden."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dommere og advokater kan fortælle hinanden at rimeligt brug giver "
"tilstrækkeligt <quote>pusterum</quote> mellem lovregulering og tilgangen som "
"loven bør tillade.  Men det viser hvor  fjernt vores juridiske systemer har "
"blevet at nogle faktisk kan tro dette.  Skrønerne som utgivere pålægger "
"forfattere, skrønerne som filmdistributører pålægger filmskabere, skrønerne "
"som aviser pålægger journalister &ndash; dette er de virkelige lovene som "
"styrer kreativitet.  Og disse skrøner har lille til fælles med <quote>loven</"
"quote> som dommerne trøster hinanden med."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For i en værdet som truer med 150 000 dollar i erstatningskrav for et enkelt "
"bevidst ophavsretbrud, og som kræver titusener af dollar bare for at "
"forsvare sig mod en påstand om at have brudt ophavsreten, og som aldrig vil "
"give dem som er feilaktig anklaget tilbage nogle af de omkostningerne hun "
"blev påført for at forsvare sin ret til at udtale sig &ndash; i den værdet, "
"knebler de utroligt vidtrækkende reguleringene som går under navnet "
"<quote>ophavsret</quote> både tale og kreativitet.  Og i den værdet kræves "
"det en utstudert blindhet for at nogle fortsat skal tro at de lever i en fri "
"kultur."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
msgstr ""
"Som Jed Horovitz, forretningsmanden som står bag Video Pipeline sagde til "
"mig:"

#.  PAGE BREAK 197 
#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Vi mister [kreative] muligheder over alt.  Kreative folk bliver tvunget til "
"at ikke udtrykke sig.  Mange tanke kommer aldrig  ned på papiret. Og mens en "
"masse ting måske [fortsat] bliver skabt, så bliver de ikke distribueret.  "
"Selv om tingene bliver fortaget &hellip;  så  får du ikke distribueret det i "
"de traditionelle medierne med mindre du har en lille lap fra en advokat som "
"siger <quote>dette er blevet klareret.</quote> Du klarer ikke  en gang at få "
"det på PBS uden sådan tilladelse. Det er pointen med den type kontrol de har."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Constraining Innovators"
msgstr "Læger/Lægge bånd på oppfinnere"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "innovation hampered by"
msgstr "nyskabning hæmmede af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "industry establishment opposed to"
msgstr "etableret industri mod"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Historie i den sidste delen var en knasende venstreorientert historie "
"&ndash; knust kreativitet, kunstnere får ikke  udtrykke sig, bladre bladre "
"bladre.  Måske sådant ikke overbeviser dig.  Måske du mener det findes nok  "
"sær kunst der ude, og nok udtryk som er kritiske til omtrent hvad som helst. "
" Og hvis du tænker sådan , så mener du måske at det er lille i den historie "
"du behøver at bekymre dig for."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men det er et aspekt ved denne historie som overhovedet ikke er venstrevridd "
"i det hele taget.  Faktisk er det et aspekt som kunne været skrevet af den "
"mest ekstreme ideologiske markedsforkjemper.  Hvis du er en af disse (og en "
"vældig speciel en, <xref xrefstyle=\"select: pagenumber\" "
"linkend=\"innovators\"/> sider ind i en bog som denne), så kan du se dette "
"aspekt ved at bytte ind <quote>frit marked</quote> hver gang jeg har snakket "
"om <quote>fri kultur.</quote> Pointen er det samme, selv om interesserne som "
"påvirker kultur er mere fundamentale."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Argumenterne jeg har fremmet om regulering af kulturen er de samme som "
"forkjempere af frie markeder fremmer om markedsregulering.  Alle er enige om "
"at en vis regulering af markederne er nødvendigt &ndash; som et minimum "
"behøver vi skrøner om ejendom og kontrakter, og domstole til at håndhæve "
"begge deler.  På samme måde i denne kulturdebat er alle enige om at det "
"trænges i hvert fald et vist ophavsretrammeværk.  Men begge perspektiverne "
"insisterer heftigt på at selv om noget regulering er godt, så gør ikke  det "
"at mere regulering er bedre.  Og begge perspektiverne er konstant opmærksom "
"på hvordan regulering ganske enkelt gør det muligt for dagens mægtige "
"industrier at beskytte sig selv mod morgendagens konkurrenter."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Barry, Hank"
msgstr "Barry, Hank"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "venture capitalists"
msgstr "venturekapitalister"

#.  PAGE BREAK 198 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er den ene mest dramatiske effekten fra skiftet i regelsætstrategi som "
"jeg beskrev i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>.  Konsekvensen af denne massive truslen om "
"erstatningsansvar knyttede til de skumle grænserne til opphavsrettsloven er "
"at  oppfinnere som ønsker at skabe noget nyt inden dette betænket, kun trygt "
"kan fortage noget nyt hvis de har accept fra sidste generations dominerende "
"industrier.  Den lektionen har blevet lært væk gennem en serie med sager som "
"blev udformet og udført for at lære venturekapitalister man opremse.  Leksen "
"&ndash; som tidligere Napster-CEO Hank Barry kalder man <quote>kjernefysisk "
"skygge</quote> som har bredt sig over Silicon Vally &ndash; har blevet lært."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Her er et eksempel for at demonstrere dette pointe, en historie jeg fortalte "
"starten af i <citetitle>The Future of Ideas</citetitle>, og som har udviklet "
"sig på en måde som selv ikke jeg (en ekstraordinær pessimist) kunne have "
"spået."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "MP3.com"
msgstr "MP3 .com"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "my.mp3.com"
msgstr "my.mp3 .com"

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

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I 1997 etablerede Michael Roberts et selskab ved navn MP3 .com. MP3 .com var "
"ude efter at ændre musikbranchen.  deres Mål var ikke  bare at bidrage til  "
"nye måder at få tilgang til indhold.  Målet var også  at bidrage til nye "
"måder at skabe indhold.  Til forskel fra de store pladeselskaberne tilbød "
"MP3 .com ophavpersonerne en arena for at distribuere sin kreativitet, uden "
"at kræve et eksklusivt engagement fra ophavpersonerne."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "preference data on"
msgstr "præference data på"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men for at få dette system til at virke, behøvede MP3 .com en pålidelig måde "
"at anbefale musik til sine brugere.  Idéen bag dette alternativ var at "
"udnytte musiklytterne eksponerede musikvalg for at anbefale nye artister.  "
"Hvis du kanlide Lyle Lovett, så vil du sikkert nyde Bonnie Raitt.  Og så "
"videre."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne idéen krævede en enkel måde at samle ind data om hvad brugerne "
"foretrekker.  MP3 .com kom op  med man vældig snedig måde at samle ind data "
"om hvad brugerne foretrakk.  Januar 2000 lancerede selskabet tjenesten my."
"mp3 .com.  Ved at bruge software fra MP3 .com loggede brugeren ind på en "
"konto, og satte så  en CD ind i sin computer. Programvaren villes kende igen "
" CD-en, og så give brugeren tilgang til det indholdet.  Dermed kunne du, "
"hvis du f.eks.  satte ind en CD af Jill Sobule, få tilgang til den musikken "
"uanset hvor du var &ndash; på job eller hjemme &ndash; så snart du havde "
"logget ind på konto.  Systemet var dermed  et slags låsbart musikskrin."

#.  PAGE BREAK 199 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er ingen tvivl om at nogle kunne bruge dette system til at kopiere "
"ulovligt indhold.  Men den muligheden eksisterede både før og efter MP3 ."
"com.  Målet med my.mp3 .com-tjenesten var at give brugere tilgang til sit "
"eget indhold, og som et biprodukt af at se hvad  slags indhold brugerne "
"allerede ejede, opdage hvad  slags indhold brugerne kunnelide."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men for at få dette system til at fungere, måtte MP3 .com kopiere 50 000 CD-"
"er til en tjener.  (I princippet kunne det været brugerne som lastede op "
"musikken, men det villes taget vældig  meget tid, og det villes gjort at "
"produktet havde tvilsom kvalitet.)  Det købte derfor  50 000 CD-er fra en "
"butik, og gik i gang  med at kopiere disse CD-ene.  Og nok en gang, "
"selskabet villes ikke  give ud indholdet fra disse kopier til nogle andre "
"end de som kunne bekræfte at de allerede havde et eksemplar af CD-en de "
"ønsket tilgang til.  Så selv om dette var 50 000 kopier, så var det 50 000 "
"kopier som blev tilbudt for at give kunder noget de allerede havde købt."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "distribution technology targeted in"
msgstr "distributionteknologi mål for"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "outsize penalties of"
msgstr "øgede straffe ved"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ni dage efter at MP3 .com lancerede sin tjeneste, anlagde de fem store "
"pladeselskaberne, under ledelse af RIAA, sag mod MP3 .com.  MP3 .com indgik "
"forlig med fire af de fem.  Ni måneder senere afgjorde en føderal domme at "
"MP3 .com havde været skyldigt/skyldig i, med hensigt, at have brudt "
"ophavsreten når det galdt det femte.  Ved at anvende loven sådan den er "
"udformet nå, ilagde dommeren MP3 .com en bod på 118 millioner dollar.  MP3 ."
"com indgik så et forlig med den gjenstående sagsøger, Vivendi Universal, og "
"betalte mere end 54 millioner dollar.  Vivendi købte MP3 .com omtrent et år "
"senere."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "That part of the story I have told before. Now consider its conclusion."
msgstr "Den delen af historie har jeg fortalt før.  Nu kommer konklusionen."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Efter at Vivendi købte MP3 .com, skruede Vivendi sig rundt og sagsøgte, for "
"pliktforsømmelse, de advokaterne som havde givet råd om at selskabet i god "
"tro kunne hævde at tjenesten selskabet ønskede at tilbyde, villes blive "
"anset som lovligt i henhold til ophavsreten.  I dette søgsmål blev det "
"hævdet at det burde have været åbenbaret at domstolene villes anse denne "
"opførsel for ulovligt.  Dermed forsøgte man med dette søgsmål at straffe "
"enhver advokat som vågede at foreslå at loven var mindre restriktiv en "
"pladeselskaberne krævede."

#.  PAGE BREAK 200 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Den åbenbare hensigten med dette søgsmål (som blev afsluttet med et forlig "
"for et uspesifisert beløb lige så efter at sagen ikke længere fik "
"pressedækning), var at sende en melding, som ikke kan misforstås, til "
"advokater som giver råd til klienter på dette område: Det er ikke  bare dine "
"klienter som får lide hvis indholdindustrien retter sine våben mod dem.  Det "
"får også  du.  Så de af jer som tror loven burde være mindre restriktiv, bør "
"indse at et sådant syn på loven vil koste dig og dit firma dyrt."

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "cars, MP3 sound systems in"
msgstr "biler, MP3-lydsystem i"

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

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Hummer Winblad"
msgstr "Hummer Winblad"

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "MP3 players"
msgstr "MP3-spillere"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "venture capital for"
msgstr "venturekapital for"

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

#.  f4. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Joseph Mænd, <quote>Universal, EMI Sue Napster Investor,</quote> "
"<citetitle>Los Angeles Times</citetitle>, 23 . april 2003 .  For et "
"parallelt argument om effekten på nyskabning i distributionen af musik, se "
"Janelle Brown, <quote>The Music Revolution Will Not Bede Digitized,</quote> "
"Salon.com, 1 . juni 2001, tilgængeligt fra <ulink url=\"http://free-culture."
"cc/notes/\">link #42</ulink>.  Se også  Jon Healey, <quote>Online Music "
"Services Besieged,</quote> <citetitle>Los Angeles Times</citetitle>, 28 . "
"maj 2001 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne strategi er ikke  begrænset kun  til advokater.  I april 2003 leverede "
"Universal og EMI ind et søgsmål mod Hummer Winblad, venturekapitalfirmaet "
"(VC) som havde finansieret Napster på et bestemt skridt i dets udvikling; "
"dets medstifter (John Hummer) og dets generelle partner (Hank Berry)."
"<placeholder type=\"footnote\" id=\"0\"/> Påstanden her var også  VC-man "
"burde have forstået at indholdindustrien havde ret til at kontrollere "
"hvordan industrien burde udvikle sig.  De burde holdes personligt ansvarligt/"
"ansvarlig for at have finansieret et selskab hvis forretningsmodell viste "
"sig at være udenfor loven.  Igen er formålet med søgsmålet gjennomsiktig.  "
"Enhver VC forstår nu  at hvis du finansierer et selskab med en "
"forretningsplan som ikke bliver godkendt af dinosaurerne, så tager du ikke "
"bare risikoen i markedet, men køber også  et søgsmål.  Så ekstremt har "
"miljøet blevet at selv bilprodusenter er bange for teknologi som berører "
"indhold.  I en artikel i <citetitle>Business 2.0</citetitle> beskriver Rafe "
"Needleman en diskussion med BMW:"

#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
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 ""
"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> "
"<citetitle>Business 2.0</citetitle>, 16 . juni 2003, tilgængeligt via <ulink "
"url=\"http://free-culture.cc/notes/\">link #43</ulink>. Jeg er taknemmelig "
"til Dr. Mohammad Avl-Ubaydli for dette eksempel.  <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Jeg spurgte hvorfor  det ikke fandtes, med al lagrings- og "
"beregningskapasitet som findes i bilen, en måde at spille af MP3-filer. Jeg "
"blev fortalt at BMW-ingeniører i Tyskland havde sat op et nyt køretøj til at "
"spille MP3-er via bilens indbyggede musikanlæg, men at selskabets afdelinger "
"for markedføring og juice ikke var komfortable med at lancere dette over "
"hele landet.  Selv i dag er det ingen nye biler solgt i USA med en "
"fungerende MP3-spiller. &hellip; <placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette er værdet til mafiaen &ndash; befolket med <quote>penge eller livet</"
"quote>-trusler, som ikke er reguleret af domstolene, men af trusler som "
"loven giver rettighedindehaver mulighed til at komme med . Det er et system "
"som åbenbaret og nødvendigvis vil kvæle ny innovation. Det er vanskeligt nok "
"at starte et selskab. Det bliver helt umuligt hvis selskabet er stadig  "
"truet af søgsmål."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "transaction cost of"
msgstr "transaksjonskonstnader fra"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "legal murkiness on"
msgstr "juridisk uklarhet fra"

#.  PAGE BREAK 201 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Pointen er ikke  at virksomheder skal have lov til at starte ulovlig "
"aktivitet.  Pointen er definitionen af <quote>ulovligt.</quote>  Loven er et "
"kaos af usikkerheter.  Vi har ingen god måde at vide hvordan den bør "
"anvendes på nye teknologier.  Og alligevel, ved at reversere vores tradition "
"for juridisk hensynsfullhet, og omfavne det forbløffende høje strafniveauet "
"som pålægges af ophavsreten, giver denne usikkerheten nu en virkelighed som "
"er meget mere konservativ end det som er rimeligt.  Hvis loven pålagde "
"dødsstraff for at parkere ulovligt, så villes vi ikke bare have færre "
"ulovlige parkeringer, vi villes også  have meget mindre kørsel.  Det samme "
"princip gælder for nyskabning.  Hvis nyskabning stadig kontrolleres af dette "
"usikre og ubegrænsede erstatningsansvaret, så vil vi have meget mindre "
"levende nyskabning, og meget mindre kreativitet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Pointen er en direkte parallel til det knasende venstrevridde pointen om "
"rimelig brug.  Uanset hvor <quote>reel</quote> loven er, så er realisme om "
"effekten af lovværket i begge sammenhænge tilsvarende.  Dette vildt "
"straffende reguleringssystemet vil systematisk kvæle kreativitet og "
"nyskabning.  Det vil beskytte nogle industrier og nogle skabere, mens det "
"vil skade industri og kreativitet generelt.  Frit marked og fri kultur er "
"afhængigt af pulserende konkurrence.  Alligevel er effekten af lovværket i "
"dag at kvæle akkurat  denne type konkurrence.  Effekten er at fortage en "
"overreguleret kultur, akkurat som effekten af for meget kontrol i markedet "
"er at fortage et overreguleret reguleret marked."

#.  PAGE BREAK 202 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Oppbyggingen af en tilladelsekultur, i stedet for en fri kultur, er den "
"første vigtige måden der hen ændringerne jeg har beskrevet vil belaste "
"nyskabning.  En tilladelsekultur betyder en kultur med advokater &ndash; en "
"kultur der hen evnen til at skabe kræver en samtale med din advokat.  Igen, "
"jeg er ikke  mod advokater, i hvert fald når de holdes sig der de hører "
"hjemme .  Og jeg er absolut ikke mod lovværket.  Men vores profession har "
"tabt forståelse af dens begrænsning. og lederne i vores profession har "
"mistet forståelsen for den høje vores omkostning profession påfører andre.  "
"Ineffektiviteten i vores retsystem stiller vores tradition i forlegenhet.  "
"Og mens jeg tror at vores profession derfor burde gøre alt de kan for at "
"gøre retsystemet mere effektivt, bør den også i hvert fald gøre alt den kan "
"for at begrænse rækkevidden til lovværket der hen lovværket ikke gør noget "
"godt. Transaktionomkostningerne begravet i en tilladelsekultur er nok  til "
"at begrave et bredt spekter af kreativitet.  Nogle behøver meget "
"rettferdiggjøring for at begrunde det resultatet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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'>Usikkerheten</emphasis> i rettilstanden er en af "
"byrderne som lægges på nyskabningen.  Det er en anden byrde som virker mere "
"direkte.  Dette er effekten fra mange i indholdindustrien som bruger loven "
"til at direkte regulere teknologien på Internet sådan at den beskytter deres "
"indhold bedre."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Motivationen for denne respons er åpenbar.  Internet gør det muligt at "
"effektivt brede indhold.  Den effektiviteten er en egenskab med Internets "
"udformning.  Men fra perspektivet til indholdindustrien er denne egenskab en "
"<quote>fejl.</quote>  Den effektive spredningen af indhold betyder at "
"indholddistributører får det vanskeligt med at kontrollere distributionen af "
"indhold.  En åpenbar respons til denne effektivitet er at gøre Internet "
"mindre effektivt.  Hvis Internet gør det muligt at drive med "
"<quote>piratvirksomhed,</quote> så siger denne respons at vi bør knække "
"kneskålene på Internet."

#.  f6. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 Medierne in a Post-Napster World,</quote> "
"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law "
"School (2003), 33&ndash;35, tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #44</ulink>."

#.  f7. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "GartnerG2, 26&ndash;27."
msgstr "GartnerG2, 26&ndash;27 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er mange eksempler på denne type lovgiving.  På opfordring fra "
"indholdindustrien har nogle i Kongressen truet med lovgiving som villes "
"kræve at computere skulle afgøre om indhold de havde tilgang til var "
"beskyttet eller ikke, og slå af muligheden for at brede beskyttet indhold."
"<placeholder type=\"footnote\" id=\"0\"/> Kongressen har allerede  lanceret "
"forslag om at udforske et påkrevd <quote>kringkastingsflagg</quote> som "
"villes være påkrevd på enhver enhed som kan sende digital video (med andre "
"ord, en computer), og som villes hindre kopiering af ethvert indhold som er "
"mærket med kringkastingsflagget.  Andre medlemmer af Kongressen har "
"foreslået immunitet til indholdleverandører fra erstatning for teknologi som "
"de kan tage i brug  for at spore op de som bryder opphavsrettsen, og koble "
"ud deres computere.<placeholder type=\"footnote\" id=\"1\"/>"

#.  PAGE BREAK 203 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"På en måde virker disse løsninger fornuftige.  Hvis problemet er koden, "
"hvorfor ikke regulere koden for at fjerne problemet.  Men enhver regulering "
"af teknisk infrastruktur vil altid  være stilet ind mod dagens aktuelle "
"teknologi.  Den vil påføre teknologien betydelige byrder og omkostninger, "
"men vil mest sandsynligt blive overskygget af fremskridt når det gælder "
"akkurat  disse krav."

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

#.  f8. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid ""
"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
"Newsbytes, February 2002 (Entertainment)."
msgstr ""
"Se David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
"Newsbytes, februar 2002 (Entertainment)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I marts 2002 forsøgte en bred koalition af teknologibedrifter, ledte af "
"Intel, at få Kongressen til at se skaden sådan lovgiving villes føre til ."
"<placeholder type=\"footnote\" id=\"0\"/> deres Argument var selvsagt  ikke "
"at ophavsret ikke skulle blive beskyttet.  I stedet argumenterede de med at "
"en beskyttelse ikke måtte gøre mere skade end gavn."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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'>Det er en</emphasis> mere åpenbar måde som denne "
"krig har skadet nyskabning &ndash; igen, en historie som vil være ganske  "
"familiær for dem som støtter det frie markedet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Ophavsret er måske  ejendom, men som al ejendom er det også en form for "
"regulering.  Det er man regulering som giver fordele for nogle og skader for "
"andre.  Når det gøres rigtigt, giver det fordeler til skabere og skader til "
"snyltere.  Når det er gjort galt, er det regulering som de mægtige bruge til "
"at beseire konkurrenter."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Digital Copyright (Litman)"
msgstr "Digital Copyright (Litman)"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Som jeg beskrev i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, og på trods af denne egenskab af ophavsret som "
"regulering, og når man tager hensyn til vigtige kvalifiseringer skitseret af "
"Jessica Litman i hendes bog <citetitle>Digital Copyright</citetitle>,"
"<placeholder type=\"footnote\" id=\"0\"/>, så er i det store og hele "
"historie til ophavsreten ikke ilde.  Når nye teknologier dukker op , sådan "
"kapitel <xref xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/> "
"fortæller mere om, har Kongressen fundet en balance for at sikre at det nye "
"er beskyttet fra det gamle.  Tvanglicenser eller lovbestemmte licenser har "
"været del af denne strategi.  Gratis brug (sådan tilfældet er for  "
"videoopptakeren) har været en anden."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men dette mønster med at beskytte nye teknologier har nu  ændret sig med "
"fremvæksten af Internet.  I stedet for at finde en balance mellem kravene "
"til ny teknologi og de legitime rettighederne til skabere af indhold, har "
"både domstolene og Kongressen introduceret juridiske restriktioner som vil "
"have som effekt at de kvæler det nye til fordel for det gamle."

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "radio on"
msgstr "radio på"

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"<placeholder type=\"indexterm\" id=\"0\"/> Det eneste ankekredsundtagelsen "
"findes i <citetitle>Foreningen for musikindustri i USA (RIAA)</citetitle> "
"mod <citetitle>Diamond Multimedia Systems</citetitle>, 180 F. 3d 1072 (9th "
"Cir. 1999).  Der konkluderede den niende ankekreds med at de som fortog "
"bærbare MP3-spillere, ikke var ansvarligt/ansvarlig for at bidrage til "
"ophavsretbrud for en enhed som var ude af stand til at tage op  eller "
"videredistribuere musik (en enhed hvis eneste kopieringsfunksjon er at gøre "
"en musikkfil som allerede befinder mig/befinder dig/befinder sig/befinder os/"
"befinder jer på brugerens harddisk, flytbart).  På regionsdomstolsnivå "
"findes det eneste undtagelsen i <citetitle>Metro-Goldwyn-Mayer Studios, Inc</"
"citetitle>. mod <citetitle>Grokster, Ltd</citetitle>., 259 F. Supp. 2d 1029 "
"(C.D.  Cal., 2003), der domstolen fandt at  koblingen mellem distributør og "
"en hvilken som helst givet bruger for  svagt til at gøre distributør "
"ansvarligt/ansvarlig for medvirkende eller vikarierende erstatning for "
"ophavsretbrud."

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

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

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
"type=\"indexterm\" id=\"3\"/> I juli 2002 introducerede for eksempel  "
"repræsentant Howard Berman <quote>Peer-to-Peer Piracy Prevention Act</quote> "
"(H.R. 5211) som villes fritage ophavsretindehavere fra erstatningsansvar for "
"skade gjort på computere når ophavsretindehaverne brugte teknologi til at "
"stoppe ophavsretbrud.  I august 2002 introducerede repræsentant Billy Tauzin "
"et lovforslag som krævede at  teknologier som var i stand  til at videre-"
"udsende digitale kopier af film udsendet/udsendt på TV (computere, med andre "
"ord) måtte respektere et <quote>kringkastingsflagg</quote> som villes slå af "
"muligheden til at kopiere indholdet.  Og i marts samme år introducerede "
"senator Fritz Hollings <quote>Consumer Broadband and Digital Television "
"Promotion Act</quote> som krævede ophavsretbeskyttelseteknologi i alle "
"digitale medium-enheder.  Se GartnerG2, <quote>Copyright and Digital "
"Medierne in a Post-Napster World,</quote> 27 . juni 2003, 33&ndash;34, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #44</"
"ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tilbakemeldingene fra domstolene har omtrent  været det samme.<placeholder "
"type=\"footnote\" id=\"0\"/> Det har været spejlet i responsen som "
"Kongressen har truet med ,  og faktisk implementeret.  Jeg vil ikke  liste "
"op alle tilbakemeldingene her.<placeholder type=\"footnote\" id=\"1\"/> Men "
"det er et eksempel som indeholder essensen af dem alle.  Dette er historie "
"om utryddelsen af Internet-radio."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "Monroe, Marilyn"
msgstr "Monroe, Marilyn"

#.  PAGE BREAK 204 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Som jeg beskrev i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"pirates\"/>, når en radiostation spiller en sang, får ikke  "
"pladeartisten betaling for <quote>radioavspillingen</quote> med mindre han "
"eller hun også er komponisten.  Dermed, hvis for eksempel Marilyn Monroe "
"havde spillet ind en version af <quote>Gratulerer med dagen</quote> &ndash; "
"for at minde om hendes berømte forestilling foran præsident Kennedy ved "
"Madison Square Gården &ndash; så vilde, hver gang pladen blev spillet på "
"radio, den aktuelle ophavsretejeren af <quote>Gratulerer med dagen</quote> "
"få lidt penge, mens Marilyn Monroe ikke villes få nogle."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Tanken bag denne balance som Kongressen fandt, giver lidt  mening. "
"Begrundelsen var at radio var en type annonsering.  Pladeartisten får dermed "
" fordel fra avspillingen af musikken, radiostationen gjorde det mere "
"sandsynligt at nogle villes købe hendes plader.  Dermed fik pladeartisten "
"noget, selv om det kun er indirekte.  Sandsynligvis har denne argumentation "
"mindre at gøre med resultatet end magten til radiostationerne.  Deres "
"lobbyister var ganske  gode til at stoppe enhver indsats som forsøgte at få "
"Kongressen til at kræve kompensationen til pladeartisterne."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så kom Internet-radio.  Som normal radio er Internet-radio en teknologi som "
"sender indhold fra en udsender til en lytter. Kringkastingen farer over "
"Internet, og ikke gennem radiospektret æter.  Dermed kan jeg <quote>pejle "
"mig ind til</quote> en Internet-radiostation i Berlin mens jeg sidder i San "
"Francisco, selv om det ikke er muligt for mig at pejle mig ind på en normal "
"radiostation på særligt større afstand end byområdet til San Francisco."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne egenskab i arkitekturen til Internet-radio betyder at det potentielt "
"er et ubegrænset antal radiostationer som en bruge kan pejle sig ind på ved "
"hjælp af sin computer, mens med den eksisterende arkitekturen for "
"kringkastingsradio er det en åpenbar begrænsning når det gælder antal "
"kringkastere og klare kringkastingsfrekvenser.  Internet-radio kan dermed  "
"blive mere konkurranseutsatt end normal radio, den kan tilbyde et bredere "
"spekter med valg.  Og i og med at det potentielle publikummer for Internet-"
"radio er hele værdet,  kan nichestationer enkelt udvikle og markedsføre sit "
"indhold til et relativt stort antal brugere over hele værdet.  Ifølge nogle "
"estimater har mere end firs millioner brugere over hele værdet koblet sig op "
"til denne nye form for radio."

#.  PAGE BREAK 205 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Internet-radio er dermed  for radio det FM var for AM.  Det er man "
"forbedring som med potentielt større betydning end FM-forbedringen havde for "
"AM, siden ikke bare er teknologien bedre, men konkurrencen er også  det.  "
"Faktisk er det en direkte parallel mellem kampen for at etablere FM-radio, "
"og kampen for at beskytte Internet-radio.  Som en forfatter beskrev Howard "
"Armstrongs kamp for at muliggjøre FM-radio:"

#.  f12. 
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
#, fuzzy
msgid "Lessing, 239."
msgstr "Lessing, 239 ."

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Det var muligt med næsten et ubegrænset antal FM-stationer på kortbølgerne, "
"som dermed afsluttede de unaturlige begrænsningerne påført radio i de "
"overbefolkede langbølgene.  Hvis FM blev udviklet frit, villes antal "
"stationer kun være begrænset af økonomi og konkurrence i stedet for tekniske "
"begrænsninger. &hellip;  Armstrong sammenlignede situationen som havde "
"vokset frem med radio, med den som opstod efter oppfinnelsen af "
"trykkepressen, da myndighederne og de styrende interesserne forsøgte at "
"kontrollere dette nye instrument for massekommunikation ved at påføre den "
"begrænsende licenser.  Dette tyranni blev knust først  efter at det blev "
"muligt for folk at frit skaffe sig trykkepresser, og frit bruge dem.  FM var "
"på denne måde en lige så fantastisk oppfinnelse som trykkepressene, da det "
"gav radio muligheden til at kvitte sig med linkene.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#.  f13. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
msgid "Ibid., 229."
msgstr "Ibid., 229 ."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Dette potentiale for FM-radio blev aldrig  realiseret &ndash; ikke  på grund "
"af at Armstrong tog fejl af teknologien, men fordi han undervurderede "
"kraften/kræfter i <quote>økonomiske interesser, vaner, sender og lovgiving</"
"quote><placeholder type=\"footnote\" id=\"0\"/> i at hæmme væksten af denne "
"konkurrerende teknologi."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Akkurat den samme påstand kan nu  fremmes om Internet-radio.  Også denne "
"gang er det ingen tekniske begrænsninger som kan begrænse antallet Internet-"
"radioer.  Den eneste begrænsningen for Internet-radio er de som bliver "
"pålagt af lovværket.  Opphavsrettsloven er en sådan lov.  Så det første "
"spørgsmålet vi bør stille er, hvilke ophavretsregler bestemmer over Internet-"
"radio?"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on radio"
msgstr "om radio"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "Internet radio hampered by"
msgstr "Internet-radio hæmmede af"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "on Internet radio fees"
msgstr "om Internet-radioafgifter"

#.  PAGE BREAK 206 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men her er magten til lobbyistene modsat. Internet-radio er en ny industri. "
"Pladeartisterne derimod har en vældig mægtig lobby, RIAA. Dermed havde "
"lobbyistene forberedt Kongressen til at vedtage en anden regel for Internet-"
"radio end skrønerne som gælder for landbasert radio, da de vurderede "
"fænomenet Internet-radio i 1995 . Mens landbasert radio ikke må, hypotetisk, "
"betale Marilyn Monroe når den, hypotetisk, spiller hendes optagelse af "
"<quote>Gratulerer med dagen</quote> på luften, <emphasis>så må Internet-"
"radio betale</emphasis>. Ikke bare er lovværket ikke nøytralt når det gælder "
"Internet-radio &ndash; lovværket belaster Internet-radio meget mere end det "
"belaster landbasert radio."

#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "CARP (Copyright Arbitration Royalty Panel)"
msgstr "CARP (Panel for opphavsrettsroyaltyvoldgift)"

#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Dette eksempel blev avledet fra afgifter fastsat i det oprindelige høringen "
"i panelet for opphavsrettsroyaltyvoldgift (Copyright Arbitration Royalty "
"Panel, CARP), og udledt fra et eksempel fremmet af professor William Fisher. "
"Konferenceforedragsamling, iLaw (Stanford), 3 . juli 2003, arkiveret hos "
"forfatteren.  Professorerne Fisher og Zittrain vidnede i CARP-høringen som "
"blev afvist til slutning.  Se Johnathan Zittrain, Digital Performance right "
"in Sound Recordings and Ephemerial Recordings, Docket No. 2000-9, CARP DTRA "
"1 og 2, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link "
"#45</ulink>.  For en udmærket analyse som fremmer et lignende argument, se "
"Randal C. Picker, <quote>Copyright as Entry Policy: The Case of Digital "
"Distribution,</quote> <citetitle>Antitrust Bulletin</citetitle> (Sommer/"
"sommer 2002): 461: <quote>Dette var ikke  forvirret, dette var gode gamle "
"spærrer for  nykommere.  Analoge radiostationer beskyttes fra  digitale "
"nykommere, og nykommere og variation reduceres.  Ja, dette gøres for at "
"skaffe royalty-betaling til ophavsretindehavere, men, uden inngripen fra "
"mægtige interesse kunne dette været gjort på en medierne-nøytral måde.</"
"quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Den finansielle belastningen er ikke  ubetydelig.  Sådan juiceprofessor "
"William Fisher ved Harvard estimerede, hvis en Internet-radiostation "
"distribuerede reklamefri populærmusik til (i gennemsnit) ti tusind lyttere, "
"tjuefire timer i døgnet, så villes de totale utbetalingene til artister som "
"denne radiostation villes skylde være over en million dollar i året."
"<placeholder type=\"footnote\" id=\"0\"/> En radiostation som udsender det "
"samme indhold villes ikke  måtte betale et tilsvarende beløb."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Byrden er ikke  kun økonomisk.  Ifølge det oprindelige forslag til skrøner, "
"måtte man Internet-radiostation (men ikke en landbasert radiostation) samle "
"ind følgende information for <emphasis>hver eneste lytter-transaktion</"
"emphasis>:"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "name of the service;"
msgstr "navn på tjenesten"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "channel of the program (AM/FM stations use station ID);"
msgstr "kanalen til programmet (AM/FM-stationer bruger stations-ID)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "type of program (archived/looped/live);"
msgstr "type program (fra arkivet / i løkke / direkte)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "date of transmission;"
msgstr "dato for sending"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "time of transmission;"
msgstr "tidspunkt for sending"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "time zone of origination of transmission;"
msgstr "tidssone til oprindelsen for sending"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid ""
"numeric designation of the place of the sound recording within the program;"
msgstr "numerisk angivelse af placering for lydopptaket i programmet"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "duration of transmission (to nearest second);"
msgstr "varigheten af sending (til nærmeste sekund)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "sound recording title;"
msgstr "lydinnspillingstittel"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "ISRC code of the recording;"
msgstr "ISRC-kode for optagelsen"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"utgivelsesår for albummet i henhold til opphavsrettsmerking, og i tilfælde "
"samlealbum, utgivelsesår for albummet og ophavsretdato for sporet"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "featured recording artist;"
msgstr "spillende pladeartist"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "retail album title;"
msgstr "titel på album i butikker"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "recording label;"
msgstr "pladeselskab"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "UPC code of the retail album;"
msgstr "UPC-koden for albummet i butikker"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "catalog number;"
msgstr "katalognummer"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "copyright owner information;"
msgstr "information om ophavsretindehaver"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "musical genre of the channel or program (station format);"
msgstr "musikgenre for kanal eller programmet (stationformat)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "name of the service or entity;"
msgstr "navn på tjenesten eller selskab"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "channel or program;"
msgstr "kanal eller program"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "date and time that the user logged in (in the user's time zone);"
msgstr "dato og klokkeslæt da brugeren loggede på (i brugerens tidssone)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "date and time that the user logged out (in the user's time zone);"
msgstr "dato og klokkeslæt da brugeren loggede ud (i brugerens tidssone)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "time zone where the signal was received (user);"
msgstr "tidssone der hen signalet blev modtaget (bruge)"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "unique user identifier;"
msgstr "unik bruger-identifikator"

#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
#, fuzzy
msgid "the country in which the user received the transmissions."
msgstr "landet til brugeren som modtog sendingerne"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Kongresbibliotekaren stoppede til slutning disse rapporteringskravene, i "
"påvente af flere undersøgelser.  Han ændrede også  de oprindelige priserne "
"sad af voldgiftspanelet som fik opgaven med at fastsætte priserne.  Men den "
"grundlæggende forskellen mellem Internet-radio og landbasert radio består: "
"Internet-radio må betale <emphasis>en slags ophavsretafgift</emphasis> som "
"landbasert radio slipper."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvorfor er det sådan?  Hvad begrunder denne forskel?  Blev det gjort nogle "
"studier af de økonomiske konsekvenserne for Internet-radio som kan forsvare "
"disse forskelle?  Var motivet at beskytte kunstnere mod piratvirksomhed?"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Real Networks"
msgstr "Real Networks"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I et sjældent oprigtigt øjeblik, indrømmet en RIAA-ekspert det som virkede "
"åbenbaret for alle på den tiden.  Dette fortalte Alex Alben, vicepræsident "
"med ansvar for offentlig politik ved Real Networks, mig:"

#.  PAGE BREAK 208 
#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"RIAA, som repræsenterede pladeselskaberne, præsenterede nogle vitnesbyrder "
"om hvad de troede en villig køber villes betale til en villig sælger, og det "
"var meget højere.  Det var ti gange højere end det radiostationer betaler "
"for at fremføre de samme sange i den samme tidsperiode.  Så advokaterne som "
"repræsenterede webcasterne spurgte RIAA, &hellip;  <quote>Hvordan kommer du "
"op med en afsæt som er så  meget højere?  Hvorfor er det værd mere end "
"radio?  Fordi her har vi hundredetusindvis af webcastere som ønsker at "
"betale, og det villes etablere markedraten, og hvis du sætter den afsættet "
"så højt , vil du tvinge de små webcasterne til at måtte give op . &hellip;</"
"quote>"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Og RIAA-eksperten svarede, <quote>Vel, vores model er ikke  for en industri "
"med tusindvis af webcastere.  <emphasis>Vi tror det bør blive en industri "
"med, du ved, fem eller syv store aktører som kan betale en høj afgift, og "
"sådan få et stabilt og forutsigbart marked.</emphasis></quote> (min "
"utheving.)"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Oversættelse: Målet er at bruge loven til at fjerne konkurrence, sådan at "
"denne platform som potentielt muliggjør massiver konkurrence, og dermed "
"fører til en eksplosion i mangfoldighed og omfang af tilgængeligt indhold, "
"ikke forårsager smerte for ældre tiders dinosaurer.  Ingen, hverken på højre "
"eller venstresiden, burde bifalde denne brug af loven.  Og alligevel er det "
"praktisk talt ingen, hverken på højre eller venstresiden, som har gjort "
"noget effektivt for at hindre det."

#. type: Content of: <book><part><chapter><section><title>
#, fuzzy
msgid "Corrupting Citizens"
msgstr "Skader borgere"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"For meget regulering knebler kreativiteten.  Den kvæler nyskabning.  Den "
"giver dinosaurer vetoret over fremtiden.  Den kaster væk den ekstraordinære "
"muligheden for en demokratisk kreativitet som digital teknologi gør muligt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"I tillæg til disse vigtige skader, så er det en til som var vigtigt for "
"vores forfædre, men som synes glemt i dag .  For meget regulering skader "
"borgerne, og svækker respekten for loven."

#.  f15. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 og Lee Rainie, <quote>The Music Downloading Deluge,</quote> "
"Pew Internet and American Life Project (24 . april 2001), tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #46</ulink>.  The Pew "
"Internet and American Life Project rapporterede at 37 millioner Amerikanere "
"havde lastet ned musikkfiler fra Internet føder starten af 2001 ."

#.  PAGE BREAK 209 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Krigen som føres i dag  er en forbudkrig.  Og som enhver forbudkrig, er den "
"rettet mod opførslen til et rigtigt stort antal borgere.  Ifølge "
"<citetitle>The New York Times</citetitle>, lastede 43 millioner amerikanere "
"ned musik i maj 2002 .<placeholder type=\"footnote\" id=\"0\"/> Ifølge RIAA "
"gør opførslen til disse 43 millionerne amerikanere dem til forbrytere.  Vi "
"har dermed  et sæt med skrøner som gør 20 procent af USA til kriminelle.  "
"Mens RIAA sagsøger ikke  bare Napsterne og Kazaaene i værdet, men studenter "
"som bygger søkemotorer, og i øgende grad normale brugere som laster ned "
"indhold, vil teknologierne for deling blive udviklet til at beskytte og "
"skjule ulovligt brug. Det er et våbenkapløb eller en borgerkrig, med "
"ekstremer på den ene siden som inviterer til en mere ekstrem respons fra den "
"andre."

#.  f16. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 Koloniseres RIAA Case,</"
"quote> <citetitle>Los Angeles Times</citetitle>, 10 . september 2003, "
"Business."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Indholdindustrien taktik udnytter fejlene i USAs juridiske systemer. Da RIAA "
"sagsøgte Jesse Jordan, vidste de at Jordan var et offerlam, og ikke en som "
"kunne forsvare sig.  Truslen om at enten måtte betale alle pengeene i værdet "
"i erstatning (15 000 000 dollar), eller næsten alle pengeene i værdet for at "
"forsvare sig mod at betale alle pengeene i værdet i erstatning (250 000 "
"dollar i advokatudgifter) fik Jordan til at vælge at betale alle pengeene "
"han havde i værdet (12 000 dollar) for at blive kvit søgsmålet.  Den samme "
"strategi driver RIAAs søgsmål mod individuelle brugere.  I september 2003 "
"sagsøgte RIAA 261 individer &ndash; inkluderet en tolv år gammel pige som "
"boede i en kommunal lejlighed, og en halvfjerds år gammel dame som ikke "
"havde noget idé om hvad fildeling var.<placeholder type=\"footnote\" "
"id=\"0\"/> Som disse offerlam opdagede, vil det altid koste mere at forsvare "
"sig mod disse søgsmål end det vil koste at ganske enkelt indgå forlig.  "
"(Tolvårige, for eksempel, betalte på samme måde som Jesse Jordan, sine 2 000 "
"dollar i sparepenger for at indgå forlig.)  Vores retsystem er et grusomt "
"system for dem som skal forsvare sine rettigheder.  Det sætter vores "
"tradition i forlegenhet.  Og konsekvensen er at vores retsystem gør det "
"muligt for dem med magt at udnytte domstolene til at knuse enhver rettighed "
"de er imod."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "alcohol prohibition"
msgstr "alkoholforbud"

#.  f17. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 og Jeffrey Zwiebel, <quote>Alcohol Consumption During "
"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. "
"2 (1991): 242 ."

#.  f18. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 narkotikakontrolpolitik: Høring foran Kongressens komite for "
"myndighedreform, 108 . Kongres, 1 . session. (5 . marts 2003) (udtalelse fra "
"John P. Walters, direktør for National narkotikakontrolpolitik)."

#.  f19. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se James Andreoni, Brian Erard, og Jonathon Feinstein, <quote>Tax Compliance,"
"</quote> <citetitle>Journal of Economic Literature</citetitle> 36 (1998): "
"818 (oversigt over litteratur om brug i henhold til lovværket)."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Forbudkrige er ikke  noget nyt i USA.  Denne er bare noget mere ekstrem end "
"nogle andet vi har set tidligere .  Vi eksperimenterede med alkoholforbud, i "
"en periode da alkoholforbrug pr. person var 5.7 lid pr. person pr. år.  "
"Krigen mod drikking reducerede i starten det forbruget til bare 30 procent "
"af niveauet føder forbuddet blev introduceret, men på slutningen af "
"forbudstiden var forbruget kommet op til 70 procent af oprindeligt niveau.  "
"Amerikanere drak akkurat  lige så meget som før, men nu var en stor andel af "
"dem kriminelle.<placeholder type=\"footnote\" id=\"0\"/> Vi har sat i gang  "
"en krig mod narkotika med mål om at reducere forbruget af kontrollerede "
"rusmidler som 7 procent (eller 16 millioner) Amerikanere nu bruger."
"<placeholder type=\"footnote\" id=\"1\"/> Dette er en reduktion fra toppen i "
"1979 med 14 procent af befolkningen.  Vi regulerer biler til et niveau der "
"det store flertal af amerikanere bryder loven hver dag.  Vi har et så "
"komplekst skatsystem at flertallet af kontantbaserte bedrifter narrer "
"regelmæssigt.<placeholder type=\"footnote\" id=\"2\"/> Vi er stolte over at "
"leve i et <quote>frit samfund,</quote> men en endeløs række af normale "
"opførsler er reguleret i vores samfund.  Som et resultat bryder en stor "
"andel af amerikanere regelmæssigt en eller anden lov."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "law schools"
msgstr "Jusstudier"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne situation er ikke  helt uden konsekvenser.  Det er et specielt "
"fremtrædende tema for lærere som mig, som har som job at lære juices-"
"studenter om vigtigheden af <quote>etik.</quote>  Som min kollega Charlie "
"Nesson fortalte en klasse på Stanford, tager juicestudierne ind tusindvis af "
"studenter hvert år som har lastet ned musik ulovligt, ulovligt brugt alkohol "
"og nogle gange narkotika, arbejdede ulovligt uden at betale skat, og kørt "
"ulovligt.  Dette er unger der det at opføre sig i strid med loven i stadigt "
"større grad er normen. Og så skal vi, som juiceprofessorer, lære dem at "
"opføre sig etisk &ndash; hvordan si nej til bestikkelser, til at holde "
"strengt skille mellem egen og klienters penge, eller støtte et krav om at "
"udlevere et dokument som betyder at deres sag er over.  Generationer af "
"amerikanere &ndash; mere betydeligt i nogle deler af USA end andre, men "
"likefullt over hele USA i dag &ndash; kan ikke  leve sit liv både normalt og "
"lovlydigt, siden <quote>normalt</quote> indebærer en vis grad af lovbrud."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Svaret på denne generelle lovløsheten er enten at håndhæve lovværket "
"strengere, eller at ændre loven.  Vi som samfund må lære hvordan vi gør det "
"valget mere rasjonelt.  Hvorvidt en lov giver mening er afhængigt af, delvis "
"i hvert fald, hvorvidt omkostningen til loven, både tiltænkt og utilsigtet, "
"vejer mere end fordelene.  Hvis omkostningen, tiltænkt og utilsigtet, vejer "
"mere end fordelene, da bør loven ændres. Alternativt, hvis omkostningen til "
"det eksisterende systemer er meget større end omkostningen til et "
"alternativ, da har vi en god grund til at vurdere alternativet."

#.  PAGE BREAK 211 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"mit Pointe er ikke  det idiotiske: Bare fordi folk bryder en lov bør vi "
"afskaffe den.  Vi kunne naturligvis  reducere mordstatistikken dramatisk ved "
"at gøre mord lovligt på onsdage og fredage.  Men det giver overhovedet  ikke "
"mening, da mord er galt hver eneste dag i ugen.  Et samfund gør ret  i at "
"altid bandlyse mord overalt."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"mit Pointe er i stedet  et som demokratier har forstået i generationer, men "
"som vi nylig har lært at glemme.  Respekt for loven er afhængig af at folk "
"følger loven.  Jo oftere og des flere gange vi som borgere erfarer at bryde "
"loven, jo mindre respekterer vi loven. I de fleste tilfælde er åbenbaret det "
"vigtige temaet loven, og ikke respekt for loven.  Jeg generer mig ikke om en "
"voldtektsmann respekterer loven eller ikke.  Jeg ønsker at han fanges og "
"bures inde .  Men jeg generer mig om hvorvidt mine studenter respekterer "
"loven.  Og jeg generer mig hvis lovværket sår øgende respektmangel på grund "
"af de ekstreme reguleringene de påfører.  Tyve millioner amerikanere har "
"vokset til siden Internet introducerede denne nye idéen om <quote>deling.</"
"quote>  Vi må være i stand  til at kalde disse tyve millionerne amerikanere "
"<quote>borgere,</quote> ikke <quote>forbrytere.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Når mindst førtitre millioner indbyggere laster ned indhold fra Internet, og "
"når de bruger værktøj for at kombinere det indholdet på måder som ikke er "
"autoriseret af ophavsretindehaverne, så er ikke  det første spørgsmålet vi "
"bør stille hvordan vi bedst involverer FBI. Det første spørgsmålet bør være "
"hvorvidt  dette spesifikke forbuddet virkeligt er nødvendigt for at opnå det "
"fornuftige målet som ophavsreten sigter mod.  Er det en anden måde at sikre "
"at kunstnere får betalt uden at gøre førtitre millioner amerikanere til "
"forbrytere? Gear det mening hvis det findes andre måder at sikre at "
"kunstnere får betalt uden at gøre USA til en nation af forbrytere?"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid "This abstract point can be made more clear with a particular example."
msgstr "Dette abstrakte pointen kan gøres klarere med et bestemt eksempel."

#.  PAGE BREAK 212 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Vi ejer alle CD-er.  Mange af os ejer fortsat  musikplader.  Disse "
"plastikkbitene koder musik som vi i en vis forstand har købt. Retvæsenet "
"beskytter vores ret til at købe og sælge denne plastic. Det er ikke  at "
"skælde ophavsreten hvis jeg sælger alle mine klassiske plader hos en "
"bruktplatehandel, og køber jazzplader for at erstatte dem.  Det er frit frem "
"for denne <quote>brug</quote> af pladerne."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Men som MP3-manien har demonstreret, er det en anden brug af musikplader som "
"også effektivt set er frit frem.  Da disse plader blev fortaget uden "
"kopieringsbeskyttelsesteknologier, står jeg <quote>frit</quote> til at "
"kopiere, eller <quote>rippe</quote> musik fra mine plader ind til en "
"computerharddisk.  Faktisk gik Apple Corporation så langt at de foreslog at "
"denne <quote>frihed</quote> var en rettighed: I en serie reklamefilm gik "
"Apple god for  <quote>rip, miks, brænd</quote>-mulighederne til digitale "
"teknologier."

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

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "mix technology and"
msgstr "mikseteknologi og"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne <quote>brug</quote> af mine plader er helt klart værdifuld. Jeg har "
"begyndt en stor proces hjemme for at rippe (kopiere) alle mine og min kones "
"CD-er, og lagrer dem i et arkiv.  Dermed kan vi, ved hjælp af iTunes fra "
"Apple, eller et praktfullt program ved navn Andromeda, bygge forskellige "
"spillelister for vores musik: Bach, Barok, Kærlighedsange, Kærlighedsange "
"til vores kære &ndash; potentialet er uendelig.  Og ved at reducere "
"omkostningen med at fortage spillelister, har dirre teknologierne hjulpet "
"til med at bygge en kreativitet rundt spillelister som uafhængigt af dette "
"er værdifuld i sig selv.  Samlinger af sange er kreative og meningsfylte på "
"egen hånd."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Denne brug er muliggjort af ubeskyttede medierne &ndash; enten CD-er eller "
"plader.  Men ubeskyttede medier muliggjør også fildeling. Fildeling truer "
"(eller det tror i hvert fald indholdindustrien) muligheden skaberne har til "
"en rimelig indkomst fra sin kreativitet. Og dermed begynder mange at "
"eksperimentere med teknologier som fjerner ubeskyttede medier.  Disse "
"teknologier villes, for eksempel, gøre det muligt at CD-er ikke  kan rippes. "
" Eller de kan gøre det muligt for spionprogrammer at identificere rippet "
"indhold på folks maskiner."

#.  PAGE BREAK 213 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis disse teknologier tog af, så villes bygning af store arkiver med egen "
"musik blive ganske  vanskeligt.  Du kan hænge i hacker-miljøer og få tage i "
"teknologi som kobler ud teknologierne som beskytter indholdet.  Å sælge og "
"købe sådanne teknologier er forbudt, men måske det ikke generer dig så "
"meget.  Uanset vil dirre beskyttelseteknologierne for de fleste folk "
"effektivt set ødelægge mulighed for at arkivere CD-er.  Teknologien villes "
"med andre ord tvinge os alle tilbage til en værdet der vi enten hører på "
"musik ved at rode med plastbiter, eller er del af et stort komplekst "
"<quote>digitalt rettighedstyringsystem.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Hvis den eneste måden at sikre at kunstnere fik betalt var at fjerne al "
"mulighed til at frit flytte indhold, så villes disse teknologier som griber "
"ind i friheden til at flytte indhold kunne forsvares.  Men hvad hvis det "
"findes en anden måde at sikre at kunstnere fik betalt, uden at låse ned "
"ethvert indhold?  Med andre ord, hvad om et andet system kunne sikre "
"kompensation til kunstnere som også beholdt friheden til at enkelt flytte "
"indhold?"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Mit pointe nu er ikke  at bevise at det eksisterer et sådant system. Jeg "
"lægger frem en version af et sådant system i det sidste kapitlet i denne "
"bog.  Nu er det eneste pointen et relativt ukontroversielt et: Hvis et andet "
"system opnåede samme legitime mål som det eksisterende ophavsretsystemet "
"opnår, men gav forbrukere og skabere meget mere frihed, så villes vi have en "
"vældig god grund til at forfølge dette alternativ &ndash; nemlig frihed.  "
"Valget, med andre ord, villes ikke  være mellem proprietær eller "
"piratvirksomhed.  Valget villes være mellem forskellige proprietære systemer "
"og frihederne hver af dem tillader."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Jeg tror det findes en måde at sikre at kunstnere får betalt uden at gøre "
"forbrytere af førtitre millioner amerikanere.  Men den fremtrædende "
"egenskaben til dette alternativ er at det vil føre til et stort anderledes "
"marked for at producere og distribuere kreativitet. De få dominerende "
"aktørerne, som i dag kontrollerer det aller meste af distributionen af "
"indhold i værdet, villes ikke  længere udøve denne ekstreme kontrol.  I "
"stedet villes det gå med dem som med hestekjerrene."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er bare  det at denne generations kærreproducenter allerede har salet op "
"Kongressen og rider retvæsenet for at beskytte sig selv mod denne nye form "
"for konkurrence.  For dem er valget mellem førtitre millioner amerikanere "
"som kriminelle og deres egen overlevelse."

#.  PAGE BREAK 214 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Det er forståeligt hvorfor de vælger som de gør.  Det er ikke  forståeligt "
"hvorfor vi som demokrati fortsætter at vælge som vi gør. Jack Valenti er "
"charmerende, men ikke så charmerende at det begrunder at give slip på en "
"tradition så dyb og vigtigt som vores tradition for fri kultur."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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'>Det er et andet</emphasis> aspekt ved denne skade "
"som er specielt  vigtigt for borgerrettigheder, og som følger direkte fra "
"enhver forbudkrig.  Som advokat Fred von Lohmann i Elektronisk Forpost-"
"stiftelsen beskriver det, dette er den <quote>utilsigtede skaden</quote> som "
"<quote>opstår hver gang en gør en stor andel af befolkningen til kriminelle."
"</quote>  Dette er den utilsigtede skaden til borgerrettighederne generelt."

#. type: Content of: <book><part><chapter><section><indexterm><primary>
#, fuzzy
msgid "von Lohmann, Fred"
msgstr "håb Lohmann, Fred"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
msgid ""
"<quote>If you can treat someone as a putative lawbreaker,</quote> von "
"Lohmann explains,"
msgstr ""
"<quote>Hvis du kan behandle nogle som en antaget lovbryter,</quote> "
"forklarer von Lohmann:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Så afdamper pludseligt en række grundlæggende rettigheder for "
"borgerbeskyttelse helt eller delvis.  &hellip;  Hvis du bryder ophavsreten, "
"hvordan kan du håbe på ret til værn af privatsfæren? Hvis du bryder "
"ophavsreten, hvordan kan du håbe at være tryg mod beslag af din computer?  "
"Hvordan kan du håbe på at fortsat have Internet-tilgang?  &hellip;  Vår "
"følsomhet ændres så snart  vi tænker, <quote>åh, vel, den personen er en "
"kriminel, en lovbryter.</quote> Vel, det denne kampagne mod fildeling har "
"gjort er at gøre en bemerkelsesverdig procentandel af USAs Internet-brugende "
"befolkning til <quote>lovbrytere.</quote>"

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Konsekvensen af denne transformeringen af det amerikanske folket til "
"kriminelle er at det bliver trivielt, i tråd med god retpraksis, og "
"effektivt set tage væk meget af personværnet som de fleste tager for givet."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Brugere på Internet begyndte at se dette generelt i 2003 da RIAA lancerede "
"sin kampagne for at tvinge Internet-leverandører til at overlevere navnene "
"på kunderne som RIAA troede brød opphavsrettsloven. Verizon kæmpede mod "
"dette krav og tabte.  Men en enkel forespørgsel til en domme, og uden at "
"give besked til kunden i det hele taget, bliver identiteten til en Internet-"
"bruger afsløret."

#.  f20. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 <quote>Stealing</quote>; 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 ""
"Se 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 Puld Plug on File <quote>Stealing</quote>; "
"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>
#, fuzzy
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 ""
"RIAA udvidede så  denne kampagne ved at annoncere en generel strategi om at "
"sagsøge individuelle brugere af Internet som bliver anklaget for at have "
"lastet ned opphavsrettsbeskyttet musik fra fildelingssystemer. Men som vi "
"har set er de potentielle skaderne fra sådanne søgsmål astronomiske: Hvis en "
"families computer bliver brugt til at laste ned musik tilsvarende en enkelt "
"CD, så kan familien risikere at måtte betale 2 millioner dollar i "
"erstatning.  Dette stoppede ikke  RIAA fra at sagsøge et antal af disse "
"familier, på samme måde som de havde sagsøgt Jesse Jordan.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><section><indexterm><secondary>
#, fuzzy
msgid "recording industry tracking users of"
msgstr "indspilningindustrien sporing af brugerne til"

#.  f21. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 ""
"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
"Ærefrygt,</quote> tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #49</ulink>."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Selv dette undervurderer spioneringen som bliver gennemført af RIAA. I en "
"rapport fra CNN sent sidst sommer beskriver en strategi som RIAA har "
"adopteret for at spore Napster-brugere.<placeholder type=\"footnote\" "
"id=\"0\"/> Ved at bruge en sofistikert hashings-algoritme tog RIAA det som "
"effektivt set er et fingeraftryk af hver eneste sang i Napster-katalogen.  "
"Enhver kopi af disse MP3-ene vil have samme <quote>fingeraftryk.</quote>"

#.  f22. 
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, fuzzy
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 "
"<quote>Rip, Mix, Burn</quote> 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 ""
"Se Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</"
"quote> <citetitle>Boston Globe</citetitle>, 18 . maj 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 "
"<quote>Rids, Mix, Burn</quote> at Their Own Risiko,</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 . juli 2003, 1C; Beth Cox, "
"<quote>RIAA Trains Antipiracy Gun on Universities,</quote> "
"<citetitle>Internet News</citetitle>, 30 . januar 2003, tilgængeligt fra "
"<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, Farvers Are Weapons at Universities,</quote> <citetitle>USA "
"Today</citetitle>, 26 . september 2000, 3D."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Så se for dig det følgende ikke usannsynlige scenariet: Tænk at en ven giver "
"en CD til din datter &ndash; en samling med sange lig de kassettebåndene du "
"fortog som barn.  Hverken du eller din datter ved hvor disse sange kom fra . "
" Men hun kopierer disse sange ind på sin computer, og tager så  maskinen med "
"sig til universitetet og kobler den på universitetnetværket.  Hvis "
"universitetnettet <quote>samarbejder</quote> med RIAAs spionering, og hun "
"ikke har beskyttet sit indhold på rigtigt vis (ved du selv hvordan du gør "
"dette?), så vil RIAA kunne identificere din datter som en <quote>kriminel.</"
"quote>  Og i henhold til de skrønerne som universiteter er i gang  med at "
"rulle ud,<placeholder type=\"footnote\" id=\"0\"/> så kan din datter miste "
"retten til at bruge universitetets datanetværk.  Hun kan i nogle tilfælde "
"blive udvist."

#.  PAGE BREAK 216 
#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Nu har hun selvfølgelig ret til at forsvare sig selv.  Du kan lede ind en "
"advokat til hende (til 300 dollar per time, hvis du er heldig), og hun kan "
"hævde at hun ikke vidste nogle ting om hvor sangene kom fra , eller at de "
"kom fra  Napster.  Og det kan godt  hænde at universitetet tror hende.  Men "
"det kan også  godt hænde at universitetet ikke tror hende.  Og som et antal "
"universitetstudenter allerede har lært, forsvinder vores antagelse om at "
"være uskyldigt indtil det modsatte er bevist når man er midt i en "
"forbudkrig.  Denne krig er ikke  anderledes.  Som håb Lohmann siger det:"

#. type: Content of: <book><part><chapter><section><blockquote><para>
#, fuzzy
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 ""
"Når vi snakker om tal som fyrre til tres millioner amerikanere som i "
"essensen bryder ophavsreten, så skaber du en situation der hen "
"borgerrettighederne til disse folk i praksis står i fare for at forsvinde.  "
"[Jeg] tror [ikke det findes nogle] tilsvarende tilfælde hvor du kan vælge en "
"tilfældig person på gaden og være tryg på at de har brudt loven på en måde "
"som gør at de risikerer straffedom, eller at måtte betale millioner af "
"dollar i civil erstatning.  Vi kører alle for hurtigt, men at køre for  "
"hurtigt er ikke  den type handlinger hvor vi på rutine fratager folk "
"borgerrettigheder.  Nogle folk bruger narkotika, og jeg tror det er den "
"nærmeste analogien, [men] mange har kommenteret at krigen mod narkotika har "
"raderet væk alle vores borgerrettigheder på grund af at det behandler så  "
"mange amerikanere som kriminelle.  Jeg tror det er rimeligt at sige at "
"fildeling gælder en størrelseorden flere amerikanere end brug af narkotika. "
"&hellip;  Hvis fyrre til tres millioner amerikanere har blevet lovbrytere, "
"da er vi på glatisen der hen borgerrettighederne for alle disse fyrre til "
"tres personerne kan smutte væk."

#. type: Content of: <book><part><chapter><section><para>
#, fuzzy
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 ""
"Når fyrre til tres millioner amerikanere ifølge retvæsenet anses som "
"<quote>kriminelle,</quote> og når loven kunne opnå det samme mål &ndash; "
"sikre rettigheder til forfattere &ndash; uden at disse millioner anses at "
"være <quote>kriminelle,</quote> hvem er det da som er skurken?  Amerikanerne "
"eller loven?  Hvad er amerikansk, en konstant krig mod vores eget folk, "
"eller en fælles indsats i vores demokrati for at ændre vores lov?"

#. type: Content of: <book><part><title>
#, fuzzy
msgid "Balances"
msgstr "Maktfordeling"

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Så her</emphasis> er billedet: Du står på siden af "
"vejen. din Bil står i brand. Du er sur og oprøret fordi du delvis bidrog til "
"at starte branden. Nu ved du ikke hvordan du slukker den.  Ved siden af dig "
"er en bøtte, befolket med benzin. Benzin vil åbenbaret ikke  slukke branden."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Mens du tænker over situationen, kommer nogle andre forbi.  I panik griber "
"hun bøtten, og før du har haft chancen til at bede hende stoppe &ndash; "
"eller før hun forstår hvorfor  hun bør stoppe &ndash; er bøtten i svævede.  "
"Benzinen er på tur mod den brændende bilen, og branden, som benzinen kommer "
"til at fyre op , vil straks  sætte fyr på alt i omgivelserne."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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'>En krig</emphasis> om ophavsret pågår over alt "
"&ndash; og vi fokuserer alle på forkerte ting.  Det er ingen tvivl om at "
"dagens teknologier truer eksisterende virksomheder.  Uden tvivl kan de true "
"artister.  Men teknologier ændrer sig.  Industrien og teknologer har en "
"række tilpasser at bruge teknologi til at beskytte dem selv mod dagens "
"trusler på Internet.  Dette er en brand som overladet til sig selv vil "
"brænde ud."

#.  PAGE BREAK 219 
#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Alligevel er ikke  beslutningstagere villigt til at lade denne brand i fred. "
" Lod med masse penge fra lobbyister er de lystne på at gå imellem for at "
"fjerne problemet sådan de opfatter det.  Men problemet sådan de opfatter det "
"er ikke  den reelle truslen som vores kultur står med ansigtet mod.  For "
"mens vi ser på denne lille brand i hjørnet, er det en massiv ændring i "
"hvordan kultur bliver skabt som foregår over alt. "

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"På en eller anden måde må vi klare at skrue opmærksomheden mod dette mere "
"vigtige og fundamentale problemet.  Vi må finde en måde at undgå at hælde "
"benzin på denne brand."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Vi har ikke  fundet denne måde endnu.  I stedet synes vi at være fanget i en "
"enklere sort-hvidt-tenkning.  Uanset hvor mange folk som presser på for at "
"gøre labben for debatten lidt bredere, er det dette enkle sort-hvidt-synet "
"som består.  Vi kører stille forbi, og stirrer på branden når vi i stedet "
"burde holde øjnene på vejen."

#. type: Content of: <book><part><partintro><para>
#, fuzzy
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 ""
"Denne udfordring har været mit liv de sidste årene.  Det har også  været min "
"svipser.  I de to næste kapitler, beskriver jeg en lille indsats, så langt "
"uden succes, på at finde en måde at ændre fokus på denne debat.  Vi må "
"forstå disse mislykkede forsøg hvis vi skal forstå hvad  som kræves for at "
"lykkedes."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Thirteen: Eldred"
msgstr "Kapitel tretten: Eldred"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Eldred, Eric"
msgstr "Eldred, Eric"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Hawthorne, Nathaniel"
msgstr "Hawthorne, Nathaniel"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<emphasis role='strong'>I 1995</emphasis> var en far frustreret over at hans "
"døtre ikke syntes at kunnelide Hawthorne.  Det eksisterede uden tvivl mere "
"end en sådan far, men i hvert fald en gjorde noget med det.  Eric Eldred, en "
"pensioneret dataprogrammerer som boede i New Hampshire, bestemte sig for at "
"putte Hawthorne på nettet.  En elektronisk version, tænkte Eldred, med links "
"til billeder og forklarende tekst, villes gøre denne nittenhundretallets "
"forfatters værk mere levende."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "of public-domain literature"
msgstr "af allemannseid litteratur"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "library of works derived from"
msgstr "bibliotek af værk avledet fra"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det virkede ikke  &ndash; i hvert fald ikke på hans døtre.  De fandt ikke  "
"Hawthorne noget mere interessant end tidligere.  Men Eldreds eksperiment gav "
"ophavet til en hobby, og hans hobby gav ophav til et kald: Eldred villes "
"fortage et bibliotek over værk i det fri ved at scanne disse og gøre dem "
"gratis tilgængeligt."

#.  PAGE BREAK 221 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Biblioteket til Eldred var ikke  bare en kopi af visse/vise værk i det fri, "
"selv om en kopi villes været af stor værdi for folk rundt om i værdet som "
"ikke kan få tilgang til papirudgaver af disse værker.  I stedet fortog "
"Eldred avledede værk fra disse allemannseide værkerne.  På samme måde som "
"Disney gjorde Grimm om til historie som var mere tilgængelige i det tyvende "
"århundredet, gjorde Eldred om på Hawthorne og mange anden, til noget mere "
"tilgængeligt &ndash; teknisk tilgængeligt &ndash; i dag."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Scarlet Letter, The (Hawthorne)"
msgstr "Scarlet Letter, The (Hawthorne)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Eldreds frihed til at gøre dette med Hawthornes værk kom fra samme kilde som "
"Disneys.  Hawthornes <citetitle>Scarlet Farver</citetitle> havde henhørt i "
"det fri i 1907 .  Alle havde frihed til at tage det uden tilladelse fra boet "
"efter Hawthorne eller nogle andre.  Nogle, sådan som Dover Press og Penguin "
"Classics, tager værk som er henhørt i det fri, og fortager papirudgaver som "
"de sælger i boghandler rundt om i landet. Andre, sådan som Disney, tager "
"disse historie og gør dem om til tegnefilmer.  Nogle gange med succes "
"(<citetitle>Askepott</citetitle>), og nogle gange uden (<citetitle>Ringeren "
"i Notre Dame</citetitle>, <citetitle>Treasure Planede</citetitle>).  Alle "
"disse er kommercielle publiseringer af værk i det fri."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "pornography"
msgstr "pornografi"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/> Det er en parallel her til "
"pornografi som er lidt  vanskeligt at beskrive, men som er rigtigt stærk.  "
"Et fænomen som Internet skabte var en værdet af ikke-kommerciel pornografi "
"&ndash; folk som distribuerede porno men som ikke tjente penge direkte eller "
"indirekte fra denne distribution. Noget sådant eksisterede ikke før Internet "
"dukket op , på grund af at omkostningen med at distribuere porno var så  "
"høj.  Alligevel fik denne nye klasse af distributører speciel opmærksomhed "
"fra Højesteret, da retten slog ned på Anstændig Kommunikations-loven fra "
"1996 .  Det var delvis  på grund af byrden på ikke-kommercielle talere at "
"loven blev fundet at gå ud over Kongressens myndighed.  Det samme pointe kan "
"siges at gælde for ikke-kommercielle utgivere efter at Internet dukkede op . "
" Alle Eric Eldred-ene i værdet føder Internettet var ekstremt få. Alligevel "
"skulle en tro at det er mindst  lige så vigtigt at beskytte alle Eldred-ene "
"i værdet som det er at beskytte ikke -kommercielle pornografer."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 skabte muligheden for ikke-kommerciel publisering af værk i det "
"fri.  Eldreds publisering er bare  et eksempel.  Det findes bogstaveligt "
"talt tusindvis andre.  Hundredetusindvis rundt om i værdet har opdaget denne "
"platform for at udtrykke sig, og bruge den til at dele værker som, i henhold "
"til loven, kan tages frit.  Dette har skabt det vi kan kalde den <quote>ikke-"
"kommercielle forlagindustrien,</quote> hvilket føder Internet var begrænset "
"til folk med store egoer, eller med politiske eller sociale kald.  Men med "
"Internet inkluderer det en lang række med individer og grupper som er "
"dedikeret til at brede kultur generelt.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Frost, Robert"
msgstr "Frost, Robert"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "New Hampshire (Frost)"
msgstr "New Hampshire (Frost)"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som jeg sagde, bor Eldred i New Hapshire.  I 1998 skulle digtsamlingen "
"<citetitle>New Hampshire</citetitle> af Robert Frost henhøre i det fri. "
"Eldred ønskede at publicere denne samling i sit frit og offentligt "
"tilgængelige biblioteker.  Men Kongressen kom i vejen.  Som jeg beskrev i "
"kapitel <xref xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, "
"udvidede Kongressen for ellevte gang på fyrre år, vernetiden for "
"eksisterende ophavsreter &ndash; denne gang med tyve år.  Eldred villes ikke "
" stå frit til at lægge ind værk nyere end 1923 til sin samling før 2019 .  "
"Faktisk vil ikke  et eneste opphavsrettsbeskyttet værk henhøre i det fri før "
"det året (og ikke en gang da, hvis Kongressen udvider vernetiden igen).  Som "
"kontrast villes mere end en million patenter henhøre i det fri i samme "
"periode."

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Bono, Mary"
msgstr "Bono, Mary"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Bono, Sonny"
msgstr "Bono, Sonny"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
#, fuzzy
msgid "perpetual copyright term proposed by"
msgstr "uendeligt opphavsrettsvernetid foreslet af"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> 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\"/> <placeholder type=\"indexterm\" id=\"2\"/> Hele teksten er: "
"<quote>Sonny [Bono] ønskede at vernetiden i ophavsreten skulle vare evigt.  "
"Jeg er informeret af beskæftigede at en sådan ændring villes være i strid "
"med Grunnloven.  Jeg inviterer jer alle til at arbejde sammen med mig for at "
"vores styrke opphavsrettslover på alle måder som er tilgængeligt for os.  "
"Som I ved, er det også et forslag fra Jack Valenti om en vernetid som varer "
"evigt minus en dag.  Måske komiteen kan se på i næste periode.</quote> 144 "
"Kongr. Ref. H9946, 9951-2 (7 . oktober 1998)."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette var Sonny Bono udvidelse af Loven om  vernetiden for ophavsret (CTEA), "
"lagt frem til minde om kongresrepræsentant og tidligere musiker Sonny Bony, "
"som ifølge hans enke Mari Bony mente at <quote>ophavsreten bør vare evigt.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "felony punishment for infringement of"
msgstr "forbryterstraff for krenkelse af"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "NET (No Electronic Theft) Act (1998)"
msgstr "NET(Nejer til Elektronisk Tyveri)-loven (1998)"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "No Electronic Theft (NET) Act (1998)"
msgstr "Nej til Elektronisk Tyveri(NET)-loven (1998)"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "felony punishments for"
msgstr "forbryterstraff for"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 bestemte sig for at sloges mod denne lov.  Han valgte først  at "
"bekæmpe den gennem civil ulydighet.  I en serie interviewer annoncerede "
"Eldred at han kom til at publicere som planlagt, på trods af CTEA.  Men på "
"grund af en anden lov som blev vedtaget i 1998, NET-loven (Nej til "
"Elektronisk Tyveri), så villes det at publicere gøre Eldred til en kriminel "
"&ndash; uanset om nogle protesterer eller ikke.  Dette var en farlig "
"strategi at gennemføre for en handicappet programmerer."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "constitutional powers of"
msgstr "konstitusjonell magt til"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "Eldred case involvement of"
msgstr "Eldred-sagen involvering til"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var her  jeg blev involveret i Eldreds kamp.  Jeg var en grundlovforsker "
"hvis første lidenskab var grundlovtolkning.  Og selv om grundlovkurserne "
"aldrig fokuserer på <quote>Fremskridtbestemmelsen</quote> af Grunnloven, så "
"har det altid slået mig at forskellen er vigtig.  Som du ved siger "
"Grunnloven følgende,"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Kongressen har myndighed til at fremme udviklingen af videnskab&hellip; ved "
"at sikre forfattere, i et begrænset tidsrum, &hellip; eksklusive rettigheder "
"til sine &hellip; skrifter. &hellip;"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som jeg har beskrevet, er denne bestemmelse unik indenfor bestemmelserne som "
"deler ud myndighed i artikel I, sektion 8, af Grunnloven vores.  Alle de "
"andre bestemmelser deler ud myndighed til Kongressen ved at ganske enkelt "
"sige at Kongressen har myndighed til at gøre noget &ndash; for eksempel til "
"at regulere <quote>handel mellem flere stater</quote> eller <quote>erklære "
"krig.</quote>  Men her er dette <quote>noget</quote> ganske spesifikt "
"&ndash; at <quote>fremme udviklingen</quote> &ndash; gennem virkemidler som "
"også er ganske  spesifikke &ndash; ved at <quote>sikre</quote> "
"<quote>eksklusive rettigheder</quote> (det vil sige ophavsreten) <quote>i et "
"begrænset tidsrum.</quote>"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Jaszi, Peter"
msgstr "Jaszi, Peter"

#.  PAGE BREAK 223 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I de sidste fyrre årene har Kongressen lagt sig på en praksis med at udvide "
"eksisterende vernetid i ophavsreten.  Det som gav mig hodebry var at  hvis "
"Kongressen havde myndighed til at udvide eksisterende vernetid, da villes "
"Grunnlovens krav om at vernetiden skulle være <quote>begrænset</quote>, ikke "
"have nogle praktisk effekt.  Hvis Kongressen havde myndighed til at udvide "
"vernetiden, hver gang vernetiden holder på at gå ud, så kunne Kongressen "
"opnå det Grunnloven tydelig forbyder &ndash; evigvarende vernetid <quote>på "
"avbetaling,</quote> som professor Peter Jaszi så pænt formulerede det."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som akademiker var min første reaktion at rette mig mod bøgerne.  Jeg husker "
"at jeg sad på kontoret en aften og søgte gennem netdatabaser efter enhver "
"seriøs vurdering af spørgsmålet.  Ingen havde nogensinde  udfordret "
"Kongressens praksis med at udvide eksisterende verneperioder.  Den fejlen "
"kan være dele af årsagen til at Kongressen virkede så  ubekymret i sin "
"praksis, det, og det faktum at denne praksis havde blevet så  lukrativ for "
"Kongressen.  Kongressen ved at ophavsretejere vil være villigt til at betale "
"meget penge for at se udvidelser i vernetiden for ophavsreten.  Og dermed er "
"Kongressen ganske fornøjet med at fortsat kunne få disse farve pige pengeene."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For dette er kernen i korruptionen af vores nuværende styringsystem.  "
"<quote>Korruption</quote> ikke i den forstand at repræsentanter bliver "
"bestukket, men i stedet <quote>korruption</quote> på den måden at systemet "
"lægger op til at de som har fordele af det som gøres i Kongressen, skal "
"skaffe og give penge til Kongressen for at lægge op til at bestemte ting "
"bliver gjort.  Det er begrænset med tid, og det er så  meget Kongressen kan "
"gøre.  Hvorfor ikke begrænse det den gør til de tingene den må gøre &ndash; "
"og de tingene som betaler sig? Å udvide vernetiden i ophavsreten betaler sig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvis det ikke er åbenbaret for dig, vurder følgende: Lad os sige at du er en "
"af de heldige få ophavsretejerne hvis ophavsret fortsætter at skaffe penge "
"et hundrede år efter at den blev tildelt.  Boet efter Robert Frost er et "
"godt eksempel.  Frost døde i 1963 .  Hans poesi fortsætter at være vældig  "
"værdifuld.  Dermed har rettighetshaverne efter Robert Frost store fordele af "
"en udvidelse af ophavsreten, siden ingen utgiver villes betale arvingerne "
"penge hvis digtene Frost har skrevet kunne gives gratis ud af enhver."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Tænk dig så at rettighetshaverne efter Robert Frost tjener 100 000 dollar "
"hvert år fra tre af digtene til Frost.  Og forestill dig så at disse digte "
"snart henhører i det fri.  Du sidder i styret for boet efter Robert Frost.  "
"Din økonomirådgiver kommer til styremødet med en rigtigt dyster rapport:"

#.  PAGE BREAK 224 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Næste år,</quote> kundgør rådgiveren, <quote>vil værkerne A, B og C "
"henhøre i det fri.  Det betyder at  efter næste år vil vi ikke længere "
"modtage den årlige vederlagchecken på 100 000 dollar fra utgiverne af disse "
"værker.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Men det er et forslag i Kongressen,</quote> fortsætter hun, "
"<quote>som kan ændre dette.  Nogle kongresrepræsentanter har lanceret et "
"lovforslag om at udvide vernetiden i ophavsreten med tyve år.  Det forslaget "
"vil være ekstremt værdifuldt for os.  Så vi bør håbe at den loven bliver "
"vedtaget.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing "
"something about it?</quote>"
msgstr ""
"<quote>Håbe?,</quote> siger en kollega i styret.  <quote>Kan vi ikke gøre "
"mere end det?</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Vel, jo, selvfølgelig,</quote> svarer rådgiveren.  <quote>Vi kan "
"bidrage med valgkampstøtte til et antal repræsentanter for at forsøge at "
"sikre at de vil støtte lovforslaget.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Du hader politik.  Du hader at bidrage til valgkampagner.  Så du ønsker at "
"vide hvorvidt  denne motbydelige praksissen er værd det.  <quote>Hvor mange "
"vil vi få hvis denne udvidelse bliver vedtaget?</quote> spørger du "
"rådgiveren.  <quote>Hvor mange er det værd?</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 <quote>discount rate</quote> that we use to evaluate estate "
"investments (6 percent), then this law would be worth $1,146,000 to the "
"estate.</quote>"
msgstr ""
"<quote>Vel,</quote> siger rådgiveren og fortsætter, <quote>hvis du er sikker "
"på at du vil fortsætte at få mindst  100 000 dollar i året for disse "
"ophavsreter, og du bruger samme <quote>diskonteringssats</quote> som vi "
"bruger for at vurdere ejendominvesteringer (6 procent), så vil denne lov "
"være værd 1 146 000 dollar for boet.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"You're a bit shocked by the number, but you quickly come to the correct "
"conclusion:"
msgstr ""
"Du bliver lidt  chockeret over tallet, men du kommer raskt frem til rigtig "
"konklusion:"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Så du siger at det vil være værd det for os at betale mere end "
"1 000 000 dollar i valgkampbidrag hvis vi var trygge på at disse bidrag "
"villes sikre at loven blev vedtaget?</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to "
"you to contribute up to the <quote>present value</quote> of the income you "
"expect from these copyrights. Which for us means over $1,000,000.</quote>"
msgstr ""
"<quote>Ultimatum,</quote> svarer rådgiveren.  <quote>Det er værd det hvis du "
"bidrager med  op til dagens værdi af indkomsterne du forventer fra disse "
"ophavsreter.  Hvilket for os betyder over 1 000 000 dollar.</quote>"

#.  PAGE BREAK 225 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Du tager raskt pointen &ndash; du som styremedlem samt, regner jeg med, du "
"som læser.  Hver gang ophavsreten holder på at løbe ud, har hver eneste "
"mottaker i samme position som arvingerne efter Robert Frost det samme valg: "
"Hvis de bidrager til at få en lov vedtaget som udvider ophavsreten, så vil "
"de have stor nytte af den udvidelsen.  Så hver eneste gang ophavsreten er i "
"færd med at løbe ud, så er det en massiv lobbyvirksomhed for at få "
"opphavsrettsvernetiden udvidet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dermed har vi en kongressbasert evighedmaskine: Så længe lovgiving kan købes "
"(rigtig nok indirekte), så vil det være alle incentiver i værdet for at købe "
"yderstere udvidelser af ophavsreten."

#.  f3. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 . oktober 1998, 22 ."

#.  f4. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
"Ærefrygt,</quote> tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #49</ulink>."

#.  f5. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #50</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I lobbyvirksomheden som førte til at Sonny Bono udvidelse af Loven om "
"vernetiden for ophavsret blev vedtaget, blev denne <quote>teori</quote> om "
"incentiver bevist at være rigtigt.  Ti af de tretten originale sponsorerne "
"til loven i Overhuset modtog maksimale bidrag fra Disneys politiske "
"handlingkomite.  I Senatet modtog otte af de tolv sponsorerne bidrag."
"<placeholder type=\"footnote\" id=\"0\"/> RIAA og MPAA er estimeret at have "
"brugt mere end 1,5 millioner dollar til lobbyvirksomhed i 1998-valgperioden. "
" De betalte ud mere end 200 000 dollar i kampagnebidrag.<placeholder "
"type=\"footnote\" id=\"1\"/> Disney er estimeret at have bidraget med mere "
"end 800 000 dollar i gjenvelgelseskampanjer den perioden.<placeholder "
"type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Forfatningret</emphasis> er ikke  uvitende om det "
"åbenbare.  Eller det behøver ikke  være det.  Så da jeg vurderede klagen fra "
"Eldred, så var denne virkelighed om de ubegrænsede incentivene for at øge "
"opphavsrettsvernetiden central i min tenking. Efter min mening villes en "
"pragmatisk domstol som var forpligtet til at tolke og anvende Grunnloven "
"givet af vores grundlovforsamling, se at  hvis Kongressen havde myndighed "
"til at udvide eksisterende vernetid, så villes det ikke være noget "
"grunnlovsmessig krav om at vernetiden skulle være <quote>begrænset.</quote>  "
"Hvis de kunne udvide den en gang, så kunne de udvide den igen og igen og "
"igen."

#.  PAGE BREAK 226 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var også  min vurdering at <emphasis>denne</emphasis> Højesteret ikke "
"villes tillade Kongressen at udvide den eksisterende vernetiden. Som alle "
"som kender Højesterets arbejde ved, har denne domstol i stadigt større grad "
"begrænset magten til Kongressen når den har vurderet at Kongressens "
"vedtagelse går ud over myndigheden tildelt dem i Grunnloven.  Blandt "
"grundlovforskere var det mest berømte eksemplet på denne trend afgørelsen "
"fra Højesteret i 1995 om at slå ned på en lov som forbød besittelse af våben "
"nær skoler."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "commerce, interstate"
msgstr "handel, mellomstatlig"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "interstate commerce"
msgstr "mellomstatlig handel"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Siden 1937 havde Højesteret tolket Kongressens tildelte myndighed vældig "
"bredt. Så mens Grunnloven giver Kongressen myndighed til at kun regulere "
"<quote>handel mellem stater</quote> (også kendt som <quote>mellomstatlig "
"handel</quote>), så havde Højesteret tolket den myndigheden til at indeholde "
"myndigheden til at regulere enhver aktivitet som kun berører mellomstatlig "
"handel."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Efterhånden som økonomien voksede, betød denne standard i stadigt større "
"grad at det ikke var nogle grænser for Kongressens myndighed til at "
"regulere, siden stort set hver eneste aktivitet, når man vurderede det på "
"national skala, påvirker mellomstatlig handel.  En grundlov udformede for at "
"begrænse Kongressens myndighed blev i stedet  tolket til at ikke have nogen "
"grænse."

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "United States v. Lopez"
msgstr "USA mod Lopez"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Højesteret ændrede, under ledelse af højesteretsjustitiarius Rehnquist, det "
"i <citetitle>United States</citetitle> mod <citetitle>Lopez</citetitle>.  "
"Staten havde argumenteret med  at at bære våben nær skoler påvirket "
"mellomstatlig handel.  Våben nær skoler øger kriminalitet, kriminalitet "
"reducerede ejendomværdier, og så videre.  I den mundtlige argumentationen "
"spurgte høyesterettsjustitiariusen staten om det fandtes nogle aktivitet som "
"ikke villes påvirke mellomstatlig handel i henhold til begrundelsen som "
"staten fremførte.  Staten sagde at det fandtes ikke .  Hvis Kongressen sagde "
"at en aktivitet påvirket mellomstatlig handel, så påvirkede den aktiviteten "
"mellomstatlig handel.  Staten sagde at Højesteret ikke var i position til at "
"efterprøve Kongressen."

#.  f6. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U."
"S. 549, 564 (1995)."
msgstr ""
"<citetitle>United States</citetitle> mod <citetitle>Lopez</citetitle>, 514 U."
"S. 549, 564 (1995)."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "United States v. Morrison"
msgstr "USA mod Morrison"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
"U.S. 598 (2000).  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"<citetitle>United States</citetitle> mod <citetitle>Morrison</citetitle>, "
"529 U.S. 598 (2000). <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Vi tager en pause for at vurdere implikationerne fra regeringens "
"argumenter,</quote> skræv høyesterettsjustitiariusen.<placeholder "
"type=\"footnote\" id=\"0\"/> Hvis alt Kongressen siger er mellomstatlig "
"handel dermed må anses at være mellomstatlig handel, så findes det ingen "
"begrænsninger i Kongressens myndighed.  Afgørelsen i <citetitle>Lopez</"
"citetitle> blev bekræftet fire år senere i <citetitle>United States</"
"citetitle> mod <citetitle>Morrison</citetitle>.<placeholder "
"type=\"footnote\" id=\"1\"/>"

#.  f8. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Hvis det er et princip om opplistede kompetencer, så bør dette princippet "
"kunne overføres fra en opplistet kompetence til den næste. Det "
"utslagsgivende pointen når det galdt handelbestemmelsen, var at tolkningen "
"staten kom med , villes give staten ubegrænset kompetence til at regulere "
"handel &ndash; på trods af begrænsningen om mellomstatlig handel.  Også i "
"denne sammenehengen villes statens tolkning give staten ubegrænset "
"kompetence til at regulere ophavsret &ndash; på trods af begrænsningen om "
"<quote>et begrænset tidsrum.</quote>"

#.  PAGE BREAK 227 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvis det er et princip som anvendes her , så bør det være lige så  gyldigt "
"for Fremskridtbestemmelsen som for Handelbestemmelsen.<placeholder "
"type=\"footnote\" id=\"0\"/> Og hvis det anvendes på Fremskridtbestemmelsen, "
"bør princippet føre til konklusionen at Kongressen ikke kan udvide en "
"eksisterende vernetid.  Hvis Kongressen kan udvide en eksisterende vernetid, "
"så findes det intet <quote>endepunkt</quote> for Kongressens myndighed over "
"vernetiden, selv om grundloven klart siger at det findes en sådan grænse.  "
"Dermed, hvis det samme princip anvendes på myndigheden til at dele ud "
"ophavsreter, burde det gøre at Kongressen ikke får lov til at udvide "
"vernetiden til eksisterende ophavsreter."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "Supreme Court restraint on"
msgstr "Højesteretbegrænsninger på"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette stemmer <emphasis>hvis</emphasis> princippet lagt frem i "
"<citetitle>Lopez</citetitle> var et princip.  Mange mente afgørelsen i "
"<citetitle>Lopez</citetitle> var politisk &ndash; en konservativ Højesteret, "
"som troede på staternes rettigheder, brugte sin myndighed over Kongressen "
"til at fremme sine egen personlige politiske præferencer.  Men jeg afviste "
"det synet på afgørelsen fra Højesteret.  Jeg havde til og med skrævet en "
"artikel lige så efter afgørelsen som demonstrerede hvor <quote>trådte mod "
"ophavet</quote> en sådan tolkning var mod Grunnloven.  Idéen om at "
"Højesteret afgjorde sager baseret på sin politiske overbevisning, slog mig "
"som usædvanligt kedeligt.  Jeg kom ikke  til at dedikere mit liv til at lære "
"væk forfatningret hvis disse ni dommerne kun skulle være smålige politikere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Lad os nu tage et øjebliks pause</emphasis> for at "
"være sikker på at vi forstår hvad argumentet i <citetitle>Eldred</citetitle> "
"ikke handlede om.  Ved at insistere på Grunnlovens begrænsning på "
"ophavsreten, så gik selvsagt  ikke Eldred god for piratvirksomhed.  Faktisk "
"sloges han, på en åpenbar måde, mod en slags piratvirksomhed &ndash; røving "
"af allemannseiet.  Da Robert Frost skrev sine værk, og når Walt Disney "
"skabte Mikke Mus, så var den maksimale vernetiden bare femtiseks år.  På "
"grund af ændringer i mellemtiden har Forst og Disney allerede nyt godt af "
"syttifem års monopol på sine værker.  De har fået fordelen i aftalen som "
"Grunnloven ser for sig: I bytte for et monopol beskyttede i femtiseks år, så "
"skabte de nye værker.  Men nu brugte disse aktører sin magt &ndash; udtrykt "
"gennem strømmen af lobbyvirksomheden penge &ndash; til at få tyve års "
"forlængelse af monopolet.  Denne forlængelse vil blive taget fra  "
"allemannseiet.  Eric Eldred sloges mod piratvirksomhed som påvirker os alle."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Nashville Songwriters Association"
msgstr "Nashville sangforfatterforening"

#.  f9. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Indlæg fra Nashville sangforfatterforening, <citetitle>Eldred</citetitle> "
"mod <citetitle>Ashcroft</citetitle>, 537 U.S.  186 (2003) (No. 01-618), n."
"10, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #51</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nogle folk ser på allemannseiet med foragt.  I indlægget de sendt til "
"Højesteretten, skræv Nashville sangforfatterforening at allemannseiet ikke "
"var noget andet end <quote>lovlig piratvirksomhed.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Men det er ikke  piratvirksomhed når loven "
"tillader det.  Og i vores konstituelle system kræver loven dette.  Nogle kan "
"måske lide ikke paragrafferne i Grunnloven vores, men det gør ikke  "
"Grunnloven til en piratkodeks."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som vi har set, kræver vores konstitusjonelle systemer begrænsninger på "
"ophavsreten som en måde at sikre at ophavsretindehavere ikke får for  stærk "
"påvirking på udviklingen og distributionen af vores kultur. Alligevel, som "
"Eric Eldred opdagede, har vi sat op et system som sikrer at  "
"opphavsrettsvernetiden igen vil blive udvidet, og udvidet, og udvidet.  Vi "
"har skabt den perfekte storm for allemannseiet. Ophavsreterne har ikke  gået "
"ud på dato, og vil aldrig  gå ud på dato, så længe Kongressen står frit til "
"at lade sig købe for at udvide dem igen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Det er værdifuld</emphasis> ophavsret som er "
"ansvarligt/ansvarlig for at verneperiodene bliver udvidet.  Mikke Mus og "
"<quote>Rhapsody in Blue.</quote>  Disse værker er for  værdifulde til at "
"opphavsrettseierene kan ignorere dem.  Men den reelle skaden fra "
"ophavsretudvidelser for vores samfund er ikke  at Mikke Mus forbliver "
"Disneys.  Glem Mikke Mus.  Glem Robert Frost.  Glem alle værk fra 1920-"
"tallet og 1930-tallet som fortsat har kommerciel værdi.  Den reelle skaden "
"fra udvidelse af vernetiden kommer ikke  fra disse berømte værker.  Den "
"reelle skaden er fra de værkerne som ikke er berømte, ikke kommercielt "
"udnyttet, og dermed heller ikke længere tilgængeligt."

#.  f10. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Tallet 2 procent er en ekstrapolering fra en undersøgelse gjort af "
"Kongressens forskningtjeneste, med baggrund i de estimerede "
"fornyelsespennene.  Se Brief of Petitioners, <citetitle>Eldred</citetitle> "
"mod <citetitle>Ashcroft</citetitle>, 7, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #52</ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvis du ser på arbejder holdet i de første tyve årene (1923 til 1942) "
"påvirkede af Sonny Bono udvidelse af Loven om vernetiden for ophavsret, så "
"har 2 procent af disse værker fortsat kommercielle værdi.  Det var "
"ophavsretindehaverne for disse 2 procenterne som fik igennem CTEA. Men loven "
"og dens effekt var ikke  begrænset til disse 2 procenterne. Loven udvidede "
"vernetiden til ophavsreten generelt.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 229 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Tænk praktisk over konsekvensen af denne udvidelse &ndash; praktisk som en "
"forretningsmand, ikke som en advokat ivrigt efter mere juridisk arbejde.  I "
"1930 blev 10047 bøge publiceret.  I 2000 var 174 af disse bøge fortsat "
"tilgængeligt fra forlaget.  Lad os antage at du var Brewster Kahle, og du "
"ønsket at gøre de resterende 9873 tilgængeligt for værdet i dit iArkiv-"
"projekt.  Hvad villes du måtte gøre?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vel, først må du finde ud hvilke af disse 9873 bøgene som fortsat er værnet "
"af ophavsreten.  Det kræver at du går til biblioteket (den informationen er "
"ikke  tilgængeligt på nettet) og bladrer igennem haller med bøger mens du "
"kryds-tjekker titler og forfatterne af disse 9873 bøgene med "
"ophavsretregistreringerne og fornyingsmeldingene for værk publiceret i 1930 "
".  Dette vil give en liste med bøger som fortsat er værnet af ophavsreten."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"Then for the books still under copyright, you would need to locate the "
"current copyright owners. How would you do that?"
msgstr ""
"Så, for bøgerne som fortsat er værnet af ophavsreten, må en finne de "
"nuværende ophavsretejere.  Hvordan vil du gøre det?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"De fleste folk tænker at det må være en liste over disse ophavsret ejerne en "
"eller anden plads.  Praktiske folk tænker sådan . Hvordan kan det være "
"tusinder på tusinder af monopoler delt ud af myndighederne uden at det i "
"hvert fald findes en liste?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men det er ingen liste.  Det kan være et navn fra 1930, og derefter i 1959, "
"for personen som registrerede ophavsreten.  Men bare tænkt rundt hvor "
"utroligt vanskeligt det vil være at  praktisk spore op  tusindvis af sådanne "
"arkivoppføringer &ndash; specielt siden personen som er registreret ikke  "
"nødvendigvis er den nuværende ejer.  Og vi snakker kun  om 1930!"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Men det er ikke  generelt en liste over hvem som ejer ejendom</quote> "
"svarer forsvarerne af systemet.  <quote>Hvorfor skulle det findes en liste "
"over ophavsretejere?</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vel, egentligt, når du tænker på det, så <emphasis>findes</emphasis> det "
"mange lister over hvem som ejer hvilken ejendom.  Tænk på sammenføjninger "
"for huse, eller hvem som ejer biler.  Og der det ikke findes en liste, så er "
"skrønerne for den virkelige værdet ganske dygtige til at foreslå hvem som "
"ejer en bidder ejendom (en gynge placeret i bakhagen din er sandsynligvis  "
"din). Så både formelt og uformelt har vi en ganske god måde at vide hvem som "
"ejer hvilken konkrede ejendom."

#.  PAGE BREAK 230 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dermed: Du vandrer ned en gade og ser et huse.  Du kan vide hvem som ejer "
"huset ved at slå op  i kommunehusets ejendomregister.  Hvis du ser en bil, "
"så er det normalt et bilskilt som vil knytte ejeren til bilen. Hvis du ser "
"en høj med barnlæger som ligger på plænen forran et huse, så er det rimeligt "
"enkelt at finde ud hvem som ejer lægerne.  Og hvis du tilfældigvis ser en "
"baseball som ligger i grøftede ved siden af vejen, så ser du dig rundt et "
"øjeblik efter unger som spiller bal.  Hvis du ikke ser nogle barn, så ok: "
"her er det en bidder ejendom hvis ejer vi ikke enkelt kan spore op .  Dette "
"er undtagelsen som bekræfter reglen: at vi normalt ved rigtigt godt hvem som "
"ejer hvilken ejendom."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Sammenlign denne historie med immateriell ejendom.  Du går ind i et "
"bibliotek.  Biblioteket ejer bøgerne.  Men hvem ejer ophavsreten? Som jeg "
"allerede har nævnt, så findes det ingen liste med ophavsretejere.  Det er "
"navnene til forfattere, naturligvis, men deres ophavsret kan have blevet "
"overført, eller blevet arvet til et boer lig bedstemors gamle smykke.  For "
"at vide hvem som ejer hvad  så må du hyre en privatdetektiv.  Det man sidder "
"igen  med er at ejeren ikke enkelt kan findes.  Og med et regime som vores, "
"der det er en forbrydelse at bruge sådan  ejendom uden tilladelse fra ejeren "
"af ejendommen, så vil ejendommen ikke blive brugt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Konsekvensen for gamle bøger er at de ikke vil blive digitaliseret, og "
"dermed ganske enkelt vil rådne væk på hylde.  Men konsekvensen for andre "
"kreative arbejder er meget mere alvorlig."

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Hal Roach Studios"
msgstr "Hal Roach Studios"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Laurel and Hardy Films"
msgstr "Helan og Halvan-filmene"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Lucky Dog, The"
msgstr "Lucky Dog, The"

#.  f11. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</"
"quote> <citetitle>Los Angeles Times</citetitle>, 6 . oktober 2002, David "
"Streitfeld, <quote>Classic Movies, Songs, Books at Stage; Supreme Court "
"Hears Arguments Today on Striking Down Copyright Extension,</quote> "
"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 . oktober 2002 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Se på historie til Michael Agee, styreleder ved Haller Roach Studios, som "
"ejer ophavsreterne for Helan- og Halvan-filmene.  Agee har dermed  direkte "
"fordel af Bono-loven.  Helan og Halvan-filmene blev fortaget mellem 1921 og "
"1951 .  Kun en af disse film, <citetitle>The Lucky Dog</citetitle>, har så "
"langt henhørt i det fri.  Men havde det ikke været for  CTEA, villes filmer "
"holdet efter 1923 begyndt at henhøre i det fri.  Da Agee kontrollerer de "
"eksklusive rettighederne for disse populære film, så tjener han en god del "
"penge.  Ifølge et estimat, <quote>har Roach solgt omtrent  60 000 "
"videokassettebånd og 50 000 DVD-er af filmene til denne stumfilmduoen.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel gik Agee mod CTEA.  Hans begrundelse er en sjælden dyd i denne "
"kultur: uselviskhet.  Han argumenterede i sit indlæg foran Højesteretten at "
"Sonny Bono udvidelse af Loven om vernetiden for ophavsret vil, hvis den blev "
"stående, ødelægge en hel generation med amerikansk film."

#.  PAGE BREAK 231 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"hans Argument er enkelt.  En lille brøkdel af disse værker har vedvarende  "
"kommerciel værdi.  Resten &ndash; i den grad de overlever i det hele taget  "
"&ndash; ligger i et hvælv og samler støv.  Det kan være at nogle af disse "
"værker som nu ikke er kommercielt værdifulde, vil blive vurderet at være "
"værdifulde af ejerne af hvælvene.  For at det skal ske, må den kommercielle "
"gevinsten fra værkerne overstige omkostningen med at gøre virket "
"tilgængeligt for distribution."

#.  f12. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 Haller 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 . Se også  Brief of Amicus "
"Curiae filed on behalf of Petitioners by the Internet Archive, "
"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #53</"
"ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi kan ikke  vide gevinsten, men vi ved meget om omkostningerne.  For det "
"meste af filmhistorie har omkostningen med at restaurere film været rigtigt "
"høj.  Digital teknologi har reduceret disse omkostninger betydeligt. Mens "
"det i 1993 kostede mere end 10 000 dollar for at restaurere en "
"nittiminutters sort-hvidt-film, så kan det nu koste så  lidt som 100 dollar "
"at digitalisere en times 8-millimeterfilm.<placeholder type=\"footnote\" "
"id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Restaureringteknologien er ikke  den eneste omkostningen, og heller ikke den "
"vigtigste.  Advokater er også  en omkostning, og i stadigt større grad, en "
"rigtigt vigtig del.  I tillæg til at bevare filmen, så må en distributør "
"sikre sig rettighederne.  Og for at sikre sig rettighederne til en film som "
"er værnet af ophavsreten, så må du finde ophavsretejeren."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Eller for at være mere præcis, <emphasis>ejere</emphasis>.  Som vi har set "
"er det ikke bare en enkelt ophavsret tilknyttet en film. Det er mange.  Det "
"er ikke  en enkelt person som du kan kontakte om disse ophavsreter.  Det er "
"lige så  mange som det er ophavsreter knyttet til den, hvilket viser sig at "
"være et ekstremt højt antal. Dermed bliver omkostningen med at klarere "
"rettighederne for disse film eksepsjonelt høj."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Men kan du ikke bare restaurere filmen, distribuere den, og så betale "
"ophavsretejeren når hun dukker op ?</quote> Jovisst, hvis du ønsker at gøre "
"dig selv til kriminel.  Og selv om du ikke er bekymret over at begå en "
"forbrydelse, så vil hun når hun dukker op , have ret til at sagsøge dig for "
"al fortjeneste du har haft.  Så hvis du lykkes, så kan du være rimeligt "
"sikker på at du får besøg fra nogen advokat.  Og hvis du ikke lykkes, så vil "
"du ikke have tjent nok  til at dække omkostningen for din egen advokat.  "
"Uanset vil du være nødt til at snakke med en advokat.  Og det at sige at du "
"må snakke med en advokat er ofte  det samme som at sige at du ikke vil tjene "
"nogle penge."

#.  PAGE BREAK 232 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For nogle film kan det hænde gevinsten fra at give ud filmen vil overskride "
"disse omkostninger.  Men for de aller fleste af dem er det ingen mulighed "
"for at gevinsten vil oppveie de juridiske omkostningerne. Dermed vil de "
"aller fleste gamle film, argumenterede Agee, ikke blive restaureret og "
"distribueret føder ophavsreten løber ud."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men inden ophavsreten for disse film er utløpt, vil filmen have gået tabt.  "
"Disse film blev produceret på nitratbaserte filmruller, og nitratfilm går i "
"opløsning over tid.  De vil være borte, og metalæskerne der de nu bliver "
"lagret vil kun  indeholde støv."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Af alle de</emphasis> kreative værker produceret af "
"mennesker i værdet, så er det kun en lille brøkdel som fortsætter at have "
"kommerciel værdi.  For denne lille brøkdel er ophavsreten et vigtigt og "
"kritisk juridisk virkemiddel.  For denne lille brøkdel skaber ophavsreten "
"incentiver til at producere og distribuere kreativt arbejde.  For denne "
"lille brøkdel fungerer ophavsret som en <quote>kraftkraft for udtrykfrihed.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men selv for denne lille brøkdel, så er den reelle tiden som det kreative "
"værket har et kommercielt liv ekstremt kort.  Som jeg insinuerede tidligere  "
"bliver de fleste bøge udsolgt fra forlaget inden et år.  Det samme er "
"tilfældet for musik og film.  Kommerciel kultur er som et rovdyr.  Den må "
"fortsætte at bevæge sig.  Og når et kreativt værk ikke længere får "
"goodwillen fra en kommerciel distributør, så tager dens kommercielle epoke "
"slutning."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel betyder ikke  dette at livet til det kreative værket er over.  Vi "
"har ikke  biblioteker for at konkurrere med Barnes &amp; Noble, og vi har "
"ikke  filmarkiver fordi vi forventer at folk skal vælge mellem at tilbringe "
"fredagsaftenen med at se nye film, eller tilbringe fredagsaftenen med at se "
"en nyhetsdokumentar fra 1930 .  Det ikke-kommercielle epoken til kulturen er "
"vigtigt og værdifuldt &ndash; som underholdning men også, og vigtigere, for "
"kundskab.  For at forstå hvem vi er, hvor vi kom fra  og hvordan vi gjorde "
"de fejl vi har gjort, så må vi have tilgang til denne historie."

#.  PAGE BREAK 233 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Ophavsreten i denne sammenhæng udgør ikke  en kraftkraft for udtrykfrihed.  "
"I denne sammenhæng er det ikke behov for en eksklusiv rettighed.  "
"Ophavsreten i denne sammenhæng bidrager ikke  positivt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men for det meste af vores historie gjorde den lille skade.  For det meste "
"af vores historie, når den kommercielle epoken til et værk tog slutning, så "
"var det ikke noget <emphasis>opphavsrettsrelatert brug</emphasis> som villes "
"blive blokeret af en eksklusiv ret.  Når en bog blev udsolgt fra forlaget, "
"så kunne du ikke købe det fra et forlag.  Men du kunne fortsat  købe den fra "
"en bruktbokhandel.  Og når man bruktbokhandel sælger den, i hvert fald i "
"USA, så er det ikke nødvendigt at betale noget til ophavsretejeren.  Dermed "
"var den normale brugen af en bog efter at den kommercielle epoken tog "
"slutning, en brug som var uafhængigt af opphavsrettslov."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det samme var praktisk set tilfælde også for film.  På grund af at "
"omkostningerne med at restaurere en film &ndash; de egentlige økonomiske "
"omkostningerne, ikke advokatomkostningerne &ndash; var så  høje, så var det "
"aldrig praktisk muligt at opbevare, eller restaurere film.  Omtrent som med "
"resterne efter en flot middag, når den er over, så er den over. Når den "
"kommercielle epoken til en film var over, så kan den have blevet arkiveret "
"en stund, men det var slutningen på filmens liv så længe markedet ikke havde "
"noget mere at tilbyde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Med andre ord, selv om ophavsretbeskyttelsen har været relativt kort for det "
"meste af vores historie, så villes ikke  lang ophavsretbeskyttelse gjort "
"noget forskel for arbejder som har mistet sin kommercielle værdi.  Lang "
"ophavsretbeskyttelse for disse værker villes ikke  kommet i vejen for noget."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid "But this situation has now changed."
msgstr "Men denne situation er nu  ændret."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"En rigtigt vigtig konsekvens af fremvæksten af digitale teknologier er at "
"muliggjøre arkivet som Brewster Kahle drømmer om.  Digitale teknologier gør "
"det nu muligt at opbevare og give tilgang til alle typer kundskab.  Når en "
"bog er udsolgt fra forlaget, så kan vi forestille os at digitalisere den og "
"gøre den tilgængeligt for alle, til evig tid.  Når en film ikke længere er "
"tilgængeligt fra distributør, kan vi digitalisere den og gøre den "
"tilgængelig for alle, til evig tid.  Digitale teknologier giver nyt liv til "
"opphavsrettsbeskyttet materiale efter at den kommercielle epoke er over.  "
"Det er nu  muligt at opbevare og sikre universell tilgang til denne kundskab "
"og kulturen, mens det tidligere ikke var muligt."

#.  PAGE BREAK 234 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men nu kommer opphavsrettsloven i vejen.  Hvert steg som trænges for at "
"producere dette digitale arkiv over vores kultur skælder den eksklusive "
"retten i ophavsreten.  Å digitalisere en bog er at kopiere den.  For at gøre "
"det må man have tilladelse fra ophavsretejeren.  Det samme gælder musik, "
"film og ethvert andet aspekt af vores kultur som er beskyttet af "
"ophavsreten.  Indsatsen som trænges for at gøre disse ting tilgængeligt for "
"fremtiden, eller til forskere, eller for dem som bare ønsker at udforske "
"den, er nu  hindret af det set med skrøner som blev skrevet for en radikalt "
"anden sammenhæng."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Her er kernen i den skaden som kommer fra at udvide verneperiodene: Nu som "
"teknologi gør det muligt for os at genopbygge biblioteket i Alexandria, "
"kommer loven i vejen.  Og den kommer ikke  i vejen på grund af et nyttig "
"<emphasis>ophavsrets</emphasis>formål, som jo er at gøre det muligt for det "
"kommercielle markedet at brede kultur.  Nej, vi snakker om kultur efter at "
"den har levet sin kommercielle epoke.  I denne sammenhæng har ikke  "
"ophavsreten noget formål <emphasis>i det hele taget</emphasis>, relateret "
"til spredning af kundskab.  I denne sammenhæng er ikke  ophavsret en "
"kraftkraft for udtrykfrihed. Ophavsret er en bremseklods."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Du kan godt  spørge, <quote>Men hvis digitale teknologier reducerer "
"omkostningen for Brewster Kahle, så reducerer de også omkostningerne for "
"Random House (USAs største bokforlag).  Vil ikke  Random House da brede "
"kultur lige så vidt som Brewster Kahle?</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Muligt det.  En eller anden dag.  Men det findes intet som tyder på at "
"utgivere vil blive lige så  komplette som biblioteker.  Hvis Barnes &amp; "
"Noble tilbød udlåning af bøger fra sine dagsværker til en lavere pris, "
"villes det eliminere behovet for biblioteker?  Kun hvis du mener at den "
"eneste rollen et bibliotek skal tjene, er den <quote>markedet</quote> "
"efterspørger.  Men hvis du mener  bibliotekrollen er større en dette &ndash; "
"hvis du mener dets rolle er at arkivere kultur, uafhængigt af om det er en "
"efterspørgsel efter en bestemt bid af den kulturen eller ikke &ndash; da kan "
"vi ikke basere os på at det kommercielle markedet vil gøre bibliotekjobbet "
"for os."

#.  f13. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
msgid ""
"Jason Schultz, <quote>The Myth of the 1976 Copyright <quote>Chaos</quote> "
"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 <quote>Chaos</quote> "
"Theory,</quote> 20 . december 2002, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #54</ulink>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg er blandt de første til at være enigt/enig i at markedet skal gøre så  "
"meget som det kan: Vi bør basere os på markedet så meget som muligt for at "
"brede og gøre kultur muligt.  Mit budskab er absolut ikke imod markedet.  "
"Men der vi ser at markedet ikke gør jobbet bør vi tillade kræfter udenfor "
"markedet friheden til at befolke hulerne.  Man forsker beregnet for "
"amerikansk kultur at 94 procent af film, bøger og musik produceret mellem "
"1923 og 1946, ikke er kommercielt tilgængeligt. Uanset hvor mange du elsker "
"markedet, så er 6 procent en svigt hvis tilgang er et måleparameter."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I januar 1999</emphasis> anlagde vi sag på vegne af "
"Eric Eldred ved den føderale regiondomstolen i Washington, D.C., og bad "
"retten om at erklære Sonny Bono udvidelse af Loven om vernetiden for "
"ophavsret i strid med Grunnloven.  De to centrale påstandene vi kom med var "
"(1) at at udvide eksisterende vernetid, var i strid med Grunnlovens krav om "
"<quote>et begrænset tidsrum,</quote> og (2) at at udvide vernetiden med tyve "
"nye år, var i strid med første grundlovtillæg."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Regiondomstolen afviste vores krav uden en gang at høre på noget "
"argumentation.  Et kammer i ankedomstolen for D.C.-kredsen afviste også  "
"vores krav, denne gang efter at have hørt en omfattende argumentation. Men "
"den afgørelsen havde i det mindste en dissens, fra en af de mest "
"konservative dommerne i den domstolen.  Denne dissens gav liv til vores krav."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dommer David Sentelle sagde at  CTEA kun brød med kravet om at ophavsret "
"skal gives for <quote>et begrænset tidsrum.</quote>  Hans argument var lige "
"så  elegant som det var enkelt.  Hvis Kongressen kan udvide eksisterende "
"vernetid, så findes det ikke noget <quote>endepunkt</quote> for Kongressens "
"myndighed ifølge ophavsretbestemmelsen.  Myndigheden til at udvide "
"vernetiden betyder at Kongressen ikke er nødt til at dele ud vernetider som "
"er <quote>begrænset.</quote>  Dermed argumenterede domme Sentelle at retten "
"måtte tolke begrebet <quote>begrænset tidsrum</quote> for at det skulle have "
"mening.  Og domme Sentelle argumenterede at den bedste tolkningen villes "
"være at nægte Kongressen myndighed til at udvide eksisterende vernetid."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi spurgte ankedomstolen for D.C. ankekredsen i sin helhed om at tage op "
"sagen. Sager tages normalt op i et kammer med tre deltagere, med undtagelse "
"af vigtige sager, eller sager som tager op tema som er spesifikt for kredsen "
"som helhed, der domstolen vil samles <quote>i plenum</quote> for at tage op "
"sagen."

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

#.  PAGE BREAK 236 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Ankedomstolen afviste forår anmodning om at tage op sagen i plenum. Denne "
"gang fik domme Sentelle følge af det mest liberale medlemmet af ankekredsen "
"i D.C., domme David Tatel.  Både den mest konservative og den mest liberale "
"dommerne i ankekredsen i D.C. mente kongressen havde gået over sine grænser."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"It was here that most expected <citetitle>Eldred</citetitle> v. "
"<citetitle>Ashcroft</citetitle> 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 ""
"Det var her de fleste forventet at <citetitle>Eldred</citetitle> mod "
"<citetitle>Ashcroft</citetitle> villes dø, for Højesteret tager sjælden  op "
"en afgørelse gjort af en ankedomstol.  (Den tager op  omtrent hundrede sager "
"i året, ud af mere end fem tusind suk.)  Og den revurderer praktisk talt "
"aldrig en afgørelse som opretholder en regel når ingen anden domstol så "
"langt  har revurderet reglen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men i februar 2002 overrasket Højesteret værdet ved at innvilge vores "
"forespørgsel om at tage op igen  afgørelsen fra D.C.-kredsen.  "
"Argumentationen blev fastsat til oktober 2002 .  Sommeren blev tilbrakt med "
"at skrive indlæg og forberede os på argumentationen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Det er mere</emphasis> end et år senere når jeg "
"skriver disse ord.  Det er fortsat  utroligt vanskeligt.  Hvis du ved noget "
"om denne historie, så ved du at vi tabte sukket.  Og hvis du ved noget mere "
"end bare lidt, så tror du sikkert at det var ingen måde at vinde denne sag "
"på. Efter vores nederlag fik jeg bogstaveligt talt tusindvis  af hilsner fra "
"støttespillere og folk som villes ønske mig lykke til, som takkede mig for "
"min indsats på vegne af denne noble, men fortabte sag.  Og ingen fra denne "
"bunke var vigtigere for mig end e-posten fra min klient, Eric Eldred."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men min klient, og disse venner tog fejl. Denne sag kunne været vundet. Den "
"burde have været vundet.  Og uanset hvor hårdt jeg prøver at fortælle den "
"historie til mig selv, kan jeg aldrig slippe fra troen på at det er min fejl "
"at vi ikke vandt."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Steward, Geoffrey"
msgstr "Steward, Geoffrey"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Jones, Day, Reavis and Pogue (Jones Day)"
msgstr "Jones, Day, Reavis og Pogue (Jones Day)"

#.  PAGE BREAK 237 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Fejlen</emphasis> blev gjort tidlig, skønnet det "
"blev først  åbenbaret på slutningen. vores Sag havde haft støtte hos en "
"ekstraordinær advokat, Geoffrey Stewart, helt fra starten, og hos "
"advokatfirmaet han havde flyttet til, Jones, Day, Reavis og Pogue. Jones Day "
"modtog meget pres fra sine opphavsrettsbeskyttende klienter på grund af sin "
"støtte til os.  De ignorerede dette presset (noget rigtigt få advokatfirmaer "
"nogensinde ville gøre), og gav alt de havde gennem hele sagen."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Ayer, Don"
msgstr "Ayer, Don"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Bromberg, Dan"
msgstr "Brombjerg, Dan"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var tre vigtige advokater på sagen fra Jones Day. Geoff Stewart var den "
"første, men siden blev Dan Brombjerg og Don Ayer ganske involveret. "
"Brombjerg og Ayer specielt, havde en fælles opfattelse om hvordan denne sag "
"villes blive vundet: vi villes bare  vinde, fortalte de gentagne gange til "
"mig, hvis vi fik problemet til at virke <quote>vigtigt</quote> for "
"Højesteret. Det måtte synes som om dramatisk skade blev gjort på "
"ytringsfriheden og fri kultur, ellers villes de aldrig stemme mod <quote>de "
"mægtigste mediaselskapene i værdet.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg hader dette syn på retvæsenet.  Selvfølgelig mente jeg at Sonny Bono-"
"loven udgjorde en dramatisk skade på ytringsfriheden og fri kultur.  Det "
"mener jeg stadig.  Men idéen om at Højesteret afgør rettilstanden, baseret "
"på hvor vigtigt de mener problemerne er, bliver bare  galt.  Det er måske  "
"<quote>rigtigt</quote> i betydningen <quote>sandt,</quote> mente jeg, men "
"det er <quote>galt</quote> som i <quote>det burde ikke  være sådan .</quote> "
" Eftersom jeg troede at enhver trofast tolkning af det vores "
"grundlovforfattere gjorde, villes føre til konklusionen om at CTIA var i "
"strid med Grunnloven, og eftersom jeg troede at enhver trofast tolkning af "
"hvad første grundlovtillæg mener, villes føre til konklusionen om at "
"myndigheden til at udvide opphavsrettslovens vernetid er i strid med "
"Grunnloven, var jeg ikke overbevist om at vi måtte sælge vores sag som sæbe. "
" På samme måde som loven som forbød solkorset var i strid med Grunnloven, "
"ikke fordi domstolene kanlide nazister men fordi en sådan lov villes være i "
"strid med Grunnloven, så villes også , efter mit syner, domstolene bestemme "
"hvorvidt  Kongressens lov var i tråd med Grunnloven baseret på Grunnloven, "
"ikke baseret på om de kunnelide værdierne som grundlovforfatterne skrev ind "
"i Grunnloven."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg tænkte uanset at domstolen allerede må se fædrene og skaderne forårsaget "
"af denne type lov.  Hvorfor skulle de ellers gå med  på at tage op sagen?  "
"Det var ingen grund til at tage op sagen i Højesteret hvis de ikke var "
"overbevist om at dette lovværk var skadeligt/skadelig.  Dermed var det efter "
"mit syner ikke nødvendigt at overbevise den om at denne lov var ilde .  Vi "
"behøvede at vise dem hvorfor den var forfatningsstridig."

#.  PAGE BREAK 238 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var derimod  en måde der jeg følte at politik villes betyde noget, og "
"hvor jeg tænkte en appel var hensigtsmæssigt. Jeg var overbevist om at "
"domstolen ikke villes høre på vores argumenter hvis den mente at de bare var "
"argumenter fra en gruppe med venstrevridde gærninger.  Denne Højesteret kom "
"ikke  til at falde ind i et nyt juridisk vurderingfelt hvis det virkede som "
"om dette felt kun var interessant for en lille politisk minoritet.  Selv om "
"mit fokus i sagen ikke var at demonstrere hvor  ilde Sonny Bono-loven var, "
"men at demonstrere at den var i strid med Grunnloven, så var det mit håb at "
"argumentere for dette mod en baggrund af indlæg som dækkede hele spektret af "
"politiske ståsteder.  For at vise at denne påstand mod CTEA var funderet i "
"<emphasis>lovværket</emphasis> og ikke i politikken, forsøgte vi derfor at "
"samle den videste rækken af troverdige kritikere &ndash; ikke troverdige "
"fordi de var rige og berømte, men fordi de, samlede set, demonstrerede at "
"denne lov var i strid med Grunnloven uafhængigt af ens politiske syner."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Eagle Forum"
msgstr "Ørneforumet"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Schlafly, Phyllis"
msgstr "Schlafly, Phyllis"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det første skridtet skete helt af sig selv.  Organisationen til Phyllis "
"Schlafly, Ørneforumet, havde været modstande af CTEA helt fra begyndelsen.  "
"Frue Schlafly så på CTEA som at Kongressen havde solgt sig. Hun skrev en "
"skarp leder i november 1998 som angreb den republikanske Kongressen for at "
"tillade at loven blev vedtaget.  Der skrev hun <quote>Du lurer nogle gange "
"på hvorfor lovforslag som skaber finansiel medvind til smale særinteresser, "
"glider så  enkelt gennem den intrikate lovgivende processen, mens lovforslag "
"som giver fordele til allmennheten generelt ser ud til at stoppe op ?</"
"quote> Svaret, sådan lederartiklen dokumenterede, er pengeenes magt.  "
"Schlafly listede op bidrag fra Disney til centrale aktører i komiteerne.  "
"Det var penge, ikke retfærdighed, som gav Disney kontrol over Mikke Mus i "
"tyve år ekstra, hævdet Schlafly."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I ankedomstolen var Ørneforumet ivrigt efter at sende ind et indlæg som "
"støttede vores position.  Deres indlæg kom med argumentet som blev "
"kernekravet i Højesteret: Hvis Kongressen kunne udvide vernetiden i "
"ophavsreten, så fandtes det ingen begrænsninger i Kongressens myndighed til "
"at fastsætte vernetider.  Dette stærkt konservative argumentet overbeviste "
"en stærk og konservativ dommer, Domme Sentelle."

#.  PAGE BREAK 239 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I Højesteret var indlæggene som støttede vores side så forskellige som de "
"kunne blive.  De inkluderede et ekstraordinært historisk indlæg fra Free "
"Software Foundation (ophavet til GNU-projektet som gjorde GNU/Linux muligt). "
" De inkluderede et stærkt indlæg fra Intel om omkostningene ved usikkerhet.  "
"Det var indlæg fra to juiceprofessorer, et fra en opphavsrettsakademiker, og "
"et fra Første grundlovtillæg-akademikere. Det var et udtømmende og "
"uomtvistet  indlæg fra værdets ekspert på historie til "
"Fremskridtbestemmelsen.  Og naturligvis var det et indlæg fra Ørneforumet, "
"som gentog og styrkede sit argument."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "American Association of Law Libraries"
msgstr "Amerikansk forening for juices-biblioteker"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "National Writers Union"
msgstr "National skribentunion"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse indlæg fremmede et juridisk argument.  Og til støtte for det juridiske "
"argumentet var det en række stærke indlæg fra biblioteker og arkiver, "
"inkluderet Internet-arkivet, den amerikanske forening for juices-biblioteker "
"og den nationale skribentunionen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men to indlæg formidlede argumentet om klog politik bedst.  Et støttet "
"argumentet jeg allerede har beskrevet: Et indlæg fra Haller Roach Studios "
"argumenterede med at med mindre loven blev droppet, villes en hel generation "
"amerikansk film forsvinde.  Det andre gjorde det økonomiske argumentet helt "
"klart."

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

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Buchanan, James"
msgstr "Buchanan, James"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Coase, Ronald"
msgstr "Coase, Ronald"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Friedman, Milton"
msgstr "Friedman, Milton"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Indlægget fra økonomerne var underskrevet af sytten økonomer, deraf fem "
"nobelprisvindere, inkluderet Ronald Coase, James Buchanan, Milton Friedman, "
"Kenneth Arrow, og George Akerlof.  Økonomerne, sådan listen med "
"nobelprisvindere demonstrerer, bredte sig over hele det politiske spektrum.  "
"Deres konklusion var stærk: Det fandtes ingen troverdig påstand om at at "
"udvide vernetiden for eksisterende ophavsret, villes øge incentivene for at "
"skabe.  Sådan udvidelse var intet mere end at <quote>tilkarringsvirksomhet</"
"quote> (på engelsk <quote>rent-seeking</quote>) &ndash; det fancy begrebet "
"økonomer bruger for at beskrive særinteresselovgivning på vildspor."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Fried, Charles"
msgstr "Fried, Charles"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Morrison, Alan"
msgstr "Morrison, Alan"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Public Citizen"
msgstr "Public Citizen"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Reagan, Ronald"
msgstr "Reagan, Ronald"

#.  PAGE BREAK 240 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den samme balancerede fremstilling blev reflekteret i den juridiske gruppen "
"vi samlet for at forfatte vores indlæg i sagen.  Advokaterne fra Jones Day "
"havde været med os fra starten.  Men da sagen kom til Højesteret, lagde vi "
"til tre advokater for at hjælpe os at forme dette argument til domstolen.  "
"Den ene var Alan Morrison, en advokat fra Washington-grupperingen Public "
"Citizen, en gruppe som havde fortaget konstitusjonell historie med en række "
"banebrytende sejre i Højesteret som forsvarede individuelle rettigheder.  "
"Den anden var min kollega og fakultetleder, Kathleen Sullivan, som havde "
"lagt frem mange sager for domstolen, og som tidligt havde givet os råd om en "
"Første grundlovtillægstrategi.  Til sidst, tidligere regeringsadvokat "
"Charles Fried."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "Commerce Clause of"
msgstr "Handelbestemmelsen i"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 var en speciel sejr for vores side.  Alle de andre tidligere "
"regeringsadvokater var hyret ind af den andre side for at forsvare "
"Kongressens ret til at give mediaselskaper den specielle gunsten med "
"udvidede opphavsrettsvernetid.  Fried var den eneste som havde takket nej "
"til den lukrative opgaven for at stå for noget han troede på.  Han havde "
"været Ronald Reagens bossadvokat i Højesteret.  Han havde bidraget med at "
"formulere den rækken af sager som havde begrænset Kongressens myndighed i "
"forbindelse med Handels-bestemmelsen.  Og selv om han havde argumenteret "
"mange positioner i Højesteret som jeg personligt var uenigt/uenig i, var det "
"at han blev med i sagen et tillitsvotum for vores argumenter."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Regeringen havde, i sit forsvar af lovendringen, også sin egen samling "
"venner.  Det er værd at mærke sig at ingen af disse <quote>venner</quote> "
"inkluderede historikere eller økonomer. Indlæggene på den andre side af "
"sagen var skrevet eksklusivt af store mediumselskaber, kongresmedlemmer og "
"ophavsretindehavere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mediumselskaberne overraskede ikke .  De havde mest at tjene på loven.  "
"Kongresmedlemmerne var heller  ikke overraskende &ndash; de forsvarede sin "
"magt og, indirekte, de farvepige pengeene som denne magt førte til.  Og det "
"var naturligvis  ikke overraskende at ophavsretindehaverne villes forsvare "
"idéen om at de skulle fortsætte at have retten til at kontrollere hvem som "
"gjorde hvad  med indhold de ønskede at kontrollere."

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Porgy and Bess"
msgstr "Porgy and Bess"

#.  f14. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 ""
"Indlæg fra Amici Dr. Seuss Enterprise et avl., <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 537 U.S.  (2003) (No. 01-618), 19 ."

#.  f15. 
#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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 Royaltyer? Even Mickey Mouse "
"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 . marts "
"1998, B7 ."

#.  PAGE BREAK 241 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Repræsentanter for Dr. Seuss argumenterede for eksempel  med at det var "
"bedre at rettighetshaverne efter Dr. Seuss kontrollerede hvad  som skete med "
"værkerne til Dr. Seuss &ndash; bedre end at lade de henhøre i det fri "
"&ndash; på grund af at hvis dette kreative arbejdet var allemannseie, så "
"villes folk bruge det til at <quote>forherlige narkotika og skabe pornografi."
"</quote><placeholder type=\"footnote\" id=\"0\"/> Dette var også  motivet "
"til rettighetshaverne efter Gershwin, som forsvarede sin <quote>beskyttelse</"
"quote> af værkerne til George Gershwin.  De afviste for eksempel  at "
"licensiere ud <citetitle>Porgy and Bess</citetitle> til enhver som nægtede "
"at bruge afrikansk-amerikanere i rollelisten.<placeholder type=\"footnote\" "
"id=\"1\"/> Det var deres syner på hvordan denne del af amerikansk kultur "
"burde blive kontrolleret, og de ønskede hjælp fra denne lov til at "
"effektuere denne kontrol."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette argument gjorde klart et tema som sjælden bliver lagt mærke til i "
"denne debat.  Når Kongressen beslutter at forlænge vernetiden til "
"eksisterende ophavsreter, så gør Kongressen et valg om hvilke stemmer de "
"giver fordele.  Berømte og elskede ophavsretejere, sådan som Gershwin-boet "
"og Dr. Seuss, kommer til Kongressen og siger <quote>Give os tyve år ekstra "
"til at kontrollere ytringene om disse Amerikanske kultur-ikonerne.  Vi "
"kommer til at gøre en bedre job end nogle andre.</quote> Kongressen kan "
"naturligvis lide at belønne de populære og berømte ved at give dem det de "
"ønsker.  Men når Kongressen giver folk en eksklusiv ret til at snakke på en "
"bestemt måde, så er det akkurat det Første grundlovtillæg traditionelt er "
"ment at blokere."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi hævdede det samme i et afsluttende indlæg.  Ikke bare villes det at "
"opretholde CTEA betyde at det ikke fandtes nogle grænse for Kongressens "
"myndighed til at udvide vernetiden &ndash; udvidelser som yderstere villes "
"snævre ind markedet.  Det villes også  betyde at det ikke var nogle "
"begrænsninger i Kongressens mulighed til at favorisere enkeltaktører, ved "
"hjælp af ophavsreten, og styre hvem som havde lov til at ytre sig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Mellem februar</emphasis> og oktober gjorde jeg lidt "
"andet end at forberede mig for denne sag.  Som jeg nævnede tidligere , "
"bestemte jeg strategien tidligt."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Kennedy, Anthony"
msgstr "Kennedy, Anthony"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "O'Connor, Sandra Day"
msgstr "O'Connor, Sandra Day"

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

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Scalia, Antonin"
msgstr "Scalia, Antonin"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "congressional actions restrained by"
msgstr "Kongressens handlinger begrænsede af"

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "factions of"
msgstr "fraktioner i"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Højesteretten var delt i to vigtige grupper.  En gruppe kaldte vi <quote>de "
"konservative.</quote>  Den andre kaldte vi <quote>resten.</quote>  De "
"konservative inkluderede højesteretsjustitiarius Rehnquist, domme O'Connor, "
"domme Scalia, domme Kennedy og domme Thomas.  Disse fem havde været mest "
"konsistente i at begrænse Kongressens magt.  Disse var de fem som havde "
"støttet <citetitle>Lopez/Morrison</citetitle>-rækken af sager som sagde at "
"en opplistet kompetence måtte tolkes sådan at den sikrede at Kongressens "
"kompetence havde begrænsninger."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Breyer, Stephen"
msgstr "Breyer, Stephen"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Ginsburg, Ruth Bader"
msgstr "Ginsburg, Ruth Bader"

#.  PAGE BREAK 242 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Resten var de fire dommerne som stærkt modsatte sig at begrænse Kongressens "
"myndighed.  Disse fire &ndash; domme Stevens, domme Souter, domme Ginsburg "
"og domme Breyer &ndash; havde gentagne gange argumenteret med  at Grunnloven "
"giver Kongressen vældig bredt skøn til at bestemme hvordan den skal bedst "
"bruge sin myndighed.  I sag efter sag havde dirre dommerne argumenteret at "
"domstolens rolle skulle være at overlade denne vurdering til andre.  Selv om "
"voteringen til disse fire dommerne var voteringene jeg personligt havde "
"været mest konsekvent enigt/enig med, så var de også stemmerne det var "
"mindst sandsynligt at vi villes få."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Specielt lille sandsynligt var stemmen til domme Ginsburg.  I tillæg til "
"hendes generelle syner om at overlade vurderingen til Kongressen (undtagen "
"der hen tema om køn var involveret), så havde hun været specielt  klar på at "
"overlade vurderingen til Kongressen i forbindelse med beskyttelse af "
"intellektuell ejendom.  Hun og hendes datter (en glimrende og velkendt "
"akademiker inden immateriell ejendom) var to avlen af samme immaterielle "
"ejendomstykke.  Vi forventede at hun villes være enig med skrifterne til "
"datteren: at Kongressen havde myndighed i denne sammenhæng til at gøre som "
"den ønskede, selv om det Kongressen ønskede ikke  gav mening."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Tæt bag domme Ginsburg var to dommere som vi også så på som usannsynlige "
"allierede, men vi kunne blive overrasket.  Domme Souter favoriserede stærkt "
"at lade Kongressen bestemme, og det samme gjorde domme Breyer.  Men begge "
"var også  vældig følsomme for ytringsfrihetsbekymringer.  Og vi troede "
"stærkt at det var vigtige ytringsfrihedargumenter mod disse tilbakevirkende "
"udvidelserne."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Den eneste stemmen vi kunne være tryg på var den til domme Stevens.  "
"Historie viser at domme Stevens er en af de største dommerne i denne "
"domstol.  Hans stemmer har været konsistent eklektisk, hvilket bare betyder "
"at  ikke nogle enkel ideologi forklarer hvordan han vil stille sig.  Men han "
"havde konsistent argumenteret for begrænsninger i sammenhæng med immateriell "
"ejendom generelt.  Vi var rimeligt sikre på at han villes kende igen  "
"begrænsningerne her."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Denne analyse af <quote>resten</quote> viste tydeligst hvor forår fokus "
"måtte være: på de konservative.  For at vinde denne sag måtte vi fortage en "
"sprække mellem disse fem, og få i hvert fald et flertal over på vores lave.  "
"Dermed blev det ene overstyrende argument som gav liv til vores påstand "
"hvilende på de konservatives vigtigste rettsvitenskapelige nyskabning "
"&ndash; argumentet som domme Sentelle havde baseret sig på i ankedomstolen, "
"at Kongressens kompetence måtte tolkes sådan at kompetencerne som var listet "
"op havde begrænsninger."

#.  PAGE BREAK 243 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette var dermed  kernen i vores strategi &ndash; en strategi som jeg er "
"ansvarlig for.  Vi villes få retten til at se at  akkurat som i "
"<citetitle>Lopez</citetitle>-sagen, så villes Kongressen ifølge regeringens "
"argumentation altid have ubegrænset magt til at udvide eksisterende "
"vernetider.  Hvis noget var klart om Kongressens magt i henhold til "
"Fremskridtbestemmelsen, så var det at magten var ment at være "
"<quote>begrænset.</quote> Vår målsetting villes være at få retten til at "
"forene <citetitle>Eldred</citetitle> med <citetitle>Lopez</citetitle>: Hvis "
"Kongressens myndighed til at regulere handel var begrænset, så måtte også  "
"Kongressens myndighed til at regulere ophavsreten være begrænset."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Argumentet</emphasis> på regeringens side kogte ned "
"til dette: Kongressen har gjort det før, og bør få lov til at gøre det igen. "
" Regeringen hævdede at  helt fra starten har Kongressen udvidet vernetiden "
"til eksisterende ophavsret.  Derfor, argumenterede regeringen, burde ikke  "
"domstolen nu sige at praksissen var forfatningsstridig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var noget sandt i regeringens påstand, men ikke meget.  Vi var helt "
"klart enigt/enig i at Kongressen havde udvidet verntiden i 1831 og i 1909 . "
"Og selvfølgelig i 1962, da Kongressen begyndte at regelmæssigt udvide "
"eksisterende vernetid &ndash; elleve gange på fyrre år."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men denne <quote>konsistens</quote> bør man se på i perspektiv. Kongressen "
"udvidede gældende vernetid en gang de første hundrede årene af republikken.  "
"Derefter udvidede de den gældende vernetid endnu en gang i løbet af de næste "
"halvtreds.  Disse sjældne udvidelser står i kontrast til dagens praksis om "
"at regelmæssigt udvide gældende vernetid.  Uanset hvad slags selvbeherskelse "
"Kongressen havde tidligere , så er denne selvbeherskelsen nu borte.  "
"Kongressen var nu  i en cyklus med udvidelser, og det var ingen grund til at "
"forvente at denne cyklus kom til at tage slutning.  Denne domstol havde ikke "
" drysset med at gribe ind når Kongressen var i lignende udvidelses-"
"cyklusser.  Det var ingen grund til at de ikke kunne gribe ind her."

#.  PAGE BREAK 244 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Mundtlig argumentation</emphasis> var fastsat til "
"første uge i oktober.  Jeg ankom D.C. to uger føder dette.  I løbet af disse "
"to ugerne blev jeg gang på gang <quote>drillet</quote> af advokater som "
"havde meldt sig frivilligt til at hjælpe til i sagen. Sådanne "
"<quote>opponeringsøkter</quote> er i essensen øvelserunder hvor de som vil "
"være dommere fyrer af spørgsmål mod de som vil vinde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg var overbevist om at for at vinne, måtte jeg holde domstolen fokuseret "
"på et enkelt pointe: hvis denne udvidelse blev accepteret, så villes det "
"ikke være nogle grænser for myndigheden til at vedtage vernetider.  Å være "
"enigt/enig med regeringen villes betyde at  vernetider effektivt set vilde "
"være ubegrænset. Å være enigt/enig med os villes give Kongressen en klar "
"linje at følge: Ikke udvid eksisterende vernetider.  Opponeringsøktene var "
"effektiv træning.  Jeg fandt tilpasser at bringe hvert eneste spørgsmål "
"tilbage til den centrale idéen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"En opponeringsøkt var foran advokaterne hos Jones Day.  Pusl Ayer var "
"skeptikeren.  Han havde tjenestegjort i Justitsdepartementet under Reagen "
"med regeringsadvokat Charles Fried.  Han havde præsenteret mange sager foran "
"Højesteret.  Og i sin oppsummering af opponeringsøkten kom han med sin "
"bekymring:"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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>Jeg er bare  bange for at med mindre de virkeligt ser skaden, så vil "
"de ikke være villige til at bryde denne praksis som regeringen siger har "
"været konsistent praksis i to hundrede år.  Du må få dem til at se skaden "
"&ndash; eftertrykkeligt få dem til at se skaden.  Hvis de ikke ser den, så "
"har vi ingen chance til at vinde.</quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Han havde måske  lagt frem mange sager foran denne domstol, tænkte jeg, men "
"han havde ikke  forstået deres sjel.  Som en funktionær havde jeg set "
"dommerne gøre det rigtige &ndash; ikke på grund af politik, men fordi det "
"var rigtigt.  Som en juiceprofessor havde jeg brugt livet på at lære mine "
"studenter at denne domstol gør det som er rigtigt &ndash; ikke på grund af "
"politik, men fordi det var rigtigt.  Mens jeg hørte på Ayers lidenskabelige "
"bøn om politisk pres, forstod jeg hans pointe, og jeg forkastede det.  Vores "
"argument var rigtigt.  Det var nok .  Lagde politikerne lære at det også var "
"godt ."

#.  PAGE BREAK 245 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Natten føder</emphasis> argumentationen begyndte en "
"kø af folk at dukke op  foran Højesteret.  Sagen havde fået opmærksomhed fra "
"presset og Fri kultur-bevægelsen.  Hundredevis stod på række for at få en "
"chance til at se forhandlingen.  Flokkevis tilbrakte natten på trappen til "
"Højesteret for at sikre sig et sæde."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alle måtte ikke  vente i kø.  Folk som kender dommerne kan bede om pladser "
"de kontrollerer.  (Jeg bad domme Scalias kontor om plads til mine forældre, "
"for eksempel.)  Medlemmer med møderet i Højesteret kan bede om en plads i en "
"speciel del forbeholdt dem.  Og senatorer og kongresmedlemmer har en speciel "
"plads der de også kan sidde.  Og til slutning har naturligvis  presset et "
"galleri på samme måde som kontorpersonel som arbejder for dommerne i "
"domstolen.  Da vi ankom den morgenen, var det ingen pladser som var ledigt.  "
"Dette var en diskussion om immaterialrett, og alligevel var hallerne helt "
"fulde.  Da jeg gik ind for at tage min plads foran domstolen, så jeg mine "
"forældre siddende på venstre side.  Da jeg satte mig ned ved bordet, så jeg "
"Jack Valenti siddende i den specielle delen normalt forbeholdt familien til "
"dommerne."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Da høyesterettsjustitiariusen bad mig om at starte på min argumentation, "
"begyndte jeg der jeg planlagde at holde mig: ved spørgsmålet om "
"begrænsningerne i Kongressens magt.  Dette var en sag om de opplistede "
"kompetencerne, sagde jeg, og hvorvidt disse opplistede kompetencerne har "
"grænser."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"Justice O'Connor stopped me within one minute of my opening.  The history "
"was bothering her."
msgstr ""
"Domme O'Connor stoppede mig før det jeg var kommet et minut ind i "
"åbningforedraget mit.  Historie plagede hende."

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Dommer O'Connor: Kongressen har gennem tiden udvidet vernetiden så mange "
"gange.  Hvis du har ret , risikerer vi ikke at forstyrre tidligere "
"udvidelser af vernetiden?  Jeg mener, dette virker at være en praksis som "
"startede med den aller første lovendringen?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hun var ganske  villig til at indrømme <quote>at dette går ret  i synet på "
"det grundlovforfatterne havde i tankene.</quote>  Men min respons igen og "
"igen var at understrege begrænsningerne i Kongressens myndighed."

#.  PAGE BREAK 246 
#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Herre Lessig: Vel, hvis det går ret i synet på det grundlovforfatterne havde "
"i tankene så er spørgsmålet, er det en måde at tolke deres ord som giver "
"effekten de havde i tankene, og svaret er jaer."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var to pointer i dette argument der jeg burde have set hvor retten var "
"på vej.  Det første var et spørgsmål fra domme Kennedy, som observerede:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Dommer Kennedy: Vel, jeg antager at det er implisitt i argumentet at "
"ændringen fra 1976 også bør blive kendt ugyldigt, og at vi kan lade den være "
"for at undgå forstyrrelsen, er at  i alle disse år som loven har hæmmet "
"fremgang i videnskab og nyttige kunstarter, så ser jeg intet empirisk bevis "
"for dette."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid ""
"Here follows my clear mistake. Like a professor correcting a student, I "
"answered,"
msgstr ""
"Her følger min åbenbare fejl.  Som en professor som korrigerer en student, "
"svarede jeg:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Herre Lessig: Domme, det er ikke  en empirisk påstand i det hele taget. "
"Ingenting i påstanden om vores ophavsretbestemmelse baserer sig på den "
"empiriske antagelsen om at hindre fremgang.  Vores eneste argument er at "
"dette er en strukturell begrænsning som er nødvendigt for at sikre at det "
"som i praksis villes være en evigvarende vernetid ikke bliver tilladt i "
"opphavsrettsloven."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var et rigtigt svar, men det var ikke  det rigtige svaret.  Det rigtige "
"svaret var i stedet  at skaden var åpenbar og dyptgripende. En række indlæg "
"var blevet skrevet om den.  Han ønskede at høre det.  Og det var her rådet "
"fra Don Ayer burde have haft betydning. Dette var en farve pasning, og mit "
"svar bummet fuldstændig ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det andre kom fra  høyesterettsjustitiariusen, som hele sagen havde blevet "
"udformet for.  For høyesterettsjustitiariusen havde udformet "
"<citetitle>Lopez</citetitle>-afgørelsen og vi håbet at han villes se at "
"denne sag var deres tremenning."

#.  PAGE BREAK 247 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var klart allerede et sekund ind i hans spørgsmål at han overhovedet "
"ikke havde sympati med os.  For ham var vi en gruppe med anarkister.  Han "
"spurgte derefter :"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Højesteretsjustitiarius: Vel, men du ønsker mere end det.  Du ønsker at have "
"lov til at ordrett kopiere andre folks bøger, gør du ikke?"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Herre Lessig: Vi ønsker retten til at ordrett kopiere værk som bør være "
"allemannseie, og villes været allemannseie havde det ikke været for man "
"lovpraksis som ikke kan begrundes med normal analyse af det første "
"grundlovtillæg, eller med korrekt lesning af begrænsningerne som er bygget "
"ind i ophavsretbestemmelsen."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Olson, Theodore B."
msgstr "Olson, Theodore B."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Ting gik bedre for os da regeringen præsenterede sit åbningforedrag.  For nu "
"tog retten tag i kernen i vores påstande. Domme Scalia spurgte "
"regeringsadvokat Olson:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Domme Scalia: Du siger at den funksjonelle ækvivalenten til en ubegrænset "
"vernetid villes være i strid [med Grunnloven], men det er jo  nøjagtigt det "
"argumentet som fremmes af saksøkerne her, at man begrænsede vernetid som er "
"utvidbar er den funksjonelle ækvivalenten til en ubegrænset vernetid."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Da Olson var færdigt, var det min tur til at give et afsluttende motinnlegg. "
" Olsons overhøvling havde vækket mit sind.  Men mit sind var fortsat  rettet "
"mod det akademiske, ikke det praktiske.  Regeringen argumenterede som om "
"dette var den første gang nogensinde domstolene vurderede at begrænse "
"Kongressens myndighed over ophavsret og patenter.  Som altid som en "
"professor og ikke en talsmand, afsluttede jeg med at pege på domstolens "
"lange historie med at introducere begrænsninger i Kongressens myndighed over "
"ophavsret og patentbestemmelsen i Grunnloven &ndash; faktisk var det første "
"tilfældet der hen en lov fra Kongressen blev fundet at gå ud over en "
"spesifikk opplistet kompetence baseret på ophavsret og patentbestemmelsen. "
"Helt sandt, men det kom ikke  til at vinde domstolen over på min side."

#.  PAGE BREAK 248 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Da jeg afgik</emphasis> fra retten den dagen, vidste "
"jeg det var hundredevis af ting jeg skulle ønske jeg havde gjort på nyt.  "
"Det var hundredevis af spørgsmål jeg skulle ønske jeg havde svaret "
"anderledes .  Men en måde at tænke på denne sag gjorde mig optimistisk."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Regeringen havde blevet spurgt om og om igen, hvor er grænsen?  Og igen og "
"igen havde den svaret at det var ingen grænse.  Det var netop  svaret jeg "
"ønsket at retten skulle høre.  For jeg kunne ikke  forestille mig hvordan "
"retten kunne forstå at regeringen mente Kongressens myndighed var ubegrænset "
"under betingelsene i opphavsrettbestemmelsen, og opretholde regeringens "
"argument. Regeringsadvokaten havde fremmet mit argument for mig.  Uanset "
"hvor mange jeg forsøgte, kunne jeg ikke forstå hvordan retten kunne komme "
"til  at Kongressens myndighed ifølge handelbestemmelsen var begrænset mens "
"den under ophavsretbestemmelsen var ubegrænset.  I de sjældne øjeblikke der "
"jeg lod mig selv tro at vi havde nået frem, var det på grund af at jeg "
"oplevede at denne domstol &ndash; specielt de konservative &ndash; villes se "
"at de selv blev ramt af begrænsningerne af den retpraksis den allerede havde "
"etableret."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>På morgenen</emphasis> 15 . januar 2003 var jeg fem "
"minutter for sent til kontoret, og gik glipp af 07:00-oppringingen fra "
"retskriveren i Højesteret. Jeg forstod øjeblikkeligt, bare ved at høre på "
"meldingen på telefonsvareren, at hun kom med dårlige nyheder.  Højesteretten "
"havde bekræftet afgørelsen fra ankedomstolen.  Syv dommere havde udgjort "
"flertallet, og det var to dissenser."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nogle få sekunder senere ankom domsavsigelsen via e-post.  Jeg tog "
"telefonrøret af krogen, lagde ud en kunngjøring på bloggen forår, og satte "
"mig så ned for at se hvor jeg havde taget fejl i min argumentation."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Min <emphasis>argumentation</emphasis>.  Her var en sag som satsede al "
"værdets penge på at <emphasis>argumentation</emphasis> villes tabe. Og her "
"sad den sidste naive juiceprofessoren og trawlede gennem siderne på jagt "
"efter argumentation."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Først trawlede jeg domsavsigelsen for at finne hvordan domstolen villes "
"skille princippet i denne sag fra princippet i <citetitle>Lopez</citetitle>. "
" Jeg fandt ikke  argumentet noget sted. Sagen var ikke  en gang citeret.  "
"Argumentet som var kerneargumentet i vores sag var ikke  en gang til "
"præsentere i domstolens domsavsigelsen."

#.  PAGE BREAK 249 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Domme Ginsburg ignorerede ganske enkelt  argumentet om opplistede "
"kompetencer.  Konsistent med hendes syner om at Kongressens magt ikke var "
"begrænset generelt, havde hun konkluderet med  at Kongressens myndighed ikke "
"var begrænset her ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hendes betenkning var helt rimeligt &ndash; for hende og for domme Souter. "
"Ingen af dem tror på <citetitle>Lopez</citetitle>. Det villes være for  "
"meget at forvente at de skulle skrive en rettsbetenkning som anerkendte, "
"langt mindre forklarede, den doktrinen som de havde arbejdet så  hårdt for "
"at bekæmpe."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men efterhånden som jeg indså hvad  som havde sket, så kunne jeg ikke helt "
"tro det jeg læste.  Jeg havde sagt at det ikke var muligt for domstolen at "
"forene begrænset myndighed for Handelbestemmelsen og ubegrænset myndighed "
"for Fremskridtbestemmelsen.  Det havde aldrig  slået mig at de kunne forene "
"disse to ved at ganske enkelt at <emphasis>ikke tage hensyn til argumentet</"
"emphasis>.  Det skabte ikke  inkonsistens ganske enkelt fordi de lod være at "
"omtale de to sammen.  Det var dermed  ikke noget princip som fulgte fra "
"<citetitle>Lopez</citetitle>-sagen: I den sammenhængen var Kongressens "
"myndighed begrænset, men i denne sammenhæng var den ikke begrænset."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alligevel, med hvilken ret får de vælge hvilke af grundlovforfatterne "
"værdier de skulle respektere?  Med hvilken ret fik de &ndash; de tause fem "
"&ndash; vælge hvilken del af Grunnloven de villes håndhæve baseret på "
"værdierne de mente var vigtige?  Vi var helt tilbage til det argumentet som "
"jeg sagde jeg hadede i starten: Jeg havde fejlet i at overbevise dem om at "
"problemet her var vigtigt, og jeg havde fejlet i at indse at  uanset hvor "
"mange jeg hader et system der domstolen kan vælge hvilke konstitusjonelle "
"værdier den vil respektere, så er det systemet vi har."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dommerne Breyer og Stevens skræv vældig stærke dissenser. Stevens betenkning "
"var udformet baseret på lovværket: Han argumenterede med  at traditionen til "
"immateriallretten ikke burde støtte denne uberettigede udvidelsen af "
"vernetiden.  Han baserede sit argument på en parallel analyse som havde "
"styret i patentsammenhæng (sådan vi gjorde).  Men resten af domstolen "
"afviste denne parallel &ndash; uden at forklare hvordan  nøjagtigt de samme "
"ord i Fremskridtbestemmelsen kunne betyde noget helt andet afhængigt af "
"hvorvidt de handlet om patenter eller ophavsret.  Domstolen lod domme "
"Stevens anklage stå ubesvaret."

#.  PAGE BREAK 250 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Domme Breyers betenkning, måske den bedste betenkningen han nogensinde har "
"skrevet, var uafhængigt af Grunnloven.  Han argumenterede med  at vernetiden "
"i ophavsreten havde blevet så  lang at den effektivt set var ubegrænset.  Vi "
"havde sagt at  under de nuværende vilkårene gav ophavsreten en forfatter 99,"
"8 procent af værdien til en uendelig vernetid.  Breyer sagde vi tog fejl, at "
"det faktiske tallet var 99,9997 procent af en uendelig vernetid.  Uanset var "
"pointen klart: Hvis Grunnloven sagde at  vernetiden måtte være "
"<quote>begrænset,</quote> og den eksisterende vernetiden var så  lang at den "
"i praksis var ubegrænset, så var den grunnlovstridig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse to dommerne forstod alle argumenterne vi havde kommet med .  Men fordi "
"ingen af dem troede på <citetitle>Lopez</citetitle>-sagen, var ingen af dem "
"villigt til at bruge den som en grund til at afvise denne udvidelse.  Sagen "
"var afgjort uden at nogle tog tag i argumentet vi havde taget med  fra domme "
"Sentelle.  Det var <citetitle>Hamlet</citetitle> uden prinsen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Tab giver depression</emphasis>.  De siger det er et "
"sunnhetstegn når depression må vige for vrede.  Mit vrede kom raskt, men det "
"kurerede ikke  depressionen.  Sindet gik i to retninger."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "originalism"
msgstr "orginalisme"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det var først  vrede mod de fem <quote>Konservative.</quote>  Det villes "
"været en ting om de havde forklaret hvorfor  princippet i <citetitle>Lopez</"
"citetitle> ikke skulle anvendes i dette tilfælde. Jeg tror ikke  det villes "
"ikke  været et rigtigt overbevisende argument, efter at have læst det "
"fremmet af andre, og forsøgt at fremføre det selv. Men det villes i hvert "
"fald været en handling med integritet. Specielt disse dommere havde gentagne "
"gange sagt at den rigtige måden at tolke Grunnloven på var "
"<quote>originalisme</quote> &ndash; at først forstå grundlovforfatterne "
"tekst, tolket i deres sammenhæng, i lys af strukturen i Grunnloven.  Den "
"metoden havde ført til <citetitle>Lopez</citetitle> og mange andre "
"<quote>originalistiske</quote> afgørelser.  Hvor var deres "
"<quote>originalisme</quote> nu?"

#.  PAGE BREAK 251 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Her havde de samlet sig om en betenkning som ikke en eneste gang forsøgte at "
"forklare hvad grundlovforfatterne havde ment ved at udforme "
"Fremskridtbestemmelsen sådan de gjorde.  De blev med på en betenkning som "
"aldrig forsøgte at forklare hvordan strukturerne til denne bestemmelse "
"villes påvirke tolkningen af Kongressens myndighed.  Og de blev med på en "
"betenkning som ikke engang forsøger at forklare hvorfor  denne tildeling af "
"myndighed kunne være ubegrænset, mens Handelbestemmelsen villes være "
"begrænset.  Kort sagt, de havde blevet med på en betenkning som galdt for, "
"og var inkonsistent med, deres egen metode for at tolke Grunnloven.  Denne "
"betenkningen gav måske  et resultat som de kunnelide.  Men den gav ikke  en "
"begrundelse som var konsistent med deres egen principper."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mit vrede mod de konservative gav raskt efter for sindet mod mig selv.  For "
"jeg havde ladet en holdning til loven som jeg kunnelide forstyrre en "
"holdning til loven sådan den er."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"De fleste advokater, og de fleste jussprofessesorer, har lille tålmodighet "
"for idealisme om domstolene generelt, og denne Højesteret specielt.  De "
"fleste har et mere pragmatisk syner.  Da Don Ayer sagde at denne sag villes "
"vindes baseret på om jeg kunne overbevise dommerne om at grundlovforfatterne "
"værdier var vigtige, kæmpede jeg mod idéen, fordi jeg ikke ønskede at tro at "
"dette var hvordan denne domstol tog afgørelser.  Jeg insisterede på at "
"argumentere for denne sag som om det var man enkel anvendelse af et sæt med "
"principper.  Jeg havde et argument som fulgte af logikken. Jeg behøvede ikke "
" at kaste væk min tid ved at vise at det også burde følge af folkmeningen."

#.  PAGE BREAK 252 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Når jeg igen læser igennem avskriften fra argumentationen i oktober, ser jeg "
"hundredevis af pladser hvor svarene kunne have taget samtalen i andre "
"retninger, hvor sandheden om skaden som denne ukontrollerte myndigheden vil "
"forårsage kunne været klargjort for domstolen.  Dommer Kennedy ønskede i god "
"tro at blive vist dette.  Jeg, idiotisk nok, korrigerede hans spørgsmål.  "
"Domme Souter villes i god tro blive vist skaderne relateret til Første "
"grundlovtillæg.  Jeg, som en måttelærer, omrammet spørgsmålet for at lægge "
"frem det logisk pointen. Jeg havde vist dem hvordan de kunne slå ned på "
"denne lov hvis de ønskede det.  Det var hundredevis af steder hvor jeg kunne "
"have hjulpet dem til at ønske det, men min vrangvilje, det at jeg aldrig gav "
"mig, hindrede mig. Jeg havde stået foran hundredevis af publikum og forsøgt "
"at overtale dem. Jeg havde brugt lidenskab i mit forsøg på at overtale, men "
"jeg nægtede at stå foran dette publikum og forsøge at overtale dem med den "
"lidenskaben jeg havde brugt andre steder.  Det var ikke  på et sådant "
"grundlag en domstol burde afgøre denne sag."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Villes det gået anderledes hvis jeg havde argumenteret lidt  forskelligt?  "
"Villes det have gået anderledes  hvis Don Ayer havde argumenteret?  Eller "
"Charles Fried?  Eller Kathleen Sullivan?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Mine venner samlede sig rundt mig for at insistere på at det villes det "
"ikke.  Domstolen var ikke  klar, insisterede mine venner.  Det var et tab "
"bestemt af skæbnen.  Det villes kræve meget mere for at visse/vise vores "
"samfund hvorfor grundlovforsamlingen havde ret .  Og når vi gør dette, så "
"vil vi være i stand  til at vise det til denne domstol."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Muligt det, men jeg tvivler.  Disse dommere havde ingen økonomiske "
"interesser i at gøre noget andet end det som var rigtigt.  De bliver ikke  "
"udsat for lobbyvirksomhed.  De har lille interesse i og undgå at gøre det "
"som er rigtigt.  Jeg klarer ikke  lade være at tænke at  om jeg havde givet "
"slip på mit pæne billede af juicen uden følelser, så havde jeg overbevist "
"dem."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men selv om jeg ikke kunne det, så undskylder dette ikke det som skete i "
"januar.  For i starten af denne sag havde en af USAs ledende professorer "
"inden immaterialretten udtalt offentligt at jeg gjorde en fejl ved at fremme "
"denne sag.  <quote>Domstolen er ikke  klar</quote>, havde Peter Jaszi sagt, "
"og fulgte op med <quote>dette tema bør ikke  tages op  før den er det.</"
"quote>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Efter argumentationen og efter afgørelsen sagde Peter til mig, og "
"offentligt, at han tog fejl.  Men hvis domstolen faktisk ikke kunne blive "
"overbevist, så er det alt bevis som trænges for at vide at  her havde Peter "
"nok en gang ret.  Enten var ikke  jeg klar til at argumentere for denne sag "
"på en måde som villes bidrage positivt, eller så var de ikke klare for at "
"tage op denne sag på en måde som villes bidrage positivt. Uanset var "
"afgørelsen om at fremme denne sag &ndash; en afgørelse jeg havde taget fire "
"år tidligere &ndash; fejl."

#.  PAGE BREAK 253 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Mens reaktionen</emphasis> på Sonny Bono-loven selv "
"var næsten  enstemmigt negativ, så var reaktionen på domstolens afgørelse "
"blandet.  Ikke en eneste, i hvert fald i presset, forsøgte at sige at det "
"var en god idé at udvide vernetiden i ophavsreten.  Vi havde vundet kampen "
"om idéen.  Afgørelsen fik støtte fra aviser som havde været skeptisk til "
"domstolens aktivisme i andre sager.  Å holde hånd fra var en god ting, selv "
"om den lod en dum lov blive stående. Men der afgørelsen blev angrebet, så "
"blev den angrebet på grund af at den lod en dum og skadelig lov blive "
"stående.  <citetitle>The New York Times</citetitle> skræv i sin leder:"

#. type: Content of: <book><part><chapter><blockquote><para>
#, fuzzy
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 ""
"Effekten er at beslutningen i Højesteret gør det sandsynligt at vi ser "
"starten på slutningen for allemannseie, og fødslen til evig ophavsret.  "
"Allemannseie har været et storslået eksperiment, som ikke bør få lov til at "
"dø.  Evnen til at frit udnytte hele den kreative produktionen til "
"menneskeheden er en af grunderne til at vi lever i en tid med så "
"frugtoverskæg kreativt vækstmiljø."

#. type: Content of: <book><part><chapter><figure><indexterm><primary>
#, fuzzy
msgid "Bolling, Ruben"
msgstr "Bolling, Ruben"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"De bedste responserne dukkede op  i tegneserierne.  Det var en høj rigtigt "
"morsomme tegninger &ndash; af Mikke i fængsel og dets lige så.  Det bedste "
"fra mit ståsted i sagen, var fra Ruben Bolling, gengivet i figur <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-18\"/>.  Tekstlinjen om "
"<quote>mægtig og rig</quote> er lidt  uretfærdig.  Men slaget i ansigtet "
"føltes akkurat  sådan ud.<placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><figure>
#, fuzzy
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>
#, fuzzy
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 ""
"Billedet som for altid står inde i mit hoved er det som blev udløst af et "
"citat fra <citetitle>New York Times</citetitle>.  At <quote>det store "
"eksperimentet</quote> vi kalder <quote>allemannseie</quote> er over?  Når "
"jeg kan tage farve på det, så tænker jeg <quote>Kære, jeg krympede "
"Grunnloven.</quote>  Men jeg klarer sjælden  at tage let  på det.  Vi havde "
"i Grunnloven vores en forpligtelse til at frigøre kultur.  I den sagen som "
"jeg havde ansvar for, gav Højesteret effektivt afkald på den forpligtelsen.  "
"En bedre advokat villes fået dem til at se anderledes  på det."

#. type: Content of: <book><part><chapter><title>
#, fuzzy
msgid "Chapter Fourteen: Eldred II"
msgstr "Kapitel fjorten: Eldred II"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Dagen</emphasis> <citetitle>Eldred</citetitle> blev "
"afgjort, villes skæbnen at jeg skulle rejse til Washington, D.C. (Dagen da "
"en forespørgsel om ny høring for <citetitle>Eldred</citetitle> blev afslået "
"&ndash; som betød at sagen endeligt var færdigt &ndash; skæbnen gjorde at "
"jeg holdt en tale til teknologer ved Disney World.)  Dette var en specielt "
"lang flytur til den byen jeg sætter mindst  pris på.  Trafik forsinkede "
"køreturen fra Forkæles lufthavn til byen, så jeg åbnede min computeren og "
"skrev en kronik."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg havde dårlig samvittighed. Gennem hele flyturen fra San Francisco til "
"Washington havde jeg i mit indre ører hørt om og om igen det samme råd fra "
"Don Ayer: Du må få dem til at forstå hvorfor  dette er vigtigt. Og "
"indimellem dette rådet var spørgsmålet fra domme Kennedy: <quote>I alle "
"disse år som loven har hæmmet fremgang i videnskab og nyttige kunstarter, så "
"ser jeg intet empirisk bevis for dette.</quote> Og dermed, efter at have "
"fejlet i at argumentere med konstitusjonelle principper, forsøgte jeg at "
"argumentere politisk."

#.  PAGE BREAK 256 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"<citetitle>New York Times</citetitle> publicerede kronikken.  I den foreslog "
"jeg en enkel fiks: Halvtreds år efter at et værk har blevet publiceret, bør "
"ophavsretejeren være nødt til at registrere virket og betale en lille "
"afgift.  Hvis han betalte afgiften, fik han fordelene af hele "
"opphavsrettsvernetiden.  Hvis han ikke gjorde det, blev virket allemannseie."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Vi kaldte dette Eldred-loven, men det var kun  for at give det et navn. Eric "
"Eldred var snild nok til at lade sit navn bruges nok  en gang, men han sagde "
"tidig at den ikke villes blive vedtaget med mindre den fik et andet navn."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Eller to andre navn.  For afhængigt af synsvinkel, så er dette enten "
"<quote>Forbedring af allemannseieloven</quote> eller <quote>Avregulering af "
"opphavsrettsvernetidsloven.</quote>  Uanset er essensen i idéen klar og "
"tydelig: Fjern ophavsreten der den ikke gør noget andet end at blokere for "
"tilgang og spredning af kundskab.  Lad den eksistere så længe  som "
"Kongressen tillader det for de værk der værdien er mindst  en dollar.  For "
"alt andet, slip indholdet fri."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Forbes, Steve"
msgstr "Forbes, Steve"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Democratic Party"
msgstr "Demokratiske partier, det"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Republican Party"
msgstr "Repulikanske parti, det"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Reaktionen på denne idéen var utroligt stærk.  Steve Forbes gik god for den "
"i en leder, og jeg modtog et skred af støttende e-post og brev.  Når man "
"fokuserer temaet på tabt kreativitet, så ser folk at ophavsretsystemet ikke "
"giver mening.  En god republikaner kunne sige at  her kommer ganske enkelt  "
"myndighetsregulering i vejen for nyskabning og kreativitet.  Og en god "
"demokrat kunne sige at  her blokerer myndighederne uden god overfladisk "
"tilgang til og spredning af kundskab.  Det er faktisk  ingen reel forskel "
"mellem demokrater og republikanere rundt dette tema.  Enhver kan gjenkjenne "
"de idiotiske skaderne som dagens ordning giver."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Faktisk ser mange de åbenbare fordelene med registreringkravet.  For en af "
"de vanskeligste/vanskeligeste tingene med dagens system for folk som ønsker "
"at licensiere indhold er at det ikke er nogle åpenbare plads at slå op "
"gældende ophavsretejere.  Siden registrering ikke er påkrevd, så blokeres "
"ofte  fremgangen på at spore op ophavsretejere for at bede om tilladelse til "
"at bruge eller licensiere deres værker.  Dette system villes reduceret "
"sådanne omkostninger ved at etablere et register hvor opphavsrettseierene i "
"ihvertfald kan identificeres."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Berlin Act (1908)"
msgstr "Berlinvedtaket (1908)"

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Berne Convention (1908)"
msgstr "Bern-konventionen (1908)"

#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "German copyright law"
msgstr "Tysk åndsverklov"

#. type: Content of: <book><part><chapter><para><footnote><para>
#, fuzzy
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\"/>Før Berlin-revideringen af "
"Bernkonvensjonen i 1908, så hændte det at national opphavsrettslov gjorde "
"beskyttelsen afhængig af formaliteter som registrering, deponering og "
"merking af at forfatteren gjorde krav på kopibeskyttelse. Derimod har alle "
"revisioner efter 1908 forudsat at <quote>Nytelsen og udøvelsen</quote> af "
"rettigheder garanteret af konventionen <quote>er ikke  betinget af at nogle "
"formalitet iakttas.</quote> Forbuddet mod formaliteter findes i dag  som "
"paragraf 5(2) af Bernkonvensjonen &ndash; Paristeksten. Mange lande "
"fortsætter at kræve en eller anden form for deponering eller registrering, "
"men ikke som et krav til ophavsret. Fransk lov, for eksempel, kræver et "
"eksemplardepositum til nationale oppbevaringsteder, hovedsageligt "
"Nasjonalmuseet. Kopier af bøger publiceret i Storbritannia må deponeres til "
"det Britiske Biblioteket. Den tyske opphavsrettsloven sørger for et "
"forfatterregister der hen forfatterens officielle navne kan blive befolket "
"ind for anonyme og pseudonyme værk. Paul Goldstein, <citetitle>International "
"Intellectual Property Law, Cases and Materials</citetitle> (New York: "
"Foundation Press, 2001), 153&ndash;54 ."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Som jeg beskrev i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/> blev formaliteter fjernet fra opphavsrettsloven i "
"1976, da kongressen fulgte efter europeerne i at afskaffe alle formelle krav "
"før ophavsreten blev innvilget.<placeholder type=\"footnote\" id=\"0\"/> "
"Europeerne siges at anse ophavsret som en <quote>naturlig rettighed.</quote> "
" Naturlige rettigheder behøver ingen formaliteter for at eksistere. "
"Angloamerikanske, og liggende, traditioner har krævet at ophavsretejere må "
"følge visse/vise formaliteter for at deres rettigheder skal blive beskyttet, "
"mens europeerne mente at sådant ikke tilstrækkeligt respekterede "
"forfatterens værdighed.  Mine rettigheder som skaber stammer fra min "
"kreativitet, og er ikke  noget som deles ud af myndighederne."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er flot retorik, og det høres vidunderligt romantisk ud.  Men det er "
"absurd ophavsretpolitik.  Det er absurd specielt for forfattere, fordi en "
"værdet uden formaliteter skader den som skaber. Muligheden til at brede "
"<quote>Walt Disney-kreativitet</quote> forsvinder når det ikke er nogle "
"enkel måde at vide hvad som er beskyttet, og hvad som ikke er det."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Kampen mod formaliteter opnåede sin første virkelige sejer i Berlin i 1908 . "
" Internationale ophavsretadvokater fik på plads et tillæg i Bernkonvensjonen "
"i 1908 som krævede opphavsrettsvernetid ud forfatterens liv plus halvtreds "
"år, i tillæg til at afskaffe ophavsretformaliteter.  Formaliteterne var "
"hadet på grund af historie om utilsigtet tab som blev mere og mere normale.  "
"Det var som om en karakter fra Charles Dickens drev alle "
"ophavsretkontorerne, og det at glemme at sætte prikken over en <citetitle>i</"
"citetitle> eller glemme at strege gennem en <citetitle>t</citetitle> førte "
"til at en enke mistede sin eneste indtægt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Disse klager var reelle og fornuftige. Og det var absurd hvor strengt "
"formaliteterne blev håndhævet, specielt i USA.  Loven bør altid  have måder "
"at tilgive uskyldige fejl.  Det er ingen grund til at ikke også "
"åndsverksloven skulle kunne det.  I stedet for at droppe formaliteter helt, "
"så burde responsen i Berlin været at omfavne et mere rettverdig "
"registreringsystem."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Selv det villes fået modstand, på grund af at registrering fortsat var "
"kostoverskæg og plagsomt i det nittende og tyvende århundredet. Avviklingen "
"af formaliteter lovede ikke  bare at redde sultende enker, men også det at "
"reducere en unødvendig regulatorirsk belastning som var påtvunget skabere."

#.  PAGE BREAK 258 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"I tillæg til de praktiske klagerne fra forfatterne i 1908, så fandtes det "
"også moralske innsigelser.  Det var ingen grund til at kreative "
"ejendomrettigheder skulle være en annenrangs type ejendom.  Hvis en snedker "
"fortager et bord, så er ikke  hans rettigheder over dette bordet afhængigt "
"af at han sender ind et skema til myndighederne.  Han har en "
"<quote>naturgivet</quote> ejendomret til bordet, og kan hævde denne ret mod "
"enhver som forsøger at stjæle bordet, uanset om han har informeret "
"myndighederne om sit eierskap til bordet."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette argument er rigtigt, men dets implikationer er misvisende. For "
"argumenter i favør af formaliteter er ikke  afhængigt af at kreativ ejendom "
"er annenrangs ejendom.  Argumentet i favør af formaliteter kredse rundt de "
"specielle problemerne som kreativ ejendom giver os. Loven om formaliteter er "
"et resultat af de specielle fysiske egenskaberne til kreativ ejendom, for at "
"sikre at den kan bredes effektivt og retfærdigt."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"For eksempel er det ingen som mener at landområder er annenrangs ejendom kun "
"fordi du må tinglyse et skøde hvis dit salg af land skal få effekt.  Og få "
"mener at en bil er annenklasses ejendom bare på grund af at du må registrere "
"bilen hos Biltilsynet, og mærke den med et bilskilt.  I begge disse tilfælde "
"ser alle at det er vigtige grunder til at kræve registrering &ndash; både på "
"grund af at det gør markedet mere effektivt, og på grund af at det bedre "
"sikrer rettighederne til ejeren.  Uden et registreringsystem for landområder "
"måtte landejere hele tiden vogte sin ejendom.  Med registrering kan de "
"ganske enkelt vise politiet et skøde.  Uden et registreringsystem for biler "
"villes biltyveri være meget enklere.  Med et registreringsystem bliver det "
"meget vanskeligere for tyven at få solgt den stjålne bilen.  En lille byrde "
"bliver lagt på ejendomejeren, men disse byrder giver et generelt sæt meget "
"bedre system for at beskytte ejendom."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er lignende specielle fysiske egenskaber som gør formaliteter vigtigt i "
"opphavsrettslovgiving.  I modsætning til en snedkers bord, er det ingenting "
"i naturen som gør det relativt åbenbaret hvem som kan eje en bestemt bid af "
"kreativ ejendom.  Et optagelse af Lyle Lovetts sidste album kan eksistere en "
"milliard steder uden at noget nødvendigvis peger det tilbage til en bestemt "
"ejer.  Og på samme måde som en bil, er det ingen måde at være tryg ved køb "
"og salg af kreativ ejendom med mindre det findes en enkel måde at bekræfte "
"hvem som er skaberen, og hvilke rettigheder han har.  Enkle transaktioner "
"bliver umulige i en værdet uden formaliteter.  Komplicerede, dyre, "
"<emphasis>advokat</emphasis>-transaktioner træder ind i stedet. <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Dette var forståelsen af problemet med Sonny Bono-loven som vi forsøgte at "
"demonstrere for retten.  Dette var den delen som den ikke <quote>skønnede.</"
"quote>  Fordi vi lever i et system uden formaliteter, så er det ikke nogle "
"enkel måde at bygge på, eller bruge kulturen fra vores fortid.  Hvis "
"vernetiden i ophavsreten var, sådan domme Story sagde den villes være, "
"<quote>kort,</quote> da villes ikke  dette betyde stort .  I fjorten år, "
"ifølge systemet til de som skrev grundloven, villes et værk kunne antages at "
"være kontrolleret.  Efter fjorten år kunne man antage at det ikke var "
"kontrolleret."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men nu når ophavsreten kan vare næsten et århundrede, så er den manglende "
"evnen til at vide hvad  som er beskyttet og hvad som ikke er beskyttet "
"blevet en stor og åpenbare byrde på den kreative processen. Hvis den eneste "
"måden et bibliotek kan lægge frem en Internet-udstilling om New Deal, er ved "
"at hyre ind en advokat til at klarere rettighederne til hvert eneste billede "
"og hver eneste lydinnspilling, så belaster ophavsretsystemet kreativiteten "
"på en måde som aldrig før er observeret, <emphasis>fordi det ikke findes "
"nogle formaliteter</emphasis>."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Eldred-loven var udformet for at svare på akkurat dette problem. Hvis det er "
"værd en dollar for dig, så registrer virket dit, og du kan få længere "
"vernetid.  Andre vil vide hvordan de skal kontakte dig, og dermed hvordan de "
"kan få din tilladelse hvis de ønsker at bruge dit værk.  Og du vil få "
"fordelen af en udvidet opphavsrettslig vernetid."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Hvis det ikke er værd det for dig at registrere værket for at få fordelene "
"af en udvidede vernetid, så bør det heller ikke være værd det for "
"myndighederne at forsvare dit monopol over det samme værk. Værket bør blive "
"allemannseie sådan at enhver kan kopiere det, eller fortage arkiver med det, "
"eller fortage en film baseret på det.  Det bør frigøres hvis det ikke er "
"værd en dollar for dig."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Nogle bekymrer sig over byrden på forfattere. Fodrer ikke  byrden med at "
"registrere værket at beløbet 1 dollar egentligt er misvisende?  Er ikke  "
"ekstraarbejdeet værd mere end 1 dollar? Er ikke  dette det virkelige "
"problemet med registrering?"

#.  PAGE BREAK 260 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det stemmer.  Ekstraarbejdeet er forfærdeligt.  Systemet som findes nu  er "
"grufullt.  Jeg er helt enigt/enig i at ophavsretkontoret har gjort en "
"forfærdelig job (uden tvivl på grund af at de har forfærdeligt dårligt "
"finansiering) i at gøre registrering enkelt og billigt.  En skikkelig "
"løsning på problemet med formaliteter må adressere det egentlige problemet "
"med <emphasis>myndigheder</emphasis> som befinder mig/befinder dig/befinder "
"sig/befinder os/befinder jer i kernen af ethvert system med formaliteter.  I "
"denne bog lægger jeg frem en sådan løsning.  Løsningen gør i essensen om på "
"ophavsretkontoret.  Forestill dig at registrering kun kræver et klik.  "
"Eldred-loven foreslog en enkel, ettklikks-registrering, halvtreds år efter "
"at et værker var publiceret.  Baseret på historiske data villes dette system "
"få op mod 98 procent af kommercielle værker, kommercielle værker som ikke "
"længere har et kommercielt liv, til at blive allemannseie efter halvtreds "
"år.  Hvad tror du?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>Da Steve Forbes</emphasis> støttede idéen, begyndte "
"enkelte i Washington at følge med . Mange kontaktede mig med tips til "
"repræsentanter som kan være villigt til at introducere en Eldred-lov, og jeg "
"havde nogle få som foreslog direkte at de kan være villige til at tage det "
"første skridtet."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Lofgren, Zoe"
msgstr "Lofgren, Zoe"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"En repræsentant, Zoe Lofgren fra California, gik så  langt som at få "
"lovforslaget udarbejdet. Udkastet løste nogle problemer med international "
"lov. Det pålagde de enklest mulige forudsætninger på indehaverne af "
"ophavsreter. I maj 2003 så det ud som om loven kom til at blive "
"introduceret.  16 . maj postede jeg på Eldred Act-bloggen, <quote>vi er nær ."
"</quote>  Det opstod en generel reaktion i blog-samfundet om at noget godt "
"kunne ske her ."

#. type: Content of: <book><part><chapter><indexterm><secondary>
#, fuzzy
msgid "Eldred Act opposed by"
msgstr "Eldred-loven modarbejdede af"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men på dette stadium begyndte lobbyister at bryde ind.  Jack Valenti og "
"MPAAs bossjurist kom til kongresrepræsentantens kontor for at give MPAAs "
"syner på sagen.  Vejledte af sin advokat, sådan Valenti har fortalte mig, "
"informerede Valenti kongresrepræsentanten om at MPAA villes modsætte sig "
"Eldred-loven.  Begrundelsen var pinligt knap.  Endnu vigtigere er det at "
"deres knaphed viser noget klart om hvad denne debat egentligt handler om."

#.  PAGE BREAK 261 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"MPAAs første argument var at Kongressen <quote>bestemt havde afvist det "
"centrale konceptet i lovforslaget</quote> &ndash; om at ophavsreter skal "
"fornyes.  Det er rigtigt, men irrelevant, efter som Kongressen "
"<quote>bestemt havde afvist</quote> dette længe føder Internet gjorde "
"påfølgende brug meget mere sandsynligt.  Det andre argument var at forslaget "
"villes skade fattige ophavsretejere &ndash; tilsyneladende de som ikke har "
"råd til en afgift på en dollar.  Det tredje argumentet var at Kongressen "
"havde konkluderet med  at at udvide vernetiden i ophavsreten, villes "
"opmuntre til at restaurere værk.  Det kan stemme for den lille "
"procentandelen værk værnede af åndsverkloven, og som fortsat er kommercielt "
"værdifulde.  Men dette er også  irrelevant, eftersom forslaget ikke villes "
"fjerne den udvidede vernetiden med mindre afgiften på en dollar ikke blev "
"betalt.  Det fjerde argumentet fra MPAA var at forslaget villes påføre "
"<quote>enorme</quote> omkostninger, eftersom et registreringsystem ikke er "
"gratis.  Sandt nok, men disse omkostninger er helt klart lavere end "
"omkostningerne med at klarere rettigheder for en ophavsret der ejeren er "
"ukendt.  Det femte argumentet var at de var bekymret over risikoen hvis "
"ophavsreten til en historie som lå til grund for en film skulle blive "
"allemannseie.  Men hvad slags risiko er dette?  Hvis den er allemannseie, så "
"er filmen gyldig avledet brug."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Til slutning hævdet MPAA at eksisterende lovværk gjorde det muligt for "
"ophavsretejere at gøre dette hvis de ønskede det.  Men hele pointen er at "
"det er tusindvis  af ophavsretejere som ikke engang ved at de har en "
"ophavsret at give væk.  Hvorvidt de står frit til at give væk ophavsreten "
"eller ikke &ndash; som i og for sig er en kontroversiel påstand &ndash; så "
"med mindre de ved om en ophavsret, så er det lille sandsynligt at de vil "
"gøre det."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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'>I begyndelsen</emphasis> af denne bog fortalte jeg "
"to historie om hvordan loven reagerede på ændringer i teknologien.  I den "
"ene vandt sund fornuft frem.  I den andre blev sund fornuft forsinket.  "
"Forskellen mellem de to historie er styrken til oppositionen &ndash; styrken "
"til den siden som sloges for at forsvare status quo.  I begge tilfældene "
"truede ny teknologi gamle interesser.  Men i kun et af tilfældene havde "
"dirre interesserne nok magt til at beskytte sig mod denne nye "
"konkurransemessige truslen."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Jeg brugte disse to tilfældene som en måde at ramme ind krigen som denne bog "
"har handlet om.  For her er det også en ny teknologi som tvinger loven til "
"at reagere.  Og her bør vi også spørge, er loven i tråd med, eller i strid "
"med, sund fornuft.  Hvis sund fornuft støtter loven, hvad forklarer denne "
"sunde fornuft?"

#.  PAGE BREAK 262 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Når problemet er piratvirksomhed, så er det rigtigt at loven støtter "
"ophavsretejerne.  Den kommercielle piratvirksomheden som jeg har beskrevet "
"er urigtigt og skadeligt/skadelig, og loven bør arbejde for at eliminere "
"den. Når problemet er p2p-deling, så er det enkelt at forstå hvorfor  loven "
"fortsat støtter ejerne. Meget af denne delingen er urigtig, selv om meget er "
"harmløst.  Når problemet er opphavsrettsvernetiden for Mikke Mus-ene i "
"værdet, så er det fortsat muligt at forstå hvorfor  loven favoriserer "
"Hollywood: De fleste kender ikke  igen grunder til at begrænse vernetiden "
"for ophavsreten.  Det er dermed  fortsat muligt at se god tro i modstanden."

#. type: Content of: <book><part><chapter><indexterm><primary>
#, fuzzy
msgid "Kelly, Kevin"
msgstr "Kelly, Kevin"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Men når ophavsretejere modsætter sig et forslag som Eldred-loven, så er det "
"endeligt et eksempel som eksponerer den nøgne egeninteressen som holder "
"denne krig i gang.  Dette lovforslag villes frigøre en ekstraordinær serie "
"med indhold som ellers villes forblive ubrukt.  Det villes ikke  forstyrre "
"nogen ophavsretejer trang til at udøve fortsat  kontrol over sit indhold.  "
"Det villes ganske enkelt  frigøre det som Kevin Kelly kalder det "
"<quote>mørke indhold</quote> som befolker arkiverne rundt om i værdet.  Så "
"når krigerene modsætter sig en sådan ændring, så bør vi stille et enkelt "
"spørgsmål:"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
msgid "What does this industry really want?"
msgstr "Hvad ønsker denne industri egentlig?"

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Med vældig lille indsats kunne krigerene beskytte sit indhold.  Så indsatsen "
"for at blokere noget tilsvarende Eldred-loven er ikke  egentlig om at "
"beskytte <emphasis>deres</emphasis> indhold.  Indsatsen for at blokere "
"Eldred-loven er en indsats for at sikre at ingenting nyt bliver "
"allemannseie.  Det er et nyt skridt for at sikre at allemannseiet aldrig vil "
"konkurrere, at det ikke vil være noget brug af indhold som ikke er "
"kommercielt kontrolleret, og at det ikke vil være noget kommerciel brug af "
"indhold som ikke først kræver <emphasis>deres</emphasis> tilladelse."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Modstanden mod Eldred-loven afslører hvor  ekstrem den andre side er. Den "
"mægtigste, sexy og højt elskede af lobbyvirksomhederne har som mål ikke at "
"beskytte <quote>ejendom</quote>, men at blive hvidt en tradition. Deres mål "
"er ikke  bare at beskytte det som er deres.  <emphasis>Deres mål er at sikre "
"at  alt som findes er det som er deres.</emphasis>"

#.  PAGE BREAK 263 
#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det er ikke  vanskeligt at forstå hvorfor  krigerene har dette syn.  Det er "
"ikke  vanskeligt at se hvordan det vil give dem fordele hvis konkurrencen "
"fra allemannseiet bylten til Internet på en eller manden måde kunne knuses.  "
"På samme måde som RCA frygtede konkurrencen fra FM, frygter de konkurrencen "
"fra allemannseiet bylten til en befolkning som nu har mulighed til at skabe "
"med den, og dele sine egen værk."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Det som er vanskeligt at forstå er hvorfor  folket har dette syn. Det er som "
"om loven gjorde at  flymaskiner tog sig ind på anden mands ejendom.  MPAA "
"står side om side med Causbyene og kræver at  deres fjerne og ubrukelige "
"ejerrettigheder bliver respekteret, sådan at disse fjerne og glemmte "
"ophavsretindehaverne kan blokere fremgangen til andre."

#. type: Content of: <book><part><chapter><para>
#, fuzzy
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 ""
"Alt dette ser ud til at let følge fra at ukritisk acceptere <quote>ejendoms</"
"quote>bidden af immateriell ejendom.  Sund fornuft støtter det, og så længe "
"den gør det vil teknologierne på Internet være under angreb.  Konsekvenserne "
"vil være mere og mere et <quote>tilladelsesamfund.</quote>  Fortiden kan kun "
" kultiveres hvis du kan finde ejeren og bede om tilladelse til at bygge på "
"hans værker. Fremtiden vil blive kontrolleret af denne døde (og ofte "
"bortfalne) hånd fra fortiden."

#. type: Content of: <book><chapter><title>
#, fuzzy
msgid "Conclusion"
msgstr "Konklusion"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Africa, medications for HIV patients in"
msgstr "Afrika, medisinering for HIV-patienter i"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "AIDS medications"
msgstr "AIDS-mediciner"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "antiretroviral drugs"
msgstr "antiretrovirale lægemiddel"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "developing countries, foreign patent costs in"
msgstr "udviklingsland, udenlandske patentomkostninger i"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "drugs"
msgstr "lægemidler"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "pharmaceutical"
msgstr "farmasøytisk"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "HIV/AIDS therapies"
msgstr "HIV/AIDS-behandlinger"

#. type: Content of: <book><chapter><para>
#, fuzzy
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'>Det er mere</emphasis> end trettifem millioner "
"mennesker over hele værdet med AIDS-virusset. Tjuefem millioner af dem bor i "
"Afrika syd for Sahara.  Sytten millioner har allerede  død.  Sytten "
"millioner afrikanere er procentvis  proporsjonalt med syv millioner "
"amerikanere.  Vigtigere er det at dette er 17 millioner afrikanere."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det findes ingen kur for AIDS, men det findes lægemidler som kan hæmme "
"sygdommens udvikling.  Disse antiretrovirale terapierne er fortsat  "
"eksperimentelle, men de har haft en dramatisk effekt allerede.  I USA øger "
"levealderen til AIDS-patienter, som regelmæssigt tager en cocktail af disse "
"lægemidler, med ti til tyve år. For nogle gør lægemidlerne sygdommen næsten "
"usynlig."

#.  f1. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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), "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #55</"
"ulink>. Ifølge en pressemelding fra værdets sundhedsorganisation sendt ud 9 "
". juli 2002, modtager kun  230 000 af de 6 millioner som behøver lægemidler "
"i udviklingsland pengeene de behøver &ndash; og halvdelen af dem er i Brasil."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Disse lægemidler er dyre.  Da de først blev introduceret i USA, kostet de "
"mellem 10 000 og 15 000 dollar per person hvert år.  I dag koster nogle af "
"dem 25 000 dollar per år.  Med sådanne priser har, selvfølgelig, ingen "
"afrikansk stat  råd til lægemidlerne for det store flertal af sine "
"indbyggere: 15 000 dollar er tredive gange brutto nationalprodukt per "
"indbygger i Zimbabwe.  Med sådanne priser er disse lægemidlerne fuldstændig "
"utilgjengelig.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "on pharmaceuticals"
msgstr "om lægemidler"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "pharmaceutical patents"
msgstr "farmasøytiske patenter"

#.  PAGE BREAK 265 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Disse priser er ikke  høje fordi ingredienserne til lægemidlerne er dyre.  "
"Disse priser er høje fordi lægemidlerne er beskyttet af patenter.  "
"Farmaciselskaberne som producerer disse livreddende blandingerne nyder "
"mindst  tyve års monopol på sine oppfinnelser.  De bruger denne monopol "
"magten til at hente ud så meget de kan fra markedet.  Ved hjælp af denne "
"magt holder de priserne høje."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er mange som er skeptiske til patenter, specielt patenter på lægemiddel. "
"Det er ikke  jeg. Faktisk af alle forskningområder som kan være støttet af "
"patenter, er forskning på lægemidler, efter min mening, det klareste "
"tilfælde der patenter er nødvendigt. Patenter giver et farmasøytisk firma en "
"vis forsikring om at hvis det lykkes i at finde op et nyt medikament som kan "
"behandle en sygdom, vil det kunne tjene tilbage investeringen, og vel så "
"det. Dette er socialt set et ekstremt værdifuldt incentiv. Jeg er den sidste "
"personen som vil argumentere for at loven skal afskaffe dette, i det mindste "
"uden andre ændringer."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men det er en ting at støtte patenter, selv patenter på lægemidler. Det er "
"en anden ting at afgøre hvordan en bedst skal håndtere en krise. Og i det "
"afrikanske ledere begyndte at erkende ødeleggelsen AIDS bragte, begyndte de "
"at se efter måder at importere HIV-mediciner til omkostninger betydeligt "
"lavere end markedspris."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "international law"
msgstr "international lov"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "parallel importation"
msgstr "parallelimport"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "South Africa, Republic of, pharmaceutical imports by"
msgstr "Syd-Afrika, Republikken, farmasøytisk import til"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Braithwaite, John"
msgstr "Braithwaite, John"

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>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>
#, fuzzy
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 ""
"I 1997 forsøgte Syd-Afrika sig på en tilnærmelse.  Landet vedtog en lov som "
"tillod import af patenterede lægemidler som havde blevet produceret og solgt "
"i en anden nations marked med godkendelse fra patentejeren.  For eksempel, "
"hvis lægemidler var solgt i India, så kunne de blive importeret ind til "
"Afrika fra India.  Dette kaldes <quote>parallelimport</quote> og er stort  "
"set tilladt i international handelbestemmelser, og spesifikt tilladt indad "
"den europæiske unionen.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "United States Trade Representative (USTR)"
msgstr "USAs handelrepresentant (USTR)"

#.  f3. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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, tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #56</ulink>.  For en førstehånds beskrivelse af "
"kampen om Syd-Afrika, se Høring foran underkomiteen for kriminalomsorg, "
"medikamentregelsæt og menneskelige ressourcer, House Committee on Government "
"Reform, H. Rep., 1 . øget., Ser. No. 106-126 (22 . juli 1999), 150&ndash;57 "
"(udtalelse fra James Håndflade)."

#.  f4. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Men USA var imod lovendringen.  Og de nøjede sig ikke med at være imod. Som "
"International Intellectual Property Association karakteriserede det, "
"<quote>Myndighederne i USA pressede Syd-Afrika &hellip;  til at ikke tillade "
"tvungen lisensiering eller parallelimport.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> Gennem kontoret til USAs handelrepræsentant "
"(USTR), bad myndighederne Syd-Afrika om at ændre loven &ndash; og for at "
"lægge pres bag den forespørgslen, listede USTR i 1998 op Syd-Afrika som et "
"land som burde vurderes for handelrestriktioner.  Samme år gik mere end "
"fyrre farmaciselskaber til retten for at udfordre myndighedernes handlinger. "
"USA fik selskab af andre myndigheder fra EU.  Deres påstand, og påstanden "
"til farmaciselskaberne, var at Syd-Afrika brød sine internationale "
"forpligtelser ved at diskriminere mod en bestemt type patenter &ndash; "
"farmasøytiske patenter.  Kravet fra disse myndigheder, med USA i spissen, "
"var at Syd-Afrika skulle respektere disse patenter på samme måde som alle "
"andre patenter, uafhængigt af eventuel effekt på behandlingen af AIDS i Syd-"
"Afrika.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Vi bør sætte USAs indblanding i sammenhæng.  Det er ingen tvivl om at "
"patenter ikke er den vigtigste årsagen til at afrikanere ikke har tilgang "
"til lægemidler.  Fattigdom og den totale mangel på effektivt helbredvæsen "
"betyder mere. Men uanset om patenter er den vigtigste grunden eller ikke, så "
"har prisen på lægemidler en effekt på efterspørgslen, og patenter påvirker "
"prisen.  Så uanset hvor stor eller lille effekten var, så havde det effekt "
"når vores myndigheder greb ind for at stoppe strømmen af lægemidler til "
"Afrika."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Ved at stoppe strømmen af HIV-behandlinger til Afrika, sikret ikke  "
"myndighederne i USA lægemidler til USAs borgere. Dette er ikke  som hvede "
"(hvis de spiser det, så kan ikke  vi spise det). Det som USA i praksis "
"intervenerede for at stoppe, var strømmen af kundskab: Information om "
"hvordan man kan tage kemikaliummer som findes i Afrika, og gøre disse kemi "
"kaliummene om til lægemidler som kan redde 15 til 30 millioner liv."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Indblandingen fra USA villes heller  ikke beskytte fortjenesten til "
"lægemiddelselskaberne i USA &ndash; i hvert fald ikke betydeligt.  Det var "
"jo  ikke sådan at disse lande havde mulighed til at købe lægemidlerne til de "
"priserne som lægemiddelselskaberne forlangte.  Igen var afrikanerne for "
"fattige til at have råd til disse lægemidler til de tilbudte priserne.  Å "
"blokere for parallelimport af disse lægemidler villes ikke  øge salget til "
"de amerikanske selskaberne betydeligt."

#.  f5. 
#.  PAGE BREAK 333 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 ""
"Se Sabin Russel, <quote>New Crusade to Lower AIDS Drug Costs: Africa's Needs "
"at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco "
"Chronicle</citetitle>, 24 . maj 1999, A1, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #57</ulink> (<quote>tvanglicenser "
"og gråmarkeder udgør en trussel for hele systemet for beskyttelse af "
"immateriell ejendom</quote>); Robert Weissman, <quote>AIDS and Developing "
"Countries: Democratizing Access to Essential Medicines,</quote> "
"<citetitle>Foreign Policy in Focus</citetitle> 4:23 (august 1999), "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #58</"
"ulink> (beskriver USAs policy); John A. Harrelson, <quote>TRIPS, "
"Pharmaceutical Patents, ånd the HIV/AIDS Crisis: Finding the Proper Balance "
"Between Intellectual Property Rights and Compassion, a Synopsis,</quote> "
"<citetitle>Widener Law Symposium Journal</citetitle> (foråret 2001): 175 ."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"I stedet var argumentet til fordel for restriktioner på denne flow af "
"information, som var nødvendigt for at bange millioner af liv, et argument "
"om ejendoms ukrenkelighet.<placeholder type=\"footnote\" id=\"0\"/>  Det var "
"på grund af at <quote>intellektuell ejendom</quote> villes blive skældt, at "
"disse lægemidler ikke skulle strømme ind til Afrika.  Det var princippet om "
"vigtigheden af <quote>intellektuell ejendom</quote> som fik dirre "
"myndighedaktørerne til at innblande sig mod Syd-Afrikas modtiltag mod AIDS."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Lad os tage et skridt tilbage for et øjeblik.  En gang om tredive år vil "
"vores barn se tilbage på os og spørge, hvordan kunne vi lade dette ske?  "
"Hvordan kunne vi tillade at gennemføre en politik hvis direkte omkostning "
"var at få 15 til 30 millioner afrikanere til at dø raskere, og hvis eneste "
"virkelige fordel var at opretholde <quote>ukrenkeligheten</quote> til en "
"idé?  Hvad slags berettigelse kan nogensinde  eksistere for en politik som "
"resulterer i så mange døde?  Hvad slags galskab er det egentligt som "
"tillader at  så mange dør for en sådan abstraktion?"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "in pharmaceutical industry"
msgstr "i farmasøytisk industri"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Nogle skylder på farmaciselskaberne.  Det gør ikke  jeg.  De er selskaber, "
"og deres ledere er lovpålagtt at tjene penge for sit selskabet.  De presser "
"på for en bestemt patentpolitik, ikke på grund af idealer, men fordi det er "
"dette som gør at de tjener mest penge.  Og dette gør kun  at de tjener mest "
"penge på grund af en slags korruption i vores politiske systemer &ndash; en "
"korruption som farmaciselskaberne helt klart ikke er ansvarlige for."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Denne korruption er vores egen politikeres manglende integritet.  For "
"lægemiddelproducenterne villes elske &ndash; siger de selv, og jeg tror dem "
"&ndash; at sælge sine lægemidler så billigt som de kan til land i Afrika og "
"andre steder. Det er udfordringer de må løse for at sikre at lægemidlerne "
"ikke kommer tilbage til USA.  Men disse er bare  teknologiske udfordring, og "
"sådanne kan bekæmpes."

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "of drug patents"
msgstr "af lægemiddelpatenter"

#.  PAGE BREAK 268 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Et andet problem kan derimod  ikke løses. Det er frygten for at en politiker "
"som skal vise sig, og kalder ind lederne hos lægemiddelproducenterne til "
"høring i Senatet eller repræsentanternes hus og spørger, <quote>hvordan har "
"det sig at du kan sælge HIV-medicinen i Afrika for bare 1 dollar per pille, "
"mens samme pille koster en amerikaner 1 500 dollar?</quote> Da det ikke "
"findes et <quote>hurtigt svar</quote> på det spørgsmålet, villes effekten "
"blive regulering af priser i Amerika.  Lægemiddelproducenterne undgår dermed "
" denne spiral ved at sikre at det første skridtet ikke tages.  De forstærker "
"idéen om at ejerrettigheder skal være ukrenkelige.  De lægger sig på en "
"rasjonell strategi i en irrasjonell omgivelse, med den utilsigtede "
"konsekvens at måske millioner dør.  Og den rasjonelle strategien rammes "
"dermed  ind ved hjælp af dette ideal &ndash; ukrenkeligheten til en idé som "
"kaldes <quote>immaterielle rettigheder.</quote>"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Så når du bliver konfronteret med dit barns sunde fornuft, hvad vil du sige? "
" Når den sunde fornuften hos en generation endeligt gør oprør mod hvad vi "
"har gjort, hvordan vil vi begrunde det?  Hvad er argumentet?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"En fornuftig patentpolitik kunne gå god for, og give stærk støtte til "
"patentsystemet uden at måtte nu  alle overalt på nøjagtigt samme måde. På "
"samme måde som en fornuftig ophavsretpolitik kunne gå god for, og give stærk "
"støtte til et ophavsretsystem uden at måtte regulere spredningen af kultur "
"perfekt og for altid.  En fornuftig patentpolitik kunne gå god for, og give "
"stærk støtte til et patentsystem uden at måtte blokere spredning af "
"lægemidler til et land som uanset ikke er rigt nok til at have råd til "
"markedsprisen.  En fornuftig politik kan man dermed sige kunne være en "
"balanceret politik.  I det meste af vores historie har både ophavsret og "
"patentpolitikken i denne forstand været balanceret."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men vi som kultur har mistet denne følelse for balance.  Vi har mistet det "
"kritiske blikket som hjælper os til at se forskellen mellem sandhed og "
"ekstremisme.  En slags ejendomfundamentalisme, uden grundlag i vores "
"tradition, hersker nu  i vores kultur &ndash; sært, og med konsekvenser mere "
"alvorligt for spredningen af idéer og kultur end næsten enhver anden "
"politisk enkeltavgjørelse vi som demokrati kan fatte."

#.  PAGE BREAK 269 
#. type: Content of: <book><chapter><para>
#, fuzzy
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'>En enkel idé</emphasis> blender os, og under dække "
"af mørket sker meget som de fleste af os villes afvist hvis vi havde fulgt "
"med .  Så ukritisk accepterer vi idéen om eierskap til idéer at vi ikke "
"engang lægger mærke til hvor forfærdeligt det er at nægte tilgang til idéer "
"for et folk som dør uden dem.  Så ukritisk accepterer vi idéen om ejendom "
"til kulturen at vi ikke engang stiller spørgsmål ved når kontrollen over "
"denne ejendom fjerner vores evne, som folk, til at udvikle vores kultur "
"demokratisk.  Blindhet bliver vores sunde fornuft, og udfordringen for "
"enhver som vil gjenvinne retten til at dyrke vores kultur er at finde en "
"måde at få denne sunde fornuft til at åbne sine øjne."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Hidtil sover sund fornuft.  Det er intet oprør.  Sund fornuft ser endnu  "
"ikke hvad det er at gøre oprør mod.  Ekstremismen som nu dominerer denne "
"debat, ræsonnerer med idéer som virker naturlige, og resonansen er "
"forstærket af vores moderne RCA-er.  De fører en panisk krig for at bekæmpe "
"<quote>piratvirksomhed</quote>, og knuser en kultur som tilrettelægger for "
"kreativitet i kryssilden.  De forsvarer idéen om <quote>kreativt eierskap,</"
"quote> mens de ændrer ægte skabere til moderne leilendinger.  De bliver "
"fornærmet af idéen om at rettigheder bør være balancerede, selv om hver af "
"hovedaktørerne i denne indhold krigen selv havde fordeler af et mere "
"balanceret ideal.  Hykleriet råder.  Men i en by som Washington bliver ikke  "
"hykleriet en gang lagt mærke til.  Mægtige lobbyvirksomheder, komplicerede "
"problemer, og MTV-opmærksomhedspænd giver en <quote>perfekt storm</quote> "
"for fri kultur."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "academic journals"
msgstr "akademiske tidsskrifter"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "biomedical research"
msgstr "biomedisinsk forskning"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "international organization on issues of"
msgstr "international organisation for sager om"

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

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "PLoS (Public Library of Science)"
msgstr "PLoS (Offentlige Videnskabbiblioteket, det)"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Public Library of Science (PLoS)"
msgstr "Offentlige Videnskabbiblioteket, det (PLoS)"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "public projects in"
msgstr "offentlige projekter i"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "single nucleotied polymorphisms (SNPs)"
msgstr "enkeltnukleotidforskjeller (SNPs)"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Wellcome Trust"
msgstr "Wellcome Fond"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "World Intellectual Property Organization (WIPO)"
msgstr "Værdets ophavsretorganisation (WIPO)"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "World Wide Web"
msgstr "World Wide Web"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Global Positioning System"
msgstr "Globalt posisjoneringssystem"

#.  f6. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 <quote>Open Source</quote> 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 <quote>Open Source</"
"quote> 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>, august 2003, E1, tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
"<quote>Global Group's Shift on <quote>Open Source</quote> Meeting Spurs Stir,"
"</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 . "
"august 2003, tilgængeligt  fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #60</ulink>; William New, <quote>U.S. Official Opposes <quote>Open "
"Source</quote> Talks at WIPO,</quote> <citetitle>National Journal's "
"Technology Daily</citetitle>, 19 . august 2003, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #61</ulink>."

#.  PAGE BREAK 270 
#. type: Content of: <book><chapter><para>
#, fuzzy
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'>I august 2003</emphasis> brød en kamp ud i USA om en "
"afgørelse fra Værdets ophavsretorganisation (WIPO) om at aflyse et møde."
"<placeholder type=\"footnote\" id=\"0\"/> På forespørgsel fra en lang række "
"interessenter havde WIPO bestemt at afholde et møde for at diskutere "
"<quote>åbne og samarbejdende projekter for at skabte goder for fællesskabet."
"</quote>  Disse projekter havde sluttes i at producere goder for "
"fællesskabet uden at basere sig eksklusivt på brugen af proprietære "
"immaterielle rettigheder.  Eksempler inkluderer Internet og verdensveven, "
"begge  udviklede på grundlag af protokoller i allemannseie.  Agendaen "
"inkluderede den begyndende trend for at støtte åbne akademiske tidsskrifter "
"blandt andet Public Library of Science-projektet som jeg beskriver i kapitel "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Den "
"inkluderede et projekt for at udvikle enkeltnukleotidforskjeller (SNPs), som "
"er antaget at få stor betydning i biomedisinsk forskning.  (Dette ikke-"
"kommercielle projektet bestod af et konsortium af Wellcome Fond og "
"farmasøytiske og teknologiske selskaber, inkluderet Amersham Biosciences, "
"AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-Lagde Roche, "
"Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og Searle.)  Den "
"inkluderede Globalt positionsystem (GPS) som Ronald Reagen frigjorde tidligt "
" på 1980-tallet.  Og den inkluderede <quote>åben kildekode og fri software.</"
"quote>"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Formålet med mødet var at vurdere denne række af projekter fra et fælles "
"perspektiv: at ingen af disse projekter havde som grundlag immateriell "
"ekstremisme. I stedet, hos alle disse, blev immaterielle rettigheder "
"balanceret med aftaler om at holde tilgang åben, eller for at lægge "
"begrænsninger på hvordan proprietære krav kan blive brugt."

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "in international debate on intellectual property"
msgstr "i international debat om immateriell ejendom"

#.  f7. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
msgid ""
"I should disclose that I was one of the people who asked WIPO for the "
"meeting."
msgstr "Jeg bør nævne at jeg var en af folkene som bad WIPO om dette møde."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Dermed var, i forhold til perspektivet i denne bog, denne konference ideell."
"<placeholder type=\"footnote\" id=\"0\"/> Projekterne indenfor temaet var "
"både kommercielle og ikke-kommercielle værker.  De involverede i hovedsag "
"videnskaben, men fra mange perspektiver.  Og WIPO var et ideelt sted for "
"denne diskussion, siden WIPO var den fremstående internationale aktør som "
"drev med immaterielle rettighedspørgsmål."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "World Summit on the Information Society (WSIS)"
msgstr "Verdentopmødet om informationsamfundet (WSIS)"

#.  PAGE BREAK 271 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Faktisk fik jeg en gang offentlig kæft for at ikke anerkende dette faktum om "
"WIPO.  I februar 2003 holdt jeg et innledende foredrag på en forberedende "
"konference for Verdentopmødet om informationsamfundet (WSIS).  På en "
"pressekonference føder indlægget, blev jeg spurgt hvad jeg skulle snakke om. "
" Jeg svarede at jeg skulle snakke lidt  om vigtigheden af balance rundt "
"immaterielle værdier for udviklingen af informationsamfundet.  Ordstyreren "
"på arrangementet afbrød mig da brat for at informere mig og journalisterne "
"til stede at ingen spørgsmål rundt immaterielle værdier villes blive "
"diskuteret af WSIS, da sådanne spørgsmål kun skulle diskuteres i WIPO.  I "
"indlægget jeg havde forberedt var temaet om immaterielle værdier en "
"forholdsvis lille del af det hele.  Men efter denne forbløffende udtalelse, "
"gjorde jeg immaterielle værdier til hovedfokus for mit indlæg.  Det var ikke "
" muligt at snakke om et <quote>informationsamfund</quote> uden at man også "
"snakkede om andelen af information og kultur som ikke er værnet af "
"ophavsreten.  Mit indlæg gjorde ikke  min overivrige moderator rigtigt "
"solnedgang.  Og hun havde uden tvivl ret i at omfanget til værn af "
"immaterielle rettigheder normalt hørte ind under WIPO.  Men efter mit syner, "
"kunne det ikke blive for  meget diskussion om hvor mange immaterielle "
"rettigheder som trænges, siden efter mit syner, havde selve idéen om en "
"balance rundt immaterielle rettigheder gået tabt."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Så uanset om WSIS kan diskutere balance i intellektuell ejendom eller ikke, "
"så havde jeg troet det var taget for givet at WIPO kunne og burde.  Og "
"dermed virkede mødet om <quote>åbne og samarbejdende projekter for at skabte "
"fællesgoder</quote> at passe perfekt for WIPOs agenda."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Apple Corporation"
msgstr "Apple Corporation"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "on free software"
msgstr "om fri software"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men det er et projekt i listen som er vældig  kontroversielt, i hvert fald "
"blandt lobbyistene. Dette projekt er <quote>åben kildekode og fri software.</"
"quote> Microsoft specielt er skeptisk til diskussion om emnet. Fra deres "
"perspektiv, villes en konference for at diskutere åben kildekode og fri "
"software være som en konference for at diskutere Apples operativsystem.  "
"Både åben kildekode og fri software konkurrerer med Microsofts programvare.  "
"Og internationalt har mange myndigheder begyndt at udforske krav om at de "
"skal bruge åben kildekode eller fri software, i stedet for <quote>proprietær "
"software,</quote> til sine egen interne behov."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "<quote>copyleft</quote> licenses"
msgstr "<quote>copyleft</quote>-licenser"

#.  f8. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 ""
"Microsofts position om åben kildekode og fri software er mere sofistikert.  "
"De har flere gange forklaret at de har ikke  noget problem med software som "
"er <quote>åben kildekode</quote>, eller software som er allemannseie.  "
"Microsofts principielle modstand er mod <quote>fri software</quote> "
"licensieret med en <quote>copyleft</quote>-licens, som betyder at licensen "
"kræver at  de som licensierer skal adoptere samme vilkår for ethvert avledet "
"værk.  Se 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, tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #62</ulink>. Se også  Craig Mundie, Microsoft senior vice "
"præsident, <citetitle>The Commercial Software Model</citetitle>, diskussion "
"ved New York University Stern School of Business (3 . maj 2001), "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #63</"
"ulink>."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg mener ikke  at gå ind i den debatten her.  Det er vigtigt kun for at "
"gøre det klart at skillet ikke er mellem kommerciel og ikke-kommerciel "
"software.  Det er mange vigtige selskaber som er fundamentalt afhængigt af "
"fri software, der IBM er den mest fremtrædende.  IBM har i stadigt større "
"grad skiftet sit fokus til GNU/Linux-operativsystemet, den mest berømte "
"bidden af <quote>fri software</quote> &ndash; og IBM er helt klart en "
"kommerciel aktør. Dermed er det at støtte <quote>fri software</quote> ikke "
"at modsætte sig kommercielle aktører.  Det er i stedet  at støtte en måde at "
"drive programvareudvikling som er forskelligt fra Microsofts.<placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "General Public License (GPL)"
msgstr "General Public License (GPL)"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "GPL (General Public License)"
msgstr "GPL (General Public License)"

#.  PAGE BREAK 272 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Mere vigtigt for vores formål, er at  at støtte <quote>åben kildekode og fri "
"software</quote>, ikke er at modsætte sig ophavsret. <quote>Åben kildekode "
"og fri software</quote> er ikke  software uden opphavsrettslig værn. I "
"stedet, på samme måde som software fra Microsoft, insisterer "
"ophavsretindehaverne af fri software ganske stærkt på at vilkårene i deres "
"programvarelicens bliver respekteret af de som tager i brug  fri software.  "
"Vilkårene i den licensen er uden tvivl forskelligt fra vilkårene i en "
"proprietær programvarelicens.  For eksempel kræver fri software licensieret "
"med General Public License (GPL), at kildekoden for software gøres "
"tilgængeligt af alle som ændrer og videredistribuerer programvaren.  Men "
"dette krav er kun  effektivt hvis ophavsret råder over software.  Hvis "
"ophavsreten ikke råder over software, så kunne ikke  fri software pålægge "
"sådanne krav på de som tager i brug  programvaren.  Den er dermed  lige så "
"afhængig af åndsverksloven som Microsoft."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Krim, Jonathan"
msgstr "Krim, Jonathan"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "WIPO meeting opposed by"
msgstr "WIPO-møde modarbejdede af"

#.  f9. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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> tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #64</ulink>."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er dermed  forståeligt at Microsoft, som udviklere af proprietær "
"software, gik imod et sådant WIPO-møde, og lige så fuldt forståeligt at de "
"bruger sine lobbyister til at få USAs myndigheder til at gå imod mødet.  Og "
"ganske rigtigt, det er akkurat  dette som ifølge rapporter havde sket.  I "
"følge Jonathan Krim i <citetitle>Washington Post</citetitle>, lykkedes "
"Microsofts lobbyister i at få USAs myndigheder til at lægge ned veto mod et "
"sådant møde.<placeholder type=\"footnote\" id=\"0\"/> Og uden støtte fra USA "
"blev mødet aflyst."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg klandrer ikke  Microsoft for at gøre det de kan for at fremme sine egen "
"interesser i overensstemmelse med loven. Og lobbyvirksomhed mod "
"myndighederne er åbenbaret i overensstemmelse med loven. Deres "
"lobbyvirksomhed er ikke  overraskende i dette tilfælde, og der hen er ikke  "
"ikke rigtigt overraskende at den mægtigste programvareproducenten i USA har "
"sluttes med sin lobbyvirksomhed."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Boland, Lois"
msgstr "Boland, Lois"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Patent and Trademark Office, U.S."
msgstr "USAs patent og varemærkekontor (Patent and Trademark Office)"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det som var overraskende var USAs regerings begrundelse for at være imod "
"mødet.  Igen, citeret af Krim, forklarede Lois Boland, direktør for "
"internationale forbindelser ved USAs patent og varemærkekontor, at "
"<quote>software med åben kildekode går imod  formålet til WIPO, som er at "
"fremme immaterielle rettigheder.</quote>  Hun skal ifølge citatet have sagt, "
"<quote>Å holde et møde som har som formål at fraskrive sig eller frafalle "
"sådanne rettigheder synes for os at være i strid med formålene til WIPO.</"
"quote>"

#. type: Content of: <book><chapter><para>
#, fuzzy
msgid "These statements are astonishing on a number of levels."
msgstr "Disse udsagn er forbløffende på flere niveauer."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"For det første er de ganske enkelt ikke rigtige.  Som jeg beskrev, er det "
"meste af åben kildekode og fri software fundamentalt afhængigt af den "
"immaterielle retten kaldt <quote>ophavsret.</quote>  Uden den vil "
"begrænsningerne defineret af disse licenser ikke fungere. Dermed er det at "
"sige at de <quote>går imod</quote> formålet om at fremme immaterielle "
"rettigheder at afsløre en ekstraordinær mangel på forståelse &ndash; den "
"type fejl som er tilgivelig hos en førsteårs jusstudent, men pinligt fra en "
"højt placeret stattjenestemand som håndterer udfordringer rundt immaterielle "
"rettigheder."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "generic drugs"
msgstr "generiske lægemidler"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"For det andre, hvem har nogensinde  hævdet at WIPOs eksklusive mål var at "
"<quote>fremme</quote> immaterielle rettigheder maksimalt?  Som jeg fik kæft "
"for på den forberedende konferencen til WSIS, skal WIPO vurdere, ikke bare "
"hvordan bedst beskytte immaterielle rettigheder, men også hvad som er den "
"bedste balancen rundt immaterielle rettigheder.  Som enhver økonom og "
"advokat ved, er det vanskelige spørgsmålet i immateriell rettighedjuice at "
"finde den balancen.  Men at det skulle være en grænse, troede jeg, var "
"ubestridt.  Man ønsker at spørge Frue Boland om hvorvidt generiske "
"lægemiddel (lægemidler baseret på lægemidler med patenter som er utløpt) er "
"i strid med WIPOs opgave?  Svækker allemannseie immaterielle rettigheder?  "
"Villes det været bedre om Internets protokoller havde været patenteret?"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"For det tredje, selv om man tror at formålet med WIPO var at maksimere "
"immaterielle rettigheder, så indehaves immaterielle rettigheder, i vores "
"tradition, af individer og selskaber.  De får bestemme hvad  som skal gøres "
"med disse rettigheder, igen fordi det er <emphasis>de</emphasis> som ejer "
"rettighederne. Hvis de ønsker at <quote>frafalle</quote> eller <quote>frasi</"
"quote> sig sine rettigheder, så er det helt efter bogen i vores tradition.  "
"Når Bill Gates gear væk mere end 20 milliarder dollar til gode formål, så er "
"ikke  det uforenelig med målene til ejendomsystemet.  Det er heller  tvært i "
"mod, akkurat hvad ejendomsystemet er ment at opnå, at individer har retten "
"til at bestemme hvad de vil gøre med <emphasis>sin</emphasis> ejendom."

#.  PAGE BREAK 274 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Når Frue Boland siger at det er noget galt med et møde <quote>som har som "
"sit formål at fraskrive eller frafalle sådanne rettigheder,</quote> så siger "
"hun at WIPO har en interesse i at påvirke valgene til enkeltpersoner som "
"ejer immaterielle rettigheder.  At på en eller anden måde bør WIPOs opgave "
"være at stoppe individer fra at <quote>fraskrive</quote> eller "
"<quote>frafalle</quote> sig sine immaterielle rettigheder.  At interessen "
"til WIPO ikke bare er maksimale immaterielle rettigheder, men også at de "
"skal udøves på den mest ekstreme og restriktivt mulige måden."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "feudal system"
msgstr "føydalsystem"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "feudal system of"
msgstr "føydalsystem for"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er en historie om akkurat et sådant eierskapssystem som er velkendt i "
"den anglo-amerikanske tradition.  Det kaldes <quote>feudalisme.</quote> "
"Under feudalismen var ejendomme ikke bare kontrolleret af et relativt lille "
"antal individer og aktører.  Men det føydale systemet havde en stærk "
"interesse i at sikre at landejere i systemet ikke svækkede feudalismen ved "
"at frigøre folkene og ejendommene som de kontrollerede til det frie "
"markedet.  Feudalismen var afhængig af maksimal kontrol og konsentrering.  "
"Det sloges mod enhver frihed som kunne forstyrre denne kontrol."

#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
msgid ""
"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
"210&ndash;20.  <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
"210&ndash;20 .  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Som Peter Drahos og John Braithwaite beskriver, dette er nøjagtigt det "
"valget vi nu gør om immaterielle rettigheder.<placeholder type=\"footnote\" "
"id=\"0\"/> Vi kommer til at få et informationsamfund.  Så meget er sikkert.  "
"Vores eneste valg nu er hvorvidt  dette information samfundet skal være "
"<emphasis>frit</emphasis> eller <emphasis>føydalt</emphasis>.  Trenden er "
"mod det føydale."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Da denne kamp brød ud, bloggede jeg om dette.  En heftig debat brød ud i "
"kommentarfeltet.  Frue Boland havde en række støttespillere som forsøgte at "
"vise hvorfor  hendes kommentarer gav mening.  Men det var specielt  en "
"kommentar som gjorde mig trist.  En anonym kommentator skrev:"

#.  PAGE BREAK 275 
#. type: Content of: <book><chapter><blockquote><para>
#, fuzzy
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, du misforstår Lessig: Han snakker bare  om værdet sådan den burde "
"være (<quote>målet til WIPO, og målet til enhver regering, bør være at "
"fremme den rigtige balancen for immaterielle rettigheder, ikke bare at "
"fremme immaterielle rettigheder</quote>), ikke som den er.  Hvis vi snakkede "
"om værdet sådan den er, så har naturligvis  Boland ikke sagt noget galt.  "
"Men i værdet sådan Lessig vil at den skal være, er det åbenbaret at hun har "
"sagt noget galt.  Man må altid  være opmærksom på forskellen mellem Lessigs "
"og vores verden."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg gik glipp af ironien først gangen jeg læste den. Jeg læste den raskt, og "
"troede forfatteren støttet idéen om at det vores myndigheder burde gøre, var "
"at søge balance. (Min kritik af Frue Boland, selvfølgelig, var ikke  om "
"hvorvidt hun søgte balance eller ikke; min kritik var at hendes kommentarer "
"afslørede en fejl kun en førsteårs jusstudent burde kunne gøre. Jeg har "
"ingen illusioner når det gælder ekstremismen hos vores myndigheder, uanset "
"om de er republikanere eller demokrater. Min eneste tilsyneladende illusion "
"er hvorvidt  vores myndigheder bør snakke sandt eller ikke.)"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det var derimod  åbenbaret at den som postede meldingen ikke støttet idéen.  "
"I stedet latterliggjorde forfatteren selve idéen om at i den virkelig værdet "
"skulle <quote>målet</quote> til myndighederne være <quote>at fremme den "
"rigtige balance</quote> for immaterielle rettigheder.  Det var åbenbaret "
"tåbeligt for ham.  Og det afslørede åbenbaret, troede han, min egen tåbelige "
"utopisme.  <quote>Typisk for man akademiker,</quote> kunne forfatteren lige "
"så gerne have fortsat ."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg forstår kritikken af akademisk utopisme.  Jeg mener også  at utopisme er "
"tåbeligt, og jeg vil være blandt de første til at gøre nar af de absurde "
"urealistiske idealer til akademikere gennem historie (og ikke bare i vores "
"eget lands historie)."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men når det har blevet dumt at antage at rollen til vores myndigheder bør "
"være at <quote>opnå balance,</quote> da kan du regne mig blandt de dumme, "
"for det betyder at dette faktisk har blevet ganske  seriøst.  Hvis det bør "
"være åbenbaret for alle at myndighederne ikke søger at opnå balance, at "
"myndighederne ganske enkelt er et værktøj for de mægtigste lobbyistene, at "
"idéen om at forvente bedre af myndighederne er absurd, at idéen om at kræve "
"at myndighederne snakker sandt og ikke lyver bare  er naiv, hvad har da  vi, "
"det mægtigste demokratiet i værdet, blevet?"

#.  PAGE BREAK 276 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det kan være galskab at forvente at en mægtig myndighedperson skal sige "
"sandheden. Det kan være galskab at tro at myndighedernes politik skal gøre "
"mere end at tjene de mektigstes interesser. Det kan være galskab at "
"argumentere for at bevare en tradition som har været en del af vores "
"tradition for størstedelen af vores historie &ndash; fri kultur."

#. type: Content of: <book><chapter><para>
#, fuzzy
msgid "If this is crazy, then let there be more crazies. Soon."
msgstr "Hvis dette er galskab, så lagde det blive flere gærninger.  Snart."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Turner, Ted"
msgstr "Turner, Ted"

#. type: Content of: <book><chapter><para>
#, fuzzy
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'>Det findes øjeblik</emphasis> af håb i denne kamp. "
"Og øjeblik som overrasker. Da FCC vurderede mindre strenge eierskapsregler, "
"som villes yderstere koncentrere medieeierskap, dannede det sig en en "
"ekstraordinær koalition på tværs af partierne for at bekæmpe ændringen. For "
"måske første gang i historie organiserede interesser så forskellige som NRA, "
"ACLU, moveon.stjæle, William Safire, Ted Gymnasticerer og Codepink Women for "
"Piece sig for at protestere på denne ændring i FCC-skrønerne.  Så mange som "
"700 000 brev blev sendt til FCC med krav om flere høringer og et andet "
"resultat."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Disse protester stoppede ikke  FCC, men lige så efter stemte en bred "
"koalition i Senatet for at reversere afgørelsen i FCC. De fiendtlige "
"høringerne som ledte til afstemningen afslørede hvor  mægtigt denne "
"bevægelse havde blevet.  Det var ingen betydningsfuld støtte for FCCs "
"afgørelse, mens det var bred og vedvarende støtte for at bekæmpe yderstere "
"konsentrering i medierne."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Men selv denne bevægelse går glipp af en vigtig brikke i puslespillet.  Å "
"være stor er ikke  ilde i sig selv. Frihed er ikke  truet bare  på grund af "
"at nogle bliver rigtigt rig, eller på grund af at det bare er en håndfuld "
"store aktører.  Den dårlige kvaliteten til Big Macs eller Quartar Punders "
"betyder ikke  at du ikke kan få en god hamburger andre steder."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Faren med mediekonsentrering kommer ikke  fra selve konsentreringen, men "
"kommer fra feudalismen som denne konsentreringen fører til  når den kobles "
"til ændringer i ophavsreten. Det er ikke  kun det at nogle mægtige selskaber "
"styrer en stadig voksende andel af medierne. Det er det at denne "
"konsentreringen kan påberåbe man lige så oppsvulmet række rettigheder "
"&ndash; ejendomrettigheder i en historisk ekstrem form &ndash; som gør "
"størrelsen ilde."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det er derfor  betydningsfuldt at så mange vil kæmpe for at kræve "
"konkurrence og øget mangfoldighed. Alligevel, hvis kampagnen opfattes som om "
"den kun omhandler størrelse, så er ikke  det rigtigt overraskende. Vi "
"amerikanere har en lang historie med at slås mod <quote>stort,</quote> klogt "
"eller ikke. At vi kan være motiveret til at slås mod <quote>det store</"
"quote>,  er igen  ikke noget nyt."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det villes været noget nyt, og noget rigtigt vigtigt, hvis lige så mange kan "
"være med på en kampagne for at bekæmpe øgende ekstremisme byggede ind i "
"idéen om <quote>intellektuell ejendom.</quote>  Ikke fordi balance er "
"fremmed for vores tradition. Jeg argumenterer for at balance er vores "
"tradition.  Men fordi evnen til at tænke kritisk på omfanget af alt som "
"kaldes <quote>ejendom</quote> ikke længere er godt  dresseret i denne "
"tradition."

#. type: Content of: <book><chapter><para>
#, fuzzy
msgid ""
"If we were Achilles, this would be our heel. This would be the place of our "
"tragedy."
msgstr ""
"Hvis vi var Akilles, så villes dette været vores hæl. Dette villes være "
"stedet for vores tragedie."

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Dylan, Bob"
msgstr "Dylan, Bob"

#.  f11. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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, "
"september 2003, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #65</ulink>; Paul R. Lad Monica, <quote>Music Industry Sues Swappers,"
"</quote> CNN/Money, 8 . september 2003, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #66</ulink>; Soni Sangha og Phyllis Furman "
"sammen med Robert Gearty, <quote>Sued for a Song, N.Y.C. 12-Myldere-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 Koloniseres with RIAA,</quote> "
"<citetitle>Wired News</citetitle>, 10 . september 2003, tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."

#.  f12. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 &hellip; by a Little Old Lady,</"
"quote> mtv.com, 17 . september 2003, tilgængeligt fra <ulink url=\"http://"
"free-culture.cc/notes/\">link #68</ulink>."

#.  f13. 
#.  PAGE BREAK 334 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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 Bede Inspiration for "
"Dylan Songs,</quote> Kansascity.com, 9 . juli 2003, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #69</ulink>."

#. type: Content of: <book><chapter><para>
#, fuzzy
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'>Mens jeg skriver</emphasis> disse afsluttende ord, "
"er nyhederne befolket med historie om at RIAA sagsøger næsten  tre hundrede "
"individer.<placeholder type=\"footnote\" id=\"0\"/>  Eminem har netop  "
"blevet sagsøgt for at have <quote>samplet</quote> nogle andres musik."
"<placeholder type=\"footnote\" id=\"1\"/>  Historie om hvordan Bob Dylan har "
"<quote>stjålet</quote> fra en japansk forfatter har netop  gået værdet over."
"<placeholder type=\"footnote\" id=\"2\"/>  En på innsiden i Hollywood "
"&ndash; som insisterer på at han må forblive anonym &ndash; rapporterer "
"<quote>en utrolig samtale med disse studio folkene.  De har fantastisk "
"[gammelt] indhold som de villes elske at bruge, men det kan de ikke på grund "
"af at de først må klarere rettighederne.  De har høje med ungdomme som kunne "
"gøre fantastiske ting med indholdet, men det vil først  kræve høje med "
"advokater for at klarere det først.</quote>  Kongresrepræsentanter snakker "
"om at give datavirus politimyndighed for at tage ned computere som antages "
"at bryde loven.  Universiteter truer med at udvise ungdomme som bruger en "
"computer for at dele indhold."

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

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Brazil, free culture in"
msgstr "Brasil, fri kultur i"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Creative Commons"
msgstr "Creative Commons"

#. type: Content of: <book><chapter><indexterm><primary>
#, fuzzy
msgid "Gil, Gilberto"
msgstr "Gil, Gilberto"

#. type: Content of: <book><chapter><indexterm><secondary>
#, fuzzy
msgid "public creative archive in"
msgstr "offentligt kreativt arkiv i"

#.  f14. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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> pressemelding "
"fra BBC, 24 . august 2003, tilgængeligt  fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #70</ulink>."

#.  f15. 
#. type: Content of: <book><chapter><para><footnote><para>
#, fuzzy
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, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/"
"\">link #71</ulink>."

#.  PAGE BREAK 278 
#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Imens, på anden siden af Atlanteren, har BBC netop annonceret at de vil "
"bygge op et <quote>kreativt arkiv</quote> der hen britiske borgere kan laste "
"ned BBC-indhold, og rippe, mikse og brænde det.<placeholder "
"type=\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, "
"i sig selv en folkehelt i brasiliansk musik, slået sig sammen med Creative "
"Commons for at give ud indhold og frie licenser i dette latinamerikanske "
"landede.<placeholder type=\"footnote\" id=\"1\"/>  Jeg har fortalt en mørk "
"historie.  Sandheden er mere blandet.  En teknologi har givet os mere "
"frihed.  Stille begynder nogle at forstå at denne frihed behøver ikke  at "
"betyde anarki.  Vi kan få med os fri kultur ind i det tjueførste århundrede, "
"uden at artister taber, og uden at potentialet for digital teknologi bliver "
"knust.  Det vil kræve omtanke, og vigtigere, det vil kræve at nogle omformer "
"RCA-ene af i dag til Causbyere."

#.  PAGE BREAK 279 
#. type: Content of: <book><chapter><para>
#, fuzzy
msgid ""
"Common sense must revolt. It must act to free culture. Soon, if this "
"potential is ever to be realized."
msgstr ""
"Sund fornuft må gøre oprør. Den må reagere for at frigøre kulturen. Og "
"snart, hvis dette potentiale nogensinde skal blive realiseret."

#. type: Content of: <book><chapter><title>
#, fuzzy
msgid "Afterword"
msgstr "Efterord"

#. type: Content of: <book><chapter><section><indexterm><secondary>
#, fuzzy
msgid "voluntary reform efforts on"
msgstr "frivillig reformindsats rundt"

#.  PAGE BREAK 280 
#. type: Content of: <book><chapter><para>
#, fuzzy
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'>I hvert fald</emphasis> nogle af de som har læst "
"helt herhen vil være enig med mig om at noget må gøres for at ændre "
"retningen vi holder.  Balancen i denne bog kortlægger hvad  som kan gøres."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg deler dette kort i to dele: det som enhver kan gøre nu , og det som "
"kræver hjælp fra lovgiverne.  Hvis det er en lærdom vi kan trække fra "
"historie om at ændre på sund fornuft, så er det at det kræver at ændre "
"hvordan  mange mennesker tænker på den aktuelle sagen. "

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Det betyder at denne bevægelse må starte i gaderne.  Det må rekrutteres et "
"signifikant antal forældre, lærere, bibliotekarer, skabere, forfattere, "
"musikere, filmskabere, forskere &ndash; som alle må fortælle denne historie "
"med sine egen ord, og som kan fortælle sine naboer hvorfor denne kamp er så  "
"vigtig."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Når denne bevægelse har haft sin effekt i gaderne, så er det et vidst håb om "
"at det kan have effekt i Washington.  Vi er fortsat  et demokrati. Hvad folk "
"mener betyder noget.  Ikke så meget som det burde, i hvert fald når man RCA "
"står imod, men alligevel, det betyder noget.  Og dermed vil jeg skitsere, i "
"den andre del som her følger, ændringer som Kongressen kunne gøre for at "
"bedre sikre en fri kultur."

#. type: Content of: <book><chapter><section><title>
#, fuzzy
msgid "Us, now"
msgstr "Os, nu"

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Sund fornuft</emphasis> er på samme side som "
"ophavsretkrigerene på grund af at debatten så langt  har været ramt ind "
"rundt yderpunkterne &ndash; som en stor enten/eller: enten ejendom eller "
"anarki, enten total kontrol, eller så får ikke  kunstnerne betalt.  Hvis "
"dette virkeligt var valget så burde krigerene vinde."

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"Tabben her er fejlen med at udelukke den gyldne middelvej.  Det er "
"yderpunkter i denne debat, men yderpunkterne er ikke  det hele.  Det er de "
"som tror på maksimal ophavsret &ndash; <quote>Alle rettigheder forbeholdt</"
"quote> &ndash; og de som afviser ophavsret &ndash; <quote>Ingen rettigheder "
"forbeholdt.</quote> <quote>Alle rettigheder forbeholdt</quote>-typen mener "
"du bør søge om tilladelse føder du <quote>bruger</quote> et "
"opphavsrettsbeskyttet værk på noget måde.  <quote>Ingen rettigheder "
"forbeholdt</quote>-typen mener du bør kunne gøre med indhold som du selv "
"ønsker uafhængigt af om du har tilladelse eller ikke."

#. type: Content of: <book><chapter><section><indexterm><secondary>
#, fuzzy
msgid "initial free character of"
msgstr "oprindelige frie egenskaber ved"

#.  PAGE BREAK 282 
#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"Da Internet først opstod havde det en arkitektur som i praksis ikke lagde op "
"til håndheving af ophavrettigheder. Indhold kunne kopieres billigt og uden "
"kvalitetstap og rettigheder kunne ikke  enkelt kontrolleres.  Dermed var, "
"uafhængigt af hvad nogle ønskede, det effektive regimet for ophavsret under "
"den originale udformningen af Internet <quote>ingen rettigheder forbeholdt.</"
"quote>  Indhold blev <quote>taget</quote> uafhængigt af rettighederne.  Alle "
"rettigheder var effektivt ubeskyttet."

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"Denne oprindelige egenskab gav en reaktion (i modsat retning, men ikke helt "
"lig) fra ophavsretejerne.  Den reaktionen har været tema for denne bog.  "
"Gennem lovgiving, søgsmål og ændringer i netværkets udformning har "
"ophavsretindehaverne været i stand  til at ændre den grundlegende egenskaben "
"til omgivelsen for det originale Internet.  Hvis den oprindelige "
"arkitekturen giver et effektivt udgangspunkt med <quote>ingen rettigheder "
"forbeholdt,</quote> så vil fremtidens arkitektur gøre det effektive "
"udgangspunktet til <quote>alle rettigheder forbeholdt.</quote>  Arkitekturen "
"og loven som omgiver Internets udformning vil i stadigt større grad give en "
"omgivelse hvor al bruge af indhold kræver tilladelse.  <quote>Klip og "
"klistr</quote>-værdet som definerer Internet i dag vil blive man <quote>skaf "
"tilladelse til at klippe og lime</quote>-værdet som er en skabers mareridt."

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"Det som trænges er en måde at sige noget midt imellem &ndash; hverken "
"<quote>alle rettigheder forbeholdt</quote> eller <quote>ingen rettigheder "
"forbeholdt</quote>, men <quote>nogle rettigheder forbeholdt</quote> &ndash; "
"og dermed en måde at respektere ophavsreter mens man gør det muligt for "
"skaberne at frigøre indhold når de ønsker det.  Med andre ord, vi behøver en "
"måde at genindføre sættet med friheder som vi kunne tage for givet tidligere."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr "Gjenoppbygging af tidligere antagne friheder: Eksempler"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "restoration efforts on previous aspects of"
msgstr "restaureringindsatser på tidligere facetter af"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "privacy rights"
msgstr "personværnrettigheder"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Hvis du træder tilbage fra slaget jeg har beskrevet her , så vil du kende "
"igen  dette problem fra andre omgivelser.  Tænk på personværn.  Før Internet "
"behøvede de fleste af os ikke at bekymre os over hvor mange data om vores "
"liv som vi udsendede/udsendte til værdet. Hvis du gik ind i man boghandler "
"og kiggede på værkerne til Karl Marx, så behøvede du ikke bekymre dig for at "
"måtte forklare hvad du bladrede i for dine naboer eller din boss.  "
"<quote>Privatsfæren</quote> rundt hvad du bladrede i var sikret."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
msgid "What made it assured?"
msgstr "Hvad gjorde at det var sikret?"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Vel, hvis vi tænker på begreberne til modaliteterne jeg beskrev i kapitel "
"<xref xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, så var dit "
"privatliv sikret på grund af en ineffektiv arkitektur for innsamling af "
"data, og dermed en markedbegrensning (omkostning) for enhver som ønskede at "
"samle disse data.  Hvis du var en mistænkt spion for Nord-Korea som "
"arbejdede for CIA, så villes uden dit tvivl privatliv ikke være sikret.  Men "
"det er på grund af at CIA villes (fure vi håbe) finne det værdifuldt nok at "
"bruge de titusenvis af kronerne som trængtes for at spore dig.  Men for folk "
"flest (igen så kan vi håbe) lønnede det sig ikke at spionere på os.  Denne "
"højst ineffektive arkitekturen til den virkelige værdet betyder at de fleste "
"af os kan nyde en rimelig robust mængde privatliv. Dette privatliv er "
"garanteret os på grund af friktion.  Ikke fra lovværket (det er ingen lov "
"som beskytter <quote>privatlivet</quote> i det offentlige rom), og mange "
"pladser ikke af normer (kikking og sladder er bare  hyggelige), men i stedet "
"fra omkostningerne som friktion påfører enhver som ønsker at spionere."

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

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

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "privacy protection on"
msgstr "personværnbeskyttelse på"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Så kommer Internet, hvor omkostningen med at spore, særligt det som bliver "
"bladret i, har blevet stort lille.  Hvis du er en kunde af Amazon, så vil "
"Amazon samle information om hvad du har set på mens du bladrer på siden "
"jeres.  Du ved dette på grund af at det i en spalte på siden vises en liste "
"med <quote>nylig viste</quote> sider.  På grund af arkitekturen til nettet, "
"og hvordan informationkapsler fungerer på nettet, så er det enklere at samle "
"ind disse data end at lade være. Friktionen har forsvundet, og dermed "
"forsvinder også  ethvert <quote>privatliv</quote> som var beskyttet af denne "
"friktion."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "privacy rights in use of"
msgstr "personværnrettigheder i brug af"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 er naturligvis  ikke problemet.  Men vi kan begynde at bekymre os for "
"biblioteker.  Hvis du er en af disse sprø venstrevridde som mener at folk "
"bør have <quote>retten</quote> til at besøge et bibliotek, uden at "
"myndighederne får vide hvilke bøge du ser på (jeg er også  en af disse "
"venstrevridde), da kan det hænde denne ændring i teknologien for overvåkning "
"angår dig.  Hvis det bliver enkelt at samle ind og sortere hvem som gør hvad "
"i det elektroniske rom, så forsvinder det friksjonsinduserte privatliv fra "
"tidligere tider."

#.  f1. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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 ""
"Se for eksempel  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, tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #72</"
"ulink> (beskriver eksempler der teknologi definerer skrøner rundt "
"privatliv).  Se også  Jeffrey Rosen, <citetitle>The Naked Crowd: Reclaiming "
"Security and Freedom in an Anxious Ærefrygt</citetitle> (New York: Random "
"House, 2004) (kortlægger avveininger mellem teknologi og personværn)."

#.  PAGE BREAK 284 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Det er denne virkelighed som forklarer at  mange gør en indsats for at "
"definere <quote>privatliv</quote> på Internet.  Det er erkjennelsen om at "
"teknologi kan fjerne det friktion før gav os, som får mange til at bede om "
"håndflade som gør det friktionen gjorde.<placeholder type=\"footnote\" "
"id=\"0\"/> Og uanset om du er for eller imod disse love, så er det mønsteret "
"som er det vigtige her.  Vi må tage eksplisitte skridt for at sikre en slags "
"frihed som var passivt sikret tidligere .  En ændring i teknologi tvinger nu "
" de som tror på privatlivets fred til at gøre eksplisitte handlinger der hen "
"hvor privatliv tidligere var givet som udgangspunkt."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Data General"
msgstr "Data General"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"En lignende historie kan fortælles om stiftelsen af Fri programvare-"
"bevægelsen.  Da computere med software først blev gjort kommercielt "
"tilgængeligt, var programvaren &ndash; både kildekoden og programmerne "
"&ndash; frit tilgængeligt.  Du kunne ikke  køre et program skrævet for en "
"Data General-maskine på en IBM-maskine, så Data General og IBM generede sig "
"ikke meget om at kontrollere sin programvare."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Stallman, Richard"
msgstr "Stallman, Richard"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette var værdet Richard Stallman blev født ind i, og som forsker ved MIT "
"lærte han at elske samfundet som udviklede sig når man var fri til at "
"udforske og rode med programvaren som kørte på computere. Som en af de "
"smarte typerne, i tillæg til at være en dygtig programmerer, begyndte "
"Stallman at basere sig på friheden han havde til  bygge på eller ændre på "
"andres værk."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I hvert fald i akademierne er ikke  dette en rigtigt radikal idé.  Ved et "
"matematisk institut villes enhver have friheden til at rode med et bevis som "
"nogle andre lagde frem.  Hvis du troede du havde en bedre måde at bevise et "
"teorem, så kunne du tage det nogle andre havde gjort og ændre det. Ved et "
"institut for klassisk historie, hvis du mente en kollegas oversættelse af en "
"nylig opdaget tekst havde fejl, så havde du friheden til at forbedre den.  "
"Dermed, for Stallman, virket det åbenbaret at du burde stå frit til at rode "
"med , og forbedre koden som kørte på en maskine.  Også dette var kundskab.  "
"Hvorfor skulle det ikke være åbent for kritik på samme måde som alt andet?"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "proprietary code"
msgstr "proprietær kode"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Ingen svarede på det spørgsmålet.  I stedet ændrede arkitekturen for "
"indkomster i dataværdet sig.  Efterhånden som det blev muligt at importere "
"programmer fra et system til et andet, så blev det økonomisk attraktivt (i "
"hvert fald efter nogles syner) at skjule koden til programmet man fortaget.  "
"I tillæg begyndte selskaber at sælge ekstrautstyr til stormaskiner.  Hvis "
"jeg bare kunne tage din printerdriver og kopiere den, så villes det gøre det "
"enklere for mig end det var for dig at sælge man printer i markedet."

#.  PAGE BREAK 285 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dermed begyndte praksissen med proprietær kode at brede sig, og tidligt på "
"1980-tallet fandt Stallman at han var omringet af proprietær kode. Værdet af "
"fri software havde blevet fjernet af en ændring i økonomien rundt "
"databehandling.  Og han troede at  hvis han ikke gjorde noget med dette, så "
"villes friheden til at ændre og dele software blive fundamentalt svækket."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Torvalds, Linus"
msgstr "Torvalds, Linus"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Derfor, i 1984, startet Staldmand på et projekt for at bygge et frit "
"operativsystem, sådan i hvert fald en flik af fri software skulle overleve.  "
"Dette var starten på GNU-projektet, som <quote>Linux</quote>-kernen til "
"Linus Torvalds senere blev lagt til i for at producere GNU/Linux-"
"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Stallmans teknik var at bruge åndsverksloven til at bygge en værdet af "
"software som må forblive fri.  Programvare licensieret med GPL fra Free "
"Software Foundation kan ikke  ændres og distribueres uden at kildekoden for "
"den ændrede programvaren også bliver gjort tilgængeligt.  Dermed må enhver "
"som bygger på software licensieret med GPL også frigøre sit bygværk.  Dette "
"troede Stallman vilde sikre at et det udviklede sig et miljø af kode som "
"forblev frit for andre at bygge på.  Hans fundamentale mål var frihed.  "
"Nyskabende kreativ kode var et biprodukt."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 gjorde dermed  for software det personvernforkjempere nu gør for "
"privatsfæren.  Han søgte efter en måde at genopbygge den type frihed som før "
"var taget for givet.  Gennem aktiv brug af licenser som gælder for "
"opphavsrettsbeskyttet kildekode, gjenerobret Stallman en arena der hen fri "
"software villes overleve.  Han beskyttede aktivt det som før havde været "
"passivt garanteret."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "scientific journals"
msgstr "videnskabelige tidsskrifter"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Til slutning, lagde os se på et rigtigt nyt eksempel som ræsonnerer mere "
"direkte med historie i denne bog.  Dette er overgangen for hvordan "
"akademiske og videnskabelige tidsskrifter bliver produceret."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Lexis and Westlaw"
msgstr "Lexis and Westlaw"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "journals in"
msgstr "tidsskrifter i"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "access to opinions of"
msgstr "tilgang til domstolsavgjørelser fra"

#.  PAGE BREAK 286 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Efterhånden som teknologien udviklede sig, bliver det åbenbaret for mange at "
"at skrive ud tusindvis af kopier af tidsskrifter hver måned, og sende dem "
"til biblioteker måske ikke er den mest effektive måden at brede kundskab på. "
" I stedet bliver tidsskrifter mere og mere elektroniske, og biblioteker og "
"deres brugere gives tilgang til disse elektroniske tidsskrifter gennem "
"passordbeskyttede netsteder.  Noget lignende har sket inden justitssektoren "
"i næsten tredive år: Lexis og Westlaw har haft elektroniske versioner af "
"domstolafgørelser tilgængeligt for sine tjenesteabonnenter.  Selv om man "
"høyesterettsdom ikke er opphavsrettsbeskyttet, og enhver står frit til at gå "
"til et bibliotek og læse den, så står Lexis og Westlaw også frit til at "
"kræve betaling fra sine brugerne for at give tilgang til den samme "
"høyesterettsdommen gennem deres respektive tjenester."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "access fees for material in"
msgstr "tilgangafgifter for materiale i"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "license system for rebuilding of"
msgstr "licenssystemet for gjenoppbygging af"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Det er stort  set ingenting galt med dette, og muligheden til at tage betalt "
"for tilgang selv for allemannseid materiale er helt klaret et godt incentiv "
"for folk til at udvikle nye og nyskabende måder for at brede kundskab.  "
"Retpraksis har været enig, hvilket er det som gør at  Lexis og Westlaw har "
"fået lov til at blomstre.  Og hvis det ikke er noget galt med at sælge det "
"som er allemannseie, så bør det i princippet ikke være noget galt i at sælge "
"tilgang til materiale som ikke er allemannseie."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men hvad hvis den eneste måden at få tilgang til sociale og videnskabelige "
"data var gennem proprietære tjenester?  Hvad hvis ingen havde muligheden til "
"at bladre igennem disse datasæt uden at betale for et abonnement?"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Som flere begynder at opdage, er dette stadig oftere virkeligheden med "
"videnskabelige tidsskrifter.  Da disse tidsskrifter blev distribueret i "
"papirudgaven, kunne bibliotekerne gøre tidsskrifterne tilgængeligt for "
"enhver som havde tilgang til biblioteket.  Dermed kunne patienter med kræft "
"blive kræfteksperter på grund af at biblioteket gav dem tilgang.  Eller "
"patienter som forsøgte at forstå risikoen med en bestemt behandling, kunne "
"forske på disse risici ved at læse alle tilgængelige artikler om den "
"behandlingen.  Denne frihed var dermed  et resultat af hvordan biblioteker "
"fungerede (normer) og teknologien til papirtidsskrifter (arkitektur) &ndash; "
"nemlig at det var rigtigt vanskeligt at kontrollere tilgang til et "
"papirtidsskrift."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Efterhånden som tidsskrifter bliver elektroniske, kræver derimod  utgiverne "
"at bibliotekerne ikke giver alle tilgang til tidsskrifterne.  Dette betyder "
"at  frihederne som papirtidsskrifter gav i offentlige biblioteker, begynder "
"at forsvinde.  Dermed, på samme måde som med personværn og software, krymper "
"ændringer i teknologien og markedet en frihed som vi tog for givet tidligere."

#.  PAGE BREAK 287 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Denne reducerede frihed har fået mange til at tage aktive skridt for at "
"genetablere friheden som har gået tabt. Et eksempel er Det Offentlige "
"Videnskabbiblioteket (PLoS), som er et ikke-kommercielt selskab dedikeret "
"til at gøre videnskabelig forskning tilgængeligt til alle som har en "
"netforbindelse.  Forfattere af videnskabelige værker laster sit værk op til "
"Det Offentlige Videnskabbiblioteket.  Dette virkede går så  igennem "
"fagfællevurdering.  Hvis det bliver accepteret, så bliver virket lagret i et "
"offentligt, elektronisk arkiv, og gjort gratis og permanent tilgængeligt.  "
"PLoS sælger også  trykkede udgaver af værkerne, men ophavsreten til "
"papirtidsskrifterne fratager ingen retten til at frit videredistribuere "
"værket."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette er en af mange sådanne indsatser for at genetablere en frihed som "
"tidligere blev taget for givet, men som nu er truet af ændringer i teknologi "
"og marked.  Det er ingen tvivl om at dette alternativ konkurrerer med de "
"traditionelle forlagene og deres indsats for at tjene penge på den "
"eksklusive distributionen af indhold.  Men konkurrence antages i vores "
"tradition for at være godt &ndash; specielt når det bidrager til at brede "
"kundskab og videnskab."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "Rebuilding Free Culture: One Idea"
msgstr "Gjenoppbygging af fri kultur: En idé"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
msgid ""
"The same strategy could be applied to culture, as a response to the "
"increasing control effected through law and technology."
msgstr ""
"Den samme strategi kan bruges på kultur, som et svar på den øgende "
"kontrollen som gennemføres gennem lov og teknologi."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Stanford University"
msgstr "Stanford University"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Her kommer Creative Commons ind.  Creative Commons er et ikke-kommercielt "
"selskab etableret i Massachusetts, men med sit hjem ved Stanford University. "
" Selskabets mål er at bygge et hold af <emphasis>fornuftig</emphasis> "
"ophavsret på toppen af det ekstreme som nu regerer.  Det gør dette ved at "
"gøre det enkelt for folk at bygge på andre folks værk, ved at gøre det "
"enkelt for skabere at udtrykke friheden for andre til at tage og bygge på "
"deres værker.  Dette gøres muligt med enkle marker, knyttede til "
"menneskelesbare beskrivelser, som igen er knyttet til vandtæte licenser."

#.  PAGE BREAK 288 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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>Enkelt</emphasis> &ndash; som betyder uden en mellommann, eller "
"uden en advokat.  Ved at udvikle et frit sæt med licenser som folk kan "
"knytte til sit indhold, sigter Creative Commons at mærke en mængde indhold "
"som enkelt og pålideligt kan bygges på.  Disse mærker er så lænket til "
"maskinlesbare versioner af licensen som gør det muligt for computere at "
"automatisk identificere indhold som enkelt kan deles. Denne samling af tre "
"udtryk &ndash; en juridisk licens, en menneskelesbar beskrivelse og et "
"maskinlesbart mærke &ndash; udgør en Creative Commons-licens.  En Creative "
"Commons-licens udgør man tildeling af frihed til enhver som har tilgang til "
"licensen.  Og vigtigere, et udtryk for at personen som bruger licensen tror "
"på noget andet end <quote>Alle</quote>- eller <quote>Ingen</quote>-"
"ytterkantene.  Indhold mærket med CC-mærket betyder ikke  at man har sagt "
"fra sig ophavsreten, men derimod at enkelte friheder er givet væk."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Disse friheder går ud over friheden som loves af rimeligt brug. Frihedernes "
"præcise omrids er avhenging af valgene som skaberen gør. Skaberen kan vælge "
"en licens som tillader enhver bruge, så længe ophavpersonen navngis.  Hun "
"kan vælge en licens som kun tillader ikke -kommerciel brug.  Hun kan vælge "
"en licens som tillader enhver bruge så længe de samme friheder gives videre  "
"til andre brugere (<quote>del, og del på lige vilkår</quote>).  Eller enhver "
"bruge så længe ingen bearbeidelse bliver gjort.  Eller enhver bruge i "
"udviklingsland.  Eller enhver bruge som <quote>smagsprøve,</quote> så længe "
"det ikke fortages komplette kopier.  Og til slutning, enhver bruge til "
"oplæring."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Disse valg etablerer dermed  en række friheder som går ud over "
"åndsverkslovens udgangspunkt.  De muliggjør også friheder som går ud over "
"traditionel rimeligt brug.  Og det vigtigste er at de udtrykker disse "
"friheder på en måde som de påfølgende brugerne kan bruge og basere sig på "
"uden at hyre ind en advokat.  Creative Commons sigter dermed  mod at bygge "
"et hold af indhold, styrt af et hold af fornuftigt åndsverkslov, som andre "
"kan bygge på.  Frivilligt valg fra individer og skabere vil gøre dette "
"indhold tilgængeligt.  Og dette indhold vil så  gøre det muligt for os at "
"genetablere allemannseiet."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Garlick, Mia"
msgstr "Garlick, Mia"

#.  PAGE BREAK 289 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette er bare  et af mange projekter inden Creative Commons.  Og Creative "
"Commons er naturligvis  ikke den eneste organisationen som bidrager til "
"sådanne friheder.  Men det som skiller Creative Commons fra mange andre er "
"at vi er ikke  bare interesseret i at snakke om et allemannseie, eller i at "
"få lovgiverne til at bidrage til at bygge et allemannseie.  Vores mål er at "
"bygge en bevægelse af forbrugere og producenter af indhold "
"(<quote>innholdskondusenter,</quote> som advokat Mia Garlick kalder dem) som "
"hjælper til at bygge allemannseie og demonstrerer med sine egen værker hvor "
"vigtigt allemannseiet er for anden kreativitet."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Målet er ikke  at sloges mod <quote>alle rettigheder forbeholdt</quote>-"
"folkene.  Målet er at udfylde dem.  Problemerne som loven skaber for os som "
"kultur, er skabt af sprø og utilsigtede konsekvenser af håndflade skrævet "
"for flere århundreder siden, anvendt på en teknologi som kun Jefferson kunne "
"have forestilt sig.  Skrønerne kan godt  at givet mening da baggrunden var "
"teknologierne som var tilgængeligt for hundredevis af år siden, men de giver "
"ikke  mening når baggrunden er digitale teknologier.  Nye skrøner &ndash; "
"med andre friheder, udtrykkt sådan at mennesker uden advokater kan bruge dem "
"&ndash; trænges.  Creative Commons giver folk en effektiv måde at begynde at "
"fortage disse skrøner."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Hvorfor ønsker skabere at angive i at give slip på total kontrol?  Nogle "
"angiver for at øge spredningen af sit indhold.  Et eksempel er Cory Doctorow "
"som er man science fiction-forfatter.  Hans første roman, <citetitle>Down "
"and Out in the Magic Kingdom</citetitle>, blev sluppet gratis på nettet med "
"en Creative Commons-licens, samme dag som den blev lagt ud for salg i "
"boghandler."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Hvorfor ville en utgiver nogensinde gå med  på dette?  Jeg mistænker at hans "
"utgiver tænkte som dette: Det er to grupper af mennesker der ude: (1) de som "
"vil købe Corys bog uanset om den er på Internet eller ikke, og (2) de som "
"måske aldrig hører om Corys bog hvis den ikke bliver gjort tilgængeligt "
"gratis på Internet.  En del af (1) vil laste ned Corys bog i stedet for at "
"købe den.  Vi kan kalde dem slemme-(1).  En del af (2) vil laste ned Corys "
"bog, lige så den, og derefter bestemme sig for at købe den.  Vi kan kalde "
"dem gode(2).  Hvis det er flere gode(2) end det er slemme-(1), så vil "
"strategien med at give ud Corys bog gratis på nettet sikkert <emphasis>øge</"
"emphasis> salget af Corys bog."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Faktisk støtter erfaringerne fra hans utgiver helt klart denne konklusion.  "
"Førsteutgaven af bogen var udsolgt flere måneder tidligere end utgiveren "
"havde forventet.  Denne første roman til en science fiction-forfatter var en "
"total succes."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Free for All (Wayner)"
msgstr "Free for Al (Wayner)"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Wayner, Peter"
msgstr "Wayner, Peter"

#.  PAGE BREAK 290 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Idéen om at gratis indhold kan øge værdien for ikke-gratis indhold, blev "
"bekræftet af et eksperiment gennemført af en anden forfatter. Peter Wayner, "
"som skrev en bog om Fri programvare-bevægelsen med titlen <citetitle>Free "
"For Al</citetitle>, gjorde en elektronisk udgave af bogen gratis "
"tilgængeligt på nettet med en Creative Commons-licens efter at bogen var "
"udsolgt fra forlaget.  Han fulgte derefter  med på prisen for bogen i "
"bruktbokhandler.  Som udsigt, efterhånden som antal nedlastinger steg, steg "
"også  brugtprisen på bogen."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Leaphart, Walter"
msgstr "Leaphart, Walter"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Public Enemy"
msgstr "Public Enemy"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "rap music"
msgstr "opstød-musik"

#.  f2. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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), produceret af Jed Horovitz, instrueret af "
"Greg Hittelman, en produktion af Fiat Lucre, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #72</ulink>."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette er eksempler på brug af Creative Commons for at bedre brede "
"proprietært indhold.  Jeg mener at dette er en nydelig og almindelig brug af "
"allemannseie.  Det er andre som bruger Creative Commons-licenser af andre "
"grunde.  Mange som bruger <quote>sampling-licensen</quote> gør det på grund "
"af at alt andet villes være hyklerisk.  Sampling-licensen siger at andre "
"står frit til, for kommercielle eller ikke-kommercielle formål, at bruge "
"bidder af indhold fra det licensierede værket.  De har bare  ikke friheden "
"til at gøre hele indholdet tilgængeligt for andre.  På grund af at den "
"<emphasis>juridiske</emphasis> omkostningen med sampling er så  høj (Walter "
"Leaphart, manager for ræb-gruppen Public Enemy, som blev skabt ved at sample "
"musikken til andre, har udtalt at han ikke <quote>tillader</quote> Public "
"Enemy at sample mere, på grund af at den juridiske omkostningen er så  "
"høj<placeholder type=\"footnote\" id=\"0\"/>), slipper disse artister "
"indhold ud i det kreative miljøet som andre kan bygge videre  på, sådan at "
"deres form for kreativitet kan vokse."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Til slutning er det mange som mærker sit indhold med en Creative Commons-"
"licens kun fordi de ønsker at udtrykke til anden hvor vigtigt de synes "
"balance er i denne debat.  Hvis du bare accepterer systemet sådan det er, så "
"siger du faktisk at du tror på <quote>alle rettigheder forbeholdt</quote>-"
"modellen.  Fint for dig, men mange gør ikke  det. Mange tror at  uanset hvor "
"rigtigt den reglen er for Hollywood og særlinge, så er den ikke en rigtig "
"beskrivelse af hvordan de fleste skaberne ser på rettighederne knyttet til "
"sit indhold.  Creative Commons-licensen udtrykker begrebet <quote>nogle "
"rettigheder forbeholdt,</quote> og giver mange muligheden til at sige det "
"til andre."

#.  PAGE BREAK 291 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I de første seks månederne af Creative Commons-eksperimentet, blev over en "
"million objekter licensieret med disse fri kultur-licenserne.  Næste skridt "
"er partnerskap med mellomvaretilbyderne af indhold for at hjælpe dem at "
"bygge enkle måder  ind i teknologierne de fortager, sådan at  brugerne kan "
"mærke indholdet med friheden givet med Creative Commons.  Derefter er næste "
"skridt at holde øje med, og fejre skaberne som fortager nyt indhold baseret "
"på frigjort indhold."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette er de første skridtene for at genopbygge et allemannseie.  De er ikke  "
"kun argumenter, de er handlinger.  Å bygge allemannseiet er første skridt "
"for at visse/vise folk hvor vigtigt dette er for kreativitet og nyskabning.  "
"Creative Commons baserer sig på frivillige skridt for at få til denne "
"gjenoppbyggingen.  De vil føre til en værdet hvor mere end frivillige skridt "
"er muligt."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 er bare  et eksempel på frivillig indsats fra "
"enkeltpersoner og skabere for at ændre blandingen af rettigheder som nu "
"styrer det kreative området.  Projektet konkurrerer ikke  med ophavsreten.  "
"Den udfylder den.  Dets mål er ikke  at bekæmpe rettighederne til "
"forfatterne, men at gøre det enklere for forfattere og skabere at udøve sine "
"rettigheder mere fleksibelt og billigere.  Den forskellen, tror vi, vil gøre "
"det muligt for kreativiteten at brede sig lettere."

#. type: Content of: <book><chapter><section><title>
#, fuzzy
msgid "Them, soon"
msgstr "Dem, snart"

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"<emphasis role='strong'>Vi vil</emphasis> ikke  vinde tilbage en fri kultur "
"kun ved individuelle handlinger.  Det trænges også  vigtige lovreformer.  Vi "
"har en lang vej at gå før politikerne vil lytte til disse idéene, og "
"implementere disse reformer.  Men det betyder også  at vi har tid til at "
"bygge op bevidstheden rundt ændringerne som trænges."

#. type: Content of: <book><chapter><section><para>
#, fuzzy
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 ""
"I dette kapitel skitserer jeg fem typer ændringer: fire som er generelle og "
"en som er spesifikk for den mest ophedede kampen for tiden, musik.  Hver af "
"dem er et skridt, ikke et mål.  Men hver af disse skridt vil føre os et godt "
"stykke mod vores mål."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "1. More Formalities"
msgstr "1 . Flere formaliteter"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Hvis du køber et huse, så må du registrere salget i et skøde.  Hvis du køber "
"ejendom for at bygge et huse, så må du registrere købet i et skøde.  Hvis du "
"køber en bil så får du en ejerskiftemelding og registrerer bilen.  Hvis du "
"køber en flybillet, så har den dit navn på den."

#.  PAGE BREAK 293 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Disse er alle formaliteter knyttet til ejendom.  De er krav som vi alle må "
"forholde os til hvis vi ønsker at vores ejendom skal blive beskyttet."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette står i kontrast til gældende åndsverkslov, der du automatisk får "
"ophavsret uafhængigt af om du overholder nogle formaliteter eller ikke.  Du "
"behøver ikke  at registrere den.  Du behøver ikke  en gang mærke dit "
"indhold.  Udgangspunktet er kontrol, og <quote>formaliteter</quote> er "
"bandlyst."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
msgid "Why?"
msgstr "Hvorfor?"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Som jeg foreslog i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, var motivationen for at afskaffe formaliteterne "
"god.  I værdet føder digitale teknologier, lagde formaliteterne en byrde på "
"ophavsretindehaverne uden at det gav nævneværdige fordele.  Dermed var det "
"en fremgang da loven slækkede op på de formelle kravene som ophavsretejeren "
"måtte opfylde for at beskytte og sikre sit værk.  Disse formaliteter kom i "
"vejen."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men Internet ændrer alt dette.  Formaliteter behøver i dag  ikke være en "
"byrde.  I stedet er det sådan at en værdet uden formaliteter, er en værdet "
"som hæmmer kreativiteten.  I dag er det ingen enkel måde at vide hvem som "
"ejer hvad , og hvem man må gøre aftale med for at kunne bruge eller bygge på "
"det kreative værket til andre.  Det er intet register, og det er intet "
"system for at spore &ndash; det er ingen enkel måde at vide hvordan man får "
"tilladelse.  Og alligevel er det, givet den massive øgningen i omfanget for "
"ophavsretens skrøner, et nødvendigt skridt at få tilladelse for ethvert værk "
"som baserer sig på vores fortid.  Og dermed tvinger <emphasis>fraværet</"
"emphasis> af formaliteter mange til at være stille der de ellers villes talt."

#.  f1. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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 ""
"Forslaget jeg fremmer her  vilde kun gælde for amerikanske værker.  Jeg tror "
"naturligvis  at det villes være en fordel om samme idé blev adopteret også  "
"af andre land."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Loven burde derfor  ændre dette krav<placeholder type=\"footnote\" id=\"0\"/"
"> &ndash; men den bør ikke  ændres ved at gå tilbage til det gamle ødelagte "
"systemet.  Vi bør kræve formaliteter, men vi bør etablere et system som vil "
"skabe incentivene for at minimere byrden disse formaliteter påfører."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Det er tre vigtige formaliteter: mærke opphavsrettsbeskyttede værk, "
"registrere ophavsret, og fornye krav om ophavsret.  Traditionelt var den "
"første af disse tre noget ophavsretindehaveren gjorde, og de anden to var "
"noget myndighederne gjorde.  Men et revideret system med formaliteter bør "
"fjerne myndighederne fra processen, med undtagelse af det ene formålet med "
"at godkende standarder udviklet af andre."

#. type: Content of: <book><chapter><section><section><section><title>
#, fuzzy
msgid "Registration and renewal"
msgstr "Registrering og fornying"

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"I det gamle systemet måtte en ophavsretejer sende ind en registrering til "
"ophavsretkontoret for at registrere eller fornye ophavsreten.  Når man "
"sendte ind registreringen, måtte ophavsretejeren betale en afgift.  Som med "
"de fleste offentlige kontorer havde ophavsretkontoret lidt incentiv til at "
"minimere belastningen som registreringen gav.  Det havde også  lidt incentiv "
"til at minimere afgiften.  Og eftersom ophavsretkontoret ikke var et "
"hovedmål for regeringens politik, har kontoret historisk været rigtigt "
"underfinansiert.  Dermed, når folk som kender til processen hører denne "
"idéen om formaliteter, så er deres første reaktion panik &ndash; ingenting "
"kan være værre end at tvinge folk at forholde sig til det virvaret som "
"hedder ophavsretkontoret."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Alligevel har det altid overrasket mig at vi, som kommer fra en tradition "
"med ekstraordinær nyskabning inden myndighedudformning, ikke længere kan "
"være nyskabende om hvordan myndighedfunktioner kan udformes.  Det at det er "
"et offentligt formål i en styringrolle, betyder ikke  at myndighederne er de "
"eneste som kan administrere rollen.  I stedet burde vi skabe incentiver for "
"at private aktører tilbyder tjenesten til offentligheten, ifølge standarder "
"som myndighederne definerer."

#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
#, fuzzy
msgid "domain names"
msgstr "domenenavn"

#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
#, fuzzy
msgid "domain name registration on"
msgstr "domenenavnregistrering på"

#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
#, fuzzy
msgid "Web sites, domain name registration of"
msgstr "Netsteder, domenenavnregistrering af"

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"I en registreringsammenhæng er Internet en oplagt model.  Det findes mindst  "
"32 millioner netsteder registreret rundt om i værdet. Ejere af domenenavnene "
"til disse net stederne må betale en afgift for at beholde sin registrering.  "
"For de vigtigste topniveau-domenene (.com, .stjæle, .net) er det et centralt "
"register.  Selve registreringerne er derimod  gennemført af mange "
"konkurrerende registrarer.  Denne konkurrence presser ned "
"registreringomkostningerne, og endnu vigtigere så bidrager dette til at gøre "
"hver enkelt registrering enklere."

#.  PAGE BREAK 295 
#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Vi burde tage i brug  en lignende model for registrering og fornying af "
"ophavsreter.  Ophavsretkontoret kan godt  fungere som det centrale "
"registeret, men de burde ikke  drive registrarvirksomhet.  I stedet burde "
"det etablere en database, og et sæt med standarder for registrarer.  Det bør "
"godkende registrarer som følger disse standarder.  Disse registrarene villes "
"dermed  konkurrere med hinanden om at levere det billigste og enkleste "
"systemet for at registrere og fornye ophavsreter.  Denne konkurrence villes "
"reducere betydeligt belastningen som denne formalitet giver &ndash; mens det "
"giver en database over registreringer som kan forenkle lisensiering af "
"indhold."

#. type: Content of: <book><chapter><section><section><section><title>
#, fuzzy
msgid "Marking"
msgstr "Merking"

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Det at ikke mærke kreative værker med ophavsretinformation førte tidligere  "
"til at man mistede ophavsreten.  Det var en rigtig streng straf for at ikke "
"overholde en regulatorisk regel &ndash; omtrent som at dømme nogle til "
"dødsstraff for at have parkeret ulovlig i den kreative rettighedværdet.  Her "
"er det heller ikke nogle grund til at markeringkravene behøver at blive "
"håndhævet på denne måde.  Og vigtigere er at det ikke er nogle grund til at "
"merkingskravene behøver at håndhæves ligeligt  på tværs af alle medier."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Målet med merkingen er at signalere til offentligheten at dette værket er "
"opphavsrettsbeskyttet, og at forfatteren ønsker at håndhæve sine "
"rettigheder. Mærkede gør det også enkelt at spore op en ophavsretejer for at "
"skaffe tilladelse til at bruge værket."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Et af problemerne som ophavsretsystemet konfronterede tidligt  var at  "
"forskellige opphavsrettsbeskyttede værk måtte markeres forskelligt.  Det var "
"ikke  klart hvordan og hvor en statue skulle mærkes, eller en plade, eller "
"en film.  Et nyt merkingskrav kan løse disse problemer ved at anerkende "
"forskellene i medierne, og ved at tillade merkingssystemet til at udvikle "
"sig efterhånden som teknologien muliggjør det.  Systemet kan muliggjøre/"
"aktivere et specielt signal når man ikke mærker &ndash; ikke  at miste "
"ophavsreten, men at miste retten til at straffe nogle for at ikke have "
"skaffet sig tilladelse først."

#.  f2. 
#. type: Content of: <book><chapter><section><section><section><para><footnote><para>
#, fuzzy
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 ""
"En komplicerende faktor er avledede værker, og den har jeg ikke løst her .  "
"Efter mit syner skaber loven rundt avledede værker et mere kompliceret "
"system end det som kan begrundes ud fra de marginale incentivene dette giver."

#.  PAGE BREAK 296 
#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Lad os starte med det sidste pointen.  Hvis en ophavsretindehaver tillader "
"at hans værk bliver publiceret uden opphavsrettsmerking, så behøver ikke  "
"konsekvensen være at ophavsreten er tabt.  Konsekvensen kan i stedet  være "
"at enhver da har ret til at bruge dette værk indtil ophavsretindehaveren "
"klager og demonstrerer at det er hans værker, og at han ikke giver "
"tilladelse.<placeholder type=\"footnote\" id=\"0\"/>  Forståelsen af et "
"umerket værk villes dermed  være <quote>brug såfremt ingen klager.</quote> "
"Hvis nogle klager, så er forpligtelsen at man må slutte at bruge værket i "
"ethvert nyt værk fra da af, selv om det ikke er nogle strafreaktion knyttet "
"til eksisterende brug.  Dette vil skabe et stærkt incentiv for "
"ophavsretejere til at mærke sine værker."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Dette i sin tur rejser spørgsmålet om hvordan et værk bedst bør mærkes. Her "
"må systemet igen justeres efterhånden  som teknologierne udvikler sig.  Den "
"bedste måden at sikre at systemet udvikler sig, er at begrænse "
"ophavsretkontoret rolle til at godkende standarder for at mærke indhold som "
"har været udviklet af andre."

#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
#, fuzzy
msgid "copyright marking of"
msgstr "opphavsrettsmerking af"

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"For eksempel, hvis en pladeindustriforening kommer op  med en metode for at "
"mærke CD-er, så villes den foreslå dette til ophavsretkontoret. "
"Ophavsretkontoret villes så  holde en høring, hvor andre forslag kunne "
"lægges frem.  Ophavsretkontoret villes så  vælge det forslaget som det "
"vurderede som det bedste, og det villes basere valget <emphasis>udelukkende</"
"emphasis> på vurderingen om hvilken metode som bedst kunne integreres ind i "
"registrering og fornyingssystemet.  Vi villes ikke  basere os på at "
"myndighederne fortog noget nyt, men vi villes basere os på at myndighederne "
"sikrede de nye produkterne på linje med dets andre vigtige funktioner."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Til slutning vil klart markeret indhold gøre registreringkravene enklere.  "
"Hvis fotografier var mærket med forfatter og år, så villes det være lille "
"grund til at ikke tillade en fotograf til at fornye for eksempel  alle "
"fotografier taget i et bestemt år, samtidig.  Målet med formaliteten er ikke "
" at belaste skaberne.  Systemet selv bør holdes så  enkelt som muligt."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Formålet med formaliteter er at gøre ting mere klart.  Det eksisterende "
"systemet gør ingenting for at gøre ting mere klart.  Det virker heller  som "
"om det er udformet for at gøre ting mindre klart."

#. type: Content of: <book><chapter><section><section><section><para>
#, fuzzy
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 ""
"Hvis formaliteter sådan som registrering blev genindført, så villes en af de "
"mest vanskelige siderne med at stole på allemannseie blive fjernet. Det "
"villes blive enkelt at identificere hvilket indhold som kan antages at være "
"frit tilgængeligt.  Det villes være enkelt at identificere hvem som "
"kontrollerer rettighederne for et bestemt type indhold.  Det villes være "
"enkelt at hævde disse rettigheder, og at fornye denne hevden på rigtigt "
"tidspunkt."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "2. Shorter Terms"
msgstr "2 . Kortere vernetid"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Vernetiden i ophavsreten har gået fra fjorten år til nittifem år der selskab "
"har forfatterskabet, og livstiden til forfatteren plus halvfjerds år for "
"individuelle forfattere."

#.  f3. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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 . januar 2003): 15, tilgængeligt fra <ulink url=\"http://free-culture.cc/"
"notes/\">link #74</ulink>."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I <citetitle>The Future of Ideas</citetitle> foreslog jeg syttifemårs "
"vernetid, tildelt i femårsbolker med et krav om at fornye hvert femte år.  "
"Dette virkede radikalt nok på den tiden.  Men efter at vi tabte "
"<citetitle>Eldred</citetitle> mod <citetitle>Ashcroft</citetitle>, blev "
"forslaget endnu mere radikalt.  <citetitle>The Economist</citetitle> "
"anbefalede et forslag om fjorten års vernetid.<placeholder type=\"footnote\" "
"id=\"0\"/> Andre har foreslået at knytte vernetiden til vernetiden for "
"patenter."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Jeg er enigt/enig med dem som tror vi behøver en radikal ændring i "
"ophavsretens levetid.  Men hvorvidt den er fjorten år eller syttifem, så er "
"det fire principper som det er vigtigt at tænke på når det gælder varigheten "
"til ophavsreten."

#.  (1) 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"<emphasis>Hold den kort:</emphasis> Længden bør være så  lang at den giver "
"nødvendigt incentiv til at skabe, men ikke længere.  Hvis den er knyttet op "
"til stort stærk beskyttelse for forfattere (sådan at forfattere er i stand  "
"til at få tilbage rettigheder fra utgiverne), så kan rettigheder til samme "
"værk (ikke avledede værk) blive yderstere udvidet.  Nøglen er at ikke binde "
"værk op med juridiske reguleringer når det ikke længere giver fordele til en "
"forfatter."

#.  (2) 
#.  PAGE BREAK 298 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"<emphasis>Gør det enkelt:</emphasis> Skillelinjen mellem værk uden "
"opphavsrettslig værn, og indhold som er beskyttet må forblive klart.  "
"Advokater kanlide uklarheten som <quote>rimeligt brug</quote> og forskellen "
"mellem <quote>idéer</quote> og <quote>udtryk</quote> har.  Denne type "
"lovværk giver dem en masse arbejde.  Men de som skrev Grunnloven havde en "
"enklere idé: værnet eller ikke værnede. Værdien af korte vernetider er at "
"det er lidt  behov for at bygge ind undtagelse i ophavsreten når vernetiden "
"holdes kort.  En klar og aktiv <quote>advokatfri zone</quote> gør "
"kompleksiteten af <quote>rimelig brug</quote> og <quote>idé/udtryk</quote> "
"mindre nødvendigt at håndtere."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary>
#, fuzzy
msgid "veterans' pensions"
msgstr "krigsveteranpensioner"

#.  f4. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
#, fuzzy
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/"
"el Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgængeligt fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>."

#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"<emphasis>Gør det aktivt:</emphasis> Man bør være nødt til at fornye "
"ophavsretbeskyttelsen.  Specielt hvis den maksimale varigheten er lang, så "
"bør ophavsretejeren være nødt til at signalere regelmæssigt at han ønsker at "
"beskyttelsen fortsætter.  Dette behøver ikke  være en enorm belastning, men "
"det er ingen grund til at denne monopol beskyttelsen må deles ud gratis.  I "
"snit tager det halvfems minutter for en krigsveteran at søge om pension."
"<placeholder type=\"footnote\" id=\"0\"/> Hvis vi belaster veteraner med så "
"meget, så ser jeg ikke hvorfor vi ikke kan kræve at forfattere bruger ti "
"minutter hvert halvtredsindstyvende år for at befolke ud et enkelt skema."

#.  (4) 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"<emphasis>Gør det for fremtiden:</emphasis> Uanset hvad længden på "
"vernetiden i ophavsreten bør være, så er den klareste lærdommen økonomierne "
"kan lære os er at  en levetid når den er givet, aldrig bør blive udvidet.  "
"Det kan have været en tabbe i 1923 at loven kun tilbød forfattere en "
"varighet på femtisyv år.  Jeg tror ikke  det, men det er muligt.  Hvis det "
"var man tabbe, så var konsekvensen at vi fik færre forfattere som skrev i "
"1923 end vi ellers villes haft.  Men vi kan ikke  korrigere den fejlen i dag "
"ved at udvide vernetiden.  Uanset hvad vi gør i dag , så kan vi ikke øge "
"antallet forfattere som skrev i 1923 . Vi kan naturligvis  øge belønningen "
"for dem som skriver nu  (eller alternativt, øge ophavsretbyrden som kvæler "
"mange værker som i dag er usynlige.  Men at øge deres belønning vil ikke  "
"øge deres kreativitet i 1923 .  Det som ikke blev gjort blev ikke  gjort, og "
"det er ingenting vi kan gøre med det nu."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Disse ændringer vil sammen  give en <emphasis>gennemsnitlig</emphasis> "
"opphavsrettslig vernetid som er meget kortere end den gældende vernetiden.  "
"Frem til 1976 var gennemsnitligt vernetid kun 32.2 år.  Vores mål bør være "
"det samme."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Uden tvivl vil ekstremisterne kalde disse idéene <quote>radikale.</quote> "
"(Trods alt, så kalder jeg dem <quote>ekstremister.</quote>) Men igen, "
"vernetiden jeg anbefalede var længere end vernetiden under Richard Nixon. "
"Hvor <quote>radikalt</quote> kan det være at bede om en mere sjenerøs "
"ophavrettighed end da Richard Nixon var præsident?"

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "3. Free Use Vs. Fair Use"
msgstr "3 . Fri brug versus rimeligt brug"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Som jeg observerede i starten af denne bog, gav ejendomretten oprindeligt "
"landejere retten til at kontrollere sin ejendom fra markerne og helt op til "
"himlen.  Så kom flymaskiner, og omfanget af ejendomretter blev raskt ændret. "
" Det var intet opstyr, ingen konstituell udfordring.  Det gav ikke  mening "
"længere at give væk så meget kontrol, givet fremvæksten af denne nye "
"teknologi."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Vores Grundlov giver Kongressen myndighed til at tildele forfattere "
"<quote>eksklusive ret</quote> til <quote>deres skrifter.</quote> Kongressen "
"har givet forfattere en eksklusiv ret til <quote>deres skrifter</quote> plus "
"alle avledede skrifter (holdet af andre) som er tilstrækkeligt nær "
"forfatterens oprindelige værker.  Dermed, hvis jeg skriver en bog, og du "
"baserer en film på den bogen, så har jeg myndighed til at nægte dig at give "
"ud den filmen, selv om den filmen ikke er <quote>min skrifter.</quote>"

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Kaplan, Benjamin"
msgstr "Kaplan, Benjamin"

#.  f5. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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>
#, fuzzy
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 ""
"Kongressen støttede ophavet til denne ret i 1870, da den udvidede den "
"eksklusive retten i ophavsreten til at indeholde retten til at kontrollere "
"oversættelser og dramatiseringer af et værk.<placeholder type=\"footnote\" "
"id=\"0\"/> Domstolene har udvidet denne stille gennem lovfortolkninger siden "
"da.  Denne udvidelse har været kommenteret af en af juiceværdet bedste "
"dommere, domme Benjamin Kaplan."

#.  f6. 
#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para>
#, fuzzy
msgid "Ibid., 56."
msgstr "Ibid., 56 ."

#. type: Content of: <book><chapter><section><section><blockquote><para>
#, fuzzy
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 ""
"Vi har blevet så  tiltusket til udvidelsen af monopolet til en lang række "
"med såkaldte avledede værker at vi ikke længere ser hvor  mærkeligt det er "
"at acceptere en sådan udvidelse af ophavsreten, mens vi nynner på "
"abrakadabraen rundt idéer og udtryk.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Jeg tror det er på tide  at anerkende at det er flymaskiner på dette "
"betænket, og at udvidelser af rettigheder for avledede værk ikke længere "
"giver mening.  Mere præcist giver de ikke mening for hele verneperioden til "
"ophavsreten.  Og de giver ikke  mening som tildeling uden begrænsning.  Lad "
"os vurdere hver begrænsning for sig."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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>Vernetid:</emphasis> Hvis Kongressen ønsker at tildele avledede "
"rettigheder, da bør den rettigheden have meget kortere vernetid. Det giver "
"mening at beskytte John Grishams ret til at sælge filmrettighederne til hans "
"sidste roman (eller i det mindste er jeg villig til at antage at det giver "
"mening), men det giver ikke  mening at denne rettighed skal vare lige så  "
"længe som vernetiden til den underliggende ophavsreten.  Den avledede "
"rettigheden kan være vigtig for at bidrage til kreativitet, men den er ikke  "
"vigtigt længe efter at det kreative værket er færdigt. <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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>Omfang:</emphasis> På samme måde bør omfanget for avledede værk "
"snævres ind.  Her igen er det nogle tilfælde der avledede rettigheder er "
"vigtige.  Disse bør specificeres.  Men loven bør skille klart mellem "
"reguleret og uregulert brug af opphavsrettsbeskyttet materiale.  Da al "
"<quote>genbrug</quote> af kreativt materiale var kontrolleret af bedrifter, "
"så gav det måske mening at kræve advokater for at forhandle om hvor grænsen "
"gik.  Det giver ikke  længere mening at lade advokater forhandle om hvor "
"grænserne går.  Tænk på alle de kreative mulighederne som digitale "
"teknologier muliggjør.  Forestill dig så at hælde sirup ind i maskinerne.  "
"Det er hvad dette generelle krav om tilladelse gør med den kreative "
"processen.  Det kvæler den."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette var pointen som Alben kom med  da han beskrev hvordan han fortog Clint "
"Eastwood-CD-en.  Mens det giver mening at kræve forhandlinger for "
"overskuelige avledede rettigheder &ndash; at fortage en film af en bog, "
"eller et noteark af et digt &ndash; så giver det ikke mening at kræve "
"forhandlinger for det uforutsigbare.  Her giver en lovfæstet ret mere mening."

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Goldstein, Paul"
msgstr "Goldstein, Paul"

#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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&ndash;216 .  <placeholder type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I hver af disse tilfælde burde loven markere hvilke brugsområder som er "
"beskyttet, og en bør så kunne antage at andre brugsområder ikke er "
"beskyttet.  Dette er det modsatte af anbefalingen fra min kollega Paul "
"Goldstein.<placeholder type=\"footnote\" id=\"0\"/> Hans syner er at loven "
"bør skrives sådan at beskyttelsen udvides når brugsområderne udvides."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Analysen til Goldstein giver absolut mening hvis omkostningerne ved dette "
"ret systemet var lave.  Men som vi nu ser i sammenhæng med Internet, giver "
"usikkerhet rundt omfanget af beskyttelse, og incentivet til at beskytte den "
"eksisterende arkitektur for indkomster kombineret med en stærk ophavsret, en "
"svækket nyskabningproces."

#.  PAGE BREAK 301 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Loven kan motvirke dette problem enten ved at fjerne beskyttelsen ud over de "
"delene som er eksplisitt nævnt, eller ved at tillade genbrugretter på visse/"
"vise lovbestemte betingelser.  For hver af disse alternativer villes "
"effekten være at frigøre en stor del af kulturen sådan at andre kan få den "
"til at vokse.  Og under et lovbestemmt rettighedregime, så villes sådan  "
"genbrug give kunstnerne flere indkomster."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "4. Liberate the Music&mdash;Again"
msgstr "4 . Frigør musikken &ndash; igen"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Slaget som startede hele denne krig var om musik, så det villes ikke  være "
"rimeligt at afslutte denne bog uden at tage op problemet som er mest "
"presserende for de fleste &ndash; musik.  Det er ingen andre policy-tema som "
"bedre forklarer hvad man kan lære i denne bog end slagene om deling af musik."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Appellen til fildeling var det som satte fart i  Internets vækst.  Det drev "
"behovet for tilgang til Internet kraftigere end noget andet "
"enkeltbruksområde.  Det var Internets <quote>killer app</quote> &ndash; "
"måske i to betydninger af ordet.  Det var uden tvivl det brugsområdet som "
"drev efterspørgslen efter båndbredde.  Det kan godt  ende op  med at være "
"brugsområdet som driver igennem krav om reguleringer som til slutning dræber "
"nyskabning på nettet."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Målet med ophavsret, både generelt og for musik specielt, er at skabe "
"incentiver for at komponere, fremføre og aller vigtigst, brede, musik.  "
"Loven gør dette ved at give en eksklusiv ret til en komponist til at "
"kontrollere offentlige fremføringer af sit værker, og til en udøvende artist "
"til at kontrollere eksemplarer af sine fremføringer."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Fildelingsnettverk komplicerer denne model ved at gøre det muligt at brede "
"indhold uden at udøveren har fået betalt.  Men dette er naturligvis  ikke "
"alt et fildelingsnettverk gør.  Som jeg beskrev i kapitel <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"piracy\"/>, så muliggjør de fire "
"forskellige former for deling:"

#.  A. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
msgid ""
"There are some who are using sharing networks as substitutes for purchasing "
"CDs."
msgstr ""
"Det er nogle som bruger delingsnettverk som erstatning for at købe CD-er."

#.  B. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
msgid ""
"There are also some who are using sharing networks to sample, on the way to "
"purchasing CDs."
msgstr ""
"Det er også  nogle som bruger delingsnettverk for at prøvelytte, mens de "
"vurderer hvad  slags CD-er de vil købe."

#.  PAGE BREAK 302 
#.  C. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Det er mange som bruger fildelingsnettverk for at få tilgang til indhold som "
"ikke længere er i salg, men fortsat er værnet af ophavsret, eller som villes "
"have været alt for  vanskeligt at få købt via nettet."

#.  D. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
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 ""
"Det er mange som bruger fildelingsnettverk for at få tilgang til indhold som "
"ikke er opphavsrettsbeskyttet, eller for at få tilgang som "
"ophavsretindehaveren åbenbaret går god for."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Enhver reform af loven må have dirre forskellige brugsområderne i fokus.  "
"Den må undgå at belaste type-D-deling selv om den tager sigte på at fjerne "
"type A.  Hvor ivrigt loven søger at fjerne type-A-deling, bør videre  være "
"afhængigt af størrelsen på type-B-deling.  Som med videospillere, hvis "
"nettoeffekten af deling ikke er specielt  skadelig, så er behovet for "
"regulering betydeligt svækket."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Som jeg sagde i kapitel <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"piracy\"/>, er det kontroversielt om delingen forårsager skade.  "
"Men i dette kapitel vil jeg antage at skaden er reel.  Jeg antager, med "
"andre ord, at type-A-deling er betydeligt større end type-B, og er den "
"dominerende brugen af delingsnettverk."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Uanset, det er et afgørende faktum om den gældende teknologiske sammenhængen "
"som vi må huske på hvis vi skal forstå hvordan loven bør reagere."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I dag er fildeling vanedannende.  Om ti år vil det ikke være det.  Det er "
"avhengighetsskapende i dag på grund af at det er den enkleste måden at få "
"tilgang til et bredt spekter af indhold.  Det vil ikke  være den enkleste "
"måden at få tilgang til et bredt spekter af indhold om ti år.  I dag er "
"tilgang til Internet knotete og trægt &ndash; vi i USA er heldige hvis vi "
"har en bredbåndstjeneste med 1,5 MB/s, og vældig sjælden får vi tjenesten "
"med den hastigheden både op og ned.  Selv om trådløs tilgang vokser, må de "
"fleste af os få tilgang via kabler.  De fleste får kun  tilgang via en "
"maskine med et tastatur.  Idéen om at altid være tilkoblet Internet er i "
"hovedsag bare en idé."

#.  PAGE BREAK 303 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men det vil blive en realitet, og det betyder at måden vi får tilgang til "
"Internet på i dag, er en teknologi i ændring.  Beslutningstakere bør ikke  "
"fortage skrøner baseret på teknologi i ændring.  De bør fortage skrøner "
"baseret på hvor teknologien er på vej.  Spørgsmålet bør ikke  være om "
"hvordan loven skal regulere delingen sådan værdet er nu .  Spørgsmålet bør "
"være, hvad slags lov vil vi behøve når netværket bliver det netværket helt "
"klart er på vej mod.  Det netværket er et hvor enhver maskine som bruger "
"strøm i essensen er på nettet.  Uanset hvor du er &ndash; måske  med "
"undtagelse af i ørkenen og fjerntliggende fjeldpartier &ndash; kan du "
"umiddelbart blive koblet til Internet. Forestill dig Internet så "
"allstedsnærværende som den bedste mobiltelefontjenesten, hvor du er "
"tilkoblet med et enkelt tryk på en bryder."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "cell phones, music streamed over"
msgstr "mobiltelefoner, musik streamet viede"

#.  f8. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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 ""
"For eksempel, se, <quote>Music Medierne Watch,</quote> The J@pan Inc. "
"Newsletter, 3 April 2002, tilgængeligt fra <ulink url=\"http://free-culture."
"cc/notes/\">link #76</ulink>."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"I den værdet vil det være ekstremt enkelt at koble sig til en tjeneste som "
"giver dig direkte tilgang til indhold &ndash; sådan som Internet-radio, "
"indhold som strømmes til brugeren når brugeren ønsker det.  Her er dermed  "
"det kritiske pointen: Når det er <emphasis>ekstremt</emphasis> enkelt at "
"koble sig til tjenester som giver tilgang til indhold, så vil det være "
"<emphasis>enklere</emphasis> at koble sig til tjenester som giver dig "
"tilgang til indhold end det vil være at laste ned og lagre indhold "
"<emphasis>på de mange enhederne som du vil have for at vise frem indhold</"
"emphasis>.  Det vil med andre ord være enklere at abonnere end det vil være "
"at være en databaseadministrator, hvilket enhver er i <quote>en last ned og "
"del</quote>-værdet som Napster-lignende teknologier i essensen er.  "
"Indholdtjenester vil konkurrere med innholdsdeling, selv om tjenesterne "
"kræver penge for indholdet de giver tilgang til.  Mobiltelefontjenester i "
"Japan tilbyder allerede  musik (mod et gebyr) strømmede via mobiltelefoner "
"(forbedret med stik for øretelefoner).  Japanerne betaler for dette indhold "
"selv om <quote>gratis</quote> indhold er tilgængeligt i form af MP3er via "
"nettet.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 304 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette pointe om fremtiden er med at foreslå et perspektiv om nåtiden: Det er "
"eftertrykkeligt midlertidigt.  <quote>Problemet</quote> med fildeling "
"&ndash; i den grad det er et reelt problem &ndash; er et problem som mere og "
"mere vil forsvinde efterhånden  som det bliver enklere at koble sig på "
"Internet.  Og dermed er det en stor fejl for beslutningstakere i dag at "
"<quote>løse</quote> dette problem baseret på en teknologi som vil være borte "
"i morgen.  Spørgsmålet bør ikke  være hvordan regulere Internet for at "
"fjerne fildeling (nettet vil udvikle sig sådan at det problemet bliver "
"borte).  Spørgsmålet bør i stedet  være hvordan man sikrer at kunstnere får "
"betalt, gennem denne overgang fra forretningsmodellene i det tyvende "
"århundrede og til teknologierne i det tjueførste århundrede."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Svaret begynder med at erkende at det er forskellige <quote>problemer</"
"quote> at løse her .  Lad os starte med type-D-indhold &ndash; ikke "
"opphavsrettsbeskyttet indhold, eller opphavsrettsbeskyttet indhold som "
"kunstneren ønsker at få delt. <quote>Problemet</quote> med dette indhold er "
"at sikre at  teknologien som muliggjør denne type deling ikke bliver gjort "
"ulovligt.  Tænk på det sådan: telefondåser kan uden tvivl bruges til at "
"levere krav om løsepenger.  Men det er mange som behøver at bruge "
"telefondåser som ikke har noget med løsepenger at gøre.  Det villes være "
"galt at forbyde telefondåser for at eliminere kidnapping."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Type-C-indhold rejser et andet <quote>problem.</quote>  Dette er indhold som "
"var publiceret, en gang i tiden, og ikke længere er tilgængeligt.  Det kan "
"være utilgjengelig fordi kunstneren ikke længere er værdifuld nok for "
"pladeselskabet han har signeret med  til at de vil formidle hans værker.  "
"Eller det kan være utilgjengelig fordi værket er glemt.  Uanset bør målet "
"til loven være at muliggjøre tilgang til dette indhold, ideelt set på en "
"måde som giver noget tilbage til kunstneren."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Igen, her er modellen bruktbokhandelen.  Efter at en bog er udsolgt fra "
"forlaget, så kan den fortsat være tilgængeligt fra biblioteker og "
"bruktbokhandler.  Men biblioteker og bruktbokhandler betaler ikke  "
"ophavsretejeren når nogle læser eller køber en bog som er udsolgt fra "
"forlaget.  Dette giver absolut mening, selvfølgelig, siden ethvert andet "
"system villes være så tungvint at det villes gøre det umuligt for "
"bruktbokhandler at eksistere.  Men fra forfatterens synsvinkel er denne "
"<quote>delingen</quote> af hans indhold uden at han får kompensation ikke "
"helt ideell."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Modellen for bruktbokhandler insinuerer at loven ganske enkelt kan anse "
"udsolgt-fra-forlaget-musik for frit vildt.  Hvis utgiveren ikke gør udgaver "
"af musikken tilgængeligt for salg, så villes kommercielle og ikke-"
"kommercielle tilbydere stå frit, under denne regel, til at <quote>dele</"
"quote> det indholdet, selv om delingen involverede at fortage en kopi.  "
"Kopien her villes være teknisk detalje for at gennemføre handlen.  I en "
"sammenhæng der hen kommerciel publisering er afsluttet, så burde friheden "
"til at handle med musik være lig den som gælder for bøger."

#.  PAGE BREAK 305 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Alternativt kan loven oprette en lovbestemmt licens som villes sørge for at "
"kunstnere får noget fra handlen med deres værker.  For eksempel, hvis loven "
"satte en lav lovbestemmt afsæt for kommerciel deling af indhold som ikke "
"blev tilbudt for salg fra en kommerciel utgiver, og hvis denne rate "
"automatisk blev overført til en tiltroet tredjedel til fordel for "
"kunstneren, så kunne selskaber udvikle sig rundt idéen om handel med dette "
"indhold mens kunstneren villes have fordel af denne handel."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette system villes også  skabe et incentiv for utgivere at lade værk "
"forblive kommercielt tilgængeligt.  Værk som er kommercielt tilgængeligt "
"villes ikke  blive underlagt denne licens.  Dermed kan utgiverne beskytte "
"retten til at tage betalt hvilket som hilst beløb for indhold hvis de holdt "
"det kommercielt tilgængeligt.  Men hvis de ikke holdt det tilgængeligt, og "
"det i stedet var harddiskerne/harddiskene til tilhængere rundt omkring i "
"værdet som holdt det i live, da burde enhver licensbetaling for sådan "
"kopiering være meget mindre end det man sædvanligvis villes skylde en "
"kommerciel utgiver."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"De vanskelige tilfældene er indhold af type A og B.  Og igen, disse tilfælde "
"er kun  vanskelig fordi udstrækningen af problemet vil ændre sig over tid, "
"efterhånden som teknologier for at få tilgang til indhold ændrer sig.  "
"Lovens løsning bør derfor  være lige så  fleksibelt som problemet er, og "
"forstå at vi er midt i en radikal ændring i teknologi for levering og "
"tilgang til indhold."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Så her er en løsning som i første omgang kan virke rigtigt underligt for "
"begge sider i denne krig, men som jeg tror vil give mere mening når man får "
"tænkt sig om."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Når retorikken om ukrenkeligheten til ejendom er fjernet, er de "
"grundlæggende påstanden til indholdindustrien denne: En ny teknologi "
"(Internet) har skadet et sæt med rettigheder som sikrer ophavsreten.  Hvis "
"disse rettigheder skal blive beskyttet, så bør indholdindustrien kompenseres "
"for denne skade.  På samme måde som tobakksteknologien skadede helbredet til "
"millioner af amerikanere, eller asbestteknologien forårsaget alvorlig sygdom "
"hos tusindvis af gruvearbeidere, så har den digitale netværkteknologien "
"skadet interesserne til indholdindustrien."

#.  PAGE BREAK 306 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Jeg elsker Internet, så jeg kan ikke lide at sammenligne det med tobak eller "
"asbest.  Men analogien er rimelig når man ser det fra lovens perspektiv. Og "
"det foreslår en rimelig respons: I stedet for at forsøge at ødelægge "
"Internet eller p2p-teknologien som i dag skader indholdleverandører på "
"Internet, så bør vi finde en relativt enkel måde at kompensere de som bliver "
"skadelidende."

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Promises to Keep (Fisher)"
msgstr "Promises to Keep (Fisher)"

#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
#, fuzzy
msgid "Fisher, William"
msgstr "Fisher, William"

#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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> (sidst "
"revideret: 10 . oktober 2000), tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #77</ulink>; William Fisher, <citetitle>Promises to "
"Keep: Technology, Law, and the Future of Entertainment</citetitle> (kommer) "
"(Stanford: Stanford University Press, 2004), kap. 6, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel "
"har foreslået en relateret idé som villes gøre at ophavsreten ikke gælder "
"ikke -kommerciel deling fra og villes etablere kompensation til kunstnere "
"for at balancere eventuelle tab. Se Neil Weinstock Netanel, <quote>Impose a "
"Noncommercial Use Levy to Allow Free P2P File Sharing,</quote> tilgængeligt "
"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre "
"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> "
"<citetitle>Washington Post</citetitle>, 8 . januar 2002, A17; Philip S. "
"Corwin på vegne af Sharman Networks, Et brev til Senator Joseph R. Biden, "
"Jr., leder i the Senate Foreign Relations Committee, 26 . februar. 2002, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #80</"
"ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property "
"Use Fee (IPUF)</citetitle>, 3 . marts 2002, tilgængeligt fra <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 . maj 2002, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, "
"<quote>Getting Copyright Right,</quote> IEEE Spectrum Online, 1 . juli 2002, "
"tilgængeligt fra <ulink url=\"http://free-culture.cc/notes/\">link #83</"
"ulink>; Declan McCullagh, <quote>Verizon's Copyright Campaign,</quote> CNET "
"News.com, 27 . august 2002, tilgængeligt fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #84</ulink>.  Forslaget fra Fisher er ganske  "
"kunnetlide forslaget til Richard Stallman når det gælder DAT.  I modsætning "
"til Fishers forslag, villes Staldmand forslag ikke betale kunstnere "
"proporsjonalt, selv om mere populære artister villes få mere betalt end  "
"mindre populære.  Sådan det er typisk med Stallman, lagde han frem sit "
"forslag omtrent ti år føder dagens debat. Se <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\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Idéen er baseret på et forslag lanceret af juiceprofessor William Fisher ved "
"Harvard.<placeholder type=\"footnote\" id=\"0\"/> Fisher foreslår en rigtigt "
"lumsk måde rundt den pågående stillingkrigen på Internet.  Ifølge hans plan "
"villes alt indhold som kan sendes digitalt (1) være markeret med et digitalt "
"vandmærke (ikke bekymre dig over hvor enkelt det villes være at undgå disse "
"mærker, som du vil se er det ikke noget incentiv for at undgå dem).  Når "
"indholdet er mærket, så villes entreprenører udvikle (2) systemer for at "
"registrere hvor mange enheder af hvert indhold som blev distribueret.  På "
"grundlag af disse tal villes så  (3) kunstnerne blive kompenseret. "
"Kompensationen kunne blive finansieret med  (4) en passende skat."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Forslaget til Fisher er grundigt og omfattende.  Det rejser en million "
"spørgsmål, de fleste af dem godt besvart i hans kommende bog, "
"<citetitle>Promises to Keep</citetitle>.  Ændringerne jeg vil gøre er "
"relativt enkle: Fisher ser for sig at hans forslag erstatter det "
"eksisterende ophavsretsystemet.  Jeg ser for mig at det vil udfylde det "
"eksisterende systemet.  Målet med forslaget vil være at gøre det enklere at "
"give kompensation i den grad skade kan påvises.  Denne kompensation villes "
"være midlertidig, med målsetning om at gøre overgangen lettere mellem to "
"regimer.  Og det villes kræve fornying efter en periode på nogle år.  Hvis "
"det fortsat giver mening at forenkle gratis udveksling af indhold gennem et "
"skatsystem, så kan det videreføres.  Hvis denne form for beskyttelse ikke "
"længere er nødvendig, så kan systemet foldes ind i det gamle systemet for at "
"kontrollere tilgang."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "semiotic democracy"
msgstr "semiotisk demokrati"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "semiotic"
msgstr "semiotisk"

#.  PAGE BREAK 307 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 villes steile over idéen om at tillade systemet til at henhøre væk.  "
"Hans mål er ikke  bare at sikre at kunstnerne bliver betalt, men også at "
"sikre at systemet støtter størst muligt omfang af <quote>semiotisk "
"demokrati</quote>. Men målet om semiotisk demokrati kan opfyldes hvis de "
"andre ændringer jeg beskriver kommer på plads &ndash; specielt begrænsninger "
"på avledet brug.  Et system som ganske enkelt tager imod betaling for "
"tilgang vil ikke  belaste semiotisk demokrati rigtigt hvis det var få "
"begrænsninger på hvad man får lov til at gøre med selve indholdet."

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

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "prices of"
msgstr "priser på"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Uden tvivl vil det være vanskeligt at male nøjagtigt <quote>skaden</quote> "
"på en industri.  Men vanskeligheden i at beregne dette vil vejes op  af "
"fordelen ved at tilrettelægge for nyskabning. Dette baggrund systemet for at "
"kompensere villes heller  ikke behøve at forstyrre nyskabende forslag som "
"Apples MusicStore.  Som eksperter udsigte da Apple lancerede sin MusicStore, "
"så kan den slå <quote>gratis</quote> ved at være enklere end det som gratis "
"er.  Dette har vist sig at være rigtig: Apple har solgt millioner af sange "
"til selv den rigtigt høje prisen 99 cent per sang (til 99 cent er "
"omkostningen tilsvarende prisen per sang på en CD, selv om pladeselskaberne "
"ikke må betale nogle af omkostningerne knyttede til CD-produktion).  Apples "
"lansering blev modarbejdet af Real Networks, som tilbød musik til kun 79 "
"cent per sang.  Og uden tvivl vil det blive meget konkurrence rundt at "
"tilbyde og at sælge musik på nettet."

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "cable vs. broadcast"
msgstr "kabel-TV versus kringkasting"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "luxury theatres vs. video piracy in"
msgstr "luksusbiografer mod video-piratvirksomhed i"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Denne konkurrence er allerede  på plads mod baggrunden med <quote>gratis</"
"quote> musik fra p2p-systemer.  Sådan sælgerne af kabel-TV har vidst i "
"tredive år, og de som sælger vand på flaske endnu  længere, så er det slet "
"ikke umuligt at <quote>konkurrere med gratis.</quote>  Faktisk vil "
"konkurrencen om ikke andet inspirere til at tilbyde nye og bedre produkter.  "
"Det er nøjagtigt det et konkurrencedygtigt marked skulle handle om.  Dermed "
"har en i Singapore, hvor piratkopiering er udbredt, ofte luksuriøse "
"kinosaler &ndash; med <quote>førsteklasses</quote> sæter, og måltider "
"serveret mens du ser på en film &ndash; mens de kæmper og lykkes i at finde "
"en måde at konkurrere med <quote>gratis.</quote>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Dette konkurrence regimet, med en sikringmekanisme for at sikre at kunstnere "
"ikke taber, villes bidrage meget til nyskabning inden levering af indhold. "
"Konkurrencen villes fortsætte at reducere type-A-deling.  Det villes "
"inspirere en ekstraordinær række af nye innovatører &ndash; som villes have "
"retten til at bruge indhold, og ikke længere frygte usikre og barbariskt "
"strenge straffer fra loven."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
msgid "In summary, then, my proposal is this:"
msgstr "Opsummeret, så er dette mit forslag:"

#.  PAGE BREAK 308 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 er i ændring. Vi bør ikke  regulere en teknologi i ændring. Vi bør "
"i stedet  regulere for at minimere skaden påført interesser som er berørt af "
"denne teknologiske ændringen, samtidig som vi muliggjør, og opmuntrer, den "
"mest effektive teknologien vi kan fortage."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
msgid "We can minimize that harm while maximizing the benefit to innovation by"
msgstr ""
"Vi kan minimere skaden, og samtidig maksimere fordelen med innovation ved at"

#.  1. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
msgid "guaranteeing the right to engage in type D sharing;"
msgstr "garantere retten til at engagere sig i type-D-deling"

#.  2. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
msgid ""
"permitting noncommercial type C sharing without liability, and commercial "
"type C sharing at a low and fixed rate set by statute;"
msgstr ""
"tillade ikke -kommerciel type-C-deling uden erstatningsansvar, og kommerciel "
"type-C-deling med en lav og lovfæstet pris"

#.  3. 
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
#, fuzzy
msgid ""
"while in this transition, taxing and compensating for type A sharing, to the "
"extent actual harm is demonstrated."
msgstr ""
"mens denne overgang pågår, beskatte og kompensere for type-A-deling, i den "
"grad faktisk skade kan påvises."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men hvad om <quote>piratvirksomheden</quote> ikke forsvinder?  Hvad om det "
"findes et konkurranseutsatt marked som tilbyder indhold til en lav "
"omkostning, men et signifikant antal af forbrukere fortsætter at "
"<quote>tage</quote> indhold uden at betale?  Burde loven gøre noget da?"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Ja, det bør den.  Men, nok en gang, hvad den bør gøre afhænger hvordan "
"realiteterne udvikler sig. Disse ændringer fjerner måske  ikke al type-A-"
"deling. Men det virkelige spørmålet er ikke  om de eliminerer deling i "
"abstrakt betydning.  Det virkelige spørgsmålet er hvilken effekt det har på "
"markedet.  Er det bedre (a) at have en teknologi som er 95 procent sikker, "
"og giver et marked af størrelse <citetitle>x</citetitle>, eller (b) at have "
"en teknologi som er 50 procent sikker, og som giver et marked som er fem "
"gange større end <citetitle>x</citetitle>?  Mindre sikker kan give mere "
"uautorisert deling, men det vil sandsynligvis  også give et meget større "
"marked for autoriseret deling. Det vigtigste er at sikre kunstneres "
"kompensation uden at ødelægge Internet.  Når det er på plads, kan det hænde "
"det er rigtigt at finde måder at spore op de smålige piraterne."

#.  PAGE BREAK 309 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men vi er langt  fra at reducere problemet ned til dette delsettet af type-A-"
"slette.  Og vores fokus indtil vi er der hen, bør ikke  være at finde måder "
"at ødelægge Internet.  Vores fokus indtil vi er der hen, bør være hvordan vi "
"sikrer at artister får betalt, mens vi beskytter det stedet for nyskabning "
"og kreativitet som Internet er."

#. type: Content of: <book><chapter><section><section><title>
#, fuzzy
msgid "5. Fire Lots of Lawyers"
msgstr "5 . Spark en masse advokater"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Jeg er en advokat. Jeg lever af at uddanne advokater. Jeg tror på "
"retvæsenet. Jeg tror på åndsverksloven. Jeg har faktisk  viet livet til at "
"arbejde med loven, ikke fordi det er meget penge at tjene, men fordi det "
"indebærer idealer som jeg elsker at leve op til."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Alligevel har meget af denne bog været kritik af advokater, eller rollen "
"advokater har spillet i denne debat.  Loven taler om idealer, mens det er "
"min opfattelse at arbejdegruppen vores er blevet for bylten til klienten.  "
"Og i en værdet der rige klienter har stærke synspunkter, vil uviljen hos "
"vores arbejdegruppe til at stille spørgsmål med, eller protestere mod dette "
"stærke syn, ødelægge loven."

#. type: Content of: <book><chapter><section><section><indexterm><primary>
#, fuzzy
msgid "Nimmer, Melville"
msgstr "Nimmer, Melville"

#. type: Content of: <book><chapter><section><section><indexterm><secondary>
#, fuzzy
msgid "Supreme Court challenge of"
msgstr "Højesterets udfordring af"

#.  f10. 
#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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&ndash;70 ."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Beviserne for denne udvikling er overbevisende. Jeg er angrebet som en "
"<quote>radikaler</quote> af mange indenfor dette arbejdet, og alligevel er "
"meningerne jeg argumenterer for nøjagtigt de meningerne til mange af de mest "
"moderate og betydningsfulde personerne i historie til denne del af "
"lovværket. Mange troede for eksempel  at vores udfordring til lovforslaget "
"om at udvide ophavsretens vernetid var galskab.  Mens for bare tredive år "
"siden mente den dominerende forelæser og udøver i ophavsretfeltet, Melville "
"Nimmer, at den var åpenbar.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Min kritik af rollen som advokater har spillet i denne debat handler "
"imidlertid  ikke bare om en professionel skjevhet. Det handler endnu  mere "
"om vores manglende evne til at faktisk tage ind over os hvad loven koster."

#. type: Content of: <book><chapter><section><section><para><footnote><para>
#, fuzzy
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 ""
"Et godt eksempel er arbejdet til professor Stan Liebowitz. Liebowitz bør få "
"ros for sin omhyggeligt gennemgang af data om ophavsretbrud, som fik ham til "
"at stille spørgsmål med sin egen udtalte position &ndash; to gange.  I "
"starten forudsagde han at nedlasting vilde påføre industrien væsentlig "
"skade.  Han ændrede så  sit syner i lys af dataene, og han har siden ændret "
"sit syner på nyt.  Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the "
"Network Economy: The True Forces That Drive the Digital Marketplace</"
"citetitle> (New York: Amacom, 2002), (gik igennem hans originale syner men "
"udtrykte skepsis) med Stan J.  Liebowitz, <quote>Will MP3s Annihilate the "
"Record Industry?</quote> artikeludkast, juni 2003, tilgængeligt fra <ulink "
"url=\"http://free-culture.cc/notes/\">link #86</ulink>.  Den omhyggelige "
"analysen til Liebowitz er ekstremt værdifuld i sin estimering af effekten af "
"fildelingsteknologi.  Efter mit syner underestimerer han for øvrigt "
"omkostningen til det juridiske systemer.  Se, for eksempel, "
"<citetitle>Rethinking</citetitle>, 174&ndash;76 .  <placeholder "
"type=\"indexterm\" id=\"0\"/>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Økonomer er forventet at være gode til at forstå udgifter og indkomster.  "
"Men som oftest antager økonomerne uden peiling på hvordan det juridiske "
"systemet egentligt fungerer, at transaktionomkostningen i det juridiske "
"systemet er lav.<placeholder type=\"footnote\" id=\"0\"/>  De ser et system "
"som har eksisteret i hundredevis af år, og de antager at det fungerer sådan  "
"grundskolens samfundsfagundervisning lærte dem at det fungerer."

#.  PAGE BREAK 310 
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men det juridiske systemet fungerer ikke . Eller for at være mere nøjagtigt, "
"det fungerer kun  for de med mest ressourcer.  Det er ikke  fordi systemet "
"er korrupt. Jeg tror overhovedet  ikke vores juridisk system (på føderalt "
"niveau, i hvert fald) er korrupt. Jeg mener ganske enkelt  at på grund af at "
"omkostningerne med vores juridiske systemet er så  hårrejsende højt, vil man "
"praktisk talt aldrig opnå retfærdighed."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Disse omkostninger forstyrrer fri kultur på mange vis.  En advokats tid "
"faktureres hos de største firmaerne for mere end 400 dollar pr. time. Hvor "
"mange tid bør en sådan advokat bruge på at læse sagerne omhyggelige, eller "
"undersøge obskure retkilder.  Svaret er i øgende grad: vældig lidt. Juicen "
"er afhængig af omhyggelige formulering og udvikling af doktrin, men "
"omhyggelige formulering og udvikling af doktrin er afhængig af nøjagtigt "
"arbejde.  Men nøjagtigt arbejde koster for  meget, bortset fra i de mest "
"høyprofilerte og kostbare sagerne."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Kostbarheten, klumsetheten og tilfeldigheten til dette system håner vores "
"tradition. Og advokater, såvel som akademikere, bør se det som sin pligt at "
"ændre hvordan loven praktiseres &ndash; eller bedre, ændre loven sådan at "
"den fungerer. Det er galt at systemet fungerer godt  bare for den øverste 1-"
"procenten af klienterne.  Det kan gøres radikalt mere effektivt, og billigt, "
"og dermed radikalt mere retfærdigt."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Men indtil en sådan reform er gennemført, bør vi som samfund holde håndflade "
"fra områder der vi ved den bare vil skade.  Og det er netop  det loven alt "
"for ofte vil gøre hvis for meget af vores kultur er lovreguleret."

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Tænk på de fantastiske dit ting barn kan gøre eller fortage med digital "
"teknologi &ndash; filmen, musikken, websiden, bloggen. Eller tænk på de "
"fantastiske dit ting fællesskab kunne få til med digital teknologi &ndash; "
"en wiki, oppsetting af lade, kampagne til at ændre noget. Tænk på alle de "
"kreative tingene, og tænk derefter  på kold sirup helt ind i maskinerne. "
"Dette er hvad ethvert regime som kræver tilladelser fører til. Dette er "
"virkeligheden sådan den var i Brezhnevs Rusland."

#.  PAGE BREAK 311
#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Loven bør regulere i visse/vise områder af kulturen &ndash; men det bør "
"regulere kultur bare der hen reguleringen bidrager positivt. Alligevel "
"tester advokater sjældent sin kraft, eller kraften/kræfter som de fremmer, "
"mod dette enkle pragmatisk spørgsmålet: <quote>vil det bidrage positivt?</"
"quote>  Når de bliver udfordret om den udvidede rækkevidden til loven, er "
"advokat-svaret, <quote>Hvorfor ikke?</quote>"

#. type: Content of: <book><chapter><section><section><para>
#, fuzzy
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 ""
"Vi burde spørge: <quote>Hvorfor?</quote> Vis mig hvorfor din regulering af "
"kultur er nødvendig, og vis mig hvordan reguleringen bidrager positivt.  Før "
"du kan vise mig begge, holde din advokater fra."

#. type: Content of: <book><chapter><title>
#, fuzzy
msgid "Notes"
msgstr "Notater"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"I denne tekst er det referencer til lænker på verdensveven.  Og som alle som "
"har forsøgt at bruge nettet ved, så vil dirre linkene være stort ustabile.  "
"Jeg har forsøgt at motvirke denne ustabiliteten ved at omdirigere læsere til "
"den originale kilden gennem en netside som hører til denne bog.  For hver "
"lænke under, så kan du gå til  <ulink url=\"http://free-culture.cc/notes\"/> "
"og finde den originale kilden ved at klikke på nummeret efter #-tegnet.  "
"Hvis den originale lænken fortsat er i live, så vil du blive omdirigeret til "
"den lænken.  Hvis den originale lænken har forsvundet, så vil du blive "
"omdirigeret til en passende reference til materialet."

#. type: Content of: <book><chapter><title>
#, fuzzy
msgid "Acknowledgments"
msgstr "Tak til"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Denne bog er produktet af en lang, og så langt , mislykket kamp som begyndte "
"da jeg læste om Eric Eldreds krig for at sørge for at bøge forblev frie. "
"Eldreds indsats bidrog til at lancere en bevægelse, Fri kultur-bevægelsen, "
"og denne bog er dedikeret ham."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Jeg fik vejledning på forskellige steder fra venner og akademikere, "
"inkluderet Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark "
"Rose og Kathleen Sullivan. Og jeg fik korrektioner og vejledning fra mange "
"fantastiske studenter ved Stanford Law School og Stanford University. Det "
"inkluderer Andrew B. Coan, John Eden, James P. Pelses, Christopher Guzelian, "
"Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-Link, "
"Ohad Mayblum, Alina Ng og Erica Plat. Jeg er særligt taknemmeligt overfor "
"Catherine Crump og Harry Surden, som hjalp til med at styre deres forskning "
"og til Laura Lynch, som brilliant håndterede hæren de samlede, samt bidrog "
"med sit eget kritiske blikke på meget af dette."

#. PAGE BREAK 337
#. type: Content of: <book><chapter><para>
#, fuzzy
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 Noguchi hjalp mig at forstå lovene i Japan, så vel som Japans kultur. "
"Jeg er hende taknemmeligt, og til de mange andre i Japan som hjalp mig med "
"forundersøkelsene til denne bog: Joi Ito, Takayuki Matsutani, Naoto Misaki, "
"Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro Yonezawa.  "
"Jeg er også  taknemmeligt overfor professor Nobuhiro Nakayama og Tokyo "
"University Business Law Center, som gav mig muligheden til at bruge tid i "
"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generøse hjælp "
"mens jeg var der hen."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Dette er de traditionelle former for hjælp som akademikere regelmæssigt "
"trækker på. Men i tillæg til dem, har Internet gjort det muligt at modtage "
"råd og korrigering fra mange som jeg har aldrig  modarbejdet.  Blandt de som "
"har svaret med stort nyttige råd efter forespørgsler om bogen på bloggen min "
"er Dr. Muhammed Avl-Ubaydli, David Gerstein og Peter Dimauro, i tillæg en "
"lang liste med dem som havde spesifikke idéer om måder at udvikle mine "
"argumenter på.  De inkluderede Richard Bondi, Steven Cherry, David Coe, Nik "
"Cubrilovic, Bob Devine, Charles Eicher, Thomas Guidet, Elihu M. Gerson, "
"Jeremy Hunsinger, Vaughn Iverson, John Karabaic, Jeff Keltner, James "
"Lindenschmidt, K. L. Mand, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan "
"McMullen, Fred Norton, John Pormann, Pedro A. D.  Rezende, Shabbir Safdar, "
"Saul Schleimer, Clay Shirky, Adam Shostack, Kraven Sitaker, Chris Smith, "
"Bruce Steinberg, Andrzej Jan Tareminen, Sean Walsh, Matt Wasserman, Miljenko "
"Williams, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> og "
"Richard Yanco. (jeg beklager hvis jeg gik glipp af nogle, med computere "
"kommer fejl, og en styrt i e-postsystemet mit gjorde at jeg mistede en høj "
"med flotte svar.)"

#. type: Content of: <book><chapter><para>
#, fuzzy
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 og Michael Carroll har begge læst udkast til hele bogen, og "
"hver af dem har bidraget med stort nyttige korrektioner og råd. Michael "
"hjalp mig at se mere tydelig betydningen af regulering for avledede værk.  "
"Og Richard korrigerede en pinligt stor mængde fejl.  Selv om mit arbejde er "
"delvis  inspireret af Stallmans, er han ikke enigt/enig med mig på "
"væsentlige steder i denne bog."

#. type: Content of: <book><chapter><para>
#, fuzzy
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 ""
"Til slutning, og for evigt, er jeg Bettina taknemmeligt, som altid har "
"insisteret på at det villes være endeløs lykke borte fra disse kampe, og som "
"altid har haft ret .  Denne træge elev er som altid taknemmeligt for hendes "
"evigvarende tålmodighet og kærlighed."

#. type: Attribute 'href' of: <book><xi:include>
#, fuzzy
msgid "freeculture-about-edition-en.xml"
msgstr "freeculture-about-edition-nb.xml"

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"Free culture: How big media uses technology and the law to lock down culture "
"and control creativity / Lawrence Lessig."
msgstr ""
"Fri kultur: Hvordan store mediumaktører bruger teknologi og retvæsenet til "
"at begrænse kulturen og kontrollere kreativiteten / Lawrence Lessig."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "Copyright &copy; 2004 Lawrence Lessig.  Some rights reserved."
msgstr ""
"Opphavsrettbeskyttet © 2004 Lawrence Lessig.  Nogle rettigheder forbeholdt."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "<ulink url=\"http://free-culture.cc/\"/>"
msgstr "<ulink url=\"http://free-culture.cc/\"/>"

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "Published in 2015.  First published 2004 by The Penguin Press."
msgstr "Udgivet i 2015 .  Udgivet første gang i 2004 af The Penguin Press."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"This English and Norwegian Bokmål edition was published by Petter "
"Reinholdtsen with help from many volunteers."
msgstr ""
"Denne udgave på engelsk og bogmål er udgivet af Petter Reinholdtsen med "
"hjælp fra mange frivillige."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"Typeset with <ulink url=\"http://dblatex.sourceforge.net\">dblatex</ulink> "
"using the font Crimson Text."
msgstr ""
"Typesatt ved hjælp af <ulink url=\"http://dblatex.sourceforge.net\">dblatex</"
"ulink> med skriftsnittet Crimson Text."

#. type: Content of: <book><colophon><para>
#, fuzzy
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 ""
"Uddrag fra lederartikel <quote>The Coming of Copyright Perpetuity,</quote> "
"<citetitle>The New York Times</citetitle>, 16 . januar 2003 . "
"Opphavsrettsbeskyttet © 2003 The New York Times Co.  Gengivet med tilladelse."

#. type: Content of: <book><colophon><para>
#, fuzzy
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 ""
"Vitsetegningen i figur <xref xrefstyle=\"template:%n\" linkend=\"fig-1711-"
"vcr-handgun-cartoonfig\"/> er fortaget af Paul Conrad. Ophavsreten tilhører "
"Tribune Medierne Services, Inc.  Alle rettigheder forbeholdt.  Gengivet med "
"tilladelse."

#. type: Content of: <book><colophon><para>
#, fuzzy
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 ""
"Diagrammet i figur <xref xrefstyle=\"template:%n\" linkend=\"fig-1761-"
"pattern-modern-media-ownership\"/> kommer fra kontoret til FCC-"
"kommissionæren, Michael J. Copps."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "Cover created by Petter Reinholdtsen using inkscape."
msgstr "Omslag er fortaget af Petter Reinholdtsen ved hjælp af inkscape."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"The quotes on the cover came from <ulink url=\"http://free-culture.cc/jacket/"
"\"/>."
msgstr ""
"Citaterne på omslaget blev hentet fra  <ulink url=\"http://free-culture.cc/"
"jacket/\"/>."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"Portrait on the cover was created 2013 by ActuaLitté and licensed under a "
"Creative Commons Attribution-ShareAlike 2.0 license.  It was downloaded from "
"<ulink url=\"https://commons.wikimedia.org/wiki/File"
"%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
msgstr ""
"Portrættet på omslaget blev fortaget i 2013 af ActuaLitté og licensieret med "
"en Creative Commons Attribution-ShareAlike 2.0-licens.  Det blev lastet ned "
"fra <ulink url=\"https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_"
"(11014343366)_(cropped).jpg\"/>."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "Classifications:"
msgstr "Klassifiseringer:"

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "(Dewey)  306.4, 306.40973, 306.46, 341.7582, 343.7309/9"
msgstr "(Dewey)  306.4, 306.40973, 306.46, 341.7582, 343.7309/9 "

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "(UDK) 347.78"
msgstr "(UDK) 347.78 "

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "(US Library of Congress) KF2979.L47 2004"
msgstr "(USAs kongresbibliotek) KF2979 .L47 2004 "

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "(ACM CRCS) K.4.1"
msgstr "(ACM CRCS) K.4.1 "

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid ""
"Printing was sponsed by NUUG Foundation, <ulink url=\"http://www."
"nuugfoundation.no/\"/>."
msgstr ""
"Trykking blev sponsoreret af NUUG Foundation, <ulink url=\"http://www."
"nuugfoundation.no/\"/>."

#. type: Content of: <book><colophon><para>
#, fuzzy
msgid "Includes index."
msgstr "Inkluderer register."

#. type: Content of: <book><colophon><para>
#, fuzzy
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 ""
"Docbook-kildekoden er tilgængeligt fra <ulink url=\"https://github.com/"
"petterreinholdtsen/free-culture-lessig\"/>.  Rapporter ethvert problem med "
"bogen derhen."

#. type: Attribute 'fileref' of: <book><colophon><para><informalfigure><graphic>
#, fuzzy
msgid "images/cc.svg"
msgstr "images/cc.svg"

#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
#, fuzzy
msgid "Format / MIME-type"
msgstr "Format / MIME-type"

#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
#, fuzzy
msgid "ISBN"
msgstr "ISBN"

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "US Trade edition from lulu.com"
msgstr "US Trade-udgave fra lulu.com"

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "978-82-690182-0-2"
msgstr "978-82-690182-3-3 "

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "application/pdf"
msgstr "application/pdf"

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "978-82-690182-1-9"
msgstr "978-82-690182-4-0 "

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "application/epub+zip"
msgstr "application/epub+zip"

#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
#, fuzzy
msgid "978-82-690182-2-6"
msgstr "978-82-690182-5-7 "

#. type: Content of: <chapter><para>
#, fuzzy
msgid "Lawrence Lessig"
msgstr "Lawrence Lessig"

#. type: Content of: <chapter><para>
#, fuzzy
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 ""
"<quote><citetitle>Fri kultur</citetitle> er en adspredende og vigtig kig på "
"fortid og fremtid for den kolde krigen mellem mediaindustrien og nye "
"teknologier.</quote> &ndash; <emphasis>Marc Andreessen, medstifter af "
"Netscape</emphasis>"

#. type: Content of: <chapter><para>
#, fuzzy
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 ""
"<quote><citetitle>Fri kultur</citetitle> går videre  fra at sætte fokus på "
"katastrofen øgende regulering er for vores kultur, og viser eksempler på "
"hvordan vi kan skabe en anderledes fremtid.  Denne nye type helte og "
"eksempler er funderet i traditionen til grundlovforfatterne på en måde som "
"virker oplagtt/oplagt efter at man har læst denne bog.  Anbefales læst af "
"dem som forsøger at se forbi de høylydte overdrivelsene som omgiver "
"<quote>intellektuell ejendom.</quote></quote> &ndash; <emphasis>Brewster "
"Kahle, stifter af Internet-arkivet</emphasis>"

#. type: Content of: <chapter><para>
#, fuzzy
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 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 ""
"<quote>USA behøver en national diskussion om hvordan det som kaldes "
"<quote>intellektuelle ejendomretter</quote> har endt op med at dominere "
"rettighederne til akademikere, forskere og helt normale borgere. Et "
"ophavsretkartel, som ønsker total kontrol over de digitale verdener, musik "
"og film, har nu  vetoret over teknologiske nyvindinger, og har stoppet de "
"fleste bidragene til allemannseiet som så mange har haft nytte af. "
"Patentsystemet har kommet ud af kontrol, og giver enorm magt til de "
"interesser som har befestet sig.  Selv varemærker bliver misbrugt. Lawrence "
"Lessigs bog bør læses af alle som ønsker at angive i denne diskussion. Han "
"forklarer hvordan teknologi og retvæsenet røver allemannseiet fra os.  Men "
"på trods af sin godt funderede pessimisme tilbyder professor Lessig også "
"nogle løsninger, da han forstår at teknologi også kan være en katalysator "
"for frihed. Hvis du generer dig om fremtiden til nyskabning, læs denne bog.</"
"quote> &ndash; <emphasis>Dan Gillmor, forfatter af <citetitle>We the "
"medierne</citetitle>, en bog om sammenstøtet mellem medierne og teknologi</"
"emphasis>"

#. type: Content of: <chapter><para>
#, fuzzy
msgid "Published by Petter Reinholdtsen."
msgstr "Udgivet af Petter Reinholdtsen."

#. type: Content of: <chapter><para>
#, fuzzy
msgid "Photo: ActuaLitté CC BY-SA 2.0 from Wikimedia"
msgstr "Foto: ActuaLitté CC BY-SAGDE 2.0 fra Wikimedia"