Update translation.

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

# Copyright (C) 2012 Free Software Foundation, Inc.
# This file is distributed under the same license as the PACKAGE package.
#
# Petter Reinholdtsen <pere@hungry.com>, 2012.
msgid ""
msgstr ""
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"PO-Revision-Date: 2012-07-13 21:50+0200\n"
"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
"Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"
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#. type: Content of the copy entity
msgid "©"
msgstr "©"

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

#. type: Content of: <book><bookinfo><title>
msgid "Free Culture"
msgstr "Fri kultur"

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

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

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

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

#. type: Content of: <book><bookinfo>
msgid ""
"<copyright> <year>2004</year> <holder> Lawrence Lessig.  This version of "
"Free Culture 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, click the icon above, or visit "
"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>"
msgstr ""
"<copyright> <year>2004</year> <holder> Lawrence Lessig.  Denne versjonen av "
"Fri Kultur er lisensert med en Creative Commons-lisens.  Denne lisensen "
"tillater ikke-kommersiell utnyttelse av verket, hvis opphavsinnehaveren er "
"navngitt.  For mer informasjon om lisensen, klikk på ikonet over eller besøk "
"<ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
"creativecommons.org/licenses/by-nc/1.0/</ulink> </holder> </copyright>"

#. type: Content of: <book><bookinfo><abstract><title>
msgid "ABOUT THE AUTHOR"
msgstr "Om forfatteren"

#. type: Content of: <book><bookinfo><abstract><para>
msgid ""
"LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org/\">http://www.lessig."
"org</ulink>), professor of law and a John A. Wilson Distinguished Faculty "
"Scholar at Stanford 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 \"e.biz 25,\" "
"and named one of Scientific American's \"50 visionaries.\" 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 ""
"Lawrense Lessig (<ulink url=\"http://www.lessig.org/\">http://www.lessig."
"org</ulink>), professor i juss og en John A. Wilson Distinguished Faculty "
"Scholar ved Stanford Law School, er stifteren av Stanford Center for "
"Internet and Society og styreleder i Creative Commons (<ulink url=\"http://"
"creativecommons.org/\">http://creativecommons.org</ulink>). Forfatteren har "
"gitt ut av The Future of Ideas (Random House, 2001) og Code: And other Laws "
"of Cyberspace (Basic Books, 1999), og er medlem av styrene i Public Library "
"of Science, the Electronic Frontier Foundation, og Public Knowledge.  Han "
"har vunnet Free Software Foundation's Award for the Advancement of Free "
"Software, to ganger vært oppført i BusinessWeek's \"e.biz 25,\" og omtalt "
"som en av Scientific American's \"50 visjonærer\".  Etter utdanning ved "
"University of Pennsylvania, Cambridge University, og Yale Law School, "
"assisterteLessig dommer Richard Posner ved U.S. Seventh Circuit Court of "
"Appeals."

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

#. type: Content of: <book><chapter><para>
msgid "You can buy a copy of this book by clicking on one of the links below:"
msgstr ""
"Du kan kjøpe en kopi av denne boken ved å klikke på en av lenkene nedenfor:"

#. type: Content of: <book><chapter><itemizedlist><listitem><para>
msgid "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>"
msgstr "<ulink url=\"http://www.amazon.com/\">Amazon</ulink>"

#. type: Content of: <book><chapter><itemizedlist><listitem><para>
msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&amp;N</ulink>"
msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&amp;N</ulink>"

#. type: Content of: <book><chapter><itemizedlist><listitem><para>
msgid "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>"
msgstr "<ulink url=\"http://www.penguin.com/\">Penguin</ulink>"

#. type: Content of: <book><chapter><para>
msgid "ALSO BY LAWRENCE LESSIG"
msgstr "Andre bøker av Lawrence Lessig"

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

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

#. type: Content of: <book><chapter><para>
msgid "THE PENGUIN PRESS"
msgstr "The Penguin Press"

#. type: Content of: <book><chapter><para>
msgid "NEW YORK"
msgstr "New York"

#. type: Content of: <book><chapter><para>
msgid "FREE CULTURE"
msgstr "Fri Kultur"

#. type: Content of: <book><chapter><para>
msgid ""
"HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL "
"CREATIVITY"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "LAWRENCE LESSIG"
msgstr "Lawrence Lessig"

#. type: Content of: <book><chapter><para>
msgid ""
"a member of Penguin Group (USA) Inc.  375 Hudson Street New York, New York"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "Copyright &copy; Lawrence Lessig,"
msgstr "Opphavsrett &copy; Lawrence Lessig,"

#. type: Content of: <book><chapter><para>
msgid "All rights reserved"
msgstr "Alle rettigheter reservert"

#. type: Content of: <book><chapter><para>
msgid ""
"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" The "
"New York Times, January 16, 2003. Copyright &copy; 2003 by The New York "
"Times Co.  Reprinted with permission."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Cartoon by Paul Conrad on page 159. Copyright Tribune Media Services, Inc."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "All rights reserved. Reprinted with permission."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Diagram on page 164 courtesy of the office of FCC Commissioner, Michael J. "
"Copps."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "Library of Congress Cataloging-in-Publication Data"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Lessig, Lawrence.  Free culture : how big media uses technology and the law "
"to lock down culture and control creativity / Lawrence Lessig."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "p. cm."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "Includes index."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "ISBN 1-59420-006-8 (hardcover)"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"1. Intellectual property&mdash;United States. 2. Mass media&mdash;United "
"States."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"3. Technological innovations&mdash;United States. 4. Art&mdash;United "
"States. I. Title."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "KF2979.L47"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "343.7309'9&mdash;dc22"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "This book is printed on acid-free paper."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "Printed in the United States of America"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "1 3 5 7 9 10 8 6 4"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "Designed by Marysarah Quinn"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "&translationblock;"
msgstr "Oversatt til bokmål av Petter Reinholdtsen."

#. type: Content of: <book><chapter><para>
msgid ""
"Without limiting the rights under copyright reserved above, no part of this "
"publication may be reproduced, stored in or introduced into a retrieval "
"system, or transmitted, in any form or by any means (electronic, mechanical, "
"photocopying, recording or otherwise), without the prior written permission "
"of both the copyright owner and the above publisher of this book.  The "
"scanning, uploading, and distribution of this book via the Internet or via "
"any other means without the permission of the publisher is illegal and "
"punishable by law.  Please purchase only authorized electronic editions and "
"do not participate in or encourage electronic piracy of copyrighted "
"materials. Your support of the author's rights is appreciated."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"To Eric Eldred&mdash;whose work first drew me to this cause, and for whom it "
"continues still."
msgstr ""
"Til Eric Eldred &mdash; hvis arbeid først trakk meg til denne saken, og for "
"hvem saken fortsetter."

#. type: Content of: <book><chapter><figure><title>
msgid "Creative Commons, Some rights reserved"
msgstr "Creative Commons, noen rettigheter reservert"

#. type: Content of: <book><chapter><figure>
msgid "<graphic fileref=\"images/cc.png\"></graphic>"
msgstr "<graphic fileref=\"images/cc.png\"></graphic>"

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

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

#. type: Content of: <book><chapter><para>
msgid ""
"At the end of his review of my first book, Code: And Other Laws of "
"Cyberspace, David Pogue, a brilliant writer and author of countless "
"technical and computer-related texts, wrote this:"
msgstr ""
"David Pogue, en glimrende skribent og forfatter av utallige tekniske "
"datamaskinrelaterte tekster, skrev dette på  slutten av hans gjennomgang av "
"min første bok, Code: And Other Laws of Cyberspace:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
msgid ""
"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January "
"2000."
msgstr ""
"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar "
"2000"

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"Unlike actual law, Internet software has no capacity to punish. It doesn't "
"affect people who aren't online (and only a tiny minority of the world "
"population is). And if you don't like the Internet's system, you can always "
"flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Pogue was skeptical of the core argument of the book&mdash;that software, or "
"\"code,\" functioned as a kind of law&mdash;and his review suggested the "
"happy thought that if life in cyberspace got bad, we could always \"drizzle, "
"drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn "
"off the modem, unplug the computer, and any troubles that exist in that "
"space wouldn't \"affect\" us anymore."
msgstr ""
"Pogue var skeptisk til argumentet som er kjernen av boken &mdash; denne "
"programvaren, eller \"koden\", som fungerte som et slags lov &mdash; og sin "
"anmeldelse foreslo lykkelig tanken at hvis livet i cyberspace fikk dårlig, "
"vi kan alltid \"duskregn, drazzle, druzzle, drome\"-som bare snu en bryter "
"og være hjem. Slå av modemet, koble fra datamaskinen, og eventuelle "
"problemer som finnes i at plass ikke ville \"påvirke\" oss lenger."

#.  PAGE BREAK 12
#. type: Content of: <book><chapter><para>
msgid ""
"Pogue might have been right in 1999&mdash;I'm skeptical, but maybe.  But "
"even if he was right then, the point is not right now: Free Culture 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 \"people who aren't online.\" There is no switch that "
"will insulate us from the Internet's effect."
msgstr ""
"Pogue kan ha hatt rett i 1999 &mdash; jeg er skeptisk, men den kan hende. "
"Men selv om han hadde rett da, så er ikke argumentet gyldig nå. Fri Kultur "
"er om problemene Internet forårsaker selv etter at modemet er slått av.  Den "
"er et argument om hvordan slagene at nå brer om seg om livet on-line har "
"fundamentalt påvirket \"folk som er ikke pålogget.\"  Det finnes ingen "
"bryter som kan isolere oss fra Internetts effekt."

#. type: Content of: <book><chapter><para>
msgid ""
"But unlike Code, 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 motsetning til i Code, er argumentet her ikke så mye om Internett i "
"seg selv. Istedet er det om konsekvensen av Internett for en del av vår "
"tradisjon som er mye mer grunnleggende, og uansett hvor hardt dette er for "
"en geek-wanna-be å innrømme, mye viktigere."

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Richard M. Stallman, Free Software, Free Societies 57 (Joshua Gay, ed. 2002)."
msgstr ""
"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. "
"2002)."

#. type: Content of: <book><chapter><para>
msgid ""
"That tradition is the way our culture gets made. As I explain in the pages "
"that follow, we come from a tradition of \"free culture\"&mdash;not \"free\" "
"as in \"free beer\" (to borrow a phrase from the founder of the freesoftware "
"movement<placeholder type=\"footnote\" id=\"0\"/>), but \"free\" as in "
"\"free speech,\" \"free markets,\" \"free trade,\" \"free enterprise,\" "
"\"free will,\" and \"free elections.\" 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 as free "
"as possible 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 \"permission culture\"&mdash;a "
"culture in which creators get to create only with the permission of the "
"powerful, or of creators from the past."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"If we understood this change, I believe we would resist it. Not \"we\" on "
"the Left or \"you\" 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 forsto denne endringen, tror jeg vi ville motstå den.  Ikke \"vi\" "
"på venstresiden eller \"du\" på høyresiden, men vi som ikke har investert i "
"bestemt kulturindustri som har definert det tjuende århundre.  Enten du er "
"på venstre eller høyresiden, hvis du er i denne forstand er uinteressert, "
"vil historien jeg forteller her gi deg problemer.  For endringene jeg "
"beskriver påvirker verdier som begge sider av vår politiske kultur anser som "
"grunnleggende."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"uncomfortably alongside CodePink Women for Peace and the National "
"Rifle Association, between liberal Olympia Snowe and conservative Ted "
"Stevens,\" he formulated perhaps most simply just what was at stake: the "
"concentration of power. And as he asked,"
msgstr ""
"Vi så et glimt av denne bipartisan voldshandling i forsommeren i 2003. som "
"fcc betraktet endringer i media eierskap regler som vil slappe av "
"begrensninger på media konsentrasjon, genereres en ekstraordinære koalisjon "
"mer enn 700.000 brev til fcc motstridende endringen. som william safire "
"beskrevet marsjerande \"ubehagelig sammen med codepink kvinner for fred og "
"national rifle association, mellom liberale olympia snowe og Høyres ted "
"stevens\", han formulerte kanskje mest bare rettferdig hva som var på spill: "
"konsentrasjonen strøm. og så han spurte:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003."
msgstr "William safire, \"stor media svelge,\" mai new york times, 22 2003."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"Does that sound unconservative? Not to me. The concentration of power&mdash;"
"political, corporate, media, cultural&mdash;should be anathema to "
"conservatives. The diffusion of power through local control, thereby "
"encouraging individual participation, is the essence of federalism and the "
"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"This idea is an element of the argument of Free Culture, 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.  The "
"inspiration 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 Free Software, "
"Free Society, 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 \"merely\" derivative."
msgstr ""
"Denne ideen er et element i argumentet for fri kultur, men mitt fokus ikke "
"er bare på konsentrasjonen av strøm produsert av konsentrasjoner i eierskap, "
"men enda viktigere, hvis fordi mindre synlig på konsentrasjonen strøm "
"produsert av en radikal endring i effektiv omfanget av loven. loven er "
"endre; at endringen er å endre måten blir vår kultur gjort; Denne endringen "
"bør bekymre oss du--om du bryr deg om Internett, og om du er på safire's "
"venstre eller på hans høyre. inspirasjon til tittelen og for mye av "
"argumentet i denne boken kommer fra arbeidet med richard stallman og free "
"software foundation. faktisk, jeg reread Stallmans eget arbeid, spesielt "
"essayene fri programvare, gratis samfunn, jeg skjønner at alle teoretiske "
"innsikt jeg utvikler her er innsikt stallman beskrevet tiår siden. man kan "
"dermed godt argumentere at dette arbeidet er \"bare\" avledede produkter."

#.  PAGE BREAK 14
#. type: Content of: <book><chapter><para>
#, mtrans, 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.  xv 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 godtar at kritikk, hvis det er faktisk en kritikk. arbeidet med en "
"advokat er alltid avledede produkter, og jeg mener å gjøre ingenting mer i "
"denne boken enn å minne en kultur om en tradisjon som har alltid vært sin "
"egen. som stallman forsvare jeg denne tradisjonen på grunnlag av verdiene. "
"som stallman tror jeg det er verdiene av frihet. og som stallman, jeg tror "
"de er verdiene for vår fortid som må forsvares i vår fremtid. en fri kultur "
"har vært vår fortid, men det vil bare være vår fremtid hvis vi endrer banen "
"vi er på akkurat nå. XV som Stallmans argumenter gratis programvare, et "
"argument for fri kultur stumbles på en forvirring som er vanskelig å unngå, "
"og enda vanskeligere å forstå. en fri kultur er ikke en kultur uten "
"egenskapen; Det er ikke en kultur der kunstnere ikke får betalt. en kultur "
"uten egenskapen eller i hvilke skaperne kan ikke få betalt, er anarki, ikke "
"frihet. Anarki er ikke hva jeg forhånd her."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 for fri kultur som jeg forsvare i denne boken en balanse mellom "
"anarki og kontroll. en gratis kultur, som et fritt marked, er fylt med "
"egenskapen. Det er fylt med regler for egenskapen og kontrakt som få "
"håndheves av staten. men akkurat som et fritt marked er perverted Hvis "
"egenskapen blir føydale, slik også kan en fri kultur være queered av "
"ekstremisme i eiendomsrettigheter som definerer det. Det er det jeg frykter "
"om vår kultur i dag. Det er mot at ekstremisme som denne boken er skrevet."

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

#. type: Content of: <book><chapter><para>
msgid ""
"On December 17, 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 ""
"17. desember 1903, på en vindfylt strand i Nord carolina i såvidt under "
"hundre sekunder, demonstrerte wright-brødrene at et selvdrevet kjøretøy "
"tyngre enn luft kan fly.  Øyeblikket var elektrisk, og dens betydning ble "
"alment forstått Nesten umiddelbart, eksploderte interssen for denne nye "
"teknologien som muliggjorde bemannet luftfart og en hærskare av oppfinnere "
"begynte å bygge videre på den."

#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: "
"Rothman Reprints, 1969), 18."
msgstr ""
"St. george tucker, blackstone's kommentarer 3 (south hackensack, NJ: rothman "
"opptrykk, 1969), 18."

#. type: Content of: <book><chapter><para>
msgid ""
"At the time the Wright brothers invented the airplane, American law held "
"that a property owner presumptively owned not just the surface of his land, "
"but all the land below, down to the center of the earth, and all the space "
"above, to \"an indefinite extent, upwards.\"<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 ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 fly, og for første gang, dette prinsippet av amerikansk lov--dypt i "
"grunnlaget for vår tradisjon og anerkjent av de viktigste juridiske tenkerne "
"fra vår fortid--mattered. Hvis mitt land kommer til himmelen, hva skjer når "
"united flyr over mitt felt? har rett til å forvise landet fra min eiendom? "
"kan jeg til å inngå en eksklusiv lisens med delta airlines? kan vi sette opp "
"en auksjon til å bestemme hvor mye disse rettighetene er verdt?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"an indefinite extent, upwards,\" then the "
"government was trespassing on their property, and the Causbys wanted it to "
"stop."
msgstr ""
"i 1945 ble disse spørsmålene en federal sak. Når Nord carolina bønder thomas "
"lee og tinie causby begynte å miste kyllinger på grunn av lav-flying "
"militære fly (vettskremt kyllinger tilsynelatende fløy i låven vegger og "
"døde), causbys anlagt en sak som sier at regjeringen var adgang på deres "
"land. fly, selvfølgelig, rørt aldri overflaten av causbys' land. men hvis "
"som blackstone, kent, og cola hadde sagt, deres land nådd \"ubestemt grad, "
"oppover,\" deretter regjeringen var adgang på deres eiendom, og causbys "
"ønsket å stoppe."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"taking"
"\" of property without compensation. The Court acknowledged that \"it is "
"ancient doctrine that common law ownership of the land extended to the "
"periphery of the universe.\" 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 ""
"Høyesterett enige om å høre causbys' tilfelle. Kongressen hadde erklært "
"luftveiene offentlige, men hvis ens egenskapen virkelig utvidet til "
"himmelen, deretter congress's erklæring kunne godt ha vært en "
"unconstitutional \"tar\" av eiendom uten kompensasjon. hoffet erkjente at "
"\"det er gamle doktrine som sedvanerett eierskap av landet utvidet til "
"utkanten av universet.\", men rettferdighet douglas hadde ingen tålmodighet "
"for gamle doktrine. i et enkelt avsnitt, ble hundrevis av år av "
"opphavsrettslovgivningen slettet. som han skrev for hoffet,"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
"there could be a \"taking\" 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, \"(Intellectual) Property and Sovereignty: "
"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 "
"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: "
"Foundation Press, 1984), 1112&ndash;13."
msgstr ""
"USA v. causby, amerikanske 328 (1946): 256, 261. domstolen fant at det kan "
"bli en \"tar\" Hvis regjeringens bruken av sine land ødelagt effektivt "
"verdien av causbys' land. i dette eksemplet ble foreslått for meg av keith "
"aoki flott stykke, \"(immaterielle) og suverenitet: notater mot en "
"kulturelle geografi forfatterskap,\" stanford law gå gjennom 48 (1996): året "
"etter, 1333. Se også paul goldstein, fast eiendom (mineola, n.y.: foundation "
"press (1984)), 1112­13."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"[The] doctrine has no place in the modern world. The air is a public "
"highway, as Congress has declared. Were that not true, every "
"transcontinental flight would subject the operator to countless trespass "
"suits. Common sense revolts at the idea. To recognize such private claims to "
"the airspace would clog these highways, seriously interfere with their "
"control and development in the public interest, and transfer into private "
"ownership that to which only the public has a just claim.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
msgid "\"Common sense revolts at the idea.\""
msgstr "\"Ideen er i strid med sunn fornuft.\""

#.  PAGE BREAK 18
#. type: Content of: <book><chapter><para>
#, mtrans, 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: \"Common sense revolts at the idea.\" "
"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 ""
"Dette er hvordan loven fungerer vanligvis. ikke ofte dette brått eller "
"impatiently, men til slutt, er dette hvordan det fungerer. Det var douglas's "
"stil ikke å spre. andre justiariusene ville har blathered på for sider å "
"trekke konklusjonen som douglas inneholder i en enkelt linje: \"sunn fornuft "
"opprør idé.\", men om det tar sider eller et par ord, det er spesielle geni "
"av et felles lov-system, som vår er at loven justerer til teknologier av "
"tiden. og når den er justert, endres den. ideer som var så solid som rock i "
"en alder crumble i et annet."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"what seemed reasonable\" 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 \"obvious\" to everyone else&mdash;the "
"power of \"common sense\"&mdash;would prevail. Their \"private interest\" "
"would not be allowed to defeat an obvious public gain."
msgstr ""
"eller minst, dette er hvordan ting skje når det finnes ikke en kraftig på "
"den andre siden av endringen. causbys var bare bønder. og selv om det var "
"ingen tvil om mange som dem som var lei av den voksende trafikk i luften "
"(selv om en ikke håper mange høner fløy seg i vegger), causbys av verden vil "
"være svært vanskelig å samle og stoppe ideen, og teknologien, wright-"
"brødrene hadde birthed. wright-brødrene spyttet fly i teknologiske meme "
"bassenget; ideen deretter spre seg som et virus i en kylling coop; bønder "
"som causbys funnet seg selv omringet av \"hva syntes rimelig\" gitt "
"teknologien som wrights hadde produsert. de kunne stå på sine gårder, dead "
"kyllinger i hånden og riste deres fists på disse newfangled teknologiene "
"alle de ønsket. de kunne ringe sine representanter eller selv fil en "
"rettssak. men til slutt, styrken av hva synes \"klart\" for alle andre--makt "
"\"sunn fornuft\"--ville råde. deres \"privat interesse\" ville ikke tillatt "
"å beseire en klar offentlige fremgang."

#.  PAGE BREAK 19
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Edwin Howard Armstrong is one of America's forgotten inventor geniuses. He "
"came to the great American inventor scene just after the titans Thomas "
"Edison and Alexander Graham Bell. But his work in the area of radio "
"technology was perhaps the most important of any single inventor in the "
"first fifty years of radio. He was better educated than Michael Faraday, who "
"as a bookbinder's apprentice had discovered electric induction in 1831. But "
"he had the same intuition about how the world of radio worked, and on at "
"least three occasions, Armstrong invented profoundly important technologies "
"that advanced our understanding of radio."
msgstr ""
"Edwin howard armstrong er en av Amerikas glemt oppfinner genier. Han kom til "
"den store amerikanske oppfinner scenen rett etter the Titans skriver thomas "
"edison og alexander graham bell. men hans arbeid i området i radioteknologi "
"var kanskje den viktigste av alle enkelt oppfinner i de første femti årene "
"av radio. Han utdannet seg bedre enn michael faraday, som en bookbinder "
"lærling hadde oppdaget elektrisk induksjon i 1831. men han hadde samme "
"intuisjon om hvordan verden av radio virket, og på minst tre anledninger, "
"armstrong oppfunnet svært viktig teknologier som avanserte vår forståelse av "
"radio."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"på dagen etter jul, var 1933, fire patenter utstedt til armstrong for hans "
"viktigste oppfinnelse--fm-radio. inntil da, hadde forbruker radio vært "
"amplitude modulated (am)-radio. teoretikere av dagen hadde sagt at frekvens-"
"modulated (fm)-radio kan aldri fungere. de var rett om fm-radio i et smale "
"band av spekteret. men armstrong oppdaget at frekvens-modulated radio i et "
"bredt spektrum-band ville levere en forbløffende gjengivelse av lyd, med mye "
"mindre transmitter strøm og statisk."

#. type: Content of: <book><chapter><para>
#, mtrans, 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: \"This is amateur station W2AG at Yonkers, New "
"York, operating on frequency modulation at two and a half meters.\""
msgstr ""
"på den 5 november 1935 demonstrerte han teknologi på et møte i institute of "
"radio ingeniører på empire state building i new york city. Han stemte opp "
"hans radio ringe på tvers av en rekke am stasjoner, til radioen låst på en "
"kringkasting som han hadde ordnet fra sytten kilometer unna. radioen tiet "
"helt, som om han er død, og deretter med en klarhet Ingen andre i det rommet "
"hadde hørt fra en elektrisk utstyr, det produsert lyden av en hallomann "
"stemme: \"Dette er amatør stasjon w2ag på yonkers, new york, opererer på "
"frekvensmodulasjon to og en halv meter.\""

#. type: Content of: <book><chapter><para>
msgid "The audience was hearing something no one had thought possible:"
msgstr "Publikum hørte noe ingen hadde trodd var mulig:"

#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong "
"(Philadelphia: J. B. Lipincott Company, 1956), 209."
msgstr ""
"Lawrence lessing, mann av Hi-Fi: edwin howard armstrong (philadelphia: j. b. "
"lipincott selskap, 1956), 209."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"A glass of water was poured before the microphone in Yonkers; it sounded "
"like a glass of water being poured. . . . A paper was crumpled and torn; it "
"sounded like paper and not like a crackling forest fire. . . . Sousa marches "
"were played from records and a piano solo and guitar number were "
"performed. . . . The music was projected with a live-ness rarely if ever "
"heard before from a radio \"music box.\"<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#.  PAGE BREAK 20
#. type: Content of: <book><chapter><para>
#, mtrans, 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 vår egen sunn fornuft forteller oss, hadde armstrong oppdaget en "
"telefonsamtale radioteknologi. men på tidspunktet for hans oppfinnelse, "
"armstrong var i arbeid for rca. RCA var den dominerende aktør i det deretter "
"dominerende am radiomarkedet. som 1935, var det tusen radiostasjoner over "
"hele USA, men stasjonene i store byer var eid av en håndfull av nettverk."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"radio.\" But when Armstrong demonstrated his invention, Sarnoff was "
"not pleased."
msgstr ""
"rca's president, david sarnoff, en venn av Armstrongs, var ivrig etter at "
"armstrong oppdager at en måte å fjerne statiske fra am radio. så sarnoff var "
"ganske spent da armstrong fortalte ham at han hadde en enhet som fjernet "
"statisk fra \"radio.\", men når armstrong demonstrerte hans oppfinnelse, var "
"sarnoff ikke fornøyd."

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

#. type: Content of: <book><chapter><blockquote><para>
#, mtrans, 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-- start up a "
#| "whole damn new industry to compete with RCA.<placeholder type=\"footnote"
#| "\" id=\"0\"/>"
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 trodde Armstrong ville finne opp et slags filter for å fjerne skurring "
"fra vår AM-radio.  Jeg trodde ikke han skulle starte en revolusjon -- starte "
"en hel forbannet ny industri i konkurranse med RCA.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><chapter><para>
#, mtrans, 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,"
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 selskapet lanserte en "
"kampanje for å knuse FM-radio. FM kan ha vært en overlegen teknologi, var "
"Sarnoff en overlegen taktiker. En forfatter beskrev det slik,"

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

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"The forces for FM, largely engineering, could not overcome the weight of "
"strategy devised by the sales, patent, and legal offices to subdue this "
"threat to corporate position. For FM, if allowed to develop unrestrained, "
"posed . . . a complete reordering of radio power . . . and the eventual "
"overthrow of the carefully restricted AM system on which RCA had grown to "
"power.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 først holdt teknologien i huset, insistere på at ytterligere tester var "
"nødvendig. Når, etter to år med testing, armstrong vokste utålmodige, "
"begynte rca å bruke sin makt med regjeringen til stall fm-radio distribusjon "
"generelt. i 1936, rca ansatt tidligere leder av fcc og tilordnet ham "
"oppgaven med å sikre at fcc tilordne spekteret på en måte som ville castrate "
"fm--hovedsakelig ved å flytte fm-radio til et annet band av spekteret. ved "
"første, dette arbeidet ikke. men når armstrong og nasjonen ble distrahert av "
"andre verdenskrig, rca's arbeid begynte å bli mer vellykket. snart etter at "
"krigen sluttet, fcc annonsert et sett med policyer som ville ha en klar "
"effekt: fm-radio ville være invalidiserte. som lawrence beskrevet lessing "
"det,"

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

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"The series of body blows that FM radio received right after the war, in a "
"series of rulings manipulated through the FCC by the big radio interests, "
"were almost incredible in their force and deviousness.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

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

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"Hvis du vil lage plass i spekteret for de nyeste gamble, TV, fm radio "
"brukere var å bli flyttet til et helt nytt spektrum band. kraften til fm-"
"radiostasjoner ble også kuttet, betydning fm kan ikke lenger brukes til å "
"overføre trådløst programmer fra én del av landet til en annen. (denne "
"endringen var sterkt støttes av at&amp;t, fordi tapet av fm relésending "
"stasjoner ville bety radiostasjoner må kjøpe kablet koblinger fra at&amp;t.) "
"spredningen av fm-radio ble dermed choked, minst midlertidig."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 motstått rca's innsats. svar motstått rca Armstrongs patenter. "
"etter innlemme fm-teknologien i den nye standarden for TV, rca erklærte "
"patentene ugyldig--baselessly og nesten femten år etter at de ble utstedt. "
"det dermed nektet å betale royalties til ham. i seks år kjempet armstrong en "
"kostbar krig til søksmål for å forsvare patentene. til slutt, akkurat som "
"patentene utløpt, rca tilbudt en utligning som er så lav at det ikke ville "
"selv dekke Armstrongs lawyers avgifter. beseiret, ødelagte og nå blakk, i "
"1954 armstrong skrev en kort notat til kona og deretter gikk ut av et "
"trettende-etasjers vindu til hans død."

#.  PAGE BREAK 22
#. type: Content of: <book><chapter><para>
#, mtrans, 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 hvordan loven fungerer noen ganger. ikke ofte dette tragisk, og "
"sjelden med heltemodig drama, men noen ganger, dette er hvordan det "
"fungerer. fra begynnelsen, har regjeringen og departementer vært utsatt for "
"fangst. de er mer sannsynlig fanget når en sterk interesse er truet av en "
"juridisk eller teknisk endring. Denne kraftige interessen har for ofte sin "
"innflytelse i regjeringen å få regjeringen til å beskytte den. retorikken i "
"denne beskyttelsen er selvfølgelig alltid offentlig energisk; virkeligheten "
"er noe annet. ideer som var som solid som en stein i en alder, men som, "
"igjen til seg selv, vil forvitre i en annen, er vedvarende gjennom denne "
"subtile korrupsjon av våre politiske prosessen. RCA hadde hva causbys gjorde "
"ikke: makt til å undertrykke effekten av teknologiske endringer."

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

#. type: Content of: <book><chapter><para>
msgid ""
"There's no 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 ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"som Internett er blitt integrert i ordinært liv, endret ting. noen av disse "
"endringene er teknisk--Internett har gjort kommunikasjon raskere, det har "
"senket kostnadene for samle inn data, og så videre. Disse tekniske endringer "
"er ikke fokus for denne boken. de er viktig. de er ikke godt forstått. men "
"de er slags ting som ville bare gå bort hvis vi alle bare slått Internett "
"av. de påvirker ikke personer som ikke bruker Internett, eller i det minste "
"de påvirker ikke dem direkte. de er riktig gjenstand for en bok om "
"Internett. men dette er ikke en bok om Internett."

#. type: Content of: <book><chapter><para>
#, mtrans, 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, denne boken er om en effekt av Internett utover Internett i seg "
"selv: en effekt på hvordan kultur er laget. min påstand er at Internett har "
"indusert en viktig og ukjent endring i denne prosessen. Denne endringen vil "
"radikalt transformere en tradisjon som er like gammel som Republikken seg "
"selv. mest, hvis de gjenkjent denne endringen, vil avvise det. de fleste ser "
"ikke ennå endringen som Internett har introdusert."

#.  PAGE BREAK 23
#. type: Content of: <book><chapter><para>
#, mtrans, 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 "
"\"commercial culture\" I mean that part of our culture that is produced and "
"sold or produced to be sold. By \"noncommercial culture\" 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 \"Reader,\" or Joel Barlow his poetry, that was "
"commercial culture."
msgstr ""
"Vi kan skimtes en følelse av denne endringen ved å skille mellom "
"kommersielle og ikke-kommersiell kultur, og ved å tilordne lovens regulering "
"av hver. \"kommersielle kultur\" mener jeg at en del av vår kultur som er "
"produsert og solgt eller produsert for å bli solgt. \"ikke-kommersiell kultur"
"\" mener jeg alle resten. Når gamle menn lørdag rundt parker eller på et "
"gatehjørne fortelle historier som barn og andre forbrukes, som var ikke-"
"kommersiell kultur. Når noah webster publisert sin \"reader\", eller joel "
"barlow hans poesi, som var kommersielle kultur."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"free.\" 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 ""
"i begynnelsen av vår historie, og omtrent hele vår tradisjon ble ikke-"
"kommersiell kultur i hovedsak unregulated. Selvfølgelig, kan hvis din "
"historiene var utuktig, eller hvis din sang forstyrret freden, deretter "
"loven gripe. men loven var aldri direkte opptatt med opprettelse eller "
"spredning av denne formen for kultur, og det igjen denne kulturen \"gratis."
"\" det vanlige måter som vanlige enkeltpersoner delt og transformert deres "
"kultur--fortelle historier, reenacting scener fra spiller eller tv, delta i "
"fan klubber, deling av musikk, slik at kassetter--var igjen alene ved loven."

#. type: Content of: <book><chapter><sect1><para><footnote><indexterm><primary>
msgid "Brandeis, Louis D."
msgstr ""

#. type: Content of: <book><chapter><para><footnote>
msgid "<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, 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, \"The Right to Privacy,\" Harvard Law Review 4 (1890): "
"193, 198&ndash;200."
msgstr ""
"Dette er ikke det eneste formålet med opphavsrett, men det er overveldende "
"Hovedformålet med opphavsretten etablert i federal grunnlov. copyright "
"lovene i delstaten beskyttet historisk ikke bare kommersielle interesse i "
"publikasjonen, men også en interesse for personvern. ved å gi forfattere "
"eneretten til første publikasjon, ga copyright lovene i delstaten forfattere "
"makt til å kontrollere spredningen av fakta om dem. se d. samuel d. warren "
"og louis brandeis, \"rett til personvern,\" harvard law gå gjennom 4 (1890): "
"193, 198­200."

#. type: Content of: <book><chapter><para>
msgid ""
"The focus of the law was on commercial creativity. At first slightly, then "
"quite extensively, the law protected the incentives of creators by granting "
"them exclusive rights to their creative work, so that they could sell those "
"exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" "
"id=\"0\"/> This is also, of course, an important part of creativity and "
"culture, and it has become an increasingly important part in America. But in "
"no sense was it dominant within our tradition. It was instead just one part, "
"a controlled part, balanced with the free."
msgstr ""

#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), "
"ch. 13."
msgstr ""
"Se Jessica Litman, Digital Copyright (New York: Prometheus bøker, 2001), "
"kap. 13."

#. type: Content of: <book><chapter><para>
msgid ""
"This rough divide between the free and the controlled has now been erased."
"<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for "
"this erasure and, pushed by big media, the law has now affected it. For the "
"first time in our tradition, the ordinary ways in which individuals create "
"and share culture fall within the reach of the regulation of the law, which "
"has expanded to draw within its control a vast amount of culture and "
"creativity that it never reached before. The technology that preserved the "
"balance of our history&mdash;between uses of our culture that were free and "
"uses of our culture that were only upon permission&mdash;has been undone.  "
"The consequence is that we are less and less a free culture, more and more a "
"permission culture."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 endringen blir rettferdiggjort når det er nødvendig å beskytte "
"kommersielle kreativitet. og proteksjonistisk er faktisk nettopp sin "
"motivasjon. men proteksjonistisk som rettferdiggjør endringene som jeg vil "
"beskrive nedenfor er ikke begrenset og balansert Sorter som har definert "
"loven i siste. Dette er ikke en proteksjonistisk å beskytte kunstnere. i "
"stedet er det en proteksjonistisk å beskytte visse former for virksomheten. "
"selskaper truet av potensial av Internett til å endre måten både "
"kommersielle og ikke-kommersiell kultur er laget og delt har forent å "
"indusere lovgivere til å bruke loven til å beskytte dem. Det er historien om "
"rca og armstrong; Det er drømmen av causbys."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 Internett har utløste en ekstraordinære mulighet for mange til å delta i "
"ferd med å bygge og pleie en kultur som går langt ut over lokale grenser. at "
"strøm er endret markedet for å lage og dyrke kultur Generelt, og at "
"endringen i sin tur truer etablert innhold bransjer. Internett er dermed til "
"bransjer som bygget og distribuerte innholdet i det tjuende århundret hva fm-"
"radio var på am-radio, eller hva bilen var til jernbane industrien av det "
"nittende århundre: begynnelsen av slutten, eller minst en betydelig "
"transformasjon. Digital teknologi, knyttet til Internett, kunne produsere en "
"langt mer konkurransedyktig og vibrerende markedet for å bygge og pleie "
"kultur; Dette markedet kan omfatte en mye større og mer variert utvalg av "
"skaperne; disse skaperne kunne produsere og distribuere en mye mer levende "
"rekke kreativitet; og avhengig av noen viktige faktorer, de skaperne kunne "
"tjene mer i gjennomsnitt fra dette systemet enn skaperne gjør i dag--alle, "
"så lenge rcas i dag ikke bruker lov til å beskytte seg mot denne "
"konkurransen."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"Likevel, som jeg hevder på sidene som følger, som er nøyaktig hva som skjer "
"i vår kultur i dag. Disse moderne-dag-ekvivalenter av tidlig 1900-tallet-"
"radio eller av 1800-tallet jernbaner bruker deres makt for å få lov til å "
"beskytte dem mot dette nye, mer effektive, mer levende teknologi for bygging "
"av kultur. de lykkes i sin plan å remake Internett før Internett remakes dem."

#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 "
"January 2002."
msgstr ""
"Amy harmon, \"black hawk nedlasting: flytte utover musikk, pirater Bruk nye "
"verktøy for å gjøre nettet til en illegale video klubb,\" new york times, 17 "
"januar 2002."

#. type: Content of: <book><chapter><para>
msgid ""
"It doesn't seem this way to many. The battles over copyright and the "
"Internet seem remote to most. To the few who follow them, they seem mainly "
"about a much simpler brace of questions&mdash;whether \"piracy\" will be "
"permitted, and whether \"property\" will be protected. The \"war\" that has "
"been waged against the technologies of the Internet&mdash;what Motion "
"Picture Association of America (MPAA) president Jack Valenti calls his \"own "
"terrorist war\"<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 ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"creative property.\" I believe "
"that \"piracy\" is wrong, and that the law, properly tuned, should punish "
"\"piracy,\" whether on or off the Internet."
msgstr ""
"Hvis dette virkelig var alternativene, så ville jeg være enig med Jack "
"Valenti og innholdsindustrien. Jeg, også, er en troende i eiendom, og særlig "
"i betydningen av hva mr. Valenti samtaler \"kreativ eiendom.\" Jeg tror at "
"\"piratkopiering\" er galt, og at loven, riktig innstilt, skal straffe pent "
"\"piratkopiering\", enten av eller på Internett."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"pirates\" will also rid our culture of "
"values that have been integral to our tradition from the start."
msgstr ""
"men de enkle trosoppfatninger maskere et mye mer grunnleggende spørsmål og "
"en mye mer dramatisk endring. min frykt er at med mindre vi kommer til å se "
"denne endringen, krig for å befri verden av Internett \"pirater\" også "
"kvitte vår kultur med verdier som er integrert til vår tradisjon fra starten."

#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law "
"Journal 106 (1996): 283."
msgstr ""
"Neil w. netanel, \"copyright og en demokratisk sivile samfunn,\" yale law "
"journal 106 (1996): 283."

#. type: Content of: <book><chapter><para>
msgid ""
"These values built a tradition that, for at least the first 180 years of our "
"Republic, guaranteed creators the right to build freely upon their past, and "
"protected creators and innovators from either state or private control. The "
"First Amendment protected creators against state control.  And as Professor "
"Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> "
"copyright law, properly balanced, protected creators against private "
"control. Our tradition was thus neither Soviet nor the tradition of patrons. "
"It instead carved out a wide berth within which creators could cultivate and "
"extend our culture."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"lovens svar på Internett, når knyttet til endringer i teknologi for "
"Internett selv, øket ennå svært effektiv regulering av kreativitet i "
"Amerika. Hvis du vil bygge på eller kritikk kultur rundt oss må du be om, "
"oliver twist­like, om tillatelse først. tillatelsen er selvfølgelig ofte "
"gitt--, men det er ikke ofte gis til den kritiske eller independent. Vi har "
"bygd opp en slags kulturelle adel; de i edle klassen leve enkelt; dem "
"utenfor ikke. men det er adel noen form som er fremmed for vår tradisjon."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"The story that follows is about this war. Is it not about the \"centrality "
"of technology\" 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 ""
"historien som følger handler om denne krigen. er det ikke om \"betydningen "
"av teknologi\" vanlige liv. Jeg tror ikke på guder, digitale eller på annen "
"måte. heller ikke er det et forsøk på å demonize enhver person eller gruppe, "
"for heller ikke tror jeg på en djevel, corporate eller på annen måte. Det er "
"ikke en moral-tale. heller ikke er det et kall til jihad mot en bransje."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"i stedet er det et forsøk på å forstå en håpløst ødeleggende krig som er "
"inspirert av teknologien av Internett, men nå langt utenfor koden. og ved å "
"forstå dette slaget, det er et forsøk på å tilordne fred. Det er ingen god "
"grunn for gjeldende kampen rundt Internett-teknologier for å fortsette. det "
"vil være stor skade på vår tradisjon og kultur Hvis det er lov til å "
"fortsette ukontrollert. Vi må komme til å forstå kilden til denne krigen. Vi "
"må løse det snart."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Like the Causbys' battle, this war is, in part, about \"property.\" 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 \"property"
"\" 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 \"intellectual property\" "
"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 \"trespassing\" upon legitimate claims of "
"\"property.\" It is as plain to us as it was to them that the law should "
"intervene to stop this trespass."
msgstr ""
"som causbys' kamp, denne krigen er delvis, om \"egenskapen.\" egenskapen av "
"denne krigen er ikke så konkrete som causbys', og ingen uskyldige kylling "
"har ennå å miste sitt liv. ennå er ideer rundt denne \"property\" så opplagt "
"for de fleste som causbys' krav om sacredness av deres farm var å dem. Vi er "
"causbys. de fleste av oss tar for gitt de usedvanlig kraftig kravene som "
"eierne av \"intellectual property\" nå hevde. de fleste av oss, som causbys, "
"behandle disse påstandene som åpenbart. og dermed vi, som causbys, objektet "
"når en ny teknologi griper denne egenskapen. Det er så vanlig for oss som "
"det var til dem at de nye teknologiene av Internett er \"adgang\" på "
"legitime påstander om \"egenskapen.\" det er så vanlig for oss som det var "
"til dem at loven bør intervenere for å stoppe denne trespass."

#.  PAGE BREAK 27
#. type: Content of: <book><chapter><para>
#, mtrans, 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 geeks og Teknologorganisasjon forsvare sin armstrong eller "
"wright brødre teknologi, de fleste av oss er bare usympatiske. sunn fornuft "
"opprør ikke. i motsetning til når det gjelder uheldig causbys er sunn "
"fornuft på siden av bolig i denne krigen. i motsetning til heldig wright "
"brødrene, har Internett ikke inspirert en revolusjon på høykant."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 "
"\"culture\" was as \"owned\" as it is now. And yet there has never been a "
"time when the concentration of power to control the uses of culture has been "
"as unquestioningly accepted as it is now."
msgstr ""
"mitt håp er å presse denne sunn fornuft. Jeg har blitt stadig overrasket av "
"kraften i denne ideen av åndsverk, og enda viktigere, sin makt for å "
"deaktivere kritisk tenkning av beslutningstakere og borgere. Det har aldri "
"vært en gang i vår historie da flere av våre \"kultur\" var som \"eier\" som "
"det er nå. og ennå har det aldri vært en tid når konsentrasjonen av makt til "
"å kontrollere bruk av kultur er så unquestioningly godtatt som det er nå."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"puslespillet er, hvorfor? er det fordi vi har begynt å forstå en sannheten "
"om verdien og betydningen av absolutt egenskapen over ideer og kultur? er "
"det fordi vi har oppdaget at vår tradisjon for å avvise slikt et absolutt "
"krav var galt?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 fordi ideen om absolutt egenskapen over ideer og kultur "
"fordeler rcas i vår tid og passer vår egen virke ureflekterende intuisjoner?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 det radikalt skiftet bort fra vår tradisjon for fri kultur en forekomst "
"av Amerika korrigere en feil fra sin fortid som vi gjorde etter en blodig "
"krig med slaveri, og som vi sakte gjør med ulikhet? eller er radikalt skifte "
"bort fra vår tradisjon for fri kultur ennå et annet eksempel på et politisk "
"system som fanges opp av noen kraftige spesielle interesser?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"sunn fornuft fører til ekstreme på dette spørsmålet fordi sunn fornuft "
"faktisk tror på disse ekstreme? eller gjør sunn fornuft stå stille i "
"ansiktet av disse ytterpunktene fordi, som med armstrong versus rca, "
"kraftigere siden har sikret at det har kraftigere visningen?"

#.  PAGE BREAK 28
#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"intellectual property.\" 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 trenger ikke bety å være mystisk. mine egne synspunkter er løst. Jeg "
"tror det var riktig for sunn fornuft til å gjøre opprør mot ekstremisme av "
"causbys. Jeg tror det vil være rett for sunn fornuft til å gjøre opprør mot "
"ekstreme krav gjort i dag på vegne av \"intellektuelle eiendom.\" hva loven "
"krever i dag er stadig like dumt som en sheriff arrestere et fly for "
"trespass. men konsekvensene av dette dumhet vil være mye mer dyptgripende."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"The struggle that rages just now centers on two ideas: \"piracy\" and "
"\"property.\" My aim in this book's next two parts is to explore these two "
"ideas."
msgstr ""
"kampen rages akkurat nå centers på to ideer: \"piratkopiering\" og "
"\"egenskapen.\" mitt mål i denne boken neste to deler er å utforske disse to "
"ideer."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 vanlig metode av en akademiker. Jeg ønsker ikke å satse "
"du i en kompleks argument, buttressed med referanser til obskure franske "
"teoretikere--men naturlig som gjelder rare sorteringen vi akademikere har "
"blitt. i stedet begynner jeg i hver del med en samling av historier som "
"angir en kontekst som er innenfor disse tilsynelatende enkle ideer kan være "
"mer fullt forstått."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"something new,\" is destroying something very "
"old. Rather than understanding the changes the Internet might permit, and "
"rather than taking time to let \"common sense\" 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 satt opp kjernen krav i denne boken: som mens Internett har "
"faktisk produsert noe fantastisk og nye, vår regjering, presset av store "
"mediene til å svare på denne \"noe nytt,\" er ødelegge noe som er svært "
"gammel. i stedet for å forstå endringene Internett kan tillate, og i stedet "
"for å ta tid til å la \"sunn fornuft\" løse hvordan man best skal besvare, "
"vi tillater de mest truet av endringene bruke sin makt til å endre loven-- "
"og enda viktigere, å bruke sin makt til å endre noe grunnleggende om hvem vi "
"har alltid vært."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"Vi tillater dette, jeg tror, ikke fordi det er riktig, og ikke fordi de "
"fleste av oss virkelig tror på disse endringene. Vi tillater det fordi "
"interesser som er truet mest er blant de mektigste spillerne i våre "
"depressingly kompromittert prosessen med å lage lov. Denne boken er "
"historien om en mer konsekvens av denne formen for korrupsjon--en konsekvens "
"som de fleste av oss fortsatt oblivious."

#. type: Content of: <book><chapter><title>
msgid "\"PIRACY\""
msgstr "\"Piratvirksomhet\""

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Since the inception of the law regulating creative property, there has been "
"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" "
"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 ""
"siden starten av loven som regulerer kreative egenskapen, har det vært en "
"krig mot \"piratkopiering.\" presis konturene av dette konseptet "
"\"piratkopiering\", er vanskelig å skissere, men animert urettferdighet er "
"lett å fange. som Herren mansfield skrev i en sak som utvidet rekkevidden av "
"engelsk lov om opphavsrett til å inkludere sheet music,"

#.  f1
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
msgstr "Bach v. longman, 98 eng. rep 1274 (1777) (mansfield)."

#. type: Content of: <book><chapter><blockquote><para>
msgid ""
"A person may use the copy by playing it, but he has no right to rob the "
"author of the profit, by multiplying copies and disposing of them for his "
"own use.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 31
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Today we are in the middle of another \"war\" against \"piracy.\" 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 i en annen \"krig\" mot \"piratkopiering.\" Internett har "
"provosert denne krigen. Internett gjør mulig effektiv spredning av innhold. "
"Peer-to-peer (p2p) fildeling er blant den mest effektive av effektiv "
"teknologi gjør det mulig for Internett. ved hjelp av distributed "
"intelligence, p2p systemer forenkle enkel spredning av innhold på en måte "
"som unimagined en generasjon siden."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"rob the author of the profit.\""
msgstr ""
"Denne effektivitet respekterer ikke tradisjonelle linjene av opphavsrett. "
"nettverket diskriminerer ikke mellom deling av opphavsrettsbeskyttet og "
"uncopyrighted innhold. Dermed har det vært en enorm mengde deling av "
"opphavsrettsbeskyttet innhold. at deling har i sin tur glade krigen som "
"eiere av opphavsretter frykter deling vil \"rob forfatteren av overskuddet.\""

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"The warriors have turned to the courts, to the legislatures, and "
"increasingly to technology to defend their \"property\" against this "
"\"piracy.\" A generation of Americans, the warriors warn, is being raised to "
"believe that \"property\" should be \"free.\" Forget tattoos, never mind "
"body piercing&mdash;our kids are becoming thieves!"
msgstr ""
"krigerne har slått til domstolene, til legislatures, og stadig til teknologi "
"til å forsvare sine \"property\" mot denne \"piratkopiering.\" en generasjon "
"amerikanere, warriors advare, er blir reist til å tro at \"property\" skal "
"være \"gratis\" glem tatoveringer, never mind kroppspiercing--våre barn blir "
"tyver!"

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"There's no doubt that \"piracy\" is wrong, and that pirates should be "
"punished. But before we summon the executioners, we should put this notion "
"of \"piracy\" 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 tvil om at \"piratkopiering\" er galt, og at pirates bør bli "
"straffet. men før vi gå til executioners, vi bør sette denne oppfatningen av "
"\"piratkopiering\" i noen sammenheng. for som konseptet blir stadig mer "
"brukt, er i sin kjerne en ekstraordinære idé som er nesten helt sikkert galt."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid "The idea goes something like this:"
msgstr "ideen går omtrent slik:"

#. type: Content of: <book><chapter><blockquote><para>
#, mtrans, 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 ""
"skapende arbeid har verdi; Når jeg bruker, eller ta eller bygge på kreative "
"arbeidet til andre, tar jeg fra dem noe av verdi. Når jeg tar noe av verdi "
"fra noen andre, skulle jeg ha deres tillatelse. å ta av noe av verdi fra "
"noen andre uten tillatelse er galt. Det er en form for piratkopiering."

#.  f2
#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."
msgstr ""
"se rochelle dreyfuss, \"uttrykksfulle genericity: varemerker som språk i "
"pepsi-generasjon\" notre dame lov gå gjennom 65 (1990): 397."

#.  f3
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
"Wall Street Journal, 21 August 1996, available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off the "
"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston "
"Globe, 24 November 2002."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"This view runs deep within the current debates. It is what NYU law professor "
"Rochelle Dreyfuss criticizes as the \"if value, then right\" 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 \"value"
"\" (the songs) so there must have been a \"right\"&mdash;even against the "
"Girl Scouts."
msgstr ""

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

#.  PAGE BREAK 32
#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"if value, then right\" theory of "
"creative property has never been America's theory of creative property.  It "
"has never taken hold within our law."
msgstr ""
"Denne ideen er absolutt en mulig forståelse av hvordan kreative egenskapen "
"skal fungere. Det kan godt være en mulig design for et system av loven "
"beskytte creative-egenskapen. men den \"Hvis verdien, deretter høyre\" teori "
"av creative-egenskapen har aldri vært america's teori om kreative-"
"egenskapen. Det har aldri tatt tak i vår lov."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 stedet i vår tradisjon er immaterielle et instrument. det angir "
"grunnarbeidet for et rikt kreativt samfunn, men er fortsatt servil til "
"verdien av kreativitet. dagens debatt har dette slått rundt. Vi har blitt så "
"opptatt av å beskytte instrumentet at vi mister synet av verdien."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 en utmerkelse som loven ikke lenger tar seg "
"til å tegne--skillet mellom republishing noens arbeid på den ene siden og "
"bygge på eller transformere som fungerer på den andre. lov om opphavsrett på "
"sin fødsel hadde bare publisering som sin bekymring; lov om opphavsrett "
"regulerer i dag begge."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 teknologien av Internett, gjorde ikke denne conflation saken alle så "
"mye. teknologier i publisering var dyrt; Det betydde at det store flertallet "
"av publisering ble kommersielt. kommersielle selskaper kunne bære byrden av "
"loven--selv byrden av den bysantinske kompleksiteten som copyright lov har "
"blitt. Det var bare en mer utgifter ved å gjøre forretninger."

#.  f4
#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"In The Rise of the Creative Class (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."
msgstr ""
"i rise of creative klassen (new york: grunnleggende bøker, 2002), richard "
"florida dokumenter et skifte i natur arbeid mot en arbeidskraft av "
"kreativitet. hans arbeid, men adressen ikke direkte de juridiske "
"betingelsene under at kreativiteten er aktivert eller halvkvalt. Jeg er enig "
"med ham om betydningen og betydningen av denne endringen, men jeg tror også "
"betingelser som funksjonen vil bli aktivert er mye vanskeligere."

#. type: Content of: <book><chapter><para>
msgid ""
"But with the birth of the Internet, this natural limit to the reach of the "
"law has disappeared. The law controls not just the creativity of commercial "
"creators but effectively that of anyone. Although that expansion would not "
"matter much if copyright law regulated only \"copying,\" 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 \"Rise of "
"the Creative Class.\"<placeholder type=\"footnote\" id=\"0\"/> "
"Unfortunately, we are also seeing an extraordinary rise of regulation of "
"this creative class."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"piracy.\""
msgstr ""
"disse byrder gir ingen mening i vår tradisjon. Vi bør begynne ved å forstå "
"denne tradisjonen litt mer, og ved å plassere i sin rette sammenheng "
"gjeldende slagene om virkemåten merket \"piratkopiering\"."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER ONE: Creators"
msgstr "Kapittel en: Skaperne"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In 1928, a cartoon character was born. An early Mickey Mouse made his debut "
"in May of that year, in a silent flop called Plane Crazy.  In November, in "
"New York City's Colony Theater, in the first widely distributed cartoon "
"synchronized with sound, Steamboat Willie brought to life the character that "
"would become Mickey Mouse."
msgstr ""
"en tegneserie tegnet ble født i 1928. en tidlig Mikke Mus debuterte i mai "
"samme år, i en stille flop kalt flyet gal. i november, i new york city's "
"colony theater, i de første spredt utover tegneserie synkronisert med lyden, "
"steamboat willie brakt til liv tegnet som skulle bli Mikke Mus."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Synchronized sound had been introduced to film a year earlier in the movie "
"The Jazz Singer. 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 ""
"synkroniserte lyd hadde blitt introdusert til film året tidligere i filmen "
"jazz sanger. at suksess ledet walt disney å kopiere teknikken og blande lyd "
"med tegneserier. ingen visste om det ville fungere, eller hvis det virket, "
"om det ville vinne et publikum. men når disney kjørte en test sommeren 1928, "
"resultatene var entydig. som disney beskriver det første eksperimentet"

#.  PAGE BREAK 35
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 av mine gutter kan lese musikk, og en av dem kunne spille en munn "
"orgel. Vi setter dem i et rom der de ikke kunne se skjermen og arrangert til "
"datakanal sine lyd inn i rommet hvor våre hustruer og venner var kommer til "
"å se bildet."

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"gutter jobbet fra en musikk og lydeffekter score. etter flere falske starter "
"kom lyd og handling av med pistolen. munn-organisten spilte melodien, resten "
"av oss i lyd avdeling bammed tin pans og blåste lysbilde plystre på beat. "
"synkroniseringen var ganske nær."

#.  f1
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons "
"(New York: Penguin Books, 1987), 34&ndash;35."
msgstr ""
"Leonard maltin, mus og magic: a history of american animerte-tegneserier "
"(new york: penguin books, 1987), 34­35."

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"The effect on our little audience was nothing less than electric.  They "
"responded almost instinctively to this union of sound and motion. I thought "
"they were kidding me. So they put me in the audience and ran the action "
"again. It was terrible, but it was wonderful! And it was something new!"
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
"Iwerks, put it more strongly: \"I have never been so thrilled in my life. "
"Nothing since has ever equaled it.\""
msgstr ""
"Disney's deretter partner, og en av animasjons mest ekstraordinære talenter, "
"ub iwerks, sette det mer sterkt: \"Jeg har aldri vært så begeistret i mitt "
"liv. ingenting siden har noensinne equaled den.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 hadde opprettet noe veldig nytt, basert på noe relativt nytt. "
"synkronisert lyd brakt livet til en form av kreativitet som hadde sjelden--"
"unntatt i disney's hender--blitt noe mer enn filler for andre filmer. "
"gjennom animasjons tidlig historien var det disney's oppfinnelse som satte "
"standarden som andre kjempet for å matche. og ganske ofte disney's stor "
"geni, hans gnist av kreativitet, ble bygd på arbeidet til andre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 Steamboat Bill, Jr."
msgstr ""
"så er mye kjent. Hva du kanskje ikke vet er at 1928 også markerer en annen "
"viktig endring. Dette året produsert en tegneserie (i motsetning til "
"tegneserie) geni opprettet sitt siste uavhengig stumfilm. at geni var buster "
"keaton. filmen var steamboat bill, jr."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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. Steamboat Bill, Jr. 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 ble født inn i en vaudeville familie i 1895. i æra av stumfilm, hadde "
"han mestret med bred fysiske komedie som en måte å gnist lyste latter fra "
"sitt publikum. Steamboat bill, jr. var en klassiker av dette skjemaet, kjent "
"blant film buffs for sin utrolige stunts. filmen var klassisk keaton--vill "
"populær og blant beste i sin sjanger."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"I am grateful to David Gerstein and his careful history, described at <ulink "
"url=\"http://free-culture.cc/notes/\">link #4</ulink>.  According to Dave "
"Smith of the Disney Archives, Disney paid royalties to use the music for "
"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton"
"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. "
"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the "
"Straw,\" was already in the public domain. Letter from David Smith to Harry "
"Surden, 10 July 2003, on file with author."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Steamboat Bill, Jr. 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 The Jazz Singer that we get Steamboat "
"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., "
"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat "
"Willie, and then from Steamboat Willie, Mickey Mouse."
msgstr ""

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"He was also a fan of the public domain. See Chris Sprigman, \"The Mouse that "
"Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink url=\"http://free-"
"culture.cc/notes/\">link #5</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"This \"borrowing\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"noen ganger var denne lån liten. noen ganger var det betydelig. Tenk på "
"eventyr av the Sunday. Hvis du er så oblivious som jeg var, er du "
"sannsynligvis tror at disse fortellingene er glade, søte historier, passer "
"for alle barn ved sengetid. faktisk grimm eventyr er, vel, for oss, dystre. "
"Det er en sjelden og kanskje altfor ambisiøse forelder som ville våge å lese "
"disse blodig, moralistiske fortellingene til hans eller hennes barn, ved "
"sengetid eller når som helst."

#.  PAGE BREAK 37
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo "
"(1941), Bambi (1942), Song of the South (1946), Cinderella (1950), Alice in "
"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady and the Tramp "
"(1955), Mulan (1998), Sleeping Beauty (1959), 101 Dalmatians (1961), The "
"Sword in the Stone (1963), and The Jungle Book (1967)&mdash;not to mention a "
"recent example that we should perhaps quickly forget, Treasure Planet "
"(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 tok disse historiene og retold dem på en måte som førte dem inn i en "
"ny tidsalder. Han animert historiene, med både tegn og lys. uten å fjerne "
"elementene i frykt og fare helt, han gjorde morsomt det var mørkt og "
"injisert en ekte følelse av medfølelse der før der var frykt. og ikke bare "
"med et verk av the Sunday. faktisk katalogen disney arbeid tegning på "
"arbeidet til andre er forbløffende når satt sammen: snø hvit (1937), "
"fantasia (1940), pinocchio (1940), dumbo (1941), bambi (1942), sang av Sør "
"(1946), cinderella (1950), alice in wonderland (1951), robin hood (1952), "
"peter pan (1953), lady og Landstrykeren (1955), mulan (1998), Tornerose "
"(1959), 101 dalmatians (1961), sverdet i steinen (1963), og Jungelboken "
"(1967)--ikke å nevne en siste eksempel som vi bør kanskje raskt glemme, "
"skatt planeten (2003). i alle disse tilfellene, disney (eller disney, inc.) "
"dratt kreativitet fra kultur rundt ham, blandet at kreativiteten med sin "
"egen ekstraordinære talent, og deretter brent blanding inn i sjelen til sin "
"kultur. rippe blande og brenne."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"Disney creativity,\" though that would be a bit "
"misleading. It is, more precisely, \"Walt Disney creativity\"&mdash;a form "
"of expression and genius that builds upon the culture around us and makes it "
"something different."
msgstr ""
"Dette er en slags kreativitet. Det er en kreativitet som vi bør huske og "
"feire. Det er noen som vil si at det er ingen kreativitet bortsett fra denne "
"typen. Vi trenger ikke å gå så langt å anerkjenne sin betydning. Vi kan "
"kalle denne \"disney kreativitet,\" selv om det ville være litt misvisende. "
"Det er mer presist, \"walt disney kreativitet\"--en form for uttrykk og geni "
"som bygger på kultur rundt oss, og som gjør det noe annet."

#.  f4
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Until 1976, copyright law granted an author the possibility of two terms: an "
"initial term and a renewal term. I have calculated the \"average\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In 1928, the culture that Disney was free to draw upon was relatively fresh. "
"The public domain in 1928 was not very old and was therefore quite vibrant. "
"The average term of copyright was just around thirty years&mdash;for that "
"minority of creative work that was in fact copyrighted.<placeholder type="
"\"footnote\" id=\"0\"/> That means that for thirty years, on average, the "
"authors or copyright holders of a creative work had an \"exclusive right\" "
"to control certain uses of the work. To use this copyrighted work in limited "
"ways required the permission of the copyright owner."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"lawyer-free zone.\" 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 ""
"på slutten av en opphavsrett sikt sender et arbeid i public domain. Ingen "
"tillatelse kreves for deretter å trekke på, eller bruke som fungerer. Ingen "
"tillatelse og derfor ingen jurister. public domain er en \"advokat-free zone."
"\" dermed, det meste av innholdet fra det nittende århundre var gratis for "
"disney du bruker, og bygger på i 1928. Det var gratis for alle--enten "
"tilkoblet eller ikke, om det er rik eller ikke, om godkjente eller ikke--"
"hvis du vil bruke, og bygge på."

#.  PAGE BREAK 38
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 hvordan ting var alltid--inntil ganske nylig. for de fleste av vår "
"historie var public domain litt over horisonten. fra 1978 var "
"gjennomsnittlig opphavsrett begrepet aldri mer enn tretti-to år, noe som "
"betyr at de fleste kultur bare generasjon og et halvt gamle var gratis for "
"alle å bygge på uten tillatelse fra noen andre. dagens tilsvarende ville "
"være til kreativt arbeid fra 1960- og 1970-tallet til nå være gratis for "
"neste walt disney å bygge på uten tillatelse. ennå i dag, er den offentlige "
"sfæren presumptive bare for innhold fra før den store depresjonen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor "
"does America. The norm of free culture has, until recently, and except "
"within totalitarian nations, been broadly exploited and quite universal."
msgstr ""
"Selvfølgelig, walt disney hadde ingen monopol på \"walt disney kreativitet."
"\" heller ikke Amerika. norm for fri kultur har, inntil nylig, og unntatt i "
"totalitære nasjoner, vært forstand utnyttede og ganske universell."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Consider, for example, a form of creativity that seems strange to many "
"Americans but that is inescapable within Japanese culture: manga, 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 ""
"Tenk deg for eksempel en form av kreativitet som synes underlig for mange "
"amerikanere, men det er uunngåelig i japansk kultur: manga, eller "
"tegneserier. Japansk er fanatikere om tegneserier. noen 40 prosent av "
"publikasjoner er tegneserier, og 30 prosent av publikasjonen inntekter "
"kommer fra tegneserier. de er overalt i japanske samfunnet, på hver "
"magasinet stå båret av en stor andel av pendlere på Japans ekstraordinære "
"systemet av offentlig transport."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"graphic novels\" tell. For the Japanese, manga cover every "
"aspect of social life. For us, comics are \"men in tights.\" 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 ""
"Amerikanerne har en tendens til å se på denne formen for kultur. Det er en "
"unattractive kjennetegnet av våre. vi sannsynligvis misforstå mye om manga, "
"fordi få av oss noensinne har lest noe nær historiene som disse \"grafiske "
"romaner\" fortelle. for japansk, manga dekker alle aspekter av sosiale liv. "
"tegneserier er \"menn i strømpebukse.\" for oss, og likevel, det er ikke som "
"hvis new york-bane er fylt med leserne av joyce eller selv hemingway. "
"mennesker av ulike kulturer distrahere seg på forskjellige måter, japanske "
"på dette interessant annen måte."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 min hensikt her er ikke å forstå manga. Det er å beskrive en variant på "
"manga som fra en advokat perspektiv er ganske rart, men fra en disney "
"perspektiv er ganske godt kjent."

#.  PAGE BREAK 39
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This is the phenomenon of doujinshi. 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 just 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 \"different.\" 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 fenomenet doujinshi. doujinshi er også tegneserier, men de er en "
"slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. Det "
"er ikke doujinshi Hvis det er bare en kopi; kunstneren må gi et bidrag til "
"kunst som han overfører, gjøre det subtly eller betydelig. en doujinshi "
"tegneserie kan dermed ta en mainstream tegneserie og utvikle den annerledes--"
"med en annen historie-linje. eller tegneserier kan holde tegnet i karakter, "
"men endre sitt utseende litt. Det er ingen formel for det som gjør doujinshi "
"tilstrekkelig \"annerledes.\", men de må være forskjellige hvis de skal "
"anses som sann doujinshi. Det er faktisk komiteer som gjennomgå doujinshi "
"for inkludering i viser og avvise enhver copycat tegneserie som er bare en "
"kopi."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"These copycat comics are not a tiny part of the manga market. They are huge. "
"More than 33,000 \"circles\" 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 copycat tegneseriene er ikke en liten del av manga-markedet. de er "
"enorm. mer enn 33.000 \"sirkler\" av skaperne fra tvers japan produsere "
"disse biter av walt disney kreativitet. mer enn 450.000 japansk komme sammen "
"to ganger i året, i den største offentlig sammenkomst i landet, å bytte og "
"selge dem. Dette markedet finnes i parallell til det mainstream kommersielle "
"manga-markedet. det åpenbart konkurrerer med dette markedet på noen måter, "
"men det er ingen vedvarende innsats av de som styrer kommersielle manga-"
"markedet for å stenge doujinshi markedet. den blomstrer, til tross for "
"konkurransen og til tross for loven."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 "
"\"derivative works.\" 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 "
"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" "
"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 ""
"funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er at "
"det er tillatt å eksistere i det hele tatt. under japansk lov om "
"opphavsrett, som i denne forbindelse (på papiret) gjenspeiler amerikansk lov "
"om opphavsrett, er doujinshi markedet en ulovlig. doujinshi er tydelig "
"\"avledede works.\" det er ingen generell fremgangsmåte ved doujinshi "
"artister for å sikre tillatelse fra skaperne manga. i stedet, øvelsen er "
"ganske enkelt å ta og endre kreasjoner av andre, som walt disney gjorde med "
"steamboat bill, jr. under både japanske og amerikanske loven, det \"tar\" "
"uten tillatelse fra eieren av opprinnelige opphavsretten er ulovlig. Det er "
"en krenkelse av opprinnelige opphavsretten til å lage en kopi eller et "
"avledet arbeid uten den opphavspersonens tillatelse."

#.  f5
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"For an excellent history, see Scott McCloud, Reinventing Comics (New York: "
"Perennial, 2000)."
msgstr ""
"For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: "
"Perennial, 2000)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Yet this illegal market exists and indeed flourishes in Japan, and in the "
"view of many, it is precisely because it exists that Japanese manga "
"flourish. As American graphic novelist Judd Winick said to me, \"The early "
"days of comics in America are very much like what's going on in Japan "
"now. . . . American comics were born out of copying each other. . . . 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\" and building from them."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"there are these rules and you have "
"to stick to them.\" There are things Superman \"cannot\" do. \"As a creator, "
"it's frustrating having to stick to some parameters which are fifty years "
"old.\""
msgstr ""
"amerikanske tegneserier nå er helt forskjellige, winick forklarer, delvis på "
"grunn av juridiske vanskelighetene med å tilpasse tegneserier måte doujinshi "
"er tillatt. Speaking of superman, winick fortalte meg, \"det er disse "
"reglene og du har å holde oss til dem\" det er ting superman \"ikke\" gjøre. "
"\"som en creator, det er frustrerende måtte holde oss til noen parametere "
"som er femti år.\""

#.  f6
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 "
"(2002): 155, 182. \"[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."
"\""
msgstr ""
"se salil k. mehra, \"copyright og tegneserier i japan: gjør loven forklare "
"hvorfor alle tegneseriene min gutt klokker er japanske import?\" rutgers lov "
"gå gjennom 55 (2002): 155, 182. \"[t] her kan være en kollektiv økonomiske "
"rasjonalitet som ville føre manga og anime kunstnere til å forgo bringe "
"juridiske handlinger for krenkelse. én hypotese er at alle manga kunstnere "
"kan være bedre samlet hvis de satt deres individuelle egeninteresse og "
"bestemmer deg for ikke å trykke sine juridiske rettigheter. Dette er "
"egentlig en fangens dilemma løst.\""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The norm in Japan mitigates this legal difficulty. Some say it is precisely "
"the benefit accruing to the Japanese manga market that explains the "
"mitigation. Temple University law professor Salil Mehra, for example, "
"hypothesizes that the manga market accepts these technical violations "
"because they spur the manga market to be more wealthy and productive. "
"Everyone would be worse off if doujinshi were banned, so the law does not "
"ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"free "
"taking\" by the doujinshi culture?"
msgstr ""
"problemet med denne historien, men er som mehra erkjenner tydelig, at "
"mekanismen produsere dette laissez faire svaret ikke er klart. Det kan godt "
"være at markedet som helhet er bedre om doujinshi er tillatt stedet "
"utestengt, men som ikke forklare hvorfor enkelte opphavsrett eiere ikke "
"saksøke likevel. Hvis loven har ingen generelle unntak for doujinshi og "
"faktisk i noen tilfeller individuelle manga kunstnere har saksøkte doujinshi "
"artister, hvorfor er det ikke en mer generell mønster av blokkerer denne "
"\"gratis tar\" av doujinshi kultur?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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. \"We don't have enough lawyers,\" he told me one "
"afternoon. There \"just aren't enough resources to prosecute cases like this."
"\""
msgstr ""
"Jeg tilbrakte fire fantastiske måneder i japan, og jeg spurt dette "
"spørsmålet så ofte som jeg kunne. kanskje ble den beste kontoen til slutt "
"tilbudt av en venn fra en større japansk advokatfirma. \"vi ikke har nok "
"advokater,\" han fortalte meg en ettermiddag. det \"bare ikke er nok "
"ressurser til å tiltale tilfeller som dette.\""

#.  PAGE BREAK 41
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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? Let's pause "
"for a moment."
msgstr ""
"Dette er et tema som vi kommer tilbake: at regulering av loven er en "
"funksjon av begge ordene på bøker og kostnadene ved å gjøre disse ordene har "
"effekt. for nå, fokusere på det åpenbare spørsmålet som er ba: ville japan "
"være bedre med mer advokater? ville manga bli rikere Hvis doujinshi artister "
"regelmessig ble rettslig forfulgt? ville den japanske gevinsten noe viktig "
"hvis de kunne avslutte denne praksisen med uncompensated deling? gjør vondt "
"piratkopiering her ofre for piratkopiering, eller betyr det hjelpe dem? vil "
"advokater slåss denne sjørøver hjelpe sine kunder eller skade dem? La oss ta "
"en pause for et øyeblikk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 jeg var et tiår siden, eller som folk flest er når de først "
"begynne å tenke disse problemene, bør så bare om nå du være rådvill om noe "
"du ikke hadde tenkt gjennom før."

#.  f7
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"The term intellectual property is of relatively recent origin. See Siva "
"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University "
"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: "
"Random House, 2001), 293 n. 26. The term accurately describes a set of "
"\"property\" rights&mdash;copyright, patents, trademark, and trade-"
"secret&mdash;but the nature of those rights is very different."
msgstr ""
"begrepet immaterielle er relativt nylige opprinnelsesland. se siva "
"vaidhyanathan, opphavsrett og copywrongs, 11 (new york: new york university "
"press, 2001). Se også lawrence lessig, fremtiden for ideer (new york: random "
"house, 2001), 293 n. 26. begrepet beskriver nøyaktig et sett med rettigheter "
"for \"eiendom\"--opphavsrett, patenter, varemerker, og "
"forretningshemmeligheter-- men innholdet av disse rettighetene er svært "
"forskjellige."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"We live in a world that celebrates \"property.\" 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 "
"\"intellectual property.\"<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 ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"But it takes just a second's reflection to realize that there is plenty of "
"value out there that \"property\" doesn't capture. I don't mean \"money "
"can't buy you love,\" 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 \"fair.\" There was nothing wrong with the "
"taking from the Grimms because the Grimms' work was in the public domain."
msgstr ""

#.  PAGE BREAK 42
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Således, selv om tingene som disney tok-- eller mer generelt, tingene som er "
"tatt av noen utøve walt disney kreativitet--er verdifull, vår tradisjon ikke "
"behandler disse takings som feil. noen ting fortsatt være gratis for å ta "
"innenfor en fri kultur, og at frihet er bra."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 samme med doujinshi kultur. Hvis en doujinshi artist brøt inn i en "
"publisher office og kjørte med tusen eksemplarer av hans siste verk-- eller "
"selv en kopi--uten å betale, ville vi har ingen nøle i sier kunstneren var "
"galt. i tillegg til å ha begått, ville han har stjålet noe av verdi. lov "
"forbud at stjele i enhver form, enten store eller små."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
"the copycat comic artists are \"stealing.\" This form of Walt Disney "
"creativity is seen as fair and right, even if lawyers in particular find it "
"hard to say why."
msgstr ""
"Likevel er det en åpenbar uvilje mot, selv blant japanske advokater, for å "
"si at copycat comic kunstnerne er \"stjele.\" denne formen for walt disney "
"kreativitet er sett på som rettferdig og høyre, selv om advokater spesielt "
"finner det vanskelig å si hvorfor."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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. (\"Excuse me, Professor Einstein, but may I "
"have permission to use your theory of relativity to show that you were wrong "
"about quantum physics?\") Acting companies perform adaptations of the works "
"of Shakespeare without securing permission from anyone. (Does anyone 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 tusen eksempler som vises overalt når du begynner å se. "
"forskere bygge på arbeidet til andre forskere uten å be om eller betale for "
"privilegiet. (\"Unnskyld meg, professor einstein, men kanskje jeg har "
"tillatelse til å bruke ditt Relativitetsteorien for å vise at du var galt om "
"quantum fysikk?\") fungerende virksomheter utfører bearbeidelser av verk av "
"shakespeare uten sikring tillatelse fra noen. (mener noen shakespeare ville "
"være bedre spredt i vår kultur Hvis det var en sentral shakespeare "
"rettigheter clearinghouse som alle produksjoner Shakespeare må appellere til "
"første?) og hollywood går gjennom sykluser med en bestemt type film: fem "
"asteroider filmer inne det sen 1990s; to vulkanen katastrofe filmer i 1997."

#.  PAGE BREAK 43
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"skaperne er her og overalt alltid og på alle ganger bygge på kreativitet som "
"gikk før og som omgir dem nå. at bygningen er alltid og overalt i det minste "
"delvis gjort uten tillatelse, og uten kompenserende den opprinnelige "
"skaperen. Ingen samfunnet, gratis eller kontrollert og har noensinne krevd "
"at hver bruk betales for eller tillatelsen for walt disney kreativitet må "
"alltid bli søkt. i stedet alle samfunn har forlatt en bestemt bit av sin "
"kultur som er gratis for å ta--gratis samfunn nærmere enn fri, kanskje, men "
"alle samfunn til en viss grad."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The hard question is therefore not whether a culture is free. All cultures "
"are free to some degree. The hard question instead is \"How free is this "
"culture?\" 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 spørsmålet er derfor ikke om en kultur er gratis. alle "
"kulturer er gratis til en viss grad. Det vanskelige spørsmålet i stedet er "
"\"hvordan gratis er denne kulturen?\" hvor mye og hvordan forstand, er "
"kultur som er gratis for andre å ta, og bygge på? er den friheten begrenset "
"til partiets medlemmer? til medlemmer av kongefamilien? til topp ti "
"selskaper på new york stock exchange? eller er at frihet spredt bredt? til "
"kunstnere vanligvis enten tilknyttet av the met eller ikke? til musikere "
"vanligvis om hvit eller ikke? til filmskapere vanligvis enten tilknyttet et "
"studio eller ikke?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"gratis kulturer er kulturer som lar mye åpen for andre å bygge på; Unfree, "
"eller tillatelse, kulturer la mye mindre. våre var en fri kultur. det blir "
"mye mindre."

#. type: Content of: <book><chapter><sect1><title>
#, mtrans, fuzzy
msgid "CHAPTER TWO: \"Mere Copyists\""
msgstr "Kapittel to: \"kun copyists\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In 1839, Louis Daguerre invented the first practical technology for "
"producing what we would call \"photographs.\" Appropriately enough, they "
"were called \"daguerreotypes.\" 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 ""
"i 1839, louis daguerre oppfant den første praktiske teknologien for å "
"produsere det vi vil kalle \"fotografier.\" riktig nok, de ble kalt "
"\"daguerreotypes.\" prosessen var komplisert og kostbart, og feltet var "
"dermed begrenset til profesjonelle og noen ivrige og velstående amatører. "
"(det var enda en amerikansk daguerre tilknytning som hjalp regulere "
"bransjen, som gjør alle slike tilknytninger, ved å holde konkurranse å holde "
"prisene.)"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Yet despite high prices, the demand for daguerreotypes was strong.  This "
"pushed inventors to find simpler and cheaper ways to make \"automatic "
"pictures.\" William Talbot soon discovered a process for making \"negatives."
"\" 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 ""
"likevel til tross for høye priser var etterspørselen etter daguerreotypes "
"sterk. Dette presset oppfinnere å finne enklere og billigere måter å gjøre "
"\"automatisk bilder.\" william talbot snart oppdaget en prosess for å gjøre "
"\"negativer.\", men fordi negativene var glass, og måtte holdes våt, "
"prosessen forsatt dyre og tunge. i 1870, ble tørr platene utviklet, gjør det "
"enklere å skille å ta på et bilde fra sin utvikling. disse var fortsatt "
"plater av glass, og dermed det var likevel ikke en prosess innenfor "
"rekkevidde de fleste amatører."

#.  PAGE BREAK 45
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"teknologiske endringen som gjorde det mulig masse fotografering skje ikke "
"før 1888, og var etableringen av en enkelt mann. George eastman, selv en "
"amatør fotograf, var frustrert av fotografier som er laget med plater-"
"teknologi. i en flash av innsikt (så å si), så eastman at hvis filmen kan "
"gjøres for å være fleksibel, kunne det bli avholdt på en enkelt spindel. at "
"roll kunne deretter sendes til en utvikler, senke kostnadene for "
"fotografering vesentlig. ved å senke kostnadene, forventet eastman han kan "
"dramatisk utvide befolkningen av fotografer."

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University "
"Press, 1975), 112."
msgstr ""
"Reese v. jenkins, bilder og enterprise (baltimore: johns hopkins university "
"press, 1975), 112."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Eastman developed flexible, emulsion-coated paper film and placed rolls of "
"it in small, simple cameras: the Kodak. The device was marketed on the basis "
"of its simplicity. \"You press the button and we do the rest.\"<placeholder "
"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:"
msgstr ""

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Coe, Brian"
msgstr ""

#.  f2
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), "
"53."
msgstr ""
"Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), "
"53."

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"The principle of the Kodak system is the separation of the work that any "
"person whomsoever can do in making a photograph, from the work that only an "
"expert can do. . . . 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 ""

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid "Jenkins, 177."
msgstr "Jenkins, 177."

#.  f4
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid "Based on a chart in Jenkins, p. 178."
msgstr "Basert på et diagram i Jenkins, s. 178."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"For $25, anyone could make pictures. The camera came preloaded with film, "
"and when it had been used, the camera was returned to an Eastman factory, "
"where the film was developed. Over time, of course, the cost of the camera "
"and the ease with which it could be used both improved. Roll film thus "
"became the basis for the explosive growth of popular photography. Eastman's "
"camera first went on sale in 1888; one year later, Kodak was printing more "
"than six thousand negatives a day.  From 1888 through 1909, while industrial "
"production was rising by 4.7 percent, photographic equipment and material "
"sales increased by 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 ""

#.  f5
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "Coe, 58."
msgstr "Coe, 58."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The real significance of Eastman's invention, however, was not economic. It "
"was social. Professional photography gave individuals a glimpse of places "
"they would never otherwise see. Amateur photography gave them the ability to "
"record their own lives in a way they had never been able to do before. As "
"author Brian Coe notes, \"For the first time the snapshot album provided the "
"man on the street with a permanent record of his family and its "
"activities. . . . 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.\"<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"quality\"; 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 måten var kodak-kamera og film teknologier uttrykksmåter. blyant "
"eller paintbrush var også en teknologi uttrykksmåter, selvfølgelig. men det "
"tok år med trening før de kan distribueres av amatører på noen nyttige eller "
"effektiv måte. med kodak var uttrykk mulig mye raskere og enklere. barriere "
"til uttrykk ble senket. snobs ville hånlig flir på sin \"kvalitet\"; "
"profesjonelle ville rabatt det som irrelevant. Men se et barn studere "
"hvordan du best som ramme for et bilde, og du får en følelse av opplevelsen "
"av kreativitet som kodak aktivert. demokratiske verktøy ga vanlige folk en "
"måte å uttrykke seg lettere enn noen verktøy kan har før."

#.  f6
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 "
"S.E."
msgstr ""
"for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. co, "
"50 se"

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"What was required for this technology to flourish? Obviously, Eastman's "
"genius was an important part. But also important was the legal environment "
"within which Eastman's invention grew. For early in the history of "
"photography, there was a series of judicial decisions that could well have "
"changed the course of photography substantially.  Courts were asked whether "
"the photographer, amateur or professional, required permission before he "
"could capture and print whatever image he wanted. Their answer was no."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 47
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The arguments in favor of requiring permission will sound surprisingly "
"familiar. The photographer was \"taking\" 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 ""
"argumenter for å trenge tillatelse vil lyde overraskende kjent. fotografen "
"ble \"tar\" noe fra personen eller bygge med fotografi han skjøt--pirating "
"noe av verdi. noen trodde selv han tok målets sjel. akkurat som disney ikke "
"var fritt til å ta den blyanter hans animatører brukes til å tegne mickey, "
"så bør også, disse fotografer ikke være fritt til å ta bilder som de trodde "
"verdifull."

#. type: Content of: <book><chapter><sect1><para><footnote><indexterm><primary>
msgid "Warren, Samuel D."
msgstr ""

#. type: Content of: <book><chapter><sect1><para><footnote>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/>"
msgstr ""

#.  f7
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard "
"Law Review 4 (1890): 193."
msgstr ""
"Samuel d. warren og louis d. brandeis, \"rett til personvern,\" harvard law "
"gå gjennom 4 (1890): 193."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"On the other side was an argument that should be familiar, as well.  Sure, "
"there may be something of value being used. But citizens should have the "
"right to capture at least those images that stand in public view.  (Louis "
"Brandeis, who would become a Supreme Court Justice, thought the rule should "
"be different for images from private spaces.<placeholder type=\"footnote\" "
"id=\"0\"/>) It may be that this means that the photographer gets something "
"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. "
"or the Brothers Grimm, the photographer should be free to capture an image "
"without compensating the source."
msgstr ""

#.  f8
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary "
"Problems 19 (1954): 203; William L. Prosser, \"Privacy,\" California Law "
"Review 48 (1960) 398&ndash;407; White v. Samsung Electronics America, Inc., "
"971 F.  2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
msgstr ""
"se melville b. nimmer, \"rett publisitet,\" lov og moderne problemer 19 "
"(1954): 203; William l. prosser, \"personvern\", california lov gå gjennom "
"48 (1960) 398­407; hvite v. samsung electronics america, inc., 971 f. 2D 1395 "
"(9 cir. 1992), cert. nektet, 508 amerikansk 951 (1993)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Fortunately for Mr. Eastman, and for photography in general, these early "
"decisions went in favor of the pirates. In general, no permission would be "
"required before an image could be captured and shared with others. Instead, "
"permission was presumed. Freedom was the default.  (The law would eventually "
"craft an exception for famous people: commercial photographers who snap "
"pictures of famous people for commercial purposes have more restrictions "
"than the rest of us. But in the ordinary case, the image can be captured "
"without clearing the rights to do the capturing.<placeholder type=\"footnote"
"\" id=\"0\"/>)"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"theft\" "
"committed by the photographer. Just as Napster benefited from the copyright "
"infringements committed by Napster users, Kodak would be benefiting from the "
"\"image-right\" 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 bare spekulere om hvordan fotografering ville ha utviklet seg hadde "
"loven gått den andre veien. Hvis antagelse hadde vært mot fotografen, ville "
"deretter fotografen ha hatt å demonstrere tillatelse. kanskje eastman kodak "
"ville ha hatt å demonstrere tillatelse, også, før det utviklet filmen som "
"bildene ble tatt. tross alt, hvis du ikke var har tillatelse, deretter "
"eastman kodak ville være nytte mot \"tyveri\" begått av fotografen. like "
"napster avtatt opphavsrett infringements begått av brukere for napster, "
"ville kodak være nytte fra \"bildet til høyre\" krenkelse av sine "
"fotografer. Vi kunne tenke loven og som krever at noen form for tillatelse "
"bli vist før et selskap utviklet bilder. Vi kunne forestille seg et system å "
"utvikle for å demonstrere tillatelsen."

#.  PAGE BREAK 48
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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.  If you drive through San Francisco's Presidio, "
"you might see two gaudy yellow school buses painted over with colorful and "
"striking images, and the logo \"Just Think!\" in place of the name of a "
"school. But there's little that's \"just\" 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 \"film\" 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 ""
"men selv om vi kunne tenke seg dette systemet av tillatelse, det ville være "
"svært vanskelig å se hvordan fotografering kunne ha blomstret som det gjorde "
"Hvis kravet om tillatelse hadde blitt bygget inn i reglene som styrer det. "
"fotografering ville har eksistert. det ville ha vokst betydning over tid. "
"profesjonelle ville har fortsatt å bruke teknologi som de gjorde--siden "
"fagfolk kan lettere båret byrdene av tillatelse-systemet. Men spredning av "
"fotografering til vanlige folk ville ikke ha skjedd. ingenting som at "
"veksten ville har blitt realisert. og Ja, ingenting som at veksten i en "
"demokratisk teknologi uttrykksmåter ville har blitt realisert. Hvis du "
"kjører gjennom san Franciscos presidio, kan du se to glorete gule "
"skolebusser malt over med fargerike og flotte bilder og logoen \"Tenk!\" i "
"stedet for navnet på en skole. men det er lite som er \"bare\" hjerne i "
"prosjekter som gjør at disse busser. disse busser er fylt med teknologier "
"som underviser barna å tinker med film. ikke filmen av eastman. ikke engang "
"filmen av videospilleren. snarere den \"film\" av digitale kameraer. Tenk! "
"er et prosjekt som gjør at barna å lage filmer, som en måte å forstå og "
"kritikk av filmet kultur som de finner rundt dem. hvert år, disse busser "
"reise til mer enn tretti skoler og aktivere tre hundre til fem hundre barn "
"til å lære noe om medier ved å gjøre noe med media. ved å gjøre tror de. ved "
"fiksing og triksing lærer de."

#.  f9
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
"You Need to Create Digital Multimedia Presentations,\" cadalyst, February "
"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #7</"
"ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"These buses are not cheap, but the technology they carry is increasingly so. "
"The cost of a high-quality digital video system has fallen dramatically.  As "
"one analyst puts it, \"Five years ago, a good real-time digital video "
"editing system cost $25,000. Today you can get professional quality for $595."
"\"<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 \"media literacy.\""
msgstr ""

#.  PAGE BREAK 49
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Media literacy,\" as Dave Yanofsky, the executive director of Just Think!, "
"puts it, \"is the ability . . . 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.\""
msgstr ""
"\"media leseferdighet,\" som dave yanofsky, administrerende direktør i "
"Tenk!, sier det, \"er... du kan forstå, analysere og deconstruct media "
"bilder. Målet er å gjøre [barn] literate om måten mediet fungerer, hvordan "
"den er konstruert, slik den er levert, og måten å få tilgang til den.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This may seem like an odd way to think about \"literacy.\" For most people, "
"literacy is about reading and writing. Faulkner and Hemingway and noticing "
"split infinitives are the things that \"literate\" people know about."
msgstr ""
"Dette kan virke som en merkelig måte å tenke på \"leseferdighet.\" for folk "
"flest, leseferdighet handler om lesing og skriving. Faulkner og hemingway og "
"merke delte infinitiv er det ting som \"literate\" folk vet om."

#.  f10
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence "
"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, "
"25 May 1997, B6."
msgstr ""
"Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum "
"associates, 1990); \"funn på familie og tv studie,\" denver innlegg, 25 mai "
"1997, b6."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Maybe. But in a world where children see on average 390 hours of television "
"commercials per year, or between 20,000 and 45,000 commercials generally,"
"<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to "
"understand the \"grammar\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 av akademikere og aktivister ser denne formen for "
"leseferdighet som avgjørende for den neste generasjonen av kultur. for om "
"noen som har skrevet forstår hvor vanskelig skriving er--hvor vanskelig det "
"er å sekvens historien, å holde leserens oppmerksomhet, håndverket språk å "
"være forståelig--få av oss har en reell følelse av hvor vanskelig media er. "
"eller mer fundamentalt, få av oss har en følelse av hvordan media fungerer, "
"hvordan det holder et publikum eller fører det gjennom en artikkel, hvordan "
"det utløser følelser eller bygger spenning."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 tok filmskapning en generasjon før det kunne gjøre disse tingene godt. "
"men selv da kunnskap var av filming, ikke skriftlig om filmen. ferdigheten "
"kom fra opplever inngåelse av en film, ikke fra å lese en bok om den. en "
"lærer å skrive ved å skrive og deretter gjenspeiler på hva man har skrevet. "
"en lærer å skrive med bilder ved å gjøre dem og deretter reflektere over hva "
"man har opprettet."

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Barish, Stephanie"
msgstr ""

#.  f11
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid "Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002."
msgstr "Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002."

#.  f12
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 November "
"2000, available at <ulink url=\"http://free-culture.cc/notes/\">link #8</"
"ulink>; \"Timeline,\" 22 November 2000, available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #9</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"This grammar has changed as media has changed. When it was just film, as "
"Elizabeth Daley, executive director of the University of Southern "
"California's Annenberg Center for Communication and dean of the USC School "
"of Cinema-Television, explained to me, the grammar was about \"the placement "
"of objects, color, . . . rhythm, pacing, and texture.\"<placeholder type="
"\"footnote\" id=\"0\"/> But as computers open up an interactive space where "
"a story is \"played\" 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 ""

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "computer games"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This skill is precisely the craft a filmmaker learns. As Daley describes, "
"\"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.\" If you know you were "
"led through a film, the film has failed."
msgstr ""
"denne ferdigheten er nøyaktig håndverket filmskaper lærer. som daley "
"beskriver, er\"folk veldig overrasket om hvordan de er ledet gjennom en "
"film. [i] t er perfekt konstruert for å hindre at du ser det, så du har "
"ingen anelse om. Hvis en filmskaper lykkes du ikke vet hvordan du ble ledet."
"\"Hvis du vet at du ble ledet gjennom en film, filmen mislyktes."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"men Skyv for en utvidet leseferdighet--en som går utover tekst til å "
"inkludere lyd og visuelle elementer--ikke handler om å gjøre bedre film "
"styremedlemmer. Målet er ikke å forbedre yrket i filmskapning overhodet. i "
"stedet, som daley forklart,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 mitt perspektiv er sannsynligvis den viktigste digital dividere ikke "
"tilgang til en boks. Det er muligheten til å få flere muligheter med språket "
"at boksen fungerer i. ellers bare en svært få mennesker kan skrive med dette "
"språket, og resten av oss er redusert til å være skrivebeskyttet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Read-only.\" Passive recipients of culture produced elsewhere.  Couch "
"potatoes. Consumers. This is the world of media from the twentieth century."
msgstr ""
"\"lese-bare.\" passiv mottakerne av kultur produsert andre steder. Couch "
"Poteter. forbrukere. Dette er verden av medier fra det tjuende århundre."

#.  f13
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid "Interview with Daley and Barish."
msgstr "Intervju med Daley og Barish."

#.  f31
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid."
msgstr "ibid."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The twenty-first century could be different. This is the crucial point: It "
"could be both read and write. Or at least reading and better understanding "
"the craft of writing. Or best, reading and understanding the tools that "
"enable the writing to lead or mislead. The aim of any literacy, and this "
"literacy in particular, is to \"empower people to choose the appropriate "
"language for what they need to create or express.\"<placeholder type="
"\"footnote\" id=\"0\"/> It is to enable students \"to communicate in the "
"language of the twenty-first century.\"<placeholder type=\"footnote\" id="
"\"1\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 alle språk, kommer dette språket lettere til noen enn for andre. det "
"kommer ikke nødvendigvis mer lett til de som excel i skriftlig språk. Daley "
"og stephanie barish, direktør for Institutt for multimedia leseferdighet på "
"arbeidet center, Beskriv et spesielt intens eksempel på et prosjekt de "
"kjørte på en high school. high school var en svært dårlig indre-city los "
"angeles skole. i alle de tradisjonelle mål for suksess var denne skolen en "
"fiasko. men daley og barish kjørte et program som ga barn en mulighet til å "
"bruke filmen til å uttrykke mening om noe elevene vet noe om--pistol vold."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"kids "
"were showing up at 6 A.M. and leaving at 5 at night,\" 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 ble avholdt fredag ettermiddagen, og det opprettes et relativt nytt "
"problem for skolen. mens utfordringen i de fleste klasser fikk barna "
"framover, var utfordringen i denne klassen holde dem unna. The \"barna var "
"vise opp til 6 am og forlate ved 5 om natten,\" sa barish. de jobber hardere "
"enn i noen annen klasse å gjøre hva utdanning bør være omtrent--lære å "
"uttrykke seg."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Using whatever \"free web stuff they could find,\" and relatively simple "
"tools to enable the kids to mix \"image, sound, and text,\" 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 \"gave them a tool and empowered them to be able "
"to both understand it and talk about it,\" Barish explained. That tool "
"succeeded in creating expression&mdash;far more successfully and powerfully "
"than could have been created using only text. \"If you had said to these "
"students, `you have to do it in text,' they would've just thrown their hands "
"up and gone and done something else,\" 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 these ideas can be expressed well. "
"The power of this message depended upon its connection to this form of "
"expression."
msgstr ""
"bruker noe \"gratis web ting de kunne finne\", og relativt enkle verktøy til "
"å aktivere barna å blande \"bilde, lyd og tekst\", sa barish denne klassen "
"produsert en rekke prosjekter som viste noe om pistol vold som noen ellers "
"ville forstå. Dette var et problem nær livene til disse studentene. "
"prosjektet \"ga dem et verktøy og myndighet dem å være i stand til å både "
"forstå det og snakke om det,\" barish forklart. som verktøyet lyktes i lage "
"uttrykk--langt mer vellykket og kraftfullt enn kunne ha blitt skapt med bare "
"teksten. \"Hvis du hadde sagt til disse studenter, 'du har å gjøre det i "
"tekst', de ville har bare kastet sine hender opp og borte og gjort noe annet,"
"\" er barish beskrevet i del, ingen tvil, fordi uttrykker seg i tekst ikke "
"noe disse studentene kan gjøre godt. likevel verken er tekst et skjema i som "
"disse ideene kan uttrykkes godt. kraften i denne meldingen depended upon "
"dens forbindelse til denne formen for uttrykk."

#.  PAGE BREAK 52
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"But isn't education about teaching kids to write?\" 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 \"constructing meaning.\" 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 ""
"\"men ikke opplæring om undervise barna å skrive?\" spurte jeg. delvis, "
"selvfølgelig, er det. men hvorfor er vi lærer barna å skrive? utdanning, "
"daley forklart, handler om å gi elever en måte å \"konstruksjon av ny "
"betydning.\" å si at det betyr bare skrive er som å si undervisning skriving "
"er bare om å undervise barna hvordan å stave. teksten er én del-- og i "
"økende grad, ikke den mektigste delen--for å bygge betydning. som daley "
"forklart i den mest flyttende del av vårt intervju"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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, \"Johnny, you're illiterate. Nothing you can do "
"matters.\" 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, \"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.\" Not by giving a kid a video camera and . . . saying, "
"\"Let's go have fun with the video camera and make a little movie.\" But "
"instead, really help you take these elements that you understand, that are "
"your language, and construct meaning about the topic. . . ."
msgstr ""
"Hva du ønsker er å gi disse elevene måter for å bygge betydning. Hvis alt du "
"gi dem er tekst, er de ikke til å gjøre det på. fordi de ikke kan. du vet, "
"du har johnny som kan se på en video, han kan spille et spill, kan han gjøre "
"graffiti hele din vegger, han kan ta din bil fra hverandre, og han kan gjøre "
"alle slags andre ting. han kan bare lese teksten. så johnny kommer til "
"skolen, og du sier, \"johnny, du er analfabeter. ingenting du kan gjøre "
"saker.\"Vel, johnny deretter har du to valg: han kan ignorere du eller han "
"[kan] avvise selv. Hvis hans ego er sunn overhodet, skal han ignorere du. "
"[men jeg] nstead, hvis du sier, \"Vel, med alle disse tingene du kan gjøre, "
"la oss snakke om dette problemet. spille for meg musikk som du tror "
"gjenspeiler som, eller vise meg bilder som du tror gjenspeile som, eller "
"tegne for meg noe som gjenspeiler som.\"ikke ved å gi en gutt et videokamera "
"og... sa:\"La oss gå har moro med videokameraet og gjøre en liten film.\", "
"men i stedet, virkelig hjelpe deg med å ta disse elementene du forstår, som "
"er ditt språk, og konstruere mening om emnet...."

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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, \"I "
"need to explain this and I really need to write something.\" And as one of "
"the teachers told Stephanie, they would rewrite a paragraph 5, 6, 7, 8 "
"times, till they got it right."
msgstr ""
"som gir enormt. og deretter hva som skjer, selvfølgelig, er til slutt, som "
"det har skjedd i alle disse klassene, de bump opp mot faktum, \"jeg trenger "
"å forklare dette, og jeg virkelig trenger å skrive noe.\", og som en av "
"lærerne fortalte stephanie, ville de omskrive et avsnitt 5, 6, 7, 8 ganger, "
"till de fått det riktig."

#.  PAGE BREAK 53
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 måtte. Det var en grunn for å gjøre det. de trengte å si noe, i "
"motsetning til bare hoppe gjennom ringer din. de faktisk har behov for å "
"bruke et språk som de ikke snakker godt. men de hadde begynt å forstå at de "
"hadde mye kraft med dette språket."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"When two planes 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 ""
"Når to fly krasjet inn i world trade center, en annen i pentagon og en "
"fjerde i et felt i pennsylvania, flyttet alle medier rundt om i verden til "
"denne nyheter. hvert øyeblikk av omtrent hver dag for at uken, og for uker "
"etter, TV spesielt og media vanligvis retold historien om hendelsene som vi "
"bare hadde sett. telling var en gjenfortelling, fordi vi hadde sett "
"hendelsene som ble beskrevet. geni av denne forferdelig handling av "
"terrorisme var at forsinkede andre angrepet var perfekt timet for å sikre at "
"hele verden ville være å se."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"balance,\" and seriousness. "
"This was news choreographed in the way we have increasingly come to expect "
"it, \"news as entertainment,\" even if the entertainment is tragedy."
msgstr ""
"disse retellings hadde en stadig familiær stemning. Det var musikk scoret "
"for intermissions og fancy grafikk som flashed hele skjermen. Det var en "
"formel til intervjuer. Det var \"balanse\" og seriøsitet. Dette var nyheter "
"koreograferte i måten vi er stadig mer vant til det, \"nyheter som "
"underholdning,\" selv om underholdning er tragedie."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
#, mtrans, fuzzy
msgid "ABC"
msgstr "ABC"

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "CBS"
msgstr "CBS"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"But in addition to this produced news about the \"tragedy of September 11,\" "
"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 Cyber Rights, 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 tillegg til denne produsert nyheter om \"tragedie av 11 september\", "
"de av oss knyttet til Internett kom å se en svært forskjellige produksjon "
"samt. Internett var fylt med kontoene til samme hendelsene. disse Internett-"
"kontoer hadde ennå en helt annen smaken. noen mennesker konstruert foto "
"sider som tatt bilder fra rundt om i verden og presenterte seg som "
"lysbildefremvisninger med tekst. noen tilbudt åpne bokstaver. Det var "
"lydopptak. Det var sinne og frustrasjon. var det forsøk på å gi kontekst. "
"Det var, kort sagt, en ekstraordinære verdensomspennende låven heve, i den "
"forstand mike godwin bruker termen i hans bok cyber rettigheter, rundt et "
"aktuelt arrangement som hadde fanget oppmerksomheten av verden. Det var abc "
"og cbs, men det var også Internett."

#.  PAGE BREAK 54
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"Just Think!\" bus, the visual images could be mixed with sound or "
"text."
msgstr ""
"Jeg trenger ikke bety bare å prise Internett - selv om jeg tror de som "
"støttes av denne formen for tale skal rost. Jeg mener i stedet til å peke "
"til en betydning i denne formen for tale. for som en kodak muliggjør "
"Internett folk til å ta bilder. og som i en film av en student på \"bare "
"tror!\"-bussen visuelle bilder kan blandes med lyd eller tekst."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 motsetning til noen teknologi for bare skjermbilder, Internett kan "
"disse kreasjoner som skal deles med en ekstraordinære antall mennesker, "
"nesten umiddelbart. Dette er noe nytt i vår tradisjon--ikke bare som kultur "
"kan fanges mekanisk, og åpenbart ikke bare at hendelser er kommentert "
"kritisk, men at denne blandingen av tatt bilder, lyd, og kommentarer kan "
"være vidt spredt nesten umiddelbart."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 Jerry Springer, available "
"anywhere in the world."
msgstr ""
"11 september var ikke en villfarelse. Det var en begynnelse. rundt samme "
"tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen "
"framover i offentlig bevissthet: web-loggen, eller bloggen. bloggen er en "
"type offentlig dagbok, og i noen kulturer, slik som i japan, det fungerer "
"veldig mye som en dagbok. i disse kulturer, den registrerer privat fakta i "
"en offentlig måte--det er en slags elektronisk jerry springer, tilgjengelig "
"overalt i verden."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, blogger har tatt på en svært forskjellig karakter. Det er noen "
"som bruker området bare for å snakke om deres private liv. men det er mange "
"som du engasjere seg i public discourse. diskutere saker av offentlig "
"import, kritisere andre som er feil i sine synspunkter, kritiserer "
"politikere om beslutninger som de gjør, som tilbyr løsninger på problemer "
"som vi alle ser: blogger skape følelse av et virtuelt offentlige møte, men "
"en i som vi ikke alle håper å være der på samme tid, og der samtaler ikke "
"nødvendigvis er koblet. best av bloggoppføringene er relativt kort; de peker "
"direkte til ord som brukes av andre, kritiserer med eller legge til i dem. "
"de er uten tvil den viktigste formen for unchoreographed offentlige "
"diskusjon som vi har."

#.  PAGE BREAK 55
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 sterk uttalelse. Likevel står det så mye om vårt demokrati som det "
"gjør om blogger. Dette er delen av Amerika som er mest vanskelig for de av "
"oss som elsker Amerika for å godta: vårt demokrati har atrofier. "
"selvfølgelig vi har valg, og mesteparten av tiden domstolene tillate disse "
"valgene til å telle. et relativt lite antall folk stemme i disse valgene. "
"syklusen av disse valgene blir helt professionalized og routinized. de "
"fleste av oss tror dette er demokrati."

#.  f15
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, "
"trans.  Henry Reeve (New York: Bantam Books, 2000), ch. 16."
msgstr ""
"Se for eksempel alexis de tocqueville, demokrati i Amerika, bk. 1, trans. "
"Henry reeve (new york: bantam books, 2000), ch. 16."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"But democracy has never just been about elections. Democracy means rule by "
"the people, but rule means something more than mere elections. In our "
"tradition, it also means control through reasoned discourse.  This was the "
"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-"
"century French lawyer who wrote the most important account of early "
"\"Democracy in America.\" 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 \"right\" result; they tried to "
"persuade each other of the \"right\" 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 ""

#.  f16
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political "
"Philosophy 10 (2) (2002): 129."
msgstr ""
"Bruce ackerman og james fishkin, \"deliberation dag\", journal of politisk "
"filosofi 10 (2) (2002): 129."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Yet even this institution flags in American life today. And in its place, "
"there is no systematic effort to enable citizen deliberation. Some are "
"pushing to create just such an institution.<placeholder type=\"footnote\" id="
"\"0\"/> And in some towns in New England, something close to deliberation "
"remains. But for most of us for most of the time, there is no time or place "
"for \"democratic deliberation\" to occur."
msgstr ""

#.  f17
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), "
"65&ndash;80, 175, 182, 183, 192."
msgstr ""
"Cass sunstein, republic.com (princeton: princeton university press, 2001), 65­"
"80, 175, 182, 183, 192."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"More bizarrely, there is generally not even permission for it to occur.  We, "
"the most powerful democracy in the world, have developed a strong norm "
"against talking about politics. It's fine to talk about politics with people "
"you agree with. But it is rude to argue about politics with people you "
"disagree with. Political discourse becomes isolated, and isolated discourse "
"becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what "
"our friends want to hear, and hear very little beyond what our friends say."
msgstr ""

#.  PAGE BREAK 56
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"gå inn i bloggen. bloggens svært arkitektur løser en del av dette problemet. "
"folk innlegg når de vil bokføre, og folk lese når de ønsker å lese. det mest "
"vanskelig tid er synkron tid. teknologier som gjør asynkron kommunikasjon, "
"for eksempel e-post, øke muligheten for kommunikasjon. blogger tillate "
"public discourse uten publikum noensinne trenger å samles i en enkelt "
"offentlig sted."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 utover arkitektur, blogger også har løst problemet med normer. Det er "
"ingen normen (ennå) i bloggen plass for ikke å snakke om politikk. faktisk, "
"plassen blir fylt med politisk tale, på både høyre og venstre. noen av de "
"mest populære nettstedene er høyre eller tilhenger av frihetsprinsippet, men "
"det er mange av alle politiske striper. og med blogger som ikke er politisk "
"dekker politiske spørsmål når anledningen fortjener."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"betydningen av disse bloggene er liten nå, men ikke så små. navnet howard "
"dean kan godt har bleknet fra 2004 presidentvalget rase men for blogger. "
"Selv om antall lesere er liten, er ennå lesing har en effekt."

#.  f18
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
"York Times, 16 January 2003, G5."
msgstr ""
"Noah shachtman, \"med uopphørlig innlegg, en pundit stirs potten,\" new york "
"times, 16 januar 2003, g5."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"One direct effect is on stories that had a different life cycle in the "
"mainstream media. The Trent Lott affair is an example. When Lott \"misspoke"
"\" 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 \"misspeaking\" "
"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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 forskjellige syklusen er mulig fordi de samme kommersielt press ikke "
"finnes med blogger som med andre ventures. TV og aviser er kommersielle "
"selskaper. de må arbeide for å holde oppmerksomheten. Hvis de mister lesere, "
"mister de inntekt. som haier, må de flytte."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 en lignende begrensning. de kan plage, de kan "
"fokusere, de kan få alvorlige. Hvis en bestemt blogger skriver en spesielt "
"interessant historie, koble flere og flere mennesker til denne historien. og "
"som øker antall koblinger i en bestemt artikkel, sitt utspring i rekkene av "
"historier. folk lese hva som er populært; Hva er populære har blitt valgt av "
"en veldig demokratisk prosess med node-generert rangeringer."

#.  PAGE BREAK 57
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"conflict of interest.\" \"I think you have to take "
"the conflict of interest\" out of journalism, Winer told me.  \"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.\""
msgstr ""
"Det er en annen måte, så vel i hvilke blogger har en annen syklus fra "
"ordinære trykk. som dave vin fortalte en av fedre av denne bevegelsen og "
"forfatter av en programvare i mange tiår, meg, en annen forskjell er "
"fraværet av en økonomisk \"interessekonflikt.\" Jeg tror du har til å ta "
"konflikt av interesse\"ut av journalistikk, fortalte vin meg. \"en amatør "
"journalist simpelthen har ikke en konflikt av interesse, eller konflikt av "
"interesse er så lett avslørt at du vet du kan liksom få det ut av veien.\""

#.  f19
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr "telefon intervju med david vin, 16 april 2003."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"These conflicts become more important as media becomes more concentrated "
"(more on this below). A concentrated media can hide more from the public "
"than an unconcentrated media can&mdash;as CNN admitted it did after the Iraq "
"war because it was afraid of the consequences to its own employees."
"<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more "
"coherent account. (In the middle of the Iraq war, I read a post on the "
"Internet from someone who was at that time listening to a satellite uplink "
"with a reporter in Iraq. The New York headquarters was telling the reporter "
"over and over that her account of the war was too bleak: She needed to offer "
"a more optimistic story. When she told New York that wasn't warranted, they "
"told her that they were writing \"the story.\")"
msgstr ""

#.  f20
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle "
"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 "
"February 2003, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #10</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Blog space gives amateurs a way to enter the debate&mdash;\"amateur\" 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 \"triangulate,\" as "
"Winer puts it, the truth. Blogs, Winer says, are \"communicating directly "
"with our constituency, and the middle man is out of it\"&mdash;with all the "
"benefits, and costs, that might entail."
msgstr ""

#.  f21
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York "
"Times, 29 September 2003, C4. (\"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 "
"Houston Chronicle 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.\")"
msgstr ""
"se michael falcone, \"betyr en redigering blyant ødelegge en weblogg?\" new "
"york times, 29. september 2003, c4. (\"ikke alle nyhetsorganisasjoner har "
"vært så akseptere av ansatte som bloggen. Kevin områder, en cnn "
"korrespondent i Irak som startet en blogg om sin rapportering av krigen mot "
"mars 9, stoppet innlegg 12 dager senere på hans sjefer forespørsel. i fjor "
"steve olafson, houston chronicle reporter, ble sparket for å holde en "
"personlig weblogg, utgitt under psevdonym, som jobbet med noen av de "
"problemer og folk som han var dekket.\")"

#.  PAGE BREAK 58
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Winer is optimistic about the future of journalism infected with blogs. "
"\"It's going to become an essential skill,\" Winer predicts, for public "
"figures and increasingly for private figures as well. It's not clear that "
"\"journalism\" 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. \"A lot of what we are doing now is "
"warm-up exercises,\" 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, \"we will be the last thing that gets shut down.\""
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This speech affects democracy. Winer thinks that happens because \"you don't "
"have to work for somebody who controls, [for] a gatekeeper.\" 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 ""
"denne talen påvirker demokrati. vin mener at skjer fordi \"du trenger ikke å "
"arbeide for noen som styrer, [for] en gatekeeper.\" det er sant. men det har "
"innvirkning på demokrati i en annen måte også. som flere og flere uttrykke "
"borgere hva de tenker, og forsvare det skriftlig, som vil endre måten folk "
"forstå offentlige problemer. Det er lett å være galt og misguided i hodet "
"ditt. Det er vanskeligere når produktet av hjernen din kan bli kritisert av "
"andre. Selvfølgelig, er det en sjelden menneske som innrømmer at han har "
"blitt overtalt at han er galt. men det er aften sjelden for et menneske å "
"ignorere når han har vært påvist feil. skriving av ideer, argumenter og "
"kritikk forbedrer demokrati. i dag er det sannsynligvis et par millioner "
"blogger der skrive slike skjer. Når det er ti millioner, vil det være noe "
"ekstraordinære til rapporten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"John Seely Brown is the chief scientist of the Xerox Corporation.  His work, "
"as his Web site describes it, is \"human learning and . . . the creation of "
"knowledge ecologies for creating . . . innovation.\""
msgstr ""
"John seely brown er den ledende vitenskapsmannen for xerox corporation. hans "
"arbeid, som hans webområdet beskriver det, er \"menneskelige læring og... "
"etableringen av kunnskap dagsykluser for å opprette... innovasjon.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"brun dermed ser på disse teknologiene av digitale kreativitet litt "
"annerledes fra perspektiver jeg har skisserte så langt. Jeg er sikker på at "
"han ville bli begeistret for enhver teknologi som kan forbedre demokrati. "
"men hans håv kommer fra hvordan disse teknologiene berører læring."

#.  PAGE BREAK 59
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" he "
"explains, that tinkering was done \"on motorcycle engines, lawnmower "
"engines, automobiles, radios, and so on.\" 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 \"free collage,\" as Brown calls "
"it. Many get to add to or transform the tinkering of many others."
msgstr ""
"som brunt mener vi lære av fiksing og triksing. Når \"mange av oss vokste "
"opp,\" forklarer han at fiksing og triksing ble gjort \"på motorsykkel "
"motorer, gressklipper motorer, biler, radioer og så videre.\", men digitale "
"teknologier gir en annen fiksing og slags triksing--med abstrakte ideer om i "
"konkrete-skjemaet. barna på tror bare! ikke bare tenke på hvordan en "
"kommersiell skildrer en politiker; å bruke digital teknologi, kan de ta "
"kommersielt fra hverandre og manipulere den, tinker med den for å se hvordan "
"den gjør hva den gjør. Digital teknologi lanseringen en slags bricolage, "
"eller \"gratis collage,\" som brown kaller det. mange kommer til å legge til "
"eller forandre fiksing og den triksing av mange andre."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The best large-scale example of this kind of tinkering so far is free "
"software or open-source software (FS/OSS). FS/OSS is software whose source "
"code is shared. Anyone can download the technology that makes a FS/OSS "
"program run. And anyone eager to learn how a particular bit of FS/OSS "
"technology works can tinker with the code."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This opportunity creates a \"completely new kind of learning platform,\" as "
"Brown describes. \"As soon as you start doing that, you . . .  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."
"\" Each effort is a kind of apprenticeship. \"Open source becomes a major "
"apprenticeship platform.\""
msgstr ""
"anledningen oppretter en \"helt ny type læring plattform,\" som brown "
"beskriver. \"så snart du begynner å gjøre det, du... Slipp løs en gratis "
"collage på samfunnet, slik at andre personer kan begynne å se på koden, "
"fiksing og triksing med det, prøver det ut, å se hvis de kan forbedre den.\" "
"hver innsats er en slags læretid. \"åpen kildekode blir en større læretid "
"plattform.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In this process, \"the concrete things you tinker with are abstract.  They "
"are code.\" Kids are \"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. . . .  You are "
"tinkering with other people's stuff. The more you tinker the more you "
"improve.\" The more you improve, the more you learn."
msgstr ""
"i denne prosessen, \"konkrete ting du tinker med er abstrakt. de er koden."
"\"barn er\"skiftende til muligheten til å tinker i abstrakt og denne fiksing "
"og triksing er ikke lenger en isolert aktivitet som du gjør i garasjen. du "
"er fiksing og triksing med en fellesskapet plattform.... du er fiksing og "
"triksing med andres ting. Jo mer du tinker jo mer du forbedre.\"jo mer du "
"forbedre, jo mer du lærer."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, "
"\"the Web [is] the first medium that truly honors multiple forms of "
"intelligence.\" Earlier technologies, such as the typewriter or word "
"processors, helped amplify text. But the Web amplifies much more than text. "
"\"The Web . . . says if you are musical, if you are artistic, if you are "
"visual, if you are interested in film . . . [then] there is a lot you can "
"start to do on this medium. [It] can now amplify and honor these multiple "
"forms of intelligence.\""
msgstr ""
"Denne samme ting skjer med innhold, også. og det skjer på samme måte som "
"samarbeid når innholdet er en del av nettet. som brown sier det, \"web [er] "
"første mediet som virkelig tar hensyn til flere former for intelligens.\" "
"tidligere teknologi, for eksempel skrivemaskin eller "
"tekstbehandlingsprogrammer, bidro til å forsterke tekst. Men nettet "
"forsterker mye mer enn tekst. \"web... sier Hvis du er musikalske, hvis du "
"er kunstnerisk, hvis du er visuelle, hvis du er interessert i filmen... [] "
"er det mye du kan begynne å gjøre på dette mediet. [det] kan nå forsterke og "
"respektere disse flere former for intelligens.\""

#.  PAGE BREAK 60
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 hva elizabeth daley, stephanie barish og tror bare! lære: "
"som fiksing og denne triksing med kultur lærer samt oppretter. det utvikler "
"talenter annerledes, og det bygger en annen type gjenkjenning."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"frihet til å tinker med disse objektene er ennå ikke garantert. som vi ser "
"gjennom i løpet av denne boken, er faktisk at freedom stadig svært omstridt. "
"mens det er ingen tvil om at din far hadde rett til å tinker med motor, er "
"det stor tvil om at barnet ditt vil ha rett til å tinker med bilder hun "
"finner rundt. lov og, i økende grad teknologi forstyrre en frihet som "
"teknologi, og nysgjerrighet, ellers ville sikre."

#.  f22
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See, for example, Edward Felten and Andrew Appel, \"Technological Access "
"Control Interferes with Noninfringing Scholarship,\" Communications of the "
"Association for Computer Machinery 43 (2000): 9."
msgstr ""
"Se for eksempel edward felten og andrew appel, \"teknologiske "
"tilgangskontroll forstyrrer noninfringing stipend,\" kommunikasjon av "
"association for computer machinery 43 (2000): 9."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"These restrictions have become the focus of researchers and scholars.  "
"Professor Ed Felten of Princeton (whom we'll see more of in chapter 10) has "
"developed a powerful argument in favor of the \"right to tinker\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"This is where education in the twenty-first century is going,\" Brown "
"explains. We need to \"understand how kids who grow up digital think and "
"want to learn.\""
msgstr ""
"\"Dette er hvor utdanning i det tjueførste århundret er kommer,\" brown "
"forklarer. Vi trenger å \"forstå hvordan barn som vokser opp digital tror og "
"vil lære.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Yet,\" as Brown continued, and as the balance of this book will evince, "
"\"we are building a legal system that completely suppresses the natural "
"tendencies of today's digital kids. . . . We're building an architecture "
"that unleashes 60 percent of the brain [and] a legal system that closes down "
"that part of the brain.\""
msgstr ""
"\"ennå,\" som brown fortsatte, og som balanse av denne boken vil evince, "
"\"vi bygger en juridisk system som undertrykker helt naturlig tendensene til "
"dagens digitale barn.... bygger vi en arkitektur som unleashes 60 prosent av "
"hjernen [og] en juridisk system stenger ned som en del av hjernen.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"bygger vi en teknologi som tar magiske kodak, mikser flytte bilder og lyd, "
"og legger til et mellomrom for kommentarer og en mulighet til å spre at "
"kreativiteten overalt. men bygger vi lov til å lukke den teknologien."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in chapter "
"9, quipped to me in a rare moment of despondence."
msgstr ""
"\"ingen måte å kjøre en kultur\" som brewster kahle, hvem vil vi møtes i "
"kapittel 9, quipped til meg i en sjelden øyeblikk av despondence."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER THREE: Catalogs"
msgstr "Kapittel tre: Kataloger"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In the fall 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 ""
"i høsten 2002, jesse jordan av oceanside, new york, registrert som freshman "
"ved rensselaer polytechnic institute, i troy, new york. hans store på rpi "
"var informasjonsteknologi. Selv om han ikke er en programmerer, i oktober "
"besluttet jesse å begynne å tinker med søkemotorteknologi som var "
"tilgjengelig på rpi-nettverket."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 av Amerikas fremst teknologiske forskningsinstitusjoner. Det "
"tilbyr grader i feltene fra arkitektur og konstruksjon til information "
"sciences. mer enn 65 prosent av sine fem tusen undergraduates ferdig i "
"toppen 10 prosent av sin high school-klasse. skolen er dermed en perfekt "
"blanding av talent og erfaring til å tenke og deretter bygge en generasjon "
"for nettverk-alder."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"rpi's datanettverk kobler studenter, lærere og administrasjon til hverandre. "
"den har også koblinger rpi til Internett. ikke alt som er tilgjengelig på "
"nettverket rpi er tilgjengelig på Internett. men nettverket er utformet for "
"å aktivere studenter å få tilgang til Internett, så vel som mer intimt "
"tilgang til andre medlemmer av samfunnet rpi."

#.  PAGE BREAK 62
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"intranet\" 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 et mål på et nettverk intimitet. Google brakt Internett mye "
"nærmere for oss alle av utrolig å forbedre kvaliteten på Søk på nettverket. "
"spesialitet søkemotorer kan gjøre dette enda bedre. ideen om \"intranett\" "
"søkemotorer, søkemotorer som søke innenfor nettverket av en bestemt "
"institusjon, er å gi brukere av at institusjonen bedre tilgang til materiale "
"fra som institusjon. bedrifter gjøre dette hele tiden, slik at ansatte skal "
"ha tilgang til materiale som ikke kan få personer utenfor bedriften. "
"universiteter gjøre det også."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 motorene er aktivert som nettverk teknologien i seg selv. Microsoft, "
"har et nettverksfilsystem som gjør det svært enkelt for søkemotorer som er "
"stilt inn på nettverket til å spørre systemet for informasjon om for "
"eksempel den offentlig (innen nettverket) tilgjengelig innhold. jesse's "
"søkemotor ble bygget for å dra nytte av denne teknologien. det brukes "
"Microsofts NFS til å lage en indeks over alle filer som er tilgjengelige "
"innenfor rpi-nettverket."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"jesse's var ikke den første søkemotoren som er bygd for rpi-nettverket. "
"motoren hans var faktisk en enkel endring av motorer som andre hadde bygget. "
"hans enkelt høyst betydelig forbedring i forhold til disse motorene var å "
"fikse en feil i microsoft-fildeling systemet som kan føre til en brukers "
"datamaskin til å krasje. med motorer som fantes før Hvis du prøvde å få "
"tilgang til en fil via en windows-leser som var på en datamaskin som var "
"frakoblet, datamaskinen kan krasje. Jesse endret systemet litt for å løse "
"det problemet, ved å legge til en knapp som en bruker kan klikke for å se om "
"maskinen holde filen var fortsatt on-line."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"jesse's motor gikk on-line i slutten av oktober. de følgende seks måneder "
"fortsatte han å tweak det for å forbedre funksjonaliteten. av mars, var "
"systemet fungerer ganske bra. Jesse hatt mer enn én million filer i hans "
"mappen, inkludert alle typer innhold som kan være på brukernes datamaskiner."

#.  PAGE BREAK 63
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 the index sin søkemotor produsert inkludert bilder, som elevene kan "
"bruke til å sette på sine egne webområder; Kopier av notater eller "
"forskning; Kopier av informasjon hefter; filmklipp studenter har opprettet; "
"Universitetet brosjyrer--i utgangspunktet alt som brukere av rpi-nettverket "
"gjøres tilgjengelig i en fellesmappe på datamaskinen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 the index også inkludert musikkfiler. faktisk en fjerdedel av filene som "
"jesse søkemotor oppført var musikkfiler. men det betyr, selvfølgelig, at tre "
"firedeler var ikke, og--slik at dette punktet er helt klart--jesse gjorde "
"noe for å overtale folk til å sette musikkfiler i deres fellesmapper. Han "
"gjorde ikke noe å målrette søkemotoren til disse filene. Han var en gutt "
"fiksing og triksing med en google-liknende teknologi på et universitet, der "
"han studerte informasjonsvitenskap, og dermed, fiksing og triksing var "
"målet. i motsetning til google eller microsoft, for saks skyld, fikk han "
"ingen penger fra fiksing og denne triksing; Han ble ikke koblet til enhver "
"bedrift som ville gjøre noen penger fra dette eksperimentet. Han var en gutt "
"fiksing og triksing med teknologi i et miljø hvor fiksing og triksing med "
"teknologi var nøyaktig hva han skulle gjøre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"3. april 2003, ble jesse kontaktet av dean av studenter ved rpi. dean "
"informert jesse at recording industry association of america, riaa, ville "
"være innlevering av søksmålet mot ham og tre andre studentene som han ikke "
"visste selv, to av dem på andre universiteter. noen timer senere, ble jesse "
"servert med avhandlinger fra dressen. som han lese disse papirene og så "
"nyhetsrapporter om dem, ble han stadig mer forbauset."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"It was absurd,\" he told me. \"I don't think I did anything wrong. . . .  "
"I don't think there's anything wrong with the search engine that I ran "
"or . . . 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\"&mdash;again, a search engine, "
"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 ""
"\"det var absurd,\" sa han til meg. \"Jeg tror ikke jeg gjorde noe galt.... "
"Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte eller... hva "
"jeg hadde gjort til den. Jeg mener, jeg ikke hadde endret det på noen måte "
"som forfremmet eller utvidet arbeidet av pirater. Jeg bare endret "
"søkemotoren på en måte som ville gjøre det enklere å bruke \"--igjen, en "
"søkemotor, som jesse hadde ikke selv bygget, ved hjelp av windows "
"filesharing systemet, som jesse hadde ikke selv bygget, for å la medlemmer "
"av rpi-fellesskapet for å få tilgang til innhold, som jesse hadde ikke selv "
"opprettet eller lagt ut, og det store flertallet av som hadde ingenting å "
"gjøre med musikk."

#.  PAGE BREAK 64
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
"had therefore \"willfully\" violated copyright laws. They demanded that he "
"pay them the damages for his wrong. For cases of \"willful infringement,\" "
"the Copyright Act specifies something lawyers call \"statutory damages.\" "
"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 branded jesse en pirat. de hevdet han opererte et nettverk og "
"derfor \"willfully\" hadde brutt lover om opphavsrett. de krevde at han "
"betaler dem skader for hans feil. for tilfeller \"willful krenkelse\" av "
"copyright act angir noe advokater samtale \"lovbestemte skader.\" disse "
"skader tillater en rettighetsinnehaveren å kreve $150.000 per krenkelse. som "
"riaa påståtte mer enn hundre bestemt opphavsrett infringements, krevde de "
"derfor at jesse betale dem minst $15,000,000."

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): "
"5, available at 2003 WL 55179443."
msgstr ""
"Tim goral, \"innspillingen industri går etter campus p-2-p nettverk: Dress "
"alleges $97.8 milliarder i skader,\" profesjonell media gruppere lcc 6 "
"(2003): 5, tilgjengelig på 2003 wl 55179443."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Similar lawsuits were brought against three other students: one other "
"student at RPI, one at Michigan Technical University, and one at Princeton. "
"Their situations were similar to Jesse's. Though each case was different in "
"detail, the bottom line in each was exactly the same: huge demands for "
"\"damages\" 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 billion&mdash;six times the total profit of the "
"film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 kalt hans foreldre. de var støttende, men litt skremt. en onkel var en "
"advokat. Han begynte forhandlinger med riaa. de forlangte å vite hvor mye "
"penger jesse hatt. Jesse hadde lagret $12.000 fra sommerjobber og andre "
"sysselsetting. de krevde $12000 for å avvise saken."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"You don't want to pay "
"another visit to a dentist like me.\") And throughout, the RIAA insisted it "
"would not settle the case until it took every penny Jesse had saved."
msgstr ""
"riaa ønsket jesse å innrømme til gjør noe galt. han nektet. de ønsket ham å "
"godta en kjennelse som ville egentlig gjøre det umulig for ham å arbeide i "
"mange felt av teknologi for resten av sitt liv. han nektet. de gjorde ham "
"forstå at denne prosessen av å sued ikke var til å være hyggelig. (som "
"jesse's far recounted til meg, sjef advokaten på saken, matt oppenheimer, "
"fortalte jesse, \"du ikke ønsker å betale et besøk til en tannlege som meg."
"\") og hele riaa insisterte den ikke ville avgjøre saken før det tok hver "
"krone jesse hadde lagret."

#.  PAGE BREAK 65
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"jesse's familie ble irritert på disse påstandene. de ønsket å kjempe. men "
"jesse's onkel arbeidet for å utdanne familien om natur av den amerikanske "
"juridiske systemet. Jesse kunne bekjempe RIAA. han kan selv vinne. men "
"kostnaden for kjemper en sak som dette, jesse ble fortalt, ville være minst "
"$250,000. Hvis han vunnet, ville han ikke gjenopprette de pengene. Hvis han "
"vunnet, ville han ha et stykke papir som sa han hadde vunnet, og et stykke "
"papir sier han og hans familie var konkurs."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
"$12,000 and a settlement."
msgstr ""
"Så Jesse hadde et mafia-lignende valg: $250,000 og en sjanse til å vinne, "
"eller $12.000 og et forlik."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, 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, More Than One in a Blue Moon (2000)."
msgstr ""
"yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (27­2042--"
"musikere og vokalister). Se også nasjonale legat for arts, mer enn en i en "
"blå månen (2000)."

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
"Street Journal, 10 September 2003, A24."
msgstr ""
"Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" "
"Wall Street Journal, 10. september 2003, A24."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The recording industry insists this is a matter of law and morality.  Let's "
"put the law aside for a moment and think about the morality.  Where is the "
"morality in a lawsuit like this? What is the virtue in scapegoatism? The "
"RIAA is an extraordinarily powerful lobby. The president of the RIAA is "
"reported to make more than $1 million a year.  Artists, on the other hand, "
"are not well paid. The average recording artist makes $45,900.<placeholder "
"type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect "
"and direct policy. So where is the morality in taking money from a student "
"for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"på den 23 juni kablet jesse hans besparelser til advokaten arbeider for "
"riaa. en sak mot ham ble deretter avvist. og med dette, ble denne gutten som "
"hadde endret noe en datamaskin til en $15 millioner rettssak en aktivist:"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"I was definitely not an activist [before]. I never really meant to be an "
"activist. . . . [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 [før]. jeg egentlig aldri ment å være en "
"aktivist.... [men] jeg har blitt skjøvet inn i dette. på ingen måte gjorde "
"jeg noensinne forutsi noe lignende, men jeg tror det er bare helt absurd det "
"riaa har gjort."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Jesse's parents betray a certain pride in their reluctant activist. As his "
"father told me, Jesse \"considers himself very conservative, and so do "
"I. . . . He's not a tree hugger. . . . 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.\""
msgstr ""
"Jesses foreldre viser en viss stolthet i deres motvillige aktivist. Som hans "
"far fortalte meg, Jesse \"anser seg selv svært konservativ, og det samme "
"gjør jeg.... Han er ikke en treklemmer.... Jeg synes det er sært at de "
"plukket ut ham.  Men han ønsker å la folk få vite at de sender feil "
"budskap,  Og han ønsker å korrigere posten."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER FOUR: \"Pirates\""
msgstr "Kapittel fire: \"Pirater\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"If \"piracy\" means using the creative property of others without their "
"permission&mdash;if \"if value, then right\" is true&mdash;then the history "
"of the content industry is a history of piracy. Every important sector of "
"\"big media\" 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 ""
"Hvis \"piratkopiering\" betyr ved hjelp av kreative egenskapen til andre "
"uten deres tillatelse--Hvis \"Hvis verdien, deretter høyre\" er sant-- "
"deretter historien av innhold industrien er en historie om piratkopiering. "
"viktig sektor av \"store media\" i dag - filmen, poster, radio og kabel-tv--"
"ble født av en form for piratkopiering derfor definert. konsekvent historien "
"er hvordan siste generasjon pirater bli med denne generasjon country club--"
"før nå."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Film"
msgstr "filmen"

#.  f1
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"I am grateful to Peter DiMauro for pointing me to this extraordinary "
"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, "
"87&ndash;93, which details Edison's \"adventures\" with copyright and patent."
msgstr ""
"Jeg er takknemlig til peter dimauro for å sette meg til dette ekstraordinære "
"historie. Se også siva vaidhyanathan, opphavsrett og copywrongs, 87­93, som "
"inneholder informasjon om edison's \"opplevelser\" med opphavsrett og patent."

#.  PAGE BREAK 67
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The film industry of Hollywood was built by fleeing pirates.<placeholder "
"type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East "
"Coast to California in the early twentieth century in part to escape "
"controls that patents granted the inventor of filmmaking, Thomas Edison. "
"These controls were exercised through a monopoly \"trust,\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "As one commentator tells one part of the story,"
msgstr "som en kommentator forteller en del av historien,"

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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 for januar 1909 ble angitt for alle selskaper i samsvar med "
"lisens. februar, ulisensiert outlaws, som henviste til seg selv som "
"independents protesterte tillit og videreførte virksomhet uten å sende til "
"edison-monopol. i løpet av 1909 sommeren var uavhengige bevegelsen i full-"
"swing, med produsenter og teater eiere bruker ulovlig utstyr og importerte "
"film lager til å lage sine egne underjordisk marked."

#.  f2
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
msgid ""
"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion "
"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts "
"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company "
"vs. the Independent Outlaws,\" 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, \"From Edison to the Broadcast Flag: Mechanisms of Consent "
"and Refusal and the Propertization of Copyright\" (September 2002), "
"University of Chicago Law School, James M. Olin Program in Law and "
"Economics, Working Paper No. 159."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"With the country experiencing a tremendous expansion in the number of "
"nickelodeons, the Patents Company reacted to the independent movement by "
"forming a strong-arm subsidiary known as the General Film Company to block "
"the entry of non-licensed independents. With coercive tactics that have "
"become legendary, General Film confiscated unlicensed equipment, "
"discontinued product supply to theaters which showed unlicensed films, and "
"effectively monopolized distribution with the acquisition of all U.S. film "
"exchanges, except for the one owned by the independent William Fox who "
"defied the Trust even after his license was revoked.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#.  f3
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at "
"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The Napsters of those days, the \"independents,\" were companies like Fox. "
"And no less than today, these independents were vigorously resisted.  "
"\"Shooting was disrupted by machinery stolen, and `accidents' resulting in "
"loss of negatives, equipment, buildings and sometimes life and limb "
"frequently occurred.\"<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 ""

#.  PAGE BREAK 68
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"limited\" 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 ""
"Selvfølgelig, california vokste raskt, og effektiv håndhevelse av føderale "
"lov til slutt spre vest. men fordi patenter gi patent holder en virkelig "
"\"begrenset\" monopol (bare sytten år på den tiden), etter tid nok føderale "
"marshals dukket opp, patentene var utløpt. en ny industri hadde blitt født, "
"delvis fra piratkopiering av Edisons kreative eiendom."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Recorded Music"
msgstr "innspilt musikk"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"rullebladet industri ble født av en annen type piratkopiering, om å se "
"hvordan krever en bit av detaljer om hvordan loven regulerer musikk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"Happy Mose,\" "
"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 tiden at edison og henri fourneaux oppfunnet maskiner for å gjengi musikk "
"(edison fonograf, fourneaux spiller piano), ga loven komponister den "
"eksklusive retten til å kontrollere eksemplarer av deres musikk og den "
"eksklusive retten til å kontrollere offentlig fremføring av musikken deres. "
"med andre ord, i 1900, hvis jeg ønsket en kopi av phil russel's 1899 hit "
"\"happy mose,\" loven sa jeg måtte betale for rett til å få en kopi av den "
"musikalske poeng, og jeg vil også måtte betale for retten til å utføre det "
"offentlig."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Beatles"
msgstr "Beatles"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But what if I wanted to record \"Happy Mose,\" 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 \"public performance\" 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 hva om jeg ønsket å spille inn \"happy mose,\" ved hjelp av Edisons "
"fonograf eller fourneaux's Pianola? Her snublet loven. Det var klar nok til "
"at jeg må kjøpe alle kopier av musikalske poengsummen som jeg utførte i å "
"gjøre denne innspillingen. og det var klart nok til at jeg måtte betale for "
"eventuelle offentlig fremføring av arbeidet jeg var innspillingen. men det "
"var ikke helt klart at jeg måtte betale for en \"offentlig fremføring\" Hvis "
"jeg spilte sangen i mitt eget hus (selv i dag, du ikke skylder beatles noe "
"hvis du synge sine sanger i dusjen), eller hvis jeg spilte sangen fra minnet "
"(kopier i hjernen er ikke--ennå--regulert av lov om opphavsrett). så hvis "
"jeg bare sang sangen til en innspillingsenhet i personvernet til mitt eget "
"hjem, det ikke var klart at jeg skyldte komponisten noe. og enda viktigere, "
"det var ikke klart om jeg skyldte komponisten noe hvis jeg gjort deretter "
"Kopier av disse innspillinger. på grunn av dette hullet i loven, så kunne "
"jeg effektivt pirat andres sang uten å betale sin komponist noe."

#.  PAGE BREAK 69
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The composers (and publishers) were none too happy about this capacity to "
"pirate. As South Dakota senator Alfred Kittredge put it,"
msgstr ""
"komponister (og utgivere) var ingen så glade om denne kapasiteten til pirat. "
"som i Sør-dakota senator alfred sa kittredge,"

#.  f4
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, 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 Legislative History of the Copyright Act, E. Fulton "
"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, "
"1976)."
msgstr ""
"endre og konsolidere handlinger som respekterer copyright: hearings på s. "
"6330 og hr 19853 før (felles) komiteer på patenter, 59th cong. 59, 1 sess. "
"(1906) (setning av senator alfred b. kittredge av Sør-dakota, formann), "
"reprinted i lovgivningens bakgrunn av copyright act, e. brylawski for fulton "
"og abe goldman, Red. (south hackensack, NJ: rothman opptrykk, 1976)."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Imagine the injustice of the thing. A composer writes a song or an opera. A "
"publisher buys at great expense the rights to the same and copyrights it. "
"Along come the phonographic companies and companies who cut music rolls and "
"deliberately steal the work of the brain of the composer and publisher "
"without any regard for [their] rights.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#.  f5
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
msgstr ""
"endre og konsolidere handlinger som respekterer opphavsrett, 223 (setning av "
"nathan burkan, advokat for musikk publishers association)."

#.  f6
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
msgstr ""
"endre og konsolidere handlinger som respekterer opphavsrett, 226 (setning av "
"nathan burkan, advokat for musikk publishers association)."

#.  f7
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of "
"John Philip Sousa, composer)."
msgstr ""
"endre og konsolidere handlinger som respekterer opphavsrett, 23 (setning av "
"john philip sousa, komponist)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The innovators who developed the technology to record other people's works "
"were \"sponging upon the toil, the work, the talent, and genius of American "
"composers,\"<placeholder type=\"footnote\" id=\"0\"/> and the \"music "
"publishing industry\" was thereby \"at the complete mercy of this one pirate."
"\"<placeholder type=\"footnote\" id=\"1\"/> As John Philip Sousa put it, in "
"as direct a way as possible, \"When they make money out of my pieces, I want "
"a share of it.\"<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""

#.  f8
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 ""
"endre og konsolidere handlinger som respekterer opphavsrett, 283­84 (setning "
"av albert walker, er representative for auto-musikk perforating selskapet i "
"new york)."

#.  f9
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 ""
"endre og konsolidere handlinger som respekterer opphavsrett, 376 (forberedt "
"memorandum of philip mauro, patent sjefsjurist for amerikansk graphophone "
"selskapet association)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"These arguments have familiar echoes in the wars of our day. So, too, do the "
"arguments on the other side. The innovators who developed the player piano "
"argued that \"it is perfectly demonstrable that the introduction of "
"automatic music players has not deprived any composer of anything he had "
"before their introduction.\" 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 \"to consider first the interest "
"of [the public], whom they represent, and whose servants they are.\" \"All "
"talk about `theft,'\" the general counsel of the American Graphophone "
"Company wrote, \"is the merest claptrap, for there exists no property in "
"ideas musical, literary or artistic, except as defined by statute."
"\"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#.  PAGE BREAK 70
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The law soon resolved this battle in favor of the composer and the recording "
"artist. Congress amended the law to make sure that composers would be paid "
"for the \"mechanical reproductions\" 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 løst snart denne kampen til fordel for komponisten og opptak "
"kunstneren. kongressen endret loven å sørge for at komponister ville bli "
"betalt for \"mekaniske reproduksjoner\" av musikken deres. men i stedet for "
"å bare gi komponisten full kontroll over høyre for å gjøre mekanisk "
"reproduksjoner, Kongressen ga artister rett til å spille inn musikk, til en "
"pris som er fastsatt av Kongressen, når komponisten tillater det å "
"registreres én gang. Dette er delen av lov om opphavsrett som gjør dekke "
"sanger mulig. Når en komponist autoriserer en innspilling av sangen, er "
"andre gratis å registrere samme sang, så lenge de betaler den opprinnelige "
"komponisten et gebyr som er angitt av loven."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"American law ordinarily calls this a \"compulsory license,\" but I will "
"refer to it as a \"statutory license.\" 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 vanligvis kaller dette en \"tvangslisens\", men jeg vil se "
"det som en \"lovbestemte lisens.\" en lovbestemte lisens er en lisens som "
"hovedtermene angis av loven. etter congress's endring av copyright act i "
"1909 var plateselskaper fri til å distribuere kopier av opptakene så lenge "
"de betalte komponist (eller opphavsrettsinnehaver) gebyr som er angitt av "
"Vedtektene."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 unntak i henhold til loven om opphavsrett. Når john grisham "
"skriver en roman, er en utgiver gratis å publisere denne romanen bare hvis "
"grisham gir publisher-tillatelse. Grisham, i sin tur er gratis å belaste det "
"han ønsker for denne tillatelsen. prisen til å publisere grisham dermed er "
"satt av grisham og lov om opphavsrett sier vanligvis du har ikke tillatelse "
"til å bruke grisham's arbeide bortsett med tillatelse fra grisham."

#.  f10
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 Legislative "
"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. "
"(South Hackensack, N.J.: Rothman Reprints, 1976)."
msgstr ""
"Copyright lov revision: hearings på s. 2499, s. 2900, hr 243 og hr 11794 før "
"(felles) komiteen på patenter, 60 cong., 1 sess., 217 (1908) (setning av "
"senator reed smoot, formann), reprinted i lovgivningens bakgrunn av 1909 "
"copyright act, e. brylawski for fulton og abe goldman, Red. (south "
"hackensack, NJ: rothman opptrykk, 1976)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"But the law governing recordings gives recording artists less. And thus, in "
"effect, the law subsidizes 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 musikkindustrien har vært ganske sjenert om dette nylig, historisk har "
"det vært ganske en tilhenger av lovbestemte lisensen for poster. som en 1967 "
"relaterer rapport fra house committee på rettsvesenet,"

#.  f11
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, 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 ""
"Copyright lov revision: rapporten skal følge med HR 2512, huset committee on "
"rettsvesenet, 90th cong., 1 sess., huset dokument nr. 83, (8 mars 1967). Jeg "
"er takknemlig for glenn brun for tegning min oppmerksomhet til denne "
"rapporten."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"the record producers argued vigorously that the compulsory license system "
"must be retained. They asserted that the record industry is a half-billion-"
"dollar business of great economic importance in the United States and "
"throughout the world; records today are the principal means of disseminating "
"music, and this creates special problems, since performers need unhampered "
"access to musical material on nondiscriminatory terms. Historically, the "
"record producers pointed out, there were no recording rights before 1909 and "
"the 1909 statute adopted the compulsory license as a deliberate anti-"
"monopoly condition on the grant of these rights. They argue that the result "
"has been an outpouring of recorded music, with the public being given lower "
"prices, improved quality, and a greater choice.<placeholder type=\"footnote"
"\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"By limiting the rights musicians have, by partially pirating their creative "
"work, the record producers, and the public, benefit."
msgstr ""
"ved å begrense fordel rettighetene musikere har, ved delvis pirating sine "
"skapende arbeid, registrere produsentene og offentligheten."

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Radio"
msgstr "Radio"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Radio was also born of piracy."
msgstr "Radio ble også født av piratkopiering."

#.  f12
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See 17 United States Code, sections 106 and 110. At the beginning, record "
"companies printed \"Not Licensed for Radio Broadcast\" 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 RCA Manufacturing Co. v. "
"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C.  Picker, \"From "
"Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): "
"281."
msgstr ""
"se 17, united states code, inndelinger 106 og 110. på begynnelsen av, spille "
"inn selskapene skrives ut \"ikke lisensiert for radiosendingen\" og andre "
"meldinger purporting å begrense muligheten til å spille en post på en "
"radiostasjon. dommer lært hånd avvist argumentet at en advarsel som er "
"knyttet til en post kan begrense rettighetene til radiostasjonen. se rca "
"produksjon co v. whiteman, 114 f. 2d 86 (2nd cir. 1940). Se også randal c. "
"datovelger, \"fra edison til kringkasting flagg: mekanismer av samtykke og "
"nektet og propertization av opphavsrett,\" university of chicago lov gå "
"gjennom 70 (2003): 281."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"When a radio station plays a record on the air, that constitutes a \"public "
"performance\" 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 ""

#.  PAGE BREAK 72
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But when the radio station plays a record, it is not only performing a copy "
"of the composer's work. The radio station is also performing a copy of the "
"recording artist's work. It's one thing to have \"Happy Birthday\" 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."
msgstr ""
"men når radiostasjonen spiller en post, det er ikke bare utføre en kopi av "
"komponistens arbeid. radiostasjonen presterer også en kopi av den "
"Plateartist arbeid. Det er én ting å ha \"happy birthday\" sunget på radioen "
"av lokale children's choir; Det er noe helt annet å ha det sunget av rolling "
"stones eller lyle lovett. Plateartist er å legge til verdien for "
"sammensetning som er utført på radiostasjonen. og hvis loven var hundre "
"prosent konsekvente, radiostasjonen vil måtte betale Plateartist for sitt "
"arbeid, akkurat som det lønner seg komponist av musikken for sitt arbeid."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ikke. under loven styrende radio forestillinger, har radiostasjonen "
"ikke å betale innspillingen artist. radiostasjonen trenger bare å betale "
"komponisten. radiostasjonen får dermed en bit av noe for ingenting. det blir "
"å utføre den Plateartist arbeid gratis, selv om det må betale komponisten "
"noe for privilegiet av å spille sangen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 forskjellen kan være stor. Tenk du komponere musikk. forestille seg "
"det er din første. du eier den eksklusive retten til å godkjenne "
"teateroppsetninger av at musikk. så hvis madonna ønsker å synge sangen i det "
"offentlige, hun har å bli din tillatelse."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"protected\" right. The radio "
"station thus gets to pirate the value of Madonna's work without paying her "
"anything."
msgstr ""
"forestille hun gjør synge sangen, og forestille hun liker det mye. Hun "
"deretter bestemmer seg for å gjøre en innspilling av sangen, og det blir en "
"øverste treffet. under vår lov, hver gang en radiostasjon spiller sangen, "
"kan du få noen penger. men madonna får ingenting, lagre den indirekte "
"effekten på salget av hennes CDer. offentlig fremføring av hennes "
"innspilling er ikke en \"beskyttet\" høyre. radiostasjonen får dermed pirat "
"verdien av madonna's arbeid uten å betale henne noe."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"ingen tvil, kan man argumentere at, på saldo, artistene nytte. i "
"gjennomsnitt er kampanjen de får verdt mer enn ytelse rettigheter de gir "
"opp. kanskje. men selv om så, loven vanligvis gir skaperen retten til å "
"gjøre dette valget. ved å gjøre valg for ham eller henne, gir loven "
"radiostasjonen retten til å ta noe for ingenting."

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
msgid "Cable TV"
msgstr "Kabel-TV"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Cable TV was also born of a kind of piracy."
msgstr "kabel-tv ble også født av en form for piratkopiering."

#.  PAGE BREAK 73
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 gründere startet ledningsnett fellesskap med kabel-TV i 1948, mest "
"nektet å betale broadcasters for innhold som de echoed til sine kunder. selv "
"når kabelselskaper begynte å selge tilgang til TV-sendinger, nektet de å "
"betale for hva de solgte. kabelselskaper var dermed napsterizing "
"broadcasters' innhold, men mer egregiously enn noe napster gjorde noensinne--"
"napster belastet aldri for innholdet det aktivert andre til å gi bort."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Anello, Douglas"
msgstr ""

#.  f13
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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)."
msgstr ""
"Copyright lov revision--catv: høre s. 1006 før subcommittee on patenter, "
"varemerker og opphavsrett for senatets komité på rettsvesenet, 89nde cong., "
"2nd sess., 78 (1966) (setning av rosel h. hyde, formann i federal "
"communications commission)."

#.  f14
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."
msgstr ""
"Copyright lov revision--catv, 116 (setning av douglas a. anello, sjefsjurist "
"av national association of broadcasters)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Broadcasters and copyright owners were quick to attack this theft.  Rosel "
"Hyde, chairman of the FCC, viewed the practice as a kind of \"unfair and "
"potentially destructive competition.\"<placeholder type=\"footnote\" id="
"\"0\"/> There may have been a \"public interest\" 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, \"Does "
"public interest dictate that you use somebody else's property?\"<placeholder "
"type=\"footnote\" id=\"1\"/> As another broadcaster put it,"
msgstr ""

#.  f15
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."
msgstr ""
"Copyright lov revision--catv, 126 (setning av ernest w. jennes, sjefsjurist "
"av tilknytningen for maksimal service telecasters, inc.)."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"The extraordinary thing about the CATV business is that it is the only "
"business I know of where the product that is being sold is not paid for."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Again, the demand of the copyright holders seemed reasonable enough:"
msgstr "igjen, etterspørselen av rettighetshavere virket fornuftig nok:"

#.  f16
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, 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 ""
"Copyright lov revision--catv, 169 (felleserklæringen av arthur b. Krim, "
"president i united artists Corporation og john sinn, president i united "
"artists TV, inc.)."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"All we are asking for is a very simple thing, that people who now take our "
"property for nothing pay for it. We are trying to stop piracy and I don't "
"think there is any lesser word to describe it. I think there are harsher "
"words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  f17
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 209 (statement of Charlton Heston, "
"president of the Screen Actors Guild)."
msgstr ""
"Copyright lov revision--catv, 209 (charlton heston-setningen, president i "
"screen actors guild)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"These were \"free-ride[rs],\" Screen Actor's Guild president Charlton Heston "
"said, who were \"depriving actors of compensation.\"<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But again, there was another side to the debate. As Assistant Attorney "
"General Edwin Zimmerman put it,"
msgstr ""
"men igjen, det var en annen side i debatten. som assistent justisministeren "
"sa edwin zimmerman,"

#.  f18
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Law Revision&mdash;CATV, 216 (statement of Edwin M.  Zimmerman, "
"acting assistant attorney general)."
msgstr ""
"Copyright lov revision--catv, 216 (setning av edwin m. Zimmerman fungerende "
"assistent justisministeren)."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Our point here is that unlike the problem of whether you have any copyright "
"protection at all, the problem here is whether copyright holders who are "
"already compensated, who already have a monopoly, should be permitted to "
"extend that monopoly. . . . 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\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"opphavsrett eiere tok kabelselskaper til retten. Høyesterett holdt to ganger "
"at kabelselskaper skyldte opphavsrett eierne ingenting."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"It took Congress almost thirty years before it resolved the question of "
"whether cable companies had to pay for the content they \"pirated.\" 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 \"piracy\" of the value created by broadcasters' content."
msgstr ""
"Det tok Kongressen nesten tretti år før det løst spørsmålet på om "
"kabelselskaper måtte betale for innholdet de \"piratkopiert.\" til slutt, "
"Kongressen løst dette spørsmålet på samme måte at det løst spørsmålet om "
"posten spillere og spilleren pianoer. Ja, kabelselskaper 'd have to pay for "
"innholdet som de kringkaster; men prisen de vil måtte betale ble ikke angitt "
"av eieren av opphavsretten. Prisen ble satt ved lov, slik at broadcasters "
"ikke kunne utøve vetorett over de nye teknologiene av-kabelen. "
"kabelselskaper dermed bygde sitt imperium delvis på en \"piratkopiering\" av "
"verdiene som skapes av broadcasters' innhold."

#.  f19
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See, for example, National Music Publisher's Association, The Engine of Free "
"Expression: Copyright on the Internet&mdash;The Myth of Free Information, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #13</ulink>. "
"\"The threat of piracy&mdash;the use of someone else's creative work without "
"permission or compensation&mdash;has grown with the Internet.\""
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"These separate stories sing a common theme. If \"piracy\" 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 every industry affected by copyright "
"today is the product and beneficiary of a certain kind of piracy. Film, "
"records, radio, cable TV. . . . The list is long and could well be expanded. "
"Every generation welcomes the pirates from the last. Every generation&mdash;"
"until now."
msgstr ""

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER FIVE: \"Piracy\""
msgstr "Kapittel fem: \"Piratvirksomhet\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"There is piracy 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 er piratkopiering av opphavsrettsbeskyttet materiale. mye av det. Denne "
"sjørøver kommer i mange former. den mest betydningsfulle er kommersielle "
"piratkopiering, uautorisert å ta av andres innhold i en kommersiell "
"kontekst. til tross for mange justifications som tilbys i sitt forsvar, er "
"dette tar galt. ingen bør condone det, og loven skal slutte det."

#.  PAGE BREAK 76
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"But as well as copy-shop piracy, there is another kind of \"taking\" 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 \"piracy,"
"\" 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 samt kopieringsfirma piratkopiering, det er en annen type \"tar\" som er "
"mer direkte relatert til Internett. det tar også, synes galt å mange, og det "
"er galt mye av tiden. før vi male dette tar \"piratkopiering\", men må vi "
"forstå sin natur litt mer. for skader som denne tar er betydelig mer "
"tvetydig enn outright kopiering og loven skal konto for at tvetydighet som "
"det så ofte har gjort i fortiden."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Piracy I"
msgstr "piratkopiering jeg"

#.  f1
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See IFPI (International Federation of the Phonographic Industry), The "
"Recording Industry Commercial Piracy Report 2003, July 2003, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben "
"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 "
"February 2003, 11."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"All across the world, but especially in Asia and Eastern Europe, there are "
"businesses that do nothing but take others people's copyrighted content, "
"copy it, and sell it&mdash;all without the permission of a copyright owner. "
"The recording industry estimates that it loses about $4.6 billion every year "
"to physical piracy<placeholder type=\"footnote\" id=\"0\"/> (that works out "
"to one in three CDs sold worldwide). The MPAA estimates that it loses $3 "
"billion annually worldwide to piracy."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 piratkopiering ren og enkel. ingenting i argumentet av denne boken, "
"og heller ikke i argumentet om at fleste gjør når du snakker om emnet av "
"denne boken, bør trekke i tvil dette enkle punktet: denne piratkopiering er "
"galt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"som er ikke å si at unnskyldninger og justifications ikke kunne laget for "
"den. Vi kan, for eksempel minne oss at for de første hundre år av den "
"amerikanske Republikken, Amerika ikke ære utenlandske opphavsrettigheter. Vi "
"ble født, i denne forstand, en pirat nasjon. Det kan derfor synes "
"hypocritical for oss å insistere så sterkt at andre utviklingsland behandle "
"feil hva vi, for de første hundre år av vår eksistens, behandlet som høyre."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"den unnskyldning er ikke veldig sterk. teknisk, vår lov ikke Ben å ta av "
"utenlandske fungerer. det begrenset eksplisitt seg til amerikanske works. "
"Dermed ble er amerikansk utgivere som publisert utenlandske fungerer uten "
"tillatelse fra utenlandske forfattere ikke bryter reglementet. "
"kopieringsfirmaer i asia, derimot, er krenkjer asiatiske lov. asiatiske lov "
"beskytter utenlandske opphavsrettigheter, og handlingene til "
"kopieringsfirmaer bryter den lov. så feil for piratvirksomhet som de delta i "
"er ikke bare en moralsk galt, men en juridisk galt, og ikke bare et "
"internasjonalt juridiske galt, men en lokalt juridiske galt også."

#.  PAGE BREAK 77
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"sant, disse lokale regler har, i kraft, blitt påtvunget disse landene. ikke "
"noe land kan være en del av verdensøkonomien og velge ikke å beskytte "
"opphavsretten internasjonalt. Vi kan ha vært født en pirat nasjon, men vi "
"tillater ikke noen annen nasjon til å ha en lignende barndom."

#.  f2
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
"Knowledge Economy? (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."
msgstr ""
"se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier "
"knowledge economy? (new york: ny press, 2003), 10­13, 209. handel-relaterte "
"aspekter av immaterielle rettigheter (turer) avtalen obligates "
"medlemslandene til å opprette administrative og håndhevelse mekanismer for "
"immaterielle rettigheter, en kostbar proposition for utviklingsland. i "
"tillegg kan patentrettigheter føre til høyere priser på stift bransjer som "
"jordbruk. kritikere av reiser spørsmålet ulikhet mellom byrder påtvang "
"utviklingsland og fordeler som er gitt til industrilandene. turer tillater "
"at regjeringene til å bruke patenter for offentlig, ikke-kommersiell bruk "
"uten først å innhente den patent holder tillatelse. utviklingsland kanskje "
"kunne bruke dette for å få fordelene med utenlandske patenter til lavere "
"priser. Dette er en lovende strategi for utviklingsland rammene turer."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"If a country is to be treated as a sovereign, however, then its laws are its "
"laws regardless of their source. The international law under which these "
"nations live gives them some opportunities to escape the burden of "
"intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my "
"view, more developing nations should take advantage of that opportunity, but "
"when they don't, then their laws should be respected. And under the laws of "
"these nations, this piracy is wrong."
msgstr ""

#.  f3
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), "
"144&ndash;90. \"In some instances . . . 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.\" Ibid., 149."
msgstr ""
"for en analyse av økonomiske virkningen av kopiering teknologi, kan du se "
"stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144­"
"90. \"i noen tilfeller... virkningen av piratkopiering på "
"opphavsrettsinnehavers evne til å tilegne verdien av arbeidet vil være "
"ubetydelig. en opplagt forekomsten er tilfelle der individuelle engasjerende "
"i pirating ikke ville ha kjøpt en original selv om pirating var ikke en "
"alternativet. ibid., 149."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Alternatively, we could try to excuse this piracy by noting that in any "
"case, it does no harm to the industry. The Chinese who get access to "
"American CDs at 50 cents a copy are not people who would have bought those "
"American CDs at $15 a copy. So no one really has any less money than they "
"otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, \"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?\" 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 til stede (skjønt jeg har venner som har kjøpt mange tusenvis "
"av piratkopiert DVD som absolutt har nok penger til å betale for innholdet "
"de har tatt), og den begrenser til en viss grad skade forårsaket av slike "
"tar. ekstremister i denne debatten elsker å si, \"du ikke ville gå inn i "
"barnes &amp; noble og ta en bok på sokkelen uten å betale; Hvorfor bør det "
"være annerledes med on-line musikk?\"forskjellen er, selvfølgelig, at når du "
"tar en bok fra barnes &amp; noble, den har en mindre bok å selge. Når du tar "
"en mp3 fra et datanettverk, er det derimot ikke en mindre cd som kan selges. "
"fysikk av piratkopiering av immaterielle er forskjellige fra fysikk av "
"piratkopiering av en konkret."

#.  PAGE BREAK 78
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This argument is still very weak. However, although copyright is a property "
"right of a very special sort, it is 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 \"take\" 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 "
"\"property\" means."
msgstr ""
"Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en "
"egenskap høyre i en veldig spesiell sortering, er det en egenskap som er "
"rett. som alle rettigheter gir copyright eieren retten til å avgjøre "
"vilkårene som innholdet deles. Hvis eieren av opphavsretten ikke ønsker å "
"selge, har hun ikke til. Det finnes unntak: viktig lovbestemte lisenser som "
"gjelder opphavsrettsbeskyttet innhold uansett ønske fra eieren av "
"opphavsretten. disse lisensene gi folk til å \"ta\" opphavsrettsbeskyttet "
"innhold om eieren av opphavsretten ønsker å selge. men hvor loven ikke gir "
"folk til å ta innhold, det er galt å ta innholdet selv om feil does nei "
"skade. Hvis vi har et system eiendom, og at systemet er skikkelig balansert "
"for en tid-teknologien, er det galt å ta eiendom uten tillatelse fra eieren "
"av en egenskap. Det er akkurat hva \"property\" betyr."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
"piracy actually helps the copyright owner. When the Chinese \"steal\" "
"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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Dette argumentet er også, noe sant. avhengighet-strategi er en god en. mange "
"virksomheter praktisere det.. noen trives på grunn av den. Law studenter, "
"for eksempel får du gratis tilgang til de to største juridiske databasene. "
"selskapene markedsføring håper begge elevene vil så bli brukt til deres "
"tjeneste som de vil bruke det, og ikke den andre når de blir jurister (og må "
"betale høy abonnementsavgift)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Still, the argument is not terribly persuasive. We don't give the alcoholic "
"a defense when he steals his first beer, merely because that will make it "
"more likely that he will buy the next three. Instead, we ordinarily allow "
"businesses to decide for themselves when it is best to give their product "
"away. If Microsoft fears the competition of GNU/Linux, then Microsoft can "
"give its product away, as it did, for example, with Internet Explorer to "
"fight Netscape. A property right means giving the property owner the right "
"to say who gets access to what&mdash;at least ordinarily. And if the law "
"properly balances the rights of the copyright owner with the rights of "
"access, then violating the law is still wrong."
msgstr ""

#.  PAGE BREAK 79
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 mens jeg forstår drar av disse justifications for piratkopiering, og "
"jeg absolutt se motivasjon, etter min mening, til slutt, kuttes disse "
"innsats på rettferdiggjørende kommersielle piratkopiering bare ikke det. "
"Denne typen piratkopiering er frodig og bare ren galt. det forandre ikke "
"innholdet det stjeler; det ikke forandre markedet den konkurrerer i. den "
"bare gir noen tilgang til noe som loven sier han ikke skal ha. ingenting er "
"endret for å tegne den lov i tvil. denne formen for piratkopiering er flat "
"ut feil."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But as the examples from the four chapters that introduced this part "
"suggest, even if some piracy is plainly wrong, not all \"piracy\" is. Or at "
"least, not all \"piracy\" is wrong if that term is understood in the way it "
"is increasingly used today. Many kinds of \"piracy\" 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 \"piracy\" in "
"that sense of the term."
msgstr ""
"men som eksempler fra fire kapitlene som innført denne del foreslå, selv om "
"noen piratkopiering er tydelig galt, ikke alle \"piratkopiering\" er. eller "
"i det minste ikke alle \"piratkopiering\" er galt Hvis dette ordet er "
"forstått i måten det er i økende grad brukes i dag. mange typer "
"\"piratkopiering\" er nyttig og produktive, å produsere enten nye innholdet "
"eller nye måter å gjøre forretninger. vår tradisjon verken noen tradisjonen "
"har du noensinne utestengt alle \"piratkopiering\" i den forstand av "
"begrepet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 betyr ikke at det er ingen spørsmål reist av den nyeste piratkopiering "
"bekymringen, node-til-node-fildeling. men det betyr at vi må forstå skade i "
"peer-to-peer deling litt mer før vi fordømmer det til galgen med ansvar for "
"piratkopiering."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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) som den opprinnelige hollywood, p2p fildeling rømming en altfor "
"kontrollerende industrien; og (2) som opprinnelige recording industry, det "
"bare utnytter en ny måte å distribuere innhold; men det er (3) i motsetning "
"til kabel-tv, ingen selger innholdet som er delt på p2p tjenester."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 forskjellene skille p2p fildeling fra sant piratkopiering. de push oss "
"å finne en måte å beskytte kunstnere samtidig som du gir denne deling til å "
"overleve."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Piracy II"
msgstr "piratkopiering ii"

#.  f4
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
msgstr "Bach v. longman, 98 eng. rep 1274 (1777)."

#.  PAGE BREAK 80
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The key to the \"piracy\" that the law aims to quash is a use that \"rob[s] "
"the author of [his] profit.\"<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 ""

#.  f5
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary "
"National Bestseller That Changed the Way We Do Business (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, Future, 89&ndash;92, 139."
msgstr ""
"se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale "
"bestselgeren som endret måten vi gjør forretninger (new york: "
"harperbusiness, 2000). professor christensen undersøker hvorfor selskaper "
"som gi opphav til og dominere en Produktområde er ofte ikke i stand til å "
"komme med de mest kreative, paradigmet-skiftende bruksområdene for sine egne "
"produkter. denne jobben faller vanligvis til utenfor innovators, som "
"reassemble eksisterende teknologi på oppfinnsomme måter. for en diskusjon av "
"Christensens ideer, kan du se lawrence lessig, fremtidige, 89­92, 139."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"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=\"0\"/>), Shawn Fanning "
"and crew had simply put together components that had been developed "
"independently."
msgstr ""

#.  f6
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San "
"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New "
"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures "
"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-"
"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War "
"with the Internet\" (London) Times, 26 July 2002, 18."
msgstr ""
"se carolyn lochhead, \"silicon valley dream, hollywood mareritt\" san "
"francisco chronicle, 24 september 2002, a1; \"rock 'n' roll suicide,\" new "
"scientist, 6 juli 2002, 42; Benny evangelista, \"napster navn ceo, sikrer "
"nye finansiering,\" san francisco chronicle, 23 kan 2003, c1; \"napster's "
"våkne opp samtalen,\" økonom, 24 juni 2000, 23; John naughton, \"hollywood "
"krig med Internett\" (london) ganger, 26 juli 2002, 18."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"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=\"0\"/> 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 ""

#.  f7
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution "
"(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-innsikt, tempo: å holde tritt med online musikk distribusjon "
"(september 2002), rapportering som 28 prosent av amerikanere i alderen tolv "
"og eldre har lastet ned musikk fra Internett og 30 prosent har lyttet til "
"digitale musikkfiler som er lagret på datamaskinene sine."

#.  f8
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York "
"Times, 6 June 2003, A1."
msgstr ""
"Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york "
"times, 6. juni 2003 a1."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"According to a number of estimates, a huge proportion of Americans have "
"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 "
"estimated that 60 million Americans had downloaded music&mdash;28 percent of "
"Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey "
"by the NPD group quoted in The New York Times 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 "
"\"taken\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"noen av denne nyter innebærer brudd på opphavsrettigheter. noen av det ikke. "
"og selv blant delen som er teknisk brudd på opphavsrettigheter, beregne "
"faktiske skade til opphavsrett eiere er mer komplisert enn man skulle tro. "
"så vurdere--litt mer forsiktig enn polarisert stemmene rundt denne debatten "
"vanligvis gjør--hvilke deler som gir mulighet for fildeling, og hva slags "
"skade det innebærer."

#.  PAGE BREAK 81
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
msgstr ""
"fil sharers dele ulike typer innhold. Vi kan dele disse ulike slag i fire "
"typer."

#.  A.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 noen som bruker deling nettverk som erstatninger for å kjøpe innhold. "
"Derfor, når en ny madonna cd frigis, i stedet for å kjøpe cd, disse brukerne "
"bare ta det. Vi kan liten uenighet om om alle som tar det ville faktisk ha "
"kjøpt den hvis deling ikke gjøre den tilgjengelig gratis. mest trolig ikke "
"ville ha, men klart det er noen som ville. sistnevnte er målet for kategori "
"a: brukere som laster ned i stedet for å kjøpe."

#.  B.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 noen som bruker deling nettverk til å sample musikk før du kjøper "
"den. Således, en venn sender en annen venn en mp3 av kunstner, ikke er han "
"hørt om. andre venn deretter kjøper CDer av at artist. Dette er en slags "
"målrettet annonsering, ganske sannsynlig å lykkes. Hvis venn anbefale "
"albumet får noe fra en dårlig anbefaling, kan man forvente at anbefalingene "
"vil faktisk være ganske god. netto effekt av en slik deling kan øke antallet "
"av musikk som er kjøpt."

#.  C.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 \"recalling\" 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 bruk deling av nettverk for å få tilgang til "
"opphavsrettsbeskyttet innhold som selges ikke lenger, eller at de ikke ville "
"ha kjøpt fordi transaksjonen kostnadene av nettet er for høyt. denne bruken "
"av deling nettverk er blant den mest givende for mange. sanger som var en "
"del av din barndom, men har lenge forsvunnet fra markedet magisk vises igjen "
"på nettverket. (en venn fortalte meg at når hun oppdaget napster, hun "
"tilbrakte en solid weekend \"minner om gamle sanger. hun var forbauset over "
"omfanget av og blanding av innhold som var tilgjengelig\".) for innhold som "
"ikke er solgt, er dette teknisk sett fremdeles en krenkelse av opphavsrett, "
"om fordi eieren av opphavsretten ikke selger innholdet lenger, økonomisk "
"skade er null--den samme skaden som oppstår når jeg selger min samling av "
"1960-tallet 45 rpm poster til en lokal solfangeren."

#.  PAGE BREAK 82
#.  D.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 slutt, det er mange som bruker deling nettverk for å få tilgang til "
"innhold som ikke er opphavsrettslig beskyttet, eller at eieren av "
"opphavsretten ønsker å gi bort."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "How do these different types of sharing balance out?"
msgstr "hvordan disse ulike typer deling balanse?"

#.  f9
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "See Liebowitz, Rethinking the Network Economy,148&ndash;49."
msgstr "se liebowitz, rethinking nettverk økonomien, 148­49."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Let's start with some simple but important points. From the perspective of "
"the law, only type D sharing is clearly legal. From the perspective of "
"economics, only type A sharing is clearly harmful.<placeholder type="
"\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. "
"Type C sharing is illegal, yet good for society (since more exposure to "
"music is good) and harmless to the artist (since the work is not otherwise "
"available). So how sharing matters on balance is a hard question to "
"answer&mdash;and certainly much more difficult than the current rhetoric "
"around the issue suggests."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"theft\" that is \"devastating\" the industry."
msgstr ""
"om på saldo deling er skadelig avhenger av viktigere på hvordan skadelige "
"type en deling er. akkurat som edison klaget om hollywood, klaget "
"komponister om piano rolls, artister klaget om radio, og broadcasters klaget "
"over kabel-tv, musikkbransjen complains at typen en deling er en slags "
"\"tyveri\", som er \"ødeleggende\" industrien."

#.  f10
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Cap Gemini Ernst &amp; Young, Technology Evolution and the Music "
"Industry's Business Model Crisis (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 \"Home taping is killing music.\" 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, Copyright and Home Copying: Technology Challenges the Law, OTA-"
"CIT-422 (Washington, D.C.: U.S.  Government Printing Office, October 1989), "
"145&ndash;56."
msgstr ""
"se cap gemini ernst og unge, teknologiutviklingen og music industriens "
"business modell krisen (2003), 3. Denne rapporten beskriver musikkbransjens "
"innsats for å stigmatiserer spirende praksisen med kassett taping på 1970-"
"tallet, inkludert en reklamekampanje med en kassett-figur skull og "
"bildeteksten \"hjem taping er å drepe musikk.\" på tiden digital audio tape "
"ble en trussel, office of tekniske vurdering gjennomført en undersøkelse av "
"forbrukernes adferd. i 1988 hadde 40 prosent av forbrukere som er eldre enn "
"ti tapet musikk til en kassett-format. USA Kongressen, office of technology "
"vurdering, copyright og hjem kopiering: teknologi utfordringer loven, ota-"
"cit-422 (washington, DC: USA Government printing office, oktober 1989), 145­"
"56."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"While the numbers do suggest that sharing is harmful, how harmful is harder "
"to reckon. It has long been the recording industry's practice to blame "
"technology for any drop in sales. The history of cassette recording is a "
"good example. As a study by Cap Gemini Ernst &amp; Young put it, \"Rather "
"than exploiting this new, popular technology, the labels fought it."
"\"<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 ""

#.  f11
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "U.S. Congress, Copyright and Home Copying, 4."
msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
"regulation, MTV was launched, and the industry had a record turnaround. \"In "
"the end,\" Cap Gemini concludes, \"the `crisis' . . . 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.\"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 how harmful type A "
"sharing is, and how beneficial the other types of sharing are."
msgstr ""
"men nettopp fordi industrien var galt før betyr ikke det er galt i dag. Hvis "
"du vil evaluere den virkelige trusselen at p2p fildeling presenterer til "
"industrien spesielt, og samfunnet generelt-- eller minst samfunn som arver "
"tradisjon som ga oss filmindustrien, rullebladet industri, radioen "
"industrien, kabel-tv og vcr--er spørsmålet ikke bare om en deling er "
"skadelig. spørsmålet er hvordan skadelige type er også en deling, og hvor "
"nyttig de andre typene deling er."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"net harm\" 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 static reason to resist them."
msgstr ""
"Vi begynner å svare på dette spørsmålet ved å fokusere på netto skade, fra "
"standpunktet av industrien som helhet, at deling nettverk. den \"net skaden"
"\" til industrien som helhet er beløpet etter hvilken type en deling "
"overskrider type b. Hvis plateselskapene solgte flere poster gjennom "
"prøvetaking enn de mistet gjennom substitusjonsbehandling, og deretter dele "
"nettverk ville faktisk fordel musikk bedriftene på balanse. de ville derfor "
"ha liten statisk grunn til å motstå dem."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 sant? kunne industrien som helhet bli stadig mer på grunn av "
"fildeling? rart som det kan høres, data om cd-salg faktisk tyder det kanskje "
"Lukk."

#.  f12
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Recording Industry Association of America, 2002 Yearend Statistics, "
"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, Some Facts About Music Piracy, 25 June 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: "
"\"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).\""
msgstr ""

#.  f13
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 February "
"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #17</"
"ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 "
"million to 803 million units; revenues fell 6.7 percent.<placeholder type="
"\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The "
"RIAA blames Internet piracy for the trend, though there are many other "
"causes that could account for this drop. SoundScan, for example, reports a "
"more than 20 percent drop in the number of CDs released since 1999. That no "
"doubt accounts for some of the decrease in sales. Rising prices could "
"account for at least some of the loss. \"From 1999 to 2001, the average "
"price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type="
"\"footnote\" id=\"1\"/> Competition from other forms of media could also "
"account for some of the decline.  As Jane Black of BusinessWeek notes, \"The "
"soundtrack to the film High Fidelity has a list price of $18.98. You could "
"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id="
"\"2\"/>"
msgstr ""

#.  PAGE BREAK 84
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 la oss anta at riaa er rett, og alle nedgangen i cd salg er på grunn av "
"deling av Internett. Her er gni: i samme periode som riaa anslår at 803 "
"million CDer ble solgt, riaa anslår at 2,1 milliarder CDer ble lastet ned "
"gratis. Således, selv om 2,6 ganger det totale antallet CDer som selges ble "
"lastet ned gratis, salgsinntekter falt med bare 6.7 prosent."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, \"What's the difference between downloading a song "
"and stealing a CD?\"&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 \"rob[bed] the author of [his] profit"
"\"&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 \"downloading a song and stealing a CD.\""
msgstr ""
"Det er for mange forskjellige ting skjer samtidig å forklare disse tallene "
"definitively, men en konklusjon er uunngåelig: recording industry stadig "
"spør, \"Hva er forskjellen mellom å laste ned en sang og stjele en cd?\"-- "
"Men sine egne tall avsløre forskjellen. Hvis jeg stjele en cd, er det en "
"mindre cd å selge. hver tar er en tapt salg. men på grunnlag av tallene riaa "
"gir, det er helt klart at det samme ikke gjelder for nedlastinger. Hvis hver "
"nedlasting var et tapt salg--hvis hver bruk av kazaa \"rane [b] forfatteren "
"av [hans] fortjeneste\"-- deretter industrien ville har lidd en 100 prosent "
"nedgang i salget i fjor, ikke en 7 prosent nedgang. Hvis 2,6 ganger så mange "
"av CDer som selges ble lastet ned gratis, og ennå inntekter fra salg falt "
"med bare 6.7 prosent, er det en stor forskjell mellom \"nedlasting av sanger "
"og stjele en cd."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"disse er skadene--påståtte og kanskje overdrevet, men la oss anta, real. Hva "
"fordelene? fildeling kan pålegge kostnader på musikkindustrien. hva verdien "
"produserer det i tillegg til disse kostnadene?"

#.  f15
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"By one estimate, 75 percent of the music released by the major labels is no "
"longer in print. See Online Entertainment and Copyright Law&mdash;Coming "
"Soon to a Digital Device Near You: Hearing Before the Senate Committee on "
"the Judiciary, 107th Cong., 1st sess. (3 April 2001) (prepared statement of "
"the Future of Music Coalition), available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #18</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"One benefit is type C sharing&mdash;making available content that is "
"technically still under copyright but is no longer commercially available.  "
"This is not a small category of content. There are millions of tracks that "
"are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/"
"> And while it's conceivable that some of this content is not available "
"because the artist producing the content doesn't want it to be made "
"available, the vast majority of it is unavailable solely because the "
"publisher or the distributor has decided it no longer makes economic sense "
"to the company to make it available."
msgstr ""

#.  f16
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"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, The Quiet "
"Revolution: The Expansion of the Used Book Market (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, \"2002 Annual Survey Results,\" available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #20</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In real space&mdash;long before the Internet&mdash;the market had a simple "
"response to this problem: used book and record stores. There are thousands "
"of used book and used record stores in America today.<placeholder type="
"\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the "
"content they buy. And under American copyright law, when they buy and sell "
"this content, even if the content is still under copyright, 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 ""

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Bernstein, Leonard"
msgstr "Bernstein, Leonard"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"Two Love Songs,\" 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, deretter er veldig mye som brukte boken lagrer eller brukes "
"posten butikker. Det er forskjellige, naturligvis, fordi personen å gjøre "
"innholdet tilgjengelig ikke er å tjene penger på å gjøre innholdet "
"tilgjengelig. Det er også forskjellige, naturligvis, fordi i virkelige "
"rommet, når jeg selger en post, jeg ikke har det lenger, mens i cyberspace, "
"når noen deler min 1949 innspillingen av bernstein's \"to love songs\", jeg "
"fortsatt har det. at ville forskjellen saken økonomisk hvis eieren av "
"opphavsretten solgte posten i konkurranse til min deling. men vi snakker om "
"klassen av innhold som ikke er kommersielt tilgjengelig. Internett gjør det "
"tilgjengelig, gjennom felles deling, uten konkurrerer med markedet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, alle ting betraktes, at det ville være bedre hvis eieren "
"av opphavsretten fikk noe fra denne handelen. men bare fordi det kan godt "
"være bedre, den følger ikke at det ville være fint å forbud brukte "
"bokhandlere. eller sagt på en annen måte, hvis du tror at typen c deling bør "
"stoppes, tror du at biblioteker og brukte bokhandlere bør være stengt også?"

#.  PAGE BREAK 86
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, Down and Out in the Magic Kingdom, "
"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 \"real\" 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 slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling "
"oppstår--deling av innhold som eiere av opphavsretter vil har delt eller som "
"det ikke finnes noen vedvarende copyright. Denne deling klart fordeler "
"forfattere og samfunn. science fiction forfatteren cory doctorow, for "
"eksempel utgitt sin første roman, ned og ut i magiske riket, begge to ledig "
"online og i bokhandlere på samme dag. hans (og hans publisher) tenker var at "
"on-line distribusjonen vil være en stor annonse for \"ekte\" boken. folk vil "
"lese delen on-line, og deretter bestemmer deg om de likte boken eller ikke. "
"Hvis de likte det, ville de være mer sannsynlig å kjøpe den. Doctorow er "
"innholdet er typen d innhold. Hvis deling nettverk aktiverer sitt arbeid til "
"å bli spredt, er både han og samfunnet bedre. (faktisk, mye bedre av: det er "
"en stor bok!)"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 gjelder arbeid i public domain: denne deling fordeler samfunnet "
"med ingen juridiske skade til forfattere i det hele tatt. Hvis innsats for å "
"løse problemet med skriver du inn en deling ødelegge muligheten for typen d "
"deling, så vi mister noe viktig for å beskytte type en innhold."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The point throughout is this: While the recording industry understandably "
"says, \"This is how much we've lost,\" we must also ask, \"How much has "
"society gained from p2p sharing? What are the efficiencies? What is the "
"content that otherwise would be unavailable?\""
msgstr ""
"det hele er dette: mens recording industry forståelig sier, \"Dette er hvor "
"mye vi har mistet,\" må vi også stille, \"hvor mye har samfunnet fra p2p "
"fildeling? Hva er effektiviteten? Hva er innholdet som ellers ville være "
"utilgjengelig?\""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"For unlike the piracy I described in the first section of this chapter, much "
"of the \"piracy\" that file sharing enables is plainly legal and good.  And "
"like the piracy I described in chapter 4, 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 i motsetning til piratkopiering jeg beskrevet i den første delen av "
"dette kapitlet, er mye av \"piratkopiering\" det arkiv deler aktiverer "
"tydelig juridiske og god. og som piratkopiering som jeg beskrevet i kapittel "
"4, mye av denne sjørøver er motivert av en ny måte å spre innholdet som er "
"forårsaket av endringer i teknologien for distribusjon. Således, i samsvar "
"med tradisjon som ga oss hollywood, radio, recording industry og kabel-tv, "
"spørsmålet vi bør spørre om fildeling er hvordan best å beholde sine "
"fordeler og minimere (i grad mulig) den wrongful skade det årsaker "
"kunstnere. spørsmålet er en av balanse. loven bør søke denne balansen, og "
"denne balansen blir funnet bare med tid."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"\"But isn't the war just a war against illegal sharing? Isn't the target "
"just what you call type A sharing?\""
msgstr ""
"Men er ikke krigen bare en krig mot ulovlig deling?  Er ikke angrepsmålet "
"bare det du kaller type A-deling?"

#.  f17
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 "
"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an "
"account of the litigation and its toll on Napster, see Joseph Menn, All the "
"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown "
"Business, 2003), 269&ndash;82."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"You would think. And we should hope. But so far, it is not. The effect of "
"the war purportedly on type A sharing alone has been felt far beyond that "
"one class of sharing. That much is obvious from the Napster case itself. "
"When Napster told the district court that it had developed a technology to "
"block the transfer of 99.4 percent of identified infringing material, the "
"district court told counsel for Napster 99.4 percent was not good enough. "
"Napster had to push the infringements \"down to zero.\"<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 prosent er ikke god nok, så dette er en krig mot fildelings-"
"teknologier, ikke en krig mot brudd på opphavsrettigheter. Det er ingen måte "
"å sikre at en p2p-systemet er brukt 100 prosent av tiden i samsvar med "
"loven, noe mer enn det er en måte å sikre at 100 prosent av videospillere "
"eller 100 prosent av xerox maskiner eller 100 prosent av håndvåpen brukes i "
"overensstemmelse med loven. nulltoleranse betyr null p2p. EFTA-domstolens "
"avgjørelse betyr at vi som et samfunn må miste fordelene med p2p, selv for "
"den helt lovlig og fordelaktig bruker de tjener bare for å sikre at det er "
"null opphavsrett infringements forårsaket av p2p."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Nulltoleranse er ikke vår historie. Det har ikke produsert innhold bransjen "
"som vi kjenner i dag. historien til amerikansk lov har vært en prosess av "
"balanse. som ny teknologi endret måten innhold ble distribuert, loven "
"justert, etter en stund, til ny teknologi. i denne justeringen søkt loven å "
"sikre legitime rettighetene til skapere samtidig beskytte innovasjon. noen "
"ganger har dette betydde mer rettigheter for skapere. noen ganger mindre."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"So, as we've seen, when \"mechanical reproduction\" 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 "
"\"creative property\" 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 ""
"så, som vi har sett, når \"mekaniske reproduksjon\" truet interessene til "
"komponister, Kongressen balansert rettigheter mot interessene til "
"musikkindustrien. det tildelt rights composers, men også artistene: "
"komponister var å bli betalt, men til en pris som er fastsatt av Kongressen. "
"men når radioen begynte kringkasting innspillingene er gjort av disse "
"artister og de klaget til Kongressen at deres \"kreative eiendom\" ikke var "
"blir respektert (siden radiostasjonen ikke har å betale dem for kreativitet "
"det kringkaste), Kongressen avvist deres krav. en indirekte fordel var nok."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 fulgt mønster av posten album. Når domstolene avvist kravet som "
"kabel-TV-stasjoner måtte betale for innholdet de rebroadcast, Kongressen "
"reagert ved å gi broadcasters erstatningsplikt, men på et nivå som er angitt "
"av loven. den likeledes ga kabelselskaper rettigheten til innholdet, så "
"lenge de betalte lovbestemte pris."

#.  PAGE BREAK 88
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 compensation without giving the past "
"(broadcasters)  control over the future (cable)."
msgstr ""
"denne sårbarheten, som kompromiss som påvirker poster og spilleren pianoer, "
"servert to viktige mål--faktisk to sentrale målene noen opphavsrett "
"lovgivning. først, loven forsikret at nye innovators ville ha frihet til å "
"utvikle nye måter å levere innhold. sekund, loven forsikret at innehaver av "
"opphavsrett ville bli betalt for innholdet som ble distribuert. en frykt var "
"at hvis Kongressen kreves bare kabel-tv til å betale innehaver av "
"opphavsrett hva de krevde for innholdet, og deretter rettighetshavere som er "
"tilknyttet broadcasters ville bruke sin makt for å undertrykke denne nye "
"teknologien, kabel. men hvis Kongressen hadde tillatt kabelen til bruk "
"broadcasters' innhold gratis, ville det ha urettferdig subsidierte kabel. "
"Dermed Kongressen valgte en bane som ville forsikre kompensasjon uten å gi "
"siste (broadcasters) kontroll over fremtiden (kabel)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"record\" 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 at Kongressen traff denne balansen, to store produsenter og "
"distributører av filmen innhold anlagt en sak mot en annen teknologi, video "
"tape recorder (vtr, eller som vi refererer til dem i dag, videospillere) at "
"sony hadde produsert, betamax. disney's og universal's krav mot sony var "
"relativt enkelt: sony produsert en enhet, disney og universal hevdet, som "
"aktivert forbrukere til å engasjere seg i krenkelse av opphavsrett. fordi "
"enheten som sony bygget hadde en \"post\"-knappen, vil enheten kan brukes "
"til å registrere opphavsrettsbeskyttede filmer, og viser. Sony var derfor "
"drar nytte av opphavsretten til sine kunder. Det bør derfor disney og "
"universal hevdet, være delvis ansvarlig for at krenkelse."

#.  PAGE BREAK 89
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"copy me\" 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 var noe til disney's og universal's krav. Sony bestemmer deg for å "
"utforme sin maskin for å gjøre det svært enkelt å spille inn TV-programmer. "
"Det kan ha bygget maskinen hvis du vil blokkere, eller hindre enhver direkte "
"kopiere fra en TV kringkasting. eller muligens den kunne har bygget maskinen "
"for å kopiere bare hvis det var en spesiell \"Kopier meg\" signal på linjen. "
"Det var klart at det var mange TV-programmer som ikke gi noen tillatelse til "
"å kopiere. faktisk, hvis noen hadde spurt, ingen tvil flertallet av viser "
"ville ikke har autorisert kopiering. og i møte med denne åpenbare "
"preferanse, sony kan har utformet sitt system å minimere muligheten for "
"brudd på opphavsrettigheter. det gjorde ikke, og for det, disney og "
"universal ønsket å holde den ansvarlig for arkitektur som er valgt."

#.  f18
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 ""
"opphavsrett infringements (lyd og video-opptakere): høre s. 1758 før Senatet "
"committee på rettsvesenet, 97th cong., 1st og 2nd sess., 459 (1982) "
"(vitnesbyrd om jack valenti, president, motion picture association of "
"america, inc.)."

#.  f19
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr "opphavsrett infringements (lyd og video-opptakere), 475."

#.  f20
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C."
"D. Cal., 1979)."
msgstr ""
"Universal city studios, inc. v. sony Corporation of america, 480 f. supp. "
"429, (klientadgangslisens CAL (CD), 1979)."

#.  f21
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
"opphavsrett infringements (lyd og video-opptakere), 485 (vitnesbyrd om jack "
"valenti)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
"called VCRs \"tapeworms.\" He warned, \"When there are 20, 30, 40 million of "
"these VCRs in the land, we will be invaded by millions of `tapeworms,' "
"eating away at the very heart and essence of the most precious asset the "
"copyright owner has, his copyright.\"<placeholder type=\"footnote\" id=\"0\"/"
"> \"One does not have to be trained in sophisticated marketing and creative "
"judgment,\" he told Congress, \"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."
"\"<placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would later "
"show, 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 \"fair.\" By \"allowing VCR owners to copy freely by the "
"means of an exemption from copyright infringementwithout creating a "
"mechanism to compensate copyrightowners,\" Valenti testified, Congress would "
"\"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.\"<placeholder type=\"footnote\" id="
"\"3\"/>"
msgstr ""

#.  f22
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th "
"Cir.  1981)."
msgstr ""
"Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 "
"(9 cir. 1981)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"It took eight years for this case to be resolved by the Supreme Court. In "
"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in "
"its jurisdiction&mdash;leading Judge Alex Kozinski, who sits on that court, "
"refers to it as the \"Hollywood Circuit\"&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 \"the Boston Strangler of the American film industry"
"\" (worse yet, it was a Japanese Boston Strangler of the American film "
"industry)&mdash;was an illegal technology.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#.  PAGE BREAK 90
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Høyesterett reversert beslutning niende circuit. og i sin reversering, "
"domstolen klart uttrykte sin forståelse av når og om domstoler bør "
"intervenere i slike konflikter. som domstol skrev,"

#.  f23
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 "
"(1984)."
msgstr ""
"Sony Corporation of america v. universal city studios, inc., 464 amerikanske "
"417, 431 (1984)."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Sound policy, as well as history, supports our consistent deference to "
"Congress when major technological innovations alter the market for "
"copyrighted materials. Congress has the constitutional authority and the "
"institutional ability to accommodate fully the varied permutations of "
"competing interests that are inevitably implicated by such new technology."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"taking"
"\" notwithstanding.  If we put these cases together, a pattern is clear:"
msgstr ""
"Kongressen ble bedt om å svare på den Høyesterett beslutningen. men som med "
"appell av artister om radiosendinger, Kongressen ignorert forespørselen. "
"Kongressen var overbevist om at amerikanske film fikk nok, denne \"tar\" til "
"tross for. Hvis vi setter disse tilfellene sammen, et mønster er klart:"

#. type: Content of: <book><chapter><sect1><sect2><table><title>
#, mtrans, fuzzy
msgid "Table"
msgstr "tabell"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "CASE"
msgstr "tilfelle"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "WHOSE VALUE WAS \"PIRATED\""
msgstr "verdien var \"piratkopiert\""

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "RESPONSE OF THE COURTS"
msgstr "Svar til domstolene"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "RESPONSE OF CONGRESS"
msgstr "Responsen til Kongressen"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Recordings"
msgstr "innspillinger"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Composers"
msgstr "komponister"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "No protection"
msgstr "ingen beskyttelse"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Statutory license"
msgstr "lovbestemte lisens"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Recording artists"
msgstr "artister"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
msgid "N/A"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Nothing"
msgstr "ingenting"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Broadcasters"
msgstr "TV-stasjoner"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "VCR"
msgstr "VCR"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Film creators"
msgstr "filmen skaperne"

#.  f24
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"These are the most important instances in our history, but there are other "
"cases as well. The technology of digital audio tape (DAT), for example, was "
"regulated by Congress to minimize the risk of piracy. The remedy Congress "
"imposed did burden DAT producers, by taxing tape sales and controlling the "
"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
"United States Code), 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, Future, "
"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of "
"Chicago Law Review 70 (2003): 293&ndash;96."
msgstr ""
"disse er de viktigste forekomstene i vår historie, men det finnes andre "
"tilfeller også. teknologi for digital audio tape (dat), for eksempel var "
"regulert av Kongressen for å minimere risikoen for piratkopiering. "
"rettsmiddel Kongressen pålagt belaster dat produsenter, taxing bånd salg og "
"kontrollere teknologien for dat. ser lyd Hjem innspillingen act av 1992 "
"(tittel 17 av USA-koden), pub. l. nr. 102-563, 106 stat. 4237, kodifisert på "
"17 USC §1001. igjen, men denne forskriften ikke eliminere muligheten gratis "
"ridning i den forstand jeg har beskrevet. se lessig, fremtidige, 71. Se også "
"datovelger, \"fra edison til flagget kringkasting,\" university of chicago "
"lov gjennomgå 70 (2003): 293­96."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In each case throughout our history, a new technology changed the way "
"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
"case, throughout our history, that change meant that someone got a \"free "
"ride\" on someone else's work."
msgstr ""

#.  PAGE BREAK 91
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"In none of these cases did either the courts or Congress eliminate all free "
"riding. In none 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 "
"\"piracy.\" In every case, Congress acted to recognize some of the "
"legitimacy in the behavior of the \"pirates.\" In each case, Congress "
"allowed some new technology to benefit from content made before. It balanced "
"the interests at stake."
msgstr ""
"Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle "
"gratis ridning. Ingen av disse tilfellene gjorde domstoler eller Kongressen "
"insisterer at loven skal sikre at opphavsrettsinnehaver får alle verdien som "
"hans copyright opprettet. i alle tilfeller klaget opphavsrett eierne av "
"\"piratkopiering.\" i alle tilfeller, Kongressen handlet for å gjenkjenne "
"noen av legitimitet i virkemåten til den \"pirater.\" i hvert tilfelle "
"Kongressen tillatt noen ny teknologi for å dra nytte av innhold gjort før. "
"det balansert interesser på spill."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tenker på tvers av disse eksemplene, og den andre eksempler som "
"utgjør de fire første kapitlene av denne delen, vil denne balansen er "
"fornuftig. var walt disney en pirat? doujinshi ville være bedre hvis "
"skaperne måtte be om tillatelse? bør verktøy slik at andre å fange og spre "
"bildene som en måte å dyrke eller kritisere vår kultur reguleres bedre? er "
"det virkelig sant at bygge en søkemotor skal utsette deg til $15 millioner i "
"skader? ville det ha vært bedre hvis edison hadde kontrollert filmen? bør "
"hver cover band som har til å ansette en advokat for å få tillatelse til å "
"registrere en sang?"

#.  f25
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)."
msgstr ""
"Sony Corporation of america v. universal city studios, inc., 464 amerikanske "
"417, (1984)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"We could answer yes to each of these questions, but our tradition has "
"answered no. In our tradition, as the Supreme Court has stated, copyright "
"\"has never accorded the copyright owner complete control over all possible "
"uses of his work.\"<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 after "
"a technology has matured, or settled into the mix of technologies that "
"facilitate the distribution of content."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"stealing\" 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 bør gjøre samme i dag. teknologien for Internett endrer seg raskt. endrer "
"måten brukere koble seg til Internett (ledninger vs. trådløs) svært raskt. "
"ingen tvil om bør nettverket ikke bli et verktøy for \"stjele\" fra "
"artister. men heller ikke bør loven bli et verktøy for å innarbeide en "
"bestemte måten hvilke artister (eller mer nøyaktig, distributører) får "
"betalt. som jeg beskriver i noen detalj i det siste kapitlet i denne boken, "
"bør vi være sikre inntekt til kunstnere mens vi tillater markedet for å "
"sikre den mest effektive måten å fremme og distribuere innhold. Dette vil "
"kreve endringer i loven, minst i mellomtiden. disse endringene skal være "
"utformet for å balansere beskyttelsen av loven mot sterk offentlig interesse "
"at innovasjon fortsette."

#.  f26
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
"Past Efforts,\" New York Times, 22 September 2003, C3."
msgstr ""
"John schwartz, \"nye økonomien: angrepet på node-til-node-programvare "
"reflekterer forbi innsats,\" new york times, 22 september 2003, c3."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This is especially true when a new technology enables a vastly superior mode "
"of distribution. And this p2p has done. P2p technologies can be ideally "
"efficient in moving content across a widely diverse network.  Left to "
"develop, they could make the network vastly more efficient.  Yet these "
"\"potential public benefits,\" as John Schwartz writes in The New York "
"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" "
"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright "
"warriors raise a different argument. \"All this hand waving about balance "
"and incentives,\" they say, \"misses a fundamental point. Our content,\" the "
"warriors insist, \"is our property. Why should we wait for Congress to "
"`rebalance' our property rights? Do you have to wait before calling the "
"police when your car has been stolen? And why should Congress deliberate at "
"all about the merits of this theft? Do we ask whether the car thief had a "
"good use for the car before we arrest him?\""
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"\"It is our property,\" the warriors insist. \"And it should be protected "
"just as any other property is protected.\""
msgstr ""
"\"det er vår eiendom,\" insisterer warriors. \"og det bør være beskyttet på "
"samme måte som en annen egenskap er beskyttet."

#. type: Content of: <book><chapter><title>
msgid "\"PROPERTY\""
msgstr "\"Eiendom\""

#.  PAGE BREAK 94
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"The copyright warriors 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 ""
"opphavsrett warriors er rett: opphavsretten er en type bolig. Det kan være "
"eid og solgt, og loven beskytter mot sin tyveri. vanligvis får eieren av "
"opphavsretten til å holde for noen pris som han ønsker. markeder regner "
"tilbud og etterspørsel som delvis bestemmer prisen hun kan få."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"But in ordinary language, to call a copyright a \"property\" 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 idea 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 ""
"men i vanlig språk, å ringe en copyright \"property\" høyre er litt "
"misvisende, for copyright-egenskapen er en odde type bolig. selve ideen om "
"eiendom i noen ide eller et annet uttrykk er faktisk svært ulike. Jeg "
"forstår hva jeg tar når jeg tar picnic bord du innlegge din bakgård. Jeg tar "
"en ting, picnic bord, og etter at jeg tar det, du har ikke det. men hva jeg "
"ta når jeg tar god idé du måtte sette en picnic bord i bakgården--av, for "
"eksempel skal sears, kjøpe en tabell, og sette det i min bakgård? Hva er det "
"jeg tar deretter?"

#.  f1
#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The "
"Writings of Thomas Jefferson, 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 skrifter av "
"thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., "
"1903), 330, 333­34."

#. type: Content of: <book><chapter><para>
msgid ""
"The point is not just about the thingness of picnic tables versus ideas, "
"though that's an important difference. The point instead is that in the "
"ordinary case&mdash;indeed, in practically every case except for a narrow "
"range of exceptions&mdash;ideas released to the world are free. I don't take "
"anything from you when I copy the way you dress&mdash;though I might seem "
"weird if I did it every day, and especially weird if you are a woman. "
"Instead, as Thomas Jefferson said (and as is especially true when I copy the "
"way someone else dresses), \"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.\"<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"unntakene til fri bruk er ideer og uttrykk innenfor rekkevidden av loven om "
"patent og opphavsrett, og noen andre domener som jeg ikke diskutere her. Her "
"loven sier du ikke kan ta min ide eller uttrykk uten min tillatelse: loven "
"blir immaterielle eiendom."

#.  f2
#. type: Content of: <book><chapter><para><footnote><para>
#, mtrans, 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, \"What "
"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 "
"(2003): 373, 429 n. 241."
msgstr ""
"som de juridiske realistene lærte amerikansk lov, er alle "
"eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en "
"rettighet som en person har mot verden å gjøre eller ikke gjøre visse ting "
"som kan eller ikke kan koble til et fysisk objekt. høyre selv er "
"immaterielle, selv om objektet som det er (metaforisk) tilknyttet er varige. "
"se adam mossoff, \"Hva er egenskapen? å sette dem tilbake sammen,\"-arizona "
"lov, se 45 (2003): 373, 429 n. 241."

#. type: Content of: <book><chapter><para>
msgid ""
"But how, and to what extent, and in what form&mdash;the details, in other "
"words&mdash;matter. To get a good sense of how this practice of turning the "
"intangible into property emerged, we need to place this \"property\" in its "
"proper context.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"copyright material is "
"property\" 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;\"copyright material is property\"&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 å gjøre dette vil være det samme som min strategi i den "
"foregående delen. Jeg tilbyr fire historier å hjelpe sette ideen om "
"\"copyright-beskyttet materiale er egenskapen\" i sammenheng. hvor gikk "
"ideen kommer fra? Hva er sine grenser? Hvordan fungerer det i praksis? Når "
"disse historiene, betydningen av dette sant setningen--\"copyright-beskyttet "
"materiale er egenskapen\"--blir litt klarere og dens implikasjoner vil bli "
"avslørt som ganske forskjellig fra implikasjonene at opphavsrett krigere "
"ville ha oss til å tegne."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER SIX: Founders"
msgstr "Kapittel seks: Grunnleggerne"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"William Shakespeare wrote Romeo and Juliet 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: \"I liked it, but "
"Shakespeare is so full of clichés.\""
msgstr ""
"William shakespeare skrev romeo og Julie i 1595. Skuespillet ble først "
"utgitt i 1597. Det var ellevte store spill at shakespeare hadde skrevet. han "
"ville fortsette å skrive skuespill gjennom 1613, og spiller som skrev han "
"har fortsatt å definere angloamerikanske kultur siden. så dypt har verk av "
"1500-tallet forfatter seeped inn i vår kultur at vi ofte ikke engang kjenner "
"kilden. Jeg overheard en gang noen kommentere kenneth branagh tilpasning av "
"henry v: \"Jeg likte det, men shakespeare er så full av clichés.\""

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Jacob Tonson is typically remembered for his associations with prominent "
"eighteenth-century literary figures, especially John Dryden, and for his "
"handsome \"definitive editions\" of classic works. In addition to Romeo and "
"Juliet, 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, \"Jacob Tonson, "
"Bookseller,\" American Scholar 61:3 (1992): 424&ndash;31."
msgstr ""
"Jacob tonson er vanligvis husket for hans assosiasjoner med fremtredende "
"1700-tallet litterære figurer, spesielt john dryden, og for hans kjekk "
"\"endelige versjoner\" av klassiske verk. i tillegg til romeo og Julie, utga "
"en utrolig rekke fungerer som fortsatt er igjen i hjertet av den engelske "
"canon, inkludert collected works Shakespeare, ben jonson, john milton, og "
"john dryden. se Pioquinto Bernal Pioquinto Bernal, \"jacob tonson, bokhandel,"
"\" amerikansk forsker-61:3 (1992): 424­31."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
"Vanderbilt University Press, 1968), 151&ndash;52."
msgstr ""
"Lyman rokke patterson, copyright i historisk perspektiv (nashville: "
"vanderbilt university press, 1968), 151­52."

#.  PAGE BREAK 97
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-"
"right\" 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 \"copy\" 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 ""

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40."
msgstr ""
"som siva vaidhyanathan hevder pent, er det feilaktige å kalle dette en "
"\"copyright lov.\" se vaidhyanathan, opphavsrett og copywrongs, 40."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Now, there's something puzzling about the year 1774 to anyone who knows a "
"little about copyright law. The better-known year in the history of "
"copyright is 1710, the year that the British Parliament adopted the first "
"\"copyright\" 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, Romeo and Juliet should have been free in "
"1731. So why was there any issue about it still being under Tonson's control "
"in 1774?"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The reason is that the English hadn't yet agreed on what a \"copyright\" "
"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 \"Stationers,\" had an "
"exclusive right to print books."
msgstr ""
"årsaken er at engelske ikke hadde ennå avtalt på hva \"copyright\" ingen "
"var--faktisk hadde. på tiden engelske passert Vedtektene for anne, var det "
"ingen andre lovgivning om opphavsrett. siste loven som regulerer utgivere, "
"hadde lisensiering loven av 1662, utløpt i 1695. at loven ga utgivere "
"monopol over publisering, som en måte å gjøre det enklere for kronen til å "
"kontrollere hva ble publisert. men etter at det har utløpt, var det ingen "
"positiv lov som sa at det hadde en eksklusiv rett til å skrive ut bøker i "
"utgivere, eller \"stationers\"."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"There was no positive 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 \"positive law.\" We call the "
"words from judges \"common law.\" 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 ""
"var det ingen positiv lov, men det betyr ikke at det var ingen lov. den "
"anglo-amerikanske juridiske tradisjonen ser til begge ordene av legislatures "
"og ord dommere kjenne reglene som styrer hvordan folk er å oppføre seg. Vi "
"kaller ordene fra legislatures \"positiv lov.\" vi kaller ordene fra "
"dommerne \"sedvanerett.\" felles lov angir bakgrunnen som vedta legislatures "
"lovgivning; legislature, vanligvis kan trumfe at bakgrunnen bare hvis det "
"går gjennom en lov til å forskyve den. og så var det virkelige spørsmålet "
"etter lisensiering lover hadde utløpt om felles lov beskyttet opphavsretten, "
"uavhengig av lovverket positiv."

#.  PAGE BREAK 98
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This question was important to the publishers, or \"booksellers,\" 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 spørsmålet var viktig til utgivere eller \"bokhandlere,\" som de ble "
"kalt, fordi det var økende konkurransen fra utenlandske utgivere. Skottland, "
"spesielt var stadig publisering og eksporterer bøker til england. at "
"konkurransen redusert fortjeneste av conger, som reagert av krevende at "
"parlamentet pass en lov til å igjen gi dem eksklusiv kontroll over "
"publisering. som krever til slutt resulterte i Vedtektene for anne."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The Statute of Anne granted the author or \"proprietor\" 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 \"expired,\" and the "
"work would then be free and could be published by anyone. Or so the "
"legislature is thought to have believed."
msgstr ""
"Vedtektene for anne gitt forfatteren eller \"eierskap\" av en bok, en "
"eksklusiv rett til å skrive ut denne boken. i en viktig begrensning, "
"imidlertid, og til forferdelse av bokhandlere, ga loven den lokale "
"Bokhandleren at høyre for en begrenset periode. på slutten av dette ordet, "
"copyright \"utløpt\", og arbeidet vil da være gratis, og kan bli publisert "
"av alle. eller så legislature antas å ha trodd."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 at all?"
msgstr ""
"nå, tingen å puzzle om et øyeblikk er dette: Hvorfor ville parlamentet "
"begrense eneretten? ikke hvorfor ville de begrenser den til den bestemte "
"limit de satt, men hvorfor ville begrense retten til alle?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
"strong claim. Take Romeo and Juliet 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 "
"\"steal\" Shakespeare's work?"
msgstr ""
"for bokhandlerne, og forfattere som de representerte, hadde et veldig sterk "
"krav. ta romeo og Julie som et eksempel: som spill ble skrevet av "
"shakespeare. Det var hans geni som brakte den til verden. Han gjorde ikke ta "
"noen egenskapen når han opprettet dette spillet (det er en kontroversielle "
"påstanden, men aldri tankene), og hans oppretter denne spill, han ikke gjør "
"det noe vanskeligere for andre til å lage et spill. så hvorfor er det at "
"loven noensinne ville tillate noen annet å komme sammen og ta Shakespeares "
"uten hans, eller hans eiendom, tillatelse? Hva grunn er der for å tillate at "
"noen andre \"stjele\" Shakespeares arbeid?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The answer comes in two parts. We first need to see something special about "
"the notion of \"copyright\" that existed at the time of the Statute of Anne. "
"Second, we have to see something important about \"booksellers.\""
msgstr ""
"svaret kommer i to deler. Først må vi se noe spesielt med oppfatningen av "
"\"copyright\" som fantes på tidspunktet for Vedtektene for anne. andre, har "
"vi å se noe viktig om \"bokhandlere.\""

#.  PAGE BREAK 99
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"First, about copyright. In the last three hundred years, we have come to "
"apply the concept of \"copyright\" 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 \"copy-right\" 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 used. 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 opphavsrett. i de siste tre hundre årene, har vi kommet til å bruke "
"begrepet \"copyright\" stadig mer forstand. men i 1710, det var ikke så mye "
"et konsept som det var en meget bestemt høyre. opphavsretten ble født som en "
"svært spesifikke sett med begrensninger: det forbød andre fra ettertrykk en "
"bok. i 1710 var \"kopi-rett\" en rett til å bruke en bestemt maskin til å "
"replikere en bestemt arbeid. det ikke gå utover det svært smale riktig. det "
"ikke kontrollere mer generelt hvordan et arbeid kan brukes. i dag høyre "
"inkluderer en stor samling av restriksjoner på andres: det gir forfatteren "
"til eksklusiv rett til å kopiere, eksklusiv rett til å distribuere, "
"eksklusiv rett til å utføre, og så videre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"copy-"
"right\" was only an exclusive right to print&mdash;no less, of course, but "
"also no more."
msgstr ""
"så, for eksempel, selv om opphavsretten til Shakespeares verker var "
"evigvarende, alle som ville ha betydd under den opprinnelige betydningen av "
"begrepet var at ingen kan skrive Shakespeares arbeid uten tillatelse fra "
"shakespeare-eiendom. det ville ikke ha kontrollert noe, for eksempel om "
"hvordan arbeidet kan utføres, om arbeidet kunne oversettes eller om kenneth "
"branagh ville være tillatt å gjøre hans filmer. \"kopi-rett\" var bare en "
"eksklusiv rett til å skrive ut--ikke desto mindre, selvfølgelig, men også "
"ikke mer."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Even that limited right was viewed with skepticism by the British.  They had "
"had a long and ugly experience with \"exclusive rights,\" especially "
"\"exclusive rights\" 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 det begrensede riktig ble sett med skepsis av britene. de hadde hatt en "
"lang og stygg erfaring med \"eksklusive rettigheter,\" spesielt \"enerett\" "
"gitt av kronen. engelske hadde kjempet en borgerkrig delvis om kronens "
"praksisen med å levere ut monopoler--spesielt monopoler for arbeider som "
"allerede fantes. Kong Henrik viii gitt et patent til å skrive ut Bibelen og "
"en monopol til darcy til å skrive ut spillkort. det engelske parlamentet "
"begynte å kjempe tilbake mot denne kraften i kronen. i 1656 gikk Vedtektene "
"for monopoler, å begrense monopoler patenter for nye oppfinnelser. og ved "
"1710, parlamentet var ivrig etter å håndtere det voksende monopolet i "
"publisering."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
"viewed as a right that should be limited. (However convincing the claim that "
"\"it's my property, and I should have it forever,\" try sounding convincing "
"when uttering, \"It's my monopoly, and I should have it forever.\") 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 ble \"kopi-rett,\" når de vises som et monopol høyre, naturligvis "
"sett på som en rettighet som bør være begrenset. (men overbevisende "
"påstanden om at \"det er min eiendom, og jeg skulle ha det evig,\" prøve lød "
"overbevisende når ytre, \"det er min monopol, og jeg skulle ha det evig.\") "
"staten ville beskytte eneretten, men bare så lenge det dratt av samfunnet. "
"britene så skadene fra specialinterest favoriserer; de har vedtatt en lov "
"for å stoppe dem."

#.  f4
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Philip Wittenberg, The Protection and Marketing of Literary Property (New "
"York: J. Messner, Inc., 1937), 31."
msgstr ""
"Philip wittenberg, beskyttelse og markedsføring av litterære egenskapen (new "
"york: j. messner, inc., 1937), 31."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Second, about booksellers. It wasn't just that the copyright was a monopoly. "
"It was also that it was a monopoly held by the booksellers.  Booksellers "
"sound quaint and harmless to us. They were not viewed as harmless in "
"seventeenth-century England. Members of the Conger were increasingly seen as "
"monopolists of the worst kind&mdash;tools of the Crown's repression, selling "
"the liberty of England to guarantee themselves a monopoly profit. The "
"attacks against these monopolists were harsh: Milton described them as \"old "
"patentees and monopolizers in the trade of book-selling\"; they were \"men "
"who do not therefore labour in an honest profession to which learning is "
"indetted.\"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 trodde makt bokhandlerne utøves over spredning av kunnskap var skade "
"som spres, bare på tidspunktet opplysning var lærer betydningen av utdanning "
"og kunnskap spre generelt. ideen at kunnskap bør være gratis var et "
"kjennetegn på tiden, og disse kraftige kommersielle interesser var "
"forstyrrer at ideen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 å balansere denne kraften, Riksdag besluttet å øke konkurransen blant "
"bokhandlere, og den enkleste måten å gjøre det var å spre rikdom av "
"verdifulle bøker. parlamentet derfor begrenset begrepet av opphavsretten, og "
"garantert dermed at verdifulle bøker skulle bli åpen for noen utgiver å "
"publisere etter en begrenset tid. innstillingen av begrepet for eksisterende "
"arbeider til bare tjueen år ble dermed et kompromiss å kjempe kraften i "
"bokhandlerne. begrensning av vilkårene var en indirekte måte å forsikre "
"konkurranse mellom utgivere, og dermed konstruksjon og spredning av kultur."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Når 1731 (1710-21) kom, men får bokhandlerne engstelig. de så konsekvensene "
"av mer konkurranse, og som hver konkurrent, de liker ikke dem. på første "
"bokhandlere ganske enkelt ignorert Vedtektene for anne, fortsetter å "
"insistere på evigvarende rett til å kontrollere publikasjonen. men i 1735 og "
"1737, de prøvde å overbevise parlamentet til å utvide sine vilkår. tjueen år "
"var ikke nok, de sa; de trengte mer tid."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Parliament rejected their requests. As one pamphleteer put it, in words that "
"echo today,"
msgstr ""
"parlamentet avviste forespørsler. som en pamphleteer sa, i ord som echo i "
"dag,"

#.  f5
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, 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, Eldred v. Ashcroft, 537 U.S. 186 (2003) "
"(No. 01-618)."
msgstr ""
"et brev til medlem av parlamentet om bill nå avhengig i house of commons, "
"for å gjøre mer vid en handling i den åttende år av regimet til dronning "
"anne, rett, en handling for oppmuntring av læring, ved å samle kopier av "
"skrives ut bøker i forfatterne eller kjøpere av slike Kopier, under tidene "
"nevnt der (london1735), kort gikk curiae av tyler t. ochoa et al., 8, eldred "
"v. ashcroft, 537 amerikanske 186 (2003) (nr 01-618)."

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"I see no Reason for granting a further Term now, which will not hold as well "
"for granting it again and again, as often as the Old ones Expire; so that "
"should this Bill pass, it will in Effect be establishing a perpetual "
"Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a "
"great Cramp to Trade, a Discouragement to Learning, no Benefit to the "
"Authors, but a general Tax on the Publick; and all this only to increase the "
"private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"property\" 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 ""
"å ha mislyktes i parlamentet, slått utgivere til domstolene i en rekke "
"tilfeller. deres argument var enkel og direkte: Vedtektene for anne ga "
"forfattere visse beskyttelse gjennom positiv loven, men disse beskyttelse "
"var ikke ment som erstatning for felles lov. i stedet, de var ment å "
"supplere felles lov. under sedvanerett var det allerede galt å ta en annen "
"persons kreative \"property\" og bruke den uten hans tillatelse. Vedtektene "
"for anne, bokhandlere hevdet, endre ikke det. derfor bare fordi beskyttelse "
"av Vedtektene for anne utløpt, det betyr ikke at beskyttelse av felles lov "
"utløpt: under felles lov de hadde rett til å forby utgivelsen av en bok, "
"selv om sine Vedtektene for anne copyright hadde gått ut. Dette, de hevdet, "
"var den eneste måten å beskytte forfattere."

#.  f6
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt "
"Law Review 40 (1987): 28. For a wonderfully compelling account, see "
"Vaidhyanathan, 37&ndash;48."
msgstr ""
"Lyman rokke patterson, \"ytringsfriheten, opphavsrett, og rettferdig bruk\" "
"vanderbilt lov gå gjennom 40 (1987): 28. for en fantastisk overbevisende-"
"konto, kan du se vaidhyanathan, 37­48."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"This was a clever argument, and one that had the support of some of the "
"leading jurists of the day. It also displayed extraordinary chutzpah.  Until "
"then, as law professor Raymond Patterson has put it, \"The publishers . . . "
"had as much concern for authors as a cattle rancher has for cattle."
"\"<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 ""

#.  f7
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For a compelling account, see David Saunders, Authorship and Copyright "
"(London: Routledge, 1992), 62&ndash;69."
msgstr ""
"Hvis en overbevisende-konto, kan du se david saunders, forfatterskap og "
"opphavsrett (london: routledge, 1992), 62­69."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The booksellers' argument was not accepted without a fight.  The hero of "
"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  f8
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), "
"92."
msgstr ""
"merke rose, forfattere og eiere (cambridge: harvard university press, 1993), "
"92."

#.  f9
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid., 93."
msgstr "ibid., 93."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Donaldson was an outsider to the London Conger. He began his career in "
"Edinburgh in 1750. The focus of his business was inexpensive reprints \"of "
"standard works whose copyright term had expired,\" at least under the "
"Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's "
"publishing house prospered and became \"something of a center for literary "
"Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was \"the young "
"James Boswell who, together with his friend Andrew Erskine, published an "
"anthology of contemporary Scottish poems with Donaldson.\"<placeholder type="
"\"footnote\" id=\"1\"/>"
msgstr ""

#.  f10
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting "
"Borwell)."
msgstr ""
"Lyman rokke patterson, copyright i historisk perspektiv, 167 (sitere "
"borwell)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"When the London booksellers tried to shut down Donaldson's shop in Scotland, "
"he responded by moving his shop to London, where he sold inexpensive "
"editions \"of the most popular English books, in defiance of the supposed "
"common law right of Literary Property.\"<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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The London booksellers quickly brought suit to block \"piracy\" like "
"Donaldson's. A number of actions were successful against the \"pirates,\" "
"the most important early victory being Millar v. Taylor."
msgstr ""
"london bokhandlerne brakt raskt dress å blokkere \"piratkopiering\" som "
"donaldson's. en rekke handlinger var vellykket mot \"pirates,\" den "
"viktigste tidlige seieren blir millar v. taylor."

#.  f11
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): "
"1152."
msgstr ""
"Howard b. abrams, \"historiske grunnlaget for amerikansk lov om opphavsrett: "
"eksploderende myten om sedvanerett opphavsrett,\" wayne lov gå gjennom 29 "
"(1983): 1152."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Millar was a bookseller who in 1729 had purchased the rights to James "
"Thomson's poem \"The Seasons.\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"pirates.\" 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 ""
"astonishingly til moderne advokater avtalt en av de største dommerne i "
"engelsk historie, Herren mansfield, med bokhandlerne. Uansett beskyttelse "
"Vedtektene for anne ga bokhandlere, det ikke, han holdt, Slukk sedvanerett "
"rett. spørsmålet var om felles lov ville beskytte forfatteren mot "
"etterfølgende \"pirater.\" mansfield svaret var Ja: felles lov ville stolpe "
"taylor fra ettertrykk thomson's diktet uten millar's tillatelse. som regel "
"sedvanerett dermed ga effektivt bokhandlerne evigvarende rett til å "
"kontrollere publiseringen av noen bok som er tilordnet."

#.  PAGE BREAK 103
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"regnet som et spørsmål om abstrakt rettferdighet--resonnement som om "
"rettferdighet var bare et spørsmål om logiske fradrag fra første prinsipper--"
"mansfield's konklusjon kan gjøre noen følelse. men hva den ignorert var "
"større problemet parlamentet hadde slitt med i 1710: hvordan man best kan "
"begrense monopol makt utgivere? parlamentets strategi var å tilby en frist "
"for eksisterende verk som var lang nok til å kjøpe fred i 1710, men kort nok "
"til å sikre at kultur ville passere inn i konkurransen innen en rimelig "
"tidsperiode. innen tjueen år, parlamentet trodd, Storbritannia ville modne "
"fra den kontrollerte kulturen som kronen tatt til gratis kultur som vi har "
"arvet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 å forsvare grensene for Vedtektene for anne var ikke å avslutte "
"der, og det er her at donaldson går inn i mix."

#.  f12
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid., 1156."
msgstr "ibid., 1156."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Millar died soon after his victory, so his case was not appealed. His estate "
"sold Thomson's poems to a syndicate of printers that included Thomas Beckett."
"<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an "
"unauthorized edition of Thomson's works. Beckett, on the strength of the "
"decision in Millar, 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"As few legal cases ever do, Donaldson v. Beckett 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 ""
"som noen juridiske tilfeller noensinne gjør, trakk donaldson v. beckett en "
"enorm mengde oppmerksomhet i hele Storbritannia. donaldson's advokater "
"hevdet at uansett rettigheter kan ha vært der under felles lov, Vedtektene "
"for anne avsluttet disse rettighetene. etter passering av Vedtektene for "
"anne kom bare juridiske beskyttelse for en eksklusiv rett til å kontrollere "
"publikasjonen fra at vedtekt. Således, de hevdet, etter at begrepet angitt i "
"Vedtektene for anne utløpt, fungerer som hadde vært beskyttet av Vedtektene "
"var ikke lenger beskyttet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
"the House and voted upon first by the \"law lords,\" 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 ""
"house of lords var en merkelig institusjon. juridiske spørsmål ble "
"presentert for huset og kåret upon første av \"lov lords,\" medlemmer av "
"spesielle rettslig skille mellom som fungerte mye som justiariusene i våre "
"Høyesterett. deretter, etter at loven lords stemte, house of lords vanligvis "
"stemte."

#.  PAGE BREAK 104
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"rapporter om loven lords' stemmer er blandet. på enkelte punkter, det ser ut "
"som om evigvarende copyright prevailed. men det er ingen tvetydighet om "
"hvordan house of lords stemte som helhet. med en to-til-en-flertall (22 til "
"11) stemte de for å avvise ideen om evigvarende opphavsrettigheter. Hva en "
"forståelse av sedvanerett, nå en copyright ble løst i en begrenset periode, "
"hvoretter arbeidet beskyttet av opphavsrett sendes til public domain."

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Bacon, Francis"
msgstr "Bacon, Francis"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"The public domain.\" Before the case of Donaldson v. Beckett, 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 ""
"\"i public domain.\" før saken av donaldson v. beckett, det var ingen klar "
"idé av et offentlig-domene i england. før 1774 var det en sterk argumentet "
"at sedvanerett opphavsrett var evigvarende. etter 1774, ble public domain "
"født. for første gang i anglo-amerikanske historikk, juridisk kontroll over "
"kreative gjerninger utløpt, og den største verker i engelsk historie, "
"inkludert de av shakespeare, bacon, milton, johnson og bunyan--var fri for "
"juridiske selvbeherskelse."

#.  f13
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "Rose, 97."
msgstr "Rose, 97."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"It is hard for us to imagine, but this decision by the House of Lords fueled "
"an extraordinarily popular and political reaction. In Scotland, where most "
"of the \"pirate publishers\" did their work, people celebrated the decision "
"in the streets. As the Edinburgh Advertiser reported, \"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.\" \"Great rejoicing in Edinburgh upon victory over literary "
"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In London, however, at least among publishers, the reaction was equally "
"strong in the opposite direction. The Morning Chronicle reported:"
msgstr ""
"i london, men var minst blant utgivere, reaksjonen like sterke i motsatt "
"retning. den morgen krøniken rapportert:"

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"By the above decision . . . 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 ""

#.  PAGE BREAK 105
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Ruined\" 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 free.  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 free 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 competitive "
"context, 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 ""
"\"ødela\" er litt av en overdrivelse. men det er ingen overdrivelse å si at "
"endringen var dyp. vedtaket av house of lords betydde at bokhandlerne ikke "
"lenger kan kontrollere hvordan kultur i england vil vokse og utvikle. kultur "
"i england var etterpå gratis. for selvfølgelig, i en begrenset periode etter "
"et arbeid ble utgitt, hadde den lokale Bokhandleren ikke i den forstand at "
"opphavsretten ikke ville bli respektert, en eksklusiv rett til å kontrollere "
"publiseringen av denne boken. og ikke i den forstand at bøker kan bli "
"stjålet, for selv etter at opphavsretten utløpt, du fortsatt måtte kjøpe "
"boka fra noen. men gratis i den forstand at kulturen og dens vekst, vil være "
"styrt av en liten gruppe av utgivere ikke lenger. som hver fritt marked "
"gjør, denne fritt marked for fri kultur ville vokse som forbrukere og "
"produsenter valgte. engelsk kultur ville utvikle så mange engelsk lesere "
"valgte å la det utvikle--valgte i bøker de kjøpte og skrev; valgte i memes "
"de gjentas og godkjent. valgte i en konkurransedyktig sammenheng, ikke en "
"sammenheng der valg om hva kultur er tilgjengelig for personer og hvordan de "
"får tilgang til den er laget av få til tross for ønskene til mange."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Dette var minst, regelen i en verden der parlamentet er antimonopoly, "
"motstandsdyktig mot protectionist pleas av utgivere. i en verden der "
"parlamentet er mer pliant, ville fri kultur være mindre beskyttet."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER SEVEN: Recorders"
msgstr "Kapittel sju: Opptakere"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Jon Else 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 ""
"Jon annet er en filmskaper. Han er best kjent for sin dokumentarer og har "
"vært svært vellykket i å spre sin kunst. Han er også en lærer, og som lærer "
"meg selv, jeg misunner lojalitet og beundring at hans elever føler seg for "
"ham. (jeg møtte, ved et uhell, to av hans studenter ved et middagsselskap. "
"Han var deres Gud)."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Ellers arbeidet på en dokumentar som jeg var involvert i. på en pause, han "
"fortalte meg en historie om frihet å opprette med film i Amerika i dag."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, ellers arbeidet på en dokumentar om wagner's ring syklus. fokus var "
"stagehands ved san francisco opera. stagehands er et spesielt morsom og "
"fargerike element i en opera. under fremvisningen henger de nedenfor scenen "
"i fatt lounge og i loft belysning. de gjør en perfekt kontrast til kunst på "
"scenen."

#.  PAGE BREAK 107
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 The Simpsons. As Else judged it, this touch of cartoon "
"helped capture the flavor of what was special about the scene."
msgstr ""
"under en av forestillinger, var ellers skyting noen stagehands spille "
"brikker. i et hjørne av rommet var en TV-apparatet. spille på TV-apparatet, "
"mens stagehands spilte brikker og opera selskapet spilte wagner, var "
"simpsons. som andre dømt det denne touch tegneserie hjalp fangst smaken av "
"det som var spesielt med scenen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Years later, when he finally got funding to complete the film, Else "
"attempted to clear the rights for those few seconds of The Simpsons.  For of "
"course, those few seconds are copyrighted; and of course, to use copyrighted "
"material you need the permission of the copyright owner, unless \"fair use\" "
"or some other privilege applies."
msgstr ""
"år senere, når han til slutt fikk finansiering for å fullføre filmen, ellers "
"forsøkte å tømme rettighetene for de noen sekunder av simpsons. for "
"selvfølgelig, er de få sekunder opphavsrettsbeskyttet; og selvfølgelig, hvis "
"du vil bruke opphavsrettsbeskyttet materiale du trenger tillatelse fra "
"eieren av opphavsretten, med mindre \"fair use\" eller noen andre "
"privilegium gjelder."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Else called Simpsons 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 ""
"annet kalt simpsons skaperen matt groening's kontor for å få tillatelse. "
"Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde på en "
"liten TV satt i hjørnet av rommet. Hvordan kan det vondt? Groening var glade "
"for å ha det i filmen, men han fortalt annet for å kontakte gracie films, "
"firmaet som lager programmet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 var bra med den, også, men de, som groening, ønsket å være "
"forsiktig. så de fortalte andre for å kontakte fox, gracie's morselskapet. "
"annet kalt fox og fortalte dem om klippet i hjørnet av ett rom skutt av "
"filmen. Matt groening hadde allerede gitt tillatelse, andre sier. Han var "
"bare bekrefte tillatelsen med fox."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Then, as Else told me, \"two things happened. First we discovered . . . 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.\" And second, Fox "
"\"wanted ten thousand dollars as a licensing fee for us to use this four-"
"point-five seconds of . . . entirely unsolicited Simpsons which was in the "
"corner of the shot.\""
msgstr ""
"deretter, som ellers fortalte meg, \"to ting har skjedd. første vi "
"oppdaget... at matt groening ikke eier sin egen etablering-- eller i det "
"minste at noen [på fox] mener han ikke eier sin egen etableringen. \"og "
"andre fox\"ville ti tusen dollar som en lisenskostnader avgift for oss å "
"bruke denne fire-punkt-fem sekunder... helt uønsket simpsons som var i "
"hjørnet av skutt.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"There must be some mistake here. . . .  We're asking for your "
"educational rate on this.\" That was the educational rate, Herrera told "
"Else. A day or so later, Else called again to confirm what he had been told."
msgstr ""
"Ellers var sikker på at det var en feil. Han jobbet seg opp noen trodde han "
"var vice president for lisensiering, rebecca herrera. Han forklarte henne, "
"\"det må være noen feil her.... Vi ber om din pedagogisk rate på dette.\"det "
"var pedagogisk ofte, herrera fortalte ellers. en dag eller så senere, ellers "
"kalles på nytt for å bekrefte hva han hadde blitt fortalt."

#.  PAGE BREAK 108
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
"have your facts straight,\" she said. It would cost $10,000 to use the clip "
"of The Simpsons in the corner of a shot in a documentary film about Wagner's "
"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote "
"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told "
"Else later on, \"They don't give a shit. They just want the money.\""
msgstr ""
"\"jeg ønsket å sikre at jeg hadde min fakta rett,\" sa han til meg. \"Ja, du "
"har din fakta rett,\" sa hun. det ville koste $ 10 000 for å bruke klippet "
"av simpsons i hjørnet av et skudd i en dokumentarfilm om wagner's ring "
"syklus. og deretter astonishingly, herrera fortalte annet \"og hvis du "
"siterer meg, vil jeg slå deg til våre advokater.\" som assistent for herrera "
"fortalte andre senere, \"de ikke gir faen. de vil bare penger.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, The Day After Trinity, "
"from ten years before."
msgstr ""
"ellers har ikke penger til å kjøpe retten til å spille hva spilte på TV "
"backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten "
"var utenfor den dokumentar filmskaper budsjett. i svært siste øyeblikk før "
"filmen var å bli befridd, erstattet ellers digitalt skutt med et utklipp fra "
"en annen film som han hadde jobbet på, dagen etter trinity, fra ti år før."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"There's no doubt that someone, whether Matt Groening or Fox, owns the "
"copyright to The Simpsons. 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 Simpsons 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 tvil om at noen om matt groening eller fox, eier opphavsretten "
"til simpsons. at opphavsretten er deres eiendom. for å bruke at "
"opphavsrettsbeskyttet materiale således noen ganger krever tillatelse fra "
"eieren av opphavsretten. Hvis Bruk som ellers ville være av simpsons "
"opphavsrett var en av de bruker begrenset av loven, ville han trenger å få "
"tillatelse fra eieren av opphavsretten før han kunne bruke arbeidet på den "
"måten. og i et fritt marked, det er eieren av opphavsretten hvem som kan "
"angi pris for bruk som loven sier eieren får kontroll."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For example, \"public performance\" is a use of The Simpsons 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 \"My "
"Favorite Simpsons,\" 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 $1,000,000. That's her right, as set by the law."
msgstr ""
"\"offentlig fremføring\" er for eksempel en bruk av simpsons blir eieren av "
"opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt episoder, "
"leie en kino, og betalt for billetter til å komme se \"min favoritt simpsons"
"\", må du få tillatelse fra eieren av opphavsretten. og "
"rettighetsinnehaveren (med rette, i min mening) kan lade hva hun ønsker--$ "
"10 eller $1,000,000. Det er hennes høyre, som er angitt av loven."

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For an excellent argument that such use is \"fair use,\" but that lawyers "
"don't permit recognition that it is \"fair use,\" see Richard A. Posner with "
"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred "
"\" (draft on file with author), University of Chicago Law School, 5 August "
"2003."
msgstr ""
"Hvis et utmerket argument at slik bruk er \"rettferdig bruk\", men at "
"jurister ikke tillater anerkjennelse som det er \"rettferdig bruk,\" se "
"richard a. posner med william f. patry, \"rettferdig bruk og lovbestemte "
"reform i kjølvannet av eldred\" (utkast på filen med forfatteren), "
"university of chicago law school, 5 august 2003."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just "
"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use "
"of The Simpsons&mdash;and fair use does not require the permission of anyone."
msgstr ""

#.  PAGE BREAK 109
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"So I asked Else why he didn't just rely upon \"fair use.\" Here's his reply:"
msgstr ""
"så jeg spurte er hvorfor han ikke bare stole på \"rettferdig bruk.\" her "
"annet hans svar:"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"The Simpsons 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 \"clearly fair use\" in an "
"absolute legal sense. But I couldn't rely on the concept in any concrete "
"way. Here's why:"
msgstr ""
"simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket "
"advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly "
"relevant i praksis for de av oss faktisk prøver å gjøre og kringkaste "
"dokumentarer. Jeg har aldri hatt noen tvil om at det var \"klart fair use\" "
"i en absolutt juridisk forstand. men jeg kunne ikke stole på konseptet på "
"noen konkret måte. Her er hvorfor:"

#.  1.
#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"Before our films can be broadcast, the network requires that we buy Errors "
"and Omissions insurance. The carriers require a detailed \"visual cue sheet"
"\" listing the source and licensing status of each shot in the film. They "
"take a dim view of \"fair use,\" and a claim of \"fair use\" can grind the "
"application process to a halt."
msgstr ""
"før vår filmer som kan sendes, krever nettverket at vi kjøper feil og "
"utelatelser forsikring. operatører krever en detaljert \"visual cue ark\" "
"liste over kilden og lisensiering status for hver skudd i filmen. de tar en "
"dim visning av \"fair use\", og et krav om \"fair use\" kan slipe "
"søknadsprosessen til å stoppe."

#.  2.
#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
#, mtrans, 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 Simpsons usage, just as George Lucas had a very high "
"profile litigating Star Wars usage. So I decided to play by the book, "
"thinking that we would be granted free or cheap license to four seconds of "
"Simpsons. 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 trolig aldri ha spurt matt groening i utgangspunktet. men jeg "
"visste (minst fra folklore) at fox hadde en historie for å spore ned og "
"stopper ulisensiert simpsons-bruk, akkurat som george lucas hadde en meget "
"høy profil prosedere star wars-bruk. så jeg besluttet å spille av boken, "
"tenker at vi ville bli gitt gratis eller Billige lisens til fire sekunder av "
"simpsons. som en dokumentar produsent arbeider til utmattelse på en "
"shoestring, var den siste tingen jeg ønsket å risikere juridiske problemer, "
"selv ordensforstyrrelser juridiske problemer, og selv for å forsvare et "
"prinsipp."

#.  3.
#.  PAGE BREAK 110
#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"I did, in fact, speak with one of your colleagues at Stanford Law "
"School . . . who confirmed that it was fair use. He also confirmed that Fox "
"would \"depose and litigate you to within an inch of your life,\" 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 gjorde, faktisk snakke med en av dine kolleger ved stanford law "
"school... som bekreftet at det var rimelig bruk. han bekreftet også at fox "
"ville \"avsette og litigate du innenfor en tomme av livet,\" uavhengig av "
"fordelene ved mitt krav. Han gjorde det klart at det ville koker ned til "
"hvem som hadde større juridiske avdelingen og dypere lommebøker, meg eller "
"dem."

#.  4.
#. type: Content of: <book><chapter><sect1><blockquote><orderedlist><listitem><para>
#, mtrans, 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 ""
"spørsmålet om rettferdig bruk kommer vanligvis på slutten av prosjektet, når "
"vi er opp mot en release frist og tom for penger."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 betyr fair use du trenger ingen tillatelse. teorien derfor støtter "
"fri kultur og isolerer mot en tillatelse kultur. men i praksis, rettferdig "
"bruk funksjonene veldig annerledes. krusete linjene av loven, knyttet til "
"det ekstraordinære ansvaret Hvis linjer er krysset, betyr at effektiv "
"rettferdig bruk for mange typer skaperne er liten. loven har høyre mål; "
"praksis har beseiret målet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"denne øvelsen viser bare hvor langt loven har kommet fra sine 1700-tallet "
"røtter. loven ble født som et skjold for å beskytte utgivere fortjeneste mot "
"urettferdig konkurranse av en pirat. Det har modnet til et sverd som "
"forstyrrer bruke transformative eller ikke."

#. type: Content of: <book><chapter><sect1><title>
#, mtrans, fuzzy
msgid "CHAPTER EIGHT: Transformers"
msgstr "Kapittel åtte: transformatorer"

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Allen, Paul"
msgstr "Allen, Paul"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In 1993, 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 ""
"i 1993 var alex alben en advokat som jobber på starwave, inc. starwave var "
"en nyskapende selskap grunnlagt av microsoft cofounder paul allen å utvikle "
"digital underholdning. lenge før Internett ble populært, begynte starwave å "
"investere i ny teknologi for å levere underholdning i påvente av the power "
"of networks."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 hadde en spesiell interesse i ny teknologi. Han var fascinert av det "
"voksende markedet for CD-ROM-teknologi--ikke å distribuere film, men å gjøre "
"ting med film som ellers ville være svært vanskelig. i 1993 lanserte han et "
"initiativ for å utvikle et produkt for å bygge retrospectives på arbeidet "
"til bestemt aktører. den første skuespilleren valgt var clint eastwood. "
"ideen var å presentere alt arbeidet av eastwood, med klipp fra hans filmer "
"og intervjuer med tallene viktig til sin karriere."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, hadde eastwood gjort mer enn femti filmer, som skuespiller og "
"som styremedlem. Alben begynte med en rekke intervjuer med eastwood, ber ham "
"om hans karriere. fordi starwave produsert de intervjuene, var det gratis å "
"inkludere dem på CD-ROMen."

#.  PAGE BREAK 112
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"som alene ville ikke ha gjort en meget interessant produkt, så starwave "
"ønsket å legge til innhold fra filmer i Eastwoods karriere: plakater, skript "
"og annet materiale som er knyttet til filmer eastwood gjort. de fleste av "
"sin karriere ble brukt på warner brothers, og så var det relativt lett å få "
"tillatelse for innholdet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Then Alben and his team decided to include actual film clips. \"Our goal was "
"that we were going to have a clip from every one of Eastwood's films,\" "
"Alben told me. It was here that the problem arose. \"No one had ever really "
"done this before,\" Alben explained. \"No one had ever tried to do this in "
"the context of an artistic look at an actor's career.\""
msgstr ""
"deretter alben og hans team besluttet å inkludere faktiske film klipp. "
"\"vårt mål var at vi skulle ha et klipp fra hver og en av Eastwoods film,\" "
"fortalte alben meg. Det var her at problemet oppsto. \"ingen hadde noensinne "
"virkelig gjort dette før,\" forklarte alben. \"ingen hadde noen gang prøvd å "
"gjøre dette i sammenheng med en kunstnerisk titt på en skuespiller-karriere."
"\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave.  Slade asked, "
"\"Well, what will it take?\""
msgstr ""
"Alben brakt ideen til michael slade, ceo i starwave. Slade som ble spurt, "
"\"Vel, hva vil det ta?\""

#. type: Content of: <book><chapter><sect1><para><footnote><indexterm><primary>
msgid "artists"
msgstr ""

#. type: Content of: <book><chapter><sect1><para><footnote><indexterm><secondary>
msgid "publicity rights on images of"
msgstr ""

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, 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 \"Rip, Mix, Burn\" creativity, "
"as this chapter evinces."
msgstr ""
"teknisk, rettighetene som alben hadde å fjerne var hovedsakelig de "
"publisitet--rettigheter kunstner har til å kontrollere kommersiell "
"utnyttelse av hans bilde. men disse rettighetene også, belaster \"rip, "
"mikse, brenne\" kreativitet, som evinces i dette kapitlet."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Alben replied, \"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.\" Slade said, \"Great! Go for it.\"<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 verken alben eller slade hadde noen ide hva å fjerne disse "
"rettighetene ville bety. hver aktør i hver film kan ha et krav til royalties "
"for gjenbruk av at filmen. men cd-ROMene hadde ikke angitt i kontrakter for "
"skuespillerne, så det var ingen klar måte å vite akkurat hva starwave var å "
"gjøre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 spurte alben hvor han jobbet med problemet. med en opplagt stolthet i "
"hans resourcefulness som skjult åpenbare bizarreness av hans tale, recounted "
"alben bare hva de gjorde:"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 \"Make my day\" clip from Dirty Harry. 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 gikk veldig mekanisk about looking up film klipp. Vi har gjort noen "
"kunstneriske beslutninger om hva film klipp for å inkludere--selvfølgelig vi "
"skulle bruke \"gjøre dagen min\" utklippet fra dirty harry. men du må få "
"fyren på bakken som er vrir under pistol og du trenger for å få sin "
"tillatelse. og deretter må du bestemme hva du skal betale ham."

#.  PAGE BREAK 113
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 besluttet at det ville være rettferdig hvis vi tilbudt dem dayplayer-rate "
"for retten til å gjenbruke denne prestasjonen. Vi snakker om et klipp av "
"mindre enn et minutt, men hvis du vil bruke denne prestasjonen på CD-ROM-"
"hastigheten på tiden var ca $600. så vi hadde å identifisere menneskene – "
"noen av dem var vanskelig å identifisere fordi i eastwood filmer du ikke kan "
"fortelle som fyren krasjer gjennom glass – er det skuespiller eller er det "
"stuntman? og så begynte vi bare, vi satt sammen et team, min assistent og "
"noen andre, og vi bare ringe personer."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"Hey, can I pay you "
"$600 or maybe if you were in two films, you know, $1,200?\" And they would "
"say, \"Are you for real? Hey, I'd love to get $1,200.\" 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 ""
"enkelte aktører var glad for å hjelpe--donald sutherland, for eksempel fulgt "
"opp seg å være sikker på at rettigheter hadde blitt fjernet. andre var "
"målløs på deres hell. Alben vil spørre: \"Hei, kan jeg betale $600 eller "
"kanskje Hvis du var i to filmer, du vet, $1200?\" og de ville si, \"er du "
"for real? Hei, jeg ville elske å få $1200. \"og noen selvfølgelig var litt "
"vanskelig (fraseparerte ex-kone, spesielt). men til slutt, alben og teamet "
"hans hadde klarert rettighetene til denne retrospektiv CD-ROMen på clint "
"eastwood karriere."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It was one year later&mdash;\"and even then we weren't sure whether we were "
"totally in the clear.\""
msgstr ""
"Det var ett år senere, \"og selv da vi var ikke sikker på om vi var helt i "
"klartekst.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 stolte av sitt arbeid. prosjektet ble først i sitt slag, og den "
"eneste gangen han visste av som et lag hadde påtatt seg et kjempestort "
"prosjekt for å slippe en retrospektiv."

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"Everyone thought it would be too hard. Everyone just threw up their hands "
"and said, \"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.\" But we "
"just broke it down. We just put it into its constituent parts and said, "
"\"Okay, there's this many actors, this many directors, . . . this many "
"musicians,\" and we just went at it very systematically and cleared the "
"rights."
msgstr ""
"alle trodde det ville være for hardt. alle bare kastet opp sine hender og "
"sa, \"oh, mine gosh, en film, det er så mange opphavsrettigheter, er det "
"musikken, det er manuskriptet, det er direktør, det er skuespillere.\" men "
"vi bare brøt det ned. vi bare sette det inn i sin bærende deler og sa: \"OK, "
"det er så mange aktører, så mange styremedlemmer... så mange musikere,\" og "
"vi bare gikk på den svært systematisk og fjernet rettighetene."

#.  PAGE BREAK 114
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"And no doubt, the product itself was exceptionally good. Eastwood loved it, "
"and it sold very well."
msgstr ""
"og ingen tvil, selve produktet var usedvanlig god. Eastwood elsket det, og "
"det selges godt."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to "
"Performance-Based Services Acquisition, available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #22</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"But I pressed Alben about how weird it seems that it would have to take a "
"year's work simply to clear rights. No doubt Alben had done this "
"efficiently, but as Peter Drucker has famously quipped, \"There is nothing "
"so useless as doing efficiently that which should not be done at all."
"\"<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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For, as he acknowledged, \"very few . . . have the time and resources, and "
"the will to do this,\" 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 erkjente, \"svært få... har tid og ressurser og viljen til å "
"gjøre dette,\" og dermed svært få slike arbeider noensinne vil bli gjort. "
"betyr det fornuftig, jeg spurte ham, fra standpunktet av hva noen trodde de "
"var noensinne å gi rettigheter for opprinnelig, som du må gå klart "
"rettigheter for disse typer utklipp?"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"I don't think so. When an actor renders a performance in a movie, he or she "
"gets paid very well. . . . 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 . . . should be compensated for that."
msgstr ""
"jeg tror ikke det. Når en aktør gjengir en forestilling i en film, han eller "
"hun får svært godt betalt.... og deretter når 30 sekunder av denne "
"prestasjonen brukes i et nytt produkt som er en retrospektiv av en persons "
"karriere, jeg tror ikke at vedkommende... skal kompenseres for som."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Or at least, is this how 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 minst, er dette hvordan kunstneren skal kompenseres? vil det være "
"fornuftig, jeg spurte, for det for å være en slags lovbestemte lisens som "
"noen kunne betale, og være fri til å gjøre avledede bruk av utklipp som "
"dette? det virkelig fornuftig som en etterarbeid skaperen ville ha til å "
"spore hver kunstner, skuespiller, regissør, musiker, og få tillatelse fra "
"hver? ville ikke mye mer opprettes hvis den juridiske delen av den kreative "
"prosessen kan gjøres for å være mer ren?"

#.  PAGE BREAK 115
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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, \"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,\" then it becomes difficult to put one of "
"these things together."
msgstr ""
"absolutt. Jeg tror at hvis det var noen fair-lisensiering mekanisme--der du "
"ikke var underlagt hold-ups, og du ikke var underlagt fraseparerte tidligere "
"ektefeller--du ville se mye mer av dette arbeidet, fordi det ikke ville være "
"så skremmende å prøve å sette sammen en retrospektiv av noen er karriere og "
"meningsfull måte illustrere det med mange medier fra personens karriere. du "
"vil bygge inn en kostnad som produsent av en av disse tingene. du vil bygge "
"inn en kostnadene til betale x dollar til talent som utføres. men det ville "
"være en kjent kostnad. Det er ting som turer alle opp og gjør denne typen "
"produkt som er vanskelig å få av bakken. Hvis du visste at jeg har en hundre "
"minutter med film i dette produktet og det kommer til å koste meg x, "
"deretter du bygge budsjettet rundt det, og du kan få investeringer og alt "
"annet du vil produsere den. men hvis du sier, \"oh, jeg ønsker en hundre "
"minutter av noe jeg aner ikke hva det vil koste meg og et visst antall "
"mennesker kommer til å holde meg opp for penger\", og det blir vanskeligere "
"å sette en av disse tingene sammen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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? 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, "
"\"Does this still make sense?\""
msgstr ""
"Alben jobbet for et stort selskap. hans selskap var støttet av noen av de "
"rikeste investorene i verden. derfor hadde han myndighet og pålogging som "
"gjennomsnittlig webdesigner ikke ville. så hvis det tok ham et år, hvor "
"lenge vil det ta noen andre? og hvor mye kreativitet er aldri gjort bare "
"fordi kostnadene ved å fjerne rettigheter er så høy? disse kostnadene er "
"byrdene av en slags regulering. Sett på en republikanske lue for et "
"øyeblikk, og bli sint for litt. regjeringen definerer omfanget av disse "
"rettighetene, og omfanget definert bestemmer hvor mye det vil koste å "
"forhandle dem. (Husk at ideen om at landet kjører til himmelen, og Tenk "
"piloten kjøper flythrough rettigheter idet han forhandler om å fly fra los "
"angeles til san francisco.) disse rettighetene ha også en gang gjort "
"fornuftig; men som omstendigheter endring, de gir ingen mening i det hele "
"tatt. eller på minst, en frisk-utdannet, regulationminimizing republikanske "
"bør se på rettighetene og spør, \"betyr dette fortsatt fornuftig?\""

#.  PAGE BREAK 116
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 sett flash av anerkjennelse når folk får dette punktet, men bare et "
"par ganger. Først var på en konferanse av føderale dommere i california. "
"dommernes var samlet for å diskutere nye temaet cyber-loven. Jeg ble bedt om "
"å være på panelet. Harvey saferstein, et godt respektert advokat fra en l.a. "
"firmaet, introdusert i panelet med en video som han og en venn, robert "
"fairbank, hadde produsert."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The video was a brilliant collage of film from every period in the twentieth "
"century, all framed around the idea of a 60 Minutes episode.  The execution "
"was perfect, down to the sixty-minute stopwatch. The judges loved every "
"minute of it."
msgstr ""
"videoen var en glimrende collage av filmen fra hver periode i det tjuende "
"århundret, alle innrammet rundt ideen om en 60 minutter-episode. utførelsen "
"var perfekt, ned til seksti minutter stoppeklokken. dommernes elsket enhver "
"minutt av den."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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: \"Do you know how many federal laws were just violated in this "
"room?\""
msgstr ""
"Når lysene kom opp, kikket jeg over til min copanelist, david nimmer, "
"kanskje den ledende opphavsrett lærd og practitioner i nasjonen. Han hadde "
"en forbauset se på ansiktet hans, som han kikket ned på tvers av rommet med "
"over 250 well-entertained dommere. tar en illevarslende tone, han begynte "
"sin tale med et spørsmål: \"vet du hvor mange føderale lover ble bare brutt "
"i dette rommet?\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"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 ""
"for selvfølgelig to briljant talentfulle skaperne som laget denne filmen "
"ikke hadde gjort hva alben gjorde. de hadde ikke tilbrakte et år å fjerne "
"rettighetene til disse klippene; teknisk, hva de hadde gjort brudd på loven. "
"Selvfølgelig, det var ikke som om de eller noen skulle prosecuted for dette "
"krenkelse (tilstedeværelse av 250 dommere) og en gaggle av føderale marshals "
"til tross for. men nimmer var å gjøre et viktig poeng: et år før noen hadde "
"hørt om word-napster, og to år før et annet medlem av panelet, david boies, "
"ville forsvare napster før niende circuit court of appeals, nimmer prøvde å "
"få dommere å se at loven ikke skulle vennlig til kapasitetene som gir denne "
"teknologien. teknologi betyr at du kan nå gjøre fantastiske ting enkelt; men "
"du ikke kunne enkelt gjøre dem lovlig."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"We live in a \"cut and paste\" 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 en \"klippe og lime\" kultur aktiveres av teknologi. alle bygge "
"en presentasjon vet ekstraordinære friheten som klippe- og limefunksjon "
"arkitekturen av Internett opprettet--i et sekund som du kan finne omtrent "
"alle bildet du ønsker; i en annen andre, kan du ha det plantet i "
"presentasjonen."

#.  PAGE BREAK 117
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 presentasjoner er bare en liten begynnelse. ved hjelp av Internett og "
"sine arkiver, er musikere i stand til streng sammen mikser lydens aldri før "
"hadde forestilt deg; filmskapere er i stand til å lage filmer ut av klipp på "
"datamaskiner rundt om i verden. en ekstraordinære området i Sverige tar "
"bilder av politikere og blander dem med musikk å opprette bite politiske "
"kommentarer. et område kalt leiren kaos har produsert noen av de mest skarp "
"kritikken av rullebladet industri som det er gjennom blanding av flash! og "
"musikk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"All of these creations are technically illegal. Even if the creators wanted "
"to be \"legal,\" 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 ""
"alle disse kreasjoner er teknisk ulovlig. Selv om skaperne ønsket å være "
"\"lovlig\", er kostnadene for å overholde loven impossibly høy. Derfor "
"lovlydige sorteringer, er et vell av kreativitet aldri gjort. og for den "
"aktuelle delen er gjort, hvis det ikke følger reglene for klaring, det ikke "
"komme ut."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"free\" use be free as in \"free beer.\" 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 "
"\"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.\" 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 ""
"til noen, disse historiene foreslå en løsning: La oss endre blanding av "
"rettigheter, slik at folk er gratis å bygge på vår kultur. gratis å legge "
"til eller blande som de ønsker. Vi kan selv foreta denne endringen uten "
"nødvendigvis som krever at \"gratis\" Bruk være fri som i «gratis øl.\"i "
"stedet, systemet kan bare gjør det enkelt for etterarbeid skaperne å "
"kompensere kunstnere uten å kreve en hær av advokater framover: regel, for "
"eksempel som sier\"royalty skyldte opphavsrettighetene til en uregistrert "
"arbeid for avledede gjenbruk av hans arbeid vil være en flat 1 prosent av "
"netto inntekterskal holdes i escrow for opphavsrett eieren. \"under denne "
"regelen, eieren av opphavsretten som kunne ha nytte av noen royalty, men han "
"ville ikke ha nytte av en full immaterielle rettigheter (som betyr retten "
"til å gi navn til sin egen pris) med mindre han registrerer arbeidet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ville muligens objektet til dette? og hva grunn ville det være for "
"objecting? Vi snakker om arbeid som ikke nå blir gjort; som hvis gjort, "
"under denne plan, ville produsere nye inntekter for kunstnere. Hva grunn "
"ville alle ha til å motsette seg det?"

#.  PAGE BREAK 118
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In February 2003, DreamWorks studios announced an agreement with Mike Myers, "
"the comic genius of Saturday Night Live and Austin Powers. According to the "
"announcement, Myers and Dream-Works would work together to form a \"unique "
"filmmaking pact.\" Under the agreement, DreamWorks \"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.\""
msgstr ""
"i februar 2003 annonsert dreamworks studios en avtale med mike myers, comic "
"geni av lørdag natt live og austin powers. Ifølge utlysningen, myers og drøm-"
"arbeider ville arbeide sammen for å danne en \"unik filmskapning pakten.\" "
"under avtalen, dreamworks – vil opparbeide seg privatrettslige rettigheter "
"til eksisterende filmselskaper treff og klassikere, skrive nye storylines "
"og--med bruk av stateof-the-art digital teknologi--sett myers og andre "
"aktører i filmen, og dermed skape et helt nytt stykke underholdning."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The announcement called this \"film sampling.\" As Myers explained, \"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.\" Steven Spielberg is quoted as saying, \"If "
"anyone can create a way to bring old films to new audiences, it is Mike.\""
msgstr ""
"utlysningen kalles denne \"film prøvetaking.\" som myers forklart, \"film "
"prøvetaking er en spennende måte å sette en opprinnelige spinn på "
"eksisterende filmer og lar publikum å se gamle filmer i et nytt lys. rap "
"artister har gjort dette i årevis med musikk, og vi nå er i stand til å ta "
"det samme konseptet og bruke den på film.\"steven spielberg er sitert som "
"sier,\"Hvis noen kan opprette en måte å bringe gamle filmer til nye "
"målgrupper, det er mike\"."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 er rett. filmen prøvetaking av myers vil bli strålende. men hvis "
"du ikke tenke på det, du vil kanskje savne helt utrolig punktet om denne "
"kunngjøringen. som de aller fleste av vår film arv, forblir under "
"opphavsrett, den virkelige betydningen av dreamworks utlysningen er bare "
"dette: det er mike myers og bare mike myers som er gratis å prøve. noen "
"generelle frihet til å bygge på film arkiv av vår kultur, en frihet i andre "
"sammenhenger antatt for oss alle, er nå et privilegium reservert for morsomt "
"og berømte-- og antagelig rik."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This privilege becomes reserved for two sorts of reasons. The first "
"continues the story of the last chapter: the vagueness of \"fair use.\" Much "
"of \"sampling\" should be considered \"fair use.\" 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 privilegiet blir reservert for to slags grunner. først fortsetter "
"historien om det siste kapitlet: vagueness av \"rettferdig bruk.\" mye av "
"\"prøvetaking\" bør bli vurdert \"rettferdig bruk.\", men få vil stole på så "
"svak en doktrine å opprette. som fører til den andre grunnen at privilegiet "
"er forbeholdt få: kostnadene ved forhandling juridiske rettighetene for "
"kreative gjenbruk av innhold er astronomically høy. disse kostnadene speile "
"kostnadene med rettferdig bruk: du enten betale en advokat for å forsvare "
"fair use-rettigheter eller betale en advokat for å spore opp tillatelser, så "
"du trenger ikke å stole på fair use rettigheter. Uansett, den kreative "
"prosessen er en prosess med å betale advokater--igjen en rettighet, eller "
"kanskje en forbannelse, forbeholdt få."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER NINE: Collectors"
msgstr "Kapittel ni: Samlere"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In April 1996, millions of \"bots\"&mdash;computer codes designed to "
"\"spider,\" 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 ""
"I april 1996 begynte millioner av \"bots\"&mdash;datakode utformet til "
"\"edderkopp\", eller automatisk søke Internett og kopiere innholdet--kjører "
"over nettet. side for side, disse botene kopiert Internett-basert "
"informasjon på et lite sett med datamaskiner som er plassert i en kjeller i "
"san Franciscos presidio. Når roboter ferdig med hele Internett, startet de "
"igjen. igjen og igjen, en gang enhver to måneder, disse biter av koden tok "
"kopier av Internett og lagret dem."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"the Way Back Machine,\" you could enter a Web page, and "
"see all of its copies going back to 1996, as well as when those pages "
"changed."
msgstr ""
"av oktober 2001, roboter hadde samlet inn mer enn fem år av Kopier. og på en "
"liten pressemelding i berkeley, california, arkivet som disse kopiene "
"opprettet internet archive, ble åpnet til verden. bruker en teknologi som "
"kalles \"vei tilbake maskinen\", kan du angi en web-side, og se alle dens "
"Kopier gå tilbake til 1996, og når disse sidene endres."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This is the thing about the Internet that Orwell would have appreciated.  In "
"the dystopia described in 1984, 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 ting om Internett som orwell ville ha verdsatt. i dystopia "
"beskrevet i 1984, ble gamle aviser stadig oppdatert for å sikre som "
"gjeldende visning av verden, godkjent av regjeringen, ikke var motsagt av "
"forrige nyhetsrapporter."

#.  PAGE BREAK 120
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"tusenvis av arbeidstakere stadig reedited fortiden, noe som betyr at det var "
"ingen måte noen gang å vite om historien du lese i dag var historie som ble "
"skrevet ut på dato publisert på papiret."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 Internett. Hvis du går til en webside i dag, er det "
"ingen måte for deg å vite om innholdet du leser er det samme som innholdet "
"du lese før. siden kan virke det samme, men innholdet kan være forskjellige. "
"Internett er orwell's bibliotek--oppdatert hele tiden, uten noen pålitelig "
"minne."

#.  f1
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"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, \"Combat Operations in Iraq Have Ended.\" That was later changed, "
"without notice, to \"Major Combat Operations in Iraq Have Ended.\" E-mail "
"from Brewster Kahle, 1 December 2003."
msgstr ""
"fristelsene fortsatt, men. Brewster kahle rapporterer at det hvite hus "
"endrer sin egen pressemeldinger uten varsel. en mai 13, 2003, pressemelding "
"uttalt, \"stridende operasjoner i Irak er avsluttet.\" som ble senere "
"endret, uten varsel, \"store stridende operasjoner i Irak er avsluttet.\" e-"
"post fra brewster kahle, 1 desember 2003."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Until the Way Back Machine, at least. With the Way Back Machine, and the "
"Internet Archive underlying it, you can see what the Internet was. You have "
"the power to see what you remember. More importantly, perhaps, you also have "
"the power to find what you don't remember and what others might prefer you "
"forget.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"We take it 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 ""
"vi ta det for gitt at vi kan gå tilbake til å se hva vi husker jeg leser. "
"Tenk på aviser. Hvis du ønsker å studere reaksjon i hjembyen avisa på rase "
"opptøyene i watt i 1965, eller til bull connor's vannkanon i 1963, kan du gå "
"til din offentlige bibliotek og se på avisene. Disse papirene finnes "
"sannsynligvis på mikrokort. Hvis du er heldig, finnes de i papir, også. "
"Uansett, du er fri, ved hjelp av et bibliotek, for å gå tilbake og huske--"
"ikke bare hva det er praktisk å huske, men husker noe nær sannheten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It is said that those who fail to remember history are doomed to repeat it. "
"That's not quite correct. We all 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 sies at de som ikke klarer å huske historie er dømt til å gjenta den. "
"Det er ikke helt riktig. vi alle glemme historie. nøkkelen er om vi har en "
"måte å gå tilbake til Gjenoppdag hva vi glemme. nøkkelen er mer direkte om "
"en objektiv siste kan holde oss ærlig. biblioteker hjelpe gjøre det, ved å "
"samle innhold og holde den, for skolebarn, til forskere for bestemor. et "
"fritt samfunn forutsetter dette knowedge."

#.  PAGE BREAK 121
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Internett var et unntak til denne antagelse. før internet archive var det "
"ikke mulig å gå tilbake. Internett var typiske forbigående medium. og ennå, "
"som det blir viktigere i forming og reformere samfunn, det blir mer og mer "
"viktig å opprettholde i noen historiske form. Det er bare bisarre å tro at "
"vi har scads av arkiver av aviser fra bittesmå byer rundt om i verden, men "
"det er én kopi av Internett--det ettall holdt av internet archive."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 grunnleggeren av internet archive. Han var en svært "
"vellykket Internett entreprenør etter at han var vellykket datamaskinen "
"forsker. i 1990-årene besluttet kahle han hadde hatt nok suksess. Det var "
"tid for å bli en annen type suksess. så han lansert en rekke prosjekter som "
"er utformet for å arkivere menneskelig kunnskap. internet archive var bare "
"først av prosjekter av denne andrew carnegie av Internett. ved desember "
"2002, arkivet hadde over 10 milliarder sider, og det ble vokser om en "
"milliard sider per måned."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The Way Back Machine is the largest archive of human knowledge in human "
"history. At the end of 2002, it held \"two hundred and thirty terabytes of "
"material\"&mdash;and was \"ten times larger than the Library of Congress.\" "
"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. \"But other than "
"that, [television] is almost unavailable,\" Kahle told me. \"If you were "
"Barbara Walters you could get access to [the archives], but if you are just "
"a graduate student?\" As Kahle put it,"
msgstr ""
"vei tilbake er maskinen bortimot komplett arkiv over menneskelig kunnskap i "
"menneskehetens historie. på slutten av 2002, det holdt \"to hundre og tredve "
"terabyte materiale\"-- og var \"ti ganger større enn the library of congress."
"\" og dette var bare først av arkivene at kahle er fastsatt til å bygge. i "
"tillegg til internet archive, har kahle vært konstruere TV-arkivet. TV, det "
"viser seg, er enda mer flyktig enn Internett. mens mye av 1900-tallet kultur "
"ble bygget opp via TV, er bare en liten andel av denne kulturen tilgjengelig "
"for alle å se i dag. tre timer med nyheter registreres hver kveld av "
"vanderbilt university--takket være en bestemt fritak i lov om opphavsrett. "
"innholdet er indeksert, og er tilgjengelig for forskere for en svært lav "
"avgift. \"men annet enn at, [TV] er nesten utilgjengelig,\" fortalte kahle "
"meg. \"Hvis du var barbara walters du kan få tilgang til [arkivene], men "
"hvis du er bare en utdannet student?\" som kahle sa,"

#.  PAGE BREAK 122
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 60 Minutes episode that came out after it . . . it "
"would be almost impossible. . . . Those materials are almost "
"unfindable. . . ."
msgstr ""
"husker du når dan quayle samhandlet med murphy brown? Husk at frem og "
"tilbake surrealistisk opplevelse av en politiker samarbeidsstil et fiktive "
"TV-tegn? Hvis du var utdannet student som ønsker å studere som, og du vil få "
"de opprinnelige frem og tilbake utveksling mellom to, den 60 minutter "
"episoden som kom ut etter det... det ville være nesten umulig.... disse "
"materialene er nesten unfindable...."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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? Hvorfor er det at delen av vår kultur som er registrert i "
"aviser forblir perpetually tilgjengelig, mens delen som er registrert på "
"videobåndet ikke er? Hvordan er det at vi har laget en verden hvor forskere "
"prøver å forstå virkningen av media på nineteenthcentury Amerika vil ha en "
"enklere tid enn forskere prøver å forstå virkningen av media på 1900-tallet "
"Amerika?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 grunn av loven. tidlig i amerikansk lov om opphavsrett "
"var opphavsrett eiere nødvendige for å sette inn kopier av sitt arbeid på "
"bibliotekene. Disse kopiene var ment å forenkle spredning av kunnskap og å "
"sikre at en kopi av arbeidet vil være rundt når opphavsretten utløpt, slik "
"at andre kan få tilgang til og kopiere arbeidet."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the "
"Library of Congress,\" Film Library Quarterly 13 nos. 2&ndash;3 (1980): 5; "
"Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the "
"United States ( Jefferson, N.C.: McFarland &amp; Co., 1992), 36."
msgstr ""
"Doug herrick, \"mot en nasjonal Filmsamling: filmindustrien på library of "
"congress,\" film biblioteket kvartalsvise 13 nr 2­3 (1980): 5; Anthony "
"lysbildet, nitrat vil ikke vente: en historie om filmen bevaring i USA "
"(jefferson, NC: mcfarland &amp; Co, 1992), 36."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"These rules applied to film as well. But in 1915, the Library of Congress "
"made an exception for film. Film could be copyrighted so long as such "
"deposits were made. But the filmmaker was then allowed to borrow back the "
"deposits&mdash;for an unlimited time at no cost. In 1915 alone, there were "
"more than 5,475 films deposited and \"borrowed back.\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"theft.\" 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 \"copyrighted.\" 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 gjelder generelt om TV. fjernsynssendinger var opprinnelig ikke "
"opphavsrettsbeskyttet--det var ikke mulig å fange sendinger, så det var "
"ingen frykt for \"tyveri.\", men som teknologi aktivert fanger, broadcasters "
"grunnlag i økende grad loven. loven kreves de lage en kopi av hver "
"kringkastingen for arbeidet med å være \"opphavsrettsbeskyttet.\", men "
"kopiene var bare holdt av broadcasters. Ingen biblioteket hadde rett til "
"dem. regjeringen kreve ikke dem. innholdet i denne delen av den amerikanske "
"kulturen er praktisk talt usynlige for alle som ville se."

#.  PAGE BREAK 123
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 var ivrig etter å rette opp dette. før september 11, 2001, hadde han "
"og hans allierte begynt å fange TV. de tyve radiostasjoner fra hele verden "
"er merket, og trykk på record-knappen. etter 11 september, kahle, arbeide "
"med mange andre, merkede tjue radiostasjoner fra hele verden, og starter 11. "
"oktober 2001, gjort sin dekning i uken av 11 september tilgjengelig gratis "
"on-line. alle kunne se hvordan nyhetsrapporter fra rundt om i verden dekkes "
"hendelsene den dagen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Kahle had the same idea with film. Working with Rick Prelinger, whose "
"archive of film includes close to 45,000 \"ephemeral films\" (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 \"Duck and Cover\" "
"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 hatt samme idé med film. arbeide med rick prelinger, som har arkiv av "
"filmen inkluderer nær 45.000 \"flyktige filmer\" (det vil si filmer enn "
"hollywood filmer, filmer som ble aldri opphavsrettsbeskyttet), kahle "
"etablert film arkiv. prelinger la kahle digitalisere 1300 filmer i denne "
"arkiv og legge disse filmene på Internett kan lastes ned gratis. prelinger's "
"er et for-profit selskap. Det selger kopier av disse filmene som "
"aksjemarkedet opptakene. hva han har oppdaget er at etter at han gjorde en "
"betydelig del tilgjengelig gratis, hans stock opptakene salget gikk "
"dramatisk. folk kan lett finne materialet de ønsket å bruke. noen "
"dataoverførte materialet og fremstilt filmer på egenhånd. andre kjøpt Kopier "
"Hvis du vil aktivere andre filmer skal gjøres. Uansett, arkivet aktivert "
"tilgang til denne viktige delen av vår kultur. vil du se en kopi av filmen "
"\"duck og dekke\" som instruert barn hvordan lagre seg midt i kjernefysisk "
"angrep? gå til archive.org, og du kan laste ned filmen i noen minutter--"
"gratis."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Her igjen, gir kahle tilgang til en del av vår kultur som vi ellers ikke "
"kunne få enkelt, hvis i det hele tatt. Det er ennå en annen del av det som "
"definerer det tjuende århundre at vi har mistet til historie. loven krever "
"ikke disse kopiene skal holdes av alle, eller for å bli satt i et arkiv av "
"alle. derfor finnes det ingen enkel måte å finne dem."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"nøkkelen her er tilgang, ikke pris. Kahle ønsker å aktivere gratis tilgang "
"til dette innholdet, men han ønsker også å gjøre andre til å selge tilgang "
"til den. hans mål er å sikre konkurranse i tilgang til denne viktige delen "
"av vår kultur. ikke under kommersielle livet av en bit av kreative eiendom, "
"men under en second life som alle kreative egenskapen har--et ikke-"
"kommersiell liv."

#.  PAGE BREAK 124
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For here is an idea that we should more clearly recognize. Every bit of "
"creative property goes through different \"lives.\" 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 skal klarere gjenkjenne. hver bit av kreative "
"egenskapen går gjennom ulike \"liv.\" i sin første liv, hvis skaperen er "
"heldig, innholdet er solgt. i slike tilfeller er det kommersielle markedet "
"vellykket for skaperen. det store flertallet av creative-egenskapen nyte "
"ikke slik suksess, men noen tydelig gjør. for innholdet er kommersiell "
"levetid ekstremt viktig. uten denne reklamen marked, ville det være, mange "
"hevder, mye mindre kreativitet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"etter kommersielle livet av creative-egenskapen er avsluttet, har vår "
"tradisjon alltid støttet en second life også. en avis leverer nyheter hver "
"dag til doorsteps av Amerika. svært neste dag, brukes den til å bryte fisk "
"eller for å fylle bokser med skjøre gaver eller for å bygge et arkiv av "
"kunnskap om vår historie. i denne second life, kan innholdet fortsette å "
"informere selv om denne informasjonen ikke lenger er solgt."

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar "
"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 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, \"The First Sale "
"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 "
"(2003): 593 n. 51."
msgstr ""
"Dave barns, \"fledgling karriere i antikke bøker: woodstock utleier, bar "
"eier starter et nytt kapittel ved å innta virksomhet,\" chicago tribune, 5 "
"september 1997, på t lake 1 l. bøker publisert mellom 1927 og 1946, bare 2,2 "
"prosent var i Skriv ut i 2002. r. anthony reese, \"den første salg doktrinen "
"i tid med digitale nettverk,\" boston college lov gå gjennom 44 (2003): 593 "
"n. 51."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The same has always been true about books. A book goes out of print very "
"quickly (the average today is after about a year<placeholder type=\"footnote"
"\" id=\"0\"/>). After it is out of print, it can be sold in used book stores "
"without the copyright owner getting anything and stored in libraries, where "
"many get to read the book, also for free. Used book stores and libraries are "
"thus the second life of a book. That second life is extremely important to "
"the spread and stability of culture."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"ennå i økende grad holder noen antakelse om en stabil second life for "
"kreative egenskapen ikke true med de viktigste komponentene i "
"populærkulturen i de tjuende og tjueførste århundrene. for disse--TV, "
"filmer, musikk, radio, Internett - det er ingen garanti for en second life. "
"for disse slags kultur er det som om vi har erstattet biblioteker med barnes "
"&amp; noble superstores. med denne kulturen, hva er tilgjengelig er noe "
"annet enn hva en viss begrenset marked krav. utover det forsvinner kultur."

#.  PAGE BREAK 125
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For most of 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 ""
"for det meste av det tjuende århundre var det økonomi som gjorde dette så. "
"det ville ha vært sinnsykt dyrt å samle og gjøre tilgjengelig alle TV og "
"film og musikk: kostnaden for analoge Kopier er svært høy. så selv om loven "
"i prinsippet ville har begrenset mulighet til en brewster kahle å kopiere "
"kultur Generelt, ekte begrensningen var økonomi. markedet gjorde det "
"impossibly vanskelig å gjøre noe med denne flyktige kultur; loven hadde lite "
"praktiske effekten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"kanskje er enkelt viktigste funksjon i den digitale revolusjonen at for "
"første gang siden biblioteket i alexandria, er det mulig å forestille seg å "
"opprette arkiver som holder alle kultur produsert eller distribueres "
"offentlig. teknologien gjør det mulig å forestille seg et arkiv over alle "
"bøker som er utgitt og stadig mer gjør det mulig å forestille seg et arkiv "
"over alle bevegelige bilder og lyd."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 av dette potensielle arkivet er noe vi har aldri forestilt meg før. "
"brewster kahles i vår historie har drømt om det; men vi er for første gang "
"ved et punkt der det er mulig at drømmen. som kahle beskriver,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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, . . . 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 . . . 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 ut som det er om to til tre millioner opptak av musikk. noensinne. "
"Det er om lag hundre tusen teatralsk utgivelser av filmer,... og om ett til "
"to millioner filmer [fordelt] under det tjuende århundre. Det er om lag tjue "
"- seks millioner forskjellige titler på bøker. alle disse ville passe på "
"datamaskiner som ville passe inn i dette rommet og kunne ha råd av et lite "
"selskap. så er vi ved et vendepunkt i vår historie. særlige er målet. og "
"muligheten til å lede et annet liv, basert på dette, er... spennende. Det "
"kan være en av tingene som menneskeheten ville være mest stolt av. å sette "
"en mann på månen, og oppfinnelsen av trykkpressen oppe med biblioteket i "
"alexandria."

#.  PAGE BREAK 126
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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. When 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 for our past. The "
"technology of digital arts could make the dream of the Library of Alexandria "
"real again."
msgstr ""
"Kahle er ikke den eneste bibliotekar. internet archive er ikke det eneste "
"arkivet. men kahle og internet archive foreslå hva fremtiden for biblioteker "
"eller Arkiver kan være. Når kommersielle livet av kreative egenskapen "
"avsluttes, vet jeg ikke. men det gjør. og når den gjør det, kahle og hans "
"arkiv hint på en verden der denne kunnskap og kultur, forblir perpetually "
"tilgjengelig. noen vil trekke på det å forstå det. noen å kritisere den. "
"noen vil bruke den, som walt disney gjorde, for å gjenopprette siste for "
"fremtiden. disse teknologiene lover noe som hadde blitt ufattelig for mye av "
"vår fortid--en fremtid for vår fortid. teknologi for digital arts kan gjøre "
"drømmen om biblioteket i alexandria virkelig igjen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"archives,\" as warm as the idea of a \"library\" might seem, the "
"\"content\" that is collected in these digital spaces is also someone's "
"\"property.\" And the law of property restricts the freedoms that Kahle and "
"others would exercise."
msgstr ""
"Teknologorganisasjon har dermed fjernet de økonomiske kostnadene med å bygge "
"et slikt arkiv. men fortsatt advokater kostnader. for så mye som vi kanskje "
"liker å kalle disse \"archives\", så varmt som ideen om et \"bibliotek\" kan "
"virke, \"innhold\" som er samlet inn i disse digitale mellomrom er også "
"noens \"egenskapen.\" og loven om egenskapen begrenser friheter som kahle, "
"og andre vil utøve."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER TEN: \"Property\""
msgstr "Kapittel ti: \"Eiendom\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Jack Valenti 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 ""
"Jack valenti har vært president i motion picture association of america "
"siden 1966. først kom han til washington, DC, med lyndon johnson's "
"administrasjon--bokstavelig. det berømte bildet av johnson's swearing-in på "
"air force en etter assassination av president kennedy har valenti i "
"bakgrunnen. i hans nesten førti år kjører mpaa, har valenti etablert seg som "
"kanskje mest iøynefallende og effektiv korridorpolitiker i washington."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 avdelingen av internasjonale motion picture "
"association. Det ble dannet i 1922 som en handelsforening som har mål var å "
"forsvare amerikanske filmer mot økende innenriks kritikk. organisasjonen nå "
"representerer ikke bare filmskapere men produsenter og distributører av "
"underholdning for TV, video og kabel. Styret består av formenn og "
"presidenter av de sju store produsentene og distributører av filmselskaper "
"og TV-programmer i USA: walt disney, sony pictures entertainment, mgm, "
"paramount bilder, 20th century fox, universal studios og warner brothers."

#.  PAGE BREAK 128
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 bare den tredje presidenten av mpaa. Ingen president før ham har "
"hatt så stor innflytelse over denne organisasjonen eller over washington. "
"som en Texas har valenti mestret enkelt viktigste politiske ferdigheter til "
"en southerner--muligheten til å vises enkle og treg mens skjule en lynrask "
"intellekt. til denne dag har spiller valenti enkel, ydmyke mann. men denne "
"harvard mba, og forfatter av fire bøker, som fullført videregående skole i "
"en alder av femten, og fløy mer enn femti bekjempe oppdrag i andre "
"verdenskrig, er ingen mr. smith. Når valenti gikk til washington, han "
"mestret byen i en typiske washingtonian måte."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"creative "
"property.\""
msgstr ""
"til å forsvare kunstneriske frihet og ytringsfriheten som avhenger av vår "
"kultur, har mpaa gjort viktig gode. i laging Toppliste mpaa, har det "
"sannsynligvis unngått mye tale-regulere skade. men det er et aspekt til "
"organisasjonens misjon som er både den mest radikale og de viktigste. Dette "
"er organisasjonens-innsats, epitomized i valenti's hver handling, til å "
"redefinere betydningen av \"kreative property.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In 1982, Valenti's testimony to Congress captured the strategy perfectly:"
msgstr ""
"i 1982 innspilt valenti's vitnesbyrd til Kongressen strategien perfekt:"

#.  f1
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, 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 ""
"Hjem registrering av opphavsrettslig beskyttet verk: hearings på hr 4783, hr "
"4794, hr 4808, hr 5250, hr 5488 og hr 5705 før subcommittee on domstoler, "
"borgerrettigheter og administrasjonen av rettferdighet av committee on "
"rettsvesenet av house of representatives, 97th cong., 2nd sess. (1982): 65 "
"(vitnesbyrd om jack valenti)."

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"No matter the lengthy arguments made, no matter the charges and the counter-"
"charges, no matter the tumult and the shouting, reasonable men and women "
"will keep returning to the fundamental issue, the central theme which "
"animates this entire debate: Creative property owners must be accorded the "
"same rights and protection resident in all other property owners in the "
"nation. 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 ""

#.  PAGE BREAK 129
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 "
"\"central theme\" to which \"reasonable men and women\" will return is this: "
"\"Creative property owners must be accorded the same rights and protections "
"resident in all other property owners in the nation.\" There are no second-"
"class citizens, Valenti might have continued. There should be no second-"
"class property owners."
msgstr ""
"strategien for denne retorikk, som strategi for de fleste av valenti's "
"retorikk, er strålende og enkel og strålende fordi enkel. \"sentrale temaet"
"\" som \"rimelig menn og kvinner\" vil returnere er dette: \"kreative bolig "
"må substansiell med samme rettigheter og beskyttelsene bosatt i alle andre "
"bolig i nasjonen.\" det er ingen andre klasses borgere, valenti kanskje har "
"fortsatt. Det bør være ingen annenklasses bolig."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 anyone 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 \"creative "
"property.\" His views have no 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 påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt "
"med slike klarhet som å gjøre ideen tydelig som oppfatningen at vi bruker "
"valgene for å plukke presidenter. men faktisk, det er ingen mer ekstreme "
"krav gjort av alle som er alvorlig i denne debatten enn dette krav av "
"valenti's. Jack valenti, men søt og men strålende, er kanskje landets "
"fremste ekstremistgrupper når det kommer til naturen og omfanget av "
"\"kreative egenskapen.\" sitt syn har ingen rimelig tilknytning til vår "
"faktiske juridiske tradisjon, selv om de subtile drar av hans Texas sjarm "
"har sakte redefinert denne tradisjonen, minst i washington."

#.  f2
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lawyers speak of \"property\" not as an absolute thing, but as a bundle of "
"rights that are sometimes associated with a particular object. Thus, my "
"\"property right\" 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 \"property\" to \"lawyer talk,\" see Bruce Ackerman, "
"Private Property and the Constitution (New Haven: Yale University Press, "
"1977), 26&ndash;27."
msgstr ""
"advokater snakker om \"property\" ikke som en absolute ting, men som en bunt "
"av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed gir "
"min \"eiendom rett\" til bilen min meg retten til eksklusiv bruk, men ikke "
"rettigheten til å kjøre på 150 miles i timen. å koble den vanlige "
"betydningen av \"eiendom\" til \"advokat talk\" beste innsats, kan du se "
"bruce ackerman, privat eiendom og grunnloven (new haven: yale university "
"press, 1977), 26­27."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"While \"creative property\" is certainly \"property\" 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 \"creative "
"property owners\" have been \"accorded the same rights and protection "
"resident in all other property owners.\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 vet dette. men han taler for en bransje som bryr seg undersetsig om "
"vår tradisjon og verdiene den representerer. han snakker for en bransje som "
"er i stedet kjemper for å gjenopprette tradisjon som britene overturned i "
"1710. i verden som vil opprette valenti's endringer, vil noen kraftige utøve "
"kraftig kontroll over hvordan vår kreative kultur ville utvikle."

#.  PAGE BREAK 130
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 i dette kapitlet. først er å overbevise deg om at, "
"historisk valenti's krav er helt galt. andre er å overbevise deg om at det "
"ville være veldig galt for oss å avvise vår historie. Vi har alltid "
"behandlet rettigheter i kreative egenskapen annerledes fra rettigheter som "
"er bosatt i alle andre bolig. de har aldri vært den samme. og de aldri skal "
"være den samme, fordi, men counterintuitive dette kan synes å gjøre dem det "
"samme vil være å svekke fundamentalt mulighet for nye skapere å lage. "
"kreativitet, avhenger av eierne av kreativitet som har mindre enn perfekt "
"kontroll."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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.  To get 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 ""
"organisasjoner som mpaa, der styret består av den mektigste av de gamle "
"garde, har liten interesse, deres retorikk til tross for, i å sikre at den "
"nye kan forskyve dem. Ingen organisasjon gjør. Ingen person gjør. (spør meg "
"om var ansatt, for eksempel.) men hva er bra for mpaa er ikke nødvendigvis "
"bra for Amerika. et samfunn som forsvarer idealene om fri kultur må "
"videreføre nøyaktig mulighet for nye kreativitet å true gamle. for å få bare "
"et snev at det er noe fundamentalt galt i valenti's-argumentet, må vi se "
"lenger enn USA Grunnloven selv."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The framers of our Constitution loved \"property.\" 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 \"Takings Clause,\" to pay you \"just "
"compensation\" for that taking. The Constitution thus guarantees that "
"property is, in a certain sense, sacred. It cannot ever be taken from the "
"property owner unless the government pays for the privilege."
msgstr ""
"forfatterne av vår grunnlov elsket \"egenskapen.\" faktisk så sterkt gjorde "
"de elsker egenskapen at de innebygd i Grunnloven et viktig krav. Hvis "
"regjeringen tar din eiendom--hvis det fordømmer huset, eller kjøper et "
"stykke land fra farmen--det er nødvendig, under den femte endringsforslaget "
"\"takings setningen,\" å betale deg \"bare erstatning\" for som tar. "
"grunnloven garanterer dermed at egenskapen er, i en viss forstand, hellig. "
"den kan ikke noen gang blir tatt fra eiendommen eier med mindre regjeringen "
"betaler for privilegiet."

#.  PAGE BREAK 131
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
"calls \"creative property.\" In the clause granting Congress the power to "
"create \"creative property,\" the Constitution requires that after a "
"\"limited time,\" Congress take back the rights that it has granted and set "
"the \"creative property\" free to the public domain. Yet when Congress does "
"this, when the expiration of a copyright term \"takes\" your copyright and "
"turns it over to the public domain, Congress does not have any obligation to "
"pay \"just compensation\" for this \"taking.\" Instead, the same "
"Constitution that requires compensation for your land requires that you lose "
"your \"creative property\" right without any compensation at all."
msgstr ""
"men svært samme grunnlov snakker veldig annerledes om hva valenti samtaler "
"\"kreative egenskapen.\" i setningsdelen gir Kongressen makt til å opprette "
"\"kreative property\" Grunnloven krever at etter en \"begrenset tid,\" "
"Kongressen ta tilbake rettighetene at det har gitt og egenskapen \"kreative"
"\" gratis til public domain. men når Kongressen gjør dette, når utløpet av "
"en opphavsrett begrepet \"tar\" din opphavsrett og snur den over til public "
"domain, Kongressen ikke har noen forpliktelse til å betale \"bare erstatning"
"\" for denne \"tar.\" i stedet samme grunnlov som krever erstatning for ditt "
"land krever at du mister din \"kreative eiendom\" rett uten noen "
"kompensasjon overhodet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"grunnlov dermed på sitt ansikt sier at disse to former for egenskapen ikke "
"skal får de samme rettighetene. de er tydelig å bli behandlet annerledes. "
"Valenti er derfor ikke bare ber om en endring i vår tradisjon når han hevder "
"at creative-bolig bør substansiell de samme rettighetene som hver andre "
"eiendomsrett eier. Han er effektivt kranglet for en endring i våre "
"Grunnloven selv."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"kranglet for en endring i vår grunnlov er ikke nødvendigvis galt. Det var "
"mye i vår opprinnelige grunnlov som var tydelig galt. Grunnloven av 1789 "
"entrenched slaveri, det venstre senators du kan være utnevnt stedet valgt; "
"det gjorde det mulig for de valg Agder å produsere uavgjort mellom president "
"og sin egen vice president (som det gjorde i 1800). underskrev var uten tvil "
"ekstraordinære, men jeg vil være først til å innrømme at de gjorde en stor "
"feil. Vi har siden avvist noen av disse feilene; ingen tvil om kan det være "
"andre som vi bør avvise også. så mitt argument ikke er bare at fordi "
"jefferson gjorde det, vi bør, også."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Instead, my argument is that because Jefferson did it, we should at least "
"try to understand why. 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, mitt argument er at fordi jefferson gjorde det, vi bør i det "
"minste prøver å forstå hvorfor. Hvorfor underskrev, fanatical egenskapstyper "
"som de var, avvise påstanden om at creative egenskapen gis samme rettigheter "
"som alle andre eiendom? Hvorfor de krever at for kreative egenskapen det må "
"være et frivare?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"To answer this question, we need to get some perspective on the history of "
"these \"creative property\" 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 whether creative property should be protected, but how. Not whether "
"we will enforce the rights the law gives to creative-property owners, but "
"what the particular mix of rights ought to be. Not whether artists should be "
"paid, but whether institutions designed to assure that artists get paid need "
"also control how culture develops."
msgstr ""
"for å besvare dette spørsmålet, trenger vi å få noen perspektiv om disse "
"\"kreative eiendom\", og kontrollen som de aktivert historie. Når vi ser "
"klart hvor annerledes disse rettighetene er definert, vil vi være i en bedre "
"posisjon til å stille spørsmål som bør være kjernen i denne krigen: ikke om "
"kreative egenskapen skal beskyttes, men hvordan. ikke om vi vil håndheve "
"rettigheter gir loven til creative-bolig, men hva bestemt blanding av "
"rettigheter bør være. ikke om artister som skal betales, men om "
"institusjoner utformet for å forsikre at artister får betalt må du også "
"kontrollere hvordan kultur utvikler seg."

#.  PAGE BREAK 132
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 Code and Other Laws of Cyberspace, 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 ""
"Hvis du vil svare på disse spørsmålene, trenger vi en mer generell måte å "
"snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer "
"generell måte enn smale språket i loven tillater. i koden og andre lover av "
"cyberspace brukte jeg en enkel modell for å fange dette mer generelle "
"perspektivet. for en bestemt rettighet eller regulering, denne modellen spør "
"hvordan fire forskjellige modalitetene for regulering samhandler for å "
"støtte eller svekke høyre eller regulering. Jeg representerte det med dette "
"diagrammet:"

#. type: Content of: <book><chapter><sect1><figure><title>
msgid ""
"How four different modalities of regulation interact to support or weaken "
"the right or regulation."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1331.png\"></graphic>"
msgstr "<graphic fileref=\"images/1331.png\"></graphic>"

#.  PAGE BREAK 133
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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."
msgstr ""
"midt på dette bildet er et regulert punkt: på personen eller gruppen som er "
"målet for regulering eller innehaveren av en rettighet. (i hvert fall i "
"hele, vi kan beskrive dette som regulering eller som en rett. for enkelhet "
"skyld, vil jeg snakke eneste av forskrifter.) ellipser representerer fire "
"måter der personen eller gruppen kan reguleres--enten begrenset eller, "
"alternativt, aktivert. loven er den mest åpenbare begrensningen (til "
"advokater, minst). den begrenser ved truende straffene etter faktum Hvis "
"reglene satt på forhånd er brutt. så hvis for eksempel du willfully krenke "
"madonna's copyright ved å kopiere en sang fra hennes siste CD-ROMen, og "
"bokføre det\\/den på weben, kan du bli straffet med en $150.000 fine. fine "
"er en ex post straff for å bryte en ex ante regelen. Det er pålagt av staten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 annen type betingelse. de, også, straffe en person for å bryte "
"en regel. men straffen av en normen er pålagt av et fellesskap, ikke (eller "
"ikke bare) av staten. Det finnes kanskje ingen lov mot spytter, men det "
"betyr ikke at du ikke vil bli straffet dersom du spytte på bakken mens du "
"står i kø på en film. straff kan ikke være harde, men avhengig av samfunnet, "
"det kan lett bli mer harde enn mange av straffene pålagt av staten. Merk av "
"differansen er ikke av alvorlighetsgraden av regelen, men kilden for "
"håndhevelse."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 betingelse. betingelsen er berørt gjennom "
"betingelser: du kan gjøre x Hvis du betaler y; vil du få betalt m Hvis du "
"gjør n. slike betingelser er åpenbart ikke uavhengig av loven eller normer--"
"det er regler som definerer hva må kjøpes Hvis det er å bli tatt lovlig; Det "
"er normer som sier hva selges på riktig måte. men gitt et sett av normer og "
"bakgrunn av eiendom og kontrakt lov, markedet pålegger en samtidige "
"begrensning på hvor en person eller gruppe kan oppføre seg."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Finally, and for the moment, perhaps, most mysteriously, \"architecture"
"\"&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 \"architecture.\" 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 slutt, og for øyeblikket, kanskje mest mysteriously \"arkitektur\"--den "
"fysiske verden som en finner den--er en begrensning på atferd. en falne bro "
"kan begrense din evne til å komme over en elv. Railroad tracks kan begrense "
"evnen til et fellesskap for å integrere sin sosiale liv. som med markedet, "
"påvirker ingen arkitektur betingelsen gjennom ex post straffene. i stedet, "
"også som med markedet, arkitektur effekter betingelsen gjennom samtidige "
"forhold. disse betingelsene er pålagt ikke av domstolene håndheve "
"kontrakter, eller av politiet straffe tyveri, men av natur, \"arkitektur.\" "
"Hvis en 500-pund kampestein blokkerer deg, det er lov av tyngdekraften som "
"gjennomfører denne betingelsen. Hvis en $500 flybillett står mellom deg og "
"et fly til new york, er det markedet som håndhever denne betingelsen."

#.  PAGE BREAK 134
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"så det første punktet om disse fire metoder av regulering er åpenbare: de "
"samhandler. restriksjoner pålagt av en kan bli forsterket av en annen. eller "
"restriksjoner pålagt av en kan bli undergravd av en annen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 punktet følger direkte: Hvis vi ønsker å forstå effektiv friheten "
"som noen har på et gitt øyeblikk å gjøre noen bestemt ting, vi har til å "
"vurdere hvordan disse fire metoder samhandler. om det er andre betingelser "
"(det kan godt være; min påstand er ikke om objektivitet), disse fire er "
"blant de viktigste, og eventuelle regulator (enten kontroll eller frigjør) "
"må vurdere hvordan disse fire spesielt samhandle."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"So, for example, consider the \"freedom\" 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, for eksempel vurdere \"friheten\" å kjøre bil til en høy hastighet. at "
"frihet er delvis begrenset av lover: fartsgrenser som sier hvor fort du kan "
"kjøre spesielt steder på bestemte tidspunkter. Det er delvis begrenset av "
"arkitektur: hastighet støt, for eksempel sakte mest rasjonell drivere; "
"Guvernører i busser, som et annet eksempel, angir den maksimale hastigheten "
"som driveren kan kjøre. frihet er delvis begrenset av markedet: "
"drivstoffeffektivitet drops som farten øker, dermed bensinprisen indirekte "
"begrenser hastighet. og endelig normer for et fellesskap kan eller kan ikke "
"begrense friheten til å øke. kjøre på 50 mph av en skole i nabolaget ditt "
"eget og du sannsynligvis til å bli straffet av naboene. samme normen ville "
"ikke være så effektiv i en annen by, eller om natten."

#.  f3
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, 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, Code: And Other Laws of Cyberspace "
"(New York: Basic Books, 1999): 90&ndash;95; Lawrence Lessig, \"The New "
"Chicago School,\" Journal of Legal Studies, June 1998."
msgstr ""
"ved å beskrive hvordan trenger ikke loven påvirker andre tre metoder, jeg "
"bety å foreslå at tre andre ikke påvirker lov. Selvfølgelig, de gjør. law's "
"eneste forskjellen er at det alene snakker som om den har en rett "
"selvbevisst til å endre de andre tre. høyre for tre andre uttrykkes mer "
"beskjedent. se lawrence lessig, kode: og andre lover av cyberspace (new "
"york: grunnleggende bøker, 1999): 90­95; Lawrence lessig, \"den nye chicago "
"skolen,\" journal of Jusstudier, Juni 1998."

#.  PAGE BREAK 135
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The final point about this simple model should also be fairly clear: While "
"these four modalities are analytically independent, law has a special role "
"in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in "
"other words, sometimes operates to increase or decrease the constraint of a "
"particular modality.  Thus, the law might be used to increase taxes on "
"gasoline, so as to increase the incentives to drive more slowly. The law "
"might be used to mandate more speed bumps, so as to increase the difficulty "
"of driving rapidly. The law might be used to fund ads that stigmatize "
"reckless driving. Or the law might be used to require that other laws be "
"more strict&mdash;a federal requirement that states decrease the speed "
"limit, for example&mdash;so as to decrease the attractiveness of fast "
"driving."
msgstr ""

#. type: Content of: <book><chapter><sect1><figure><title>
msgid "Law has a special role in affecting the three."
msgstr ""

#. type: Content of: <book><chapter><sect1><figure>
msgid "<graphic fileref=\"images/1361.png\"></graphic>"
msgstr "<graphic fileref=\"images/1361.png\"></graphic>"

#.  f4
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Some people object to this way of talking about \"liberty.\" 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 Code, 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, On Liberty (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, \"The Right to Work,\" "
"in Malcom Rutherford and Warren J. Samuels, eds., John R.  Commons: Selected "
"Essays (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 United States Code, 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."
msgstr ""
"noen mennesker objektet til denne måten av snakker om \"frihet.\" de "
"objektet fordi deres fokus når de vurderer begrensninger som finnes på et "
"bestemt tidspunkt er begrensninger pålagt utelukkende av regjeringen. for "
"eksempel, hvis en storm ødelegger en bro, tror disse folk det er meningsløst "
"å si at en frihet har vært behersket. en bro er vasket ut, og det er "
"vanskeligere for å få fra ett sted til et annet. å snakke om dette som et "
"tap av frihet, de sier, er å forvirre ting av politikk med vagaries av "
"ordinært liv. Jeg trenger ikke bety å nekte verdien i denne smalere "
"visningen, som er avhengig av konteksten for henvendelsen. Jeg gjør, men "
"mener å argumentere mot eventuelle insisterte på at denne smalere visningen "
"er bare riktig visning av frihet. som jeg har hevdet i koden, kommer vi fra "
"en lang tradisjon for politiske tanken med bredere fokus enn smale "
"spørsmålet om hva regjeringen gjorde når. John stuart mill forsvarte "
"ytringsfriheten, for eksempel fra tyranni av trange sinn, ikke fra frykt for "
"regjeringen rettsforfølgelse; John stuart mill, på frihet (indiana: hackett "
"publishing co., 1978), 19. John r. commons forsvarte famously økonomiske "
"friheten av arbeidskraft fra begrensninger pålagt av markedet; John r. "
"commons, \"rett til arbeid,\" i malcom rutherford og warren j. samuels, "
"Red., john r. Commons: valgt essays (london: routledge: 1997), 62. "
"amerikanerne med funksjonshemminger act øker frihet for personer med "
"funksjonshemninger ved å endre arkitekturen i visse offentlige steder, og "
"dermed gjør tilgang til de plasserer enklere; 42 united states code, delen "
"12101 (2000). hver av disse intervensjoner for å endre eksisterende "
"betingelser, endres frihet å en bestemt gruppe. effekten av disse tiltakene "
"bør tas med i betraktningen for å forstå den effektive frihet at hver av "
"disse gruppene kan gjøre ansiktet."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"These constraints can thus change, and they can be changed. To understand "
"the effective protection of liberty or protection of property at any "
"particular moment, we must track these changes over time. A restriction "
"imposed by one modality might be erased by another. A freedom enabled by one "
"modality might be displaced by another.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Why Hollywood Is Right"
msgstr "Hvorfor hollywood er rett"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 åpenbare punktet som denne modellen avslører er bare hvorfor eller "
"hvor, hollywood er rett. opphavsrett warriors har rallied Kongressen og "
"domstolene å forsvare copyright. Denne modellen hjelper oss se hvorfor denne "
"samlingspunkt fornuftig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Let's say this is the picture of copyright's regulation before the Internet:"
msgstr "La oss si at dette er bilde av copyright's regulering før Internett:"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
#, mtrans, fuzzy
msgid "Copyright's regulation before the Internet."
msgstr "La oss si at dette er bilde av copyright's regulering før Internett:"

#.  PAGE BREAK 136
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 balansen mellom lov, normer, markedet og arkitektur. loven begrenser "
"muligheten til å kopiere og dele innhold, ved å angi strafferammer for de "
"som kopiere og dele innhold. disse straffer er forsterket av teknologier som "
"gjør det vanskelig å kopiere og dele innhold (arkitektur) og det er dyrt å "
"kopiere og dele innhold (markedet). til slutt, disse straffer er mitigated "
"ved normer vi gjenkjenner--barn, for eksempel taping andre barn poster. "
"disse bruk av opphavsrettsbeskyttet materiale kan være brudd, men normer for "
"vårt samfunn (før Internett, minst) hadde ingen problemer med denne form for "
"krenkelse av."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Angi Internett eller, mer presist, teknologier som MP3-er og p2p fildeling. "
"nå begrensningen av arkitektur endres dramatisk, som gjør begrensningen av "
"markedet. og som både markedet og arkitektur kan du slappe av med regulering "
"av copyright, normer haug på. happy saldoen (for krigere, minst) av livet "
"før Internett blir en effektiv stat av anarchy etter Internett."

#.  PAGE BREAK 137
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Således følelse av, og den begrunnelsen for warriors' svar. teknologi er "
"endret, krigere, sier, og effekten av denne endringen, når ramified gjennom "
"markedet og normer, er at en balanse av beskyttelse for opphavsrett eiernes "
"rettigheter har gått tapt. Dette er Irak etter fallet av saddam, men denne "
"gangen ingen regjering er rettferdiggjørende looting resultater."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "effective state of anarchy after the Internet."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1381.png\"></graphic>"
msgstr "<graphic fileref=\"images/1381.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Neither this analysis nor the conclusions that follow are new to the "
"warriors. Indeed, in a \"White Paper\" 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 ""
"Denne analysen verken konklusjonene som følger er en ny warriors. faktisk i "
"en \"hvitbok\" utarbeidet av commerce department (en sterkt påvirket av "
"opphavsrett warriors) i 1995, denne blandingen av regulatoriske modaliteter "
"hadde allerede identifisert og strategi for å svare allerede tilordnet. svar "
"på endringene Internett hadde berørt, hevdet den tekniske beskrivelsen (1) "
"Kongressen bør styrke lovgivning for immaterielle, (2) bedrifter skal vedta "
"innovativ markedsføring teknikker, (3) Teknologorganisasjon push for å "
"utvikle kode for å beskytte opphavsrettsbeskyttet materiale og (4) lærere "
"skal utdanne barn å bedre beskytte opphavsretten."

#.  PAGE BREAK 138
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Dette blandet strategi er bare hva copyright needed--Hvis det var å bevare "
"bestemt saldoen som eksisterte før endringen indusert av Internett. og det "
"er akkurat hva vi kan forvente innhold industrien å presse for. Det er så "
"amerikanske som eplepai å vurdere det lykkelige liv som du har som en "
"rettighet, og for å se til lov til å beskytte det hvis noe kommer til å "
"endre den lykkelig liv. huseiere som bor i en flom ren har ingen nøle "
"appellere til regjeringen å gjenoppbygge (og gjenoppbygging igjen) når en "
"flom (arkitektur) tørke bort deres eiendom (lov). bønder har ingen nøle "
"appellere til regjeringen å kausjon dem ut når et virus (arkitektur) "
"devastates deres Beskjær. fagforeninger har ingen nøle appellere til "
"regjeringen å kausjon dem. Når import (markedet) tørke ut amerikanske stål "
"industrien."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"architecture of revenue.\""
msgstr ""
"Således, det er ingenting galt eller overraskende i innhold bransjens "
"kampanje til å beskytte seg fra skadelige konsekvensene av en teknologisk "
"innovasjon. og jeg vil være den siste personen som hevder at den endrede "
"teknologien på Internett ikke har hatt en dyp effekt på innhold bransjens "
"måten å drive virksomhet, eller som john seely brown beskriver den, dens "
"\"arkitektur av inntekter.\""

#.  f5
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Geoffrey Smith, \"Film vs. Digital: Can Kodak Build a Bridge?\" "
"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, \"Can Kodak Make Up for Lost "
"Moments?\" Forbes.com, 6 October 2003, available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #24</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"But just because a particular interest asks for government support, it "
"doesn't follow that support should be granted. And just because technology "
"has weakened a particular way of doing business, it doesn't follow that the "
"government should intervene to support that old way of doing business. "
"Kodak, for example, has lost perhaps as much as 20 percent of their "
"traditional film market to the emerging technologies of digital cameras."
"<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government "
"should ban digital cameras just to support Kodak? Highways have weakened the "
"freight business for railroads. Does anyone think we should ban trucks from "
"roads for the purpose of protecting the railroads? Closer to the subject of "
"this book, remote channel changers have weakened the \"stickiness\" 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 ""

#.  f6
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170&ndash;71."
msgstr "fred warshofsky, patent krigene (new york: wiley, 1994), 170­71."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The obvious answer to these obviously rhetorical questions is no.  In a free "
"society, with a free market, supported by free enterprise and free trade, "
"the government's role is not to support one way of doing business against "
"others. Its role is not to pick winners and protect them against loss. If "
"the government did this generally, then we would never have any progress. As "
"Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software "
"patents, \"established companies have an interest in excluding future "
"competitors.\"<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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 mens det er forståelig for bransjer som er truet med nye teknologier "
"som endrer måten de gjør forretninger å se til regjeringen for beskyttelse, "
"er det en spesiell plikt for beslutningstakere å garantere at beskyttelse "
"ikke blir et avskrekkende til fremgang. Det er plikten til "
"beslutningstakere, med andre ord, å sikre at endringene de oppretter, svar "
"på forespørsel fra de vondt ved å endre teknologi, er endringer som bevare "
"insentiver og muligheter for innovasjon og endre."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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: \"Congress shall make no law . . .  abridging the freedom of "
"speech.\" So when Congress is being asked to pass laws that would \"abridge"
"\" the freedom of speech, it should ask&mdash; carefully&mdash;whether such "
"regulation is justified."
msgstr ""
"i sammenheng med lover som regulerer tale--, og som omfatter, tydeligvis, "
"copyright lov--at plikt er enda sterkere. Når industrien klagende om hvordan "
"du endrer teknologier ber Kongressen til å svare på en måte som byrder tale "
"og kreativitet, bør beslutningstakere være spesielt skeptisk til "
"forespørselen. Det er alltid en dårlig deal for regjeringen å komme inn i "
"virksomheten av regulerer tale markeder. risikoer og farer av spillet er "
"nøyaktig hvorfor våre underskrev opprettet den første endringen til vår "
"grunnlov: \"Kongressen skal gjøre ingen lov... abridging friheten til tale."
"\" så når Kongressen blir bedt om å passere lovgivning som ville \"abridge\" "
"ytringsfriheten, det bør spørre--nøye--om slike regulering er begrunnet."

#.  PAGE BREAK 140
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"My argument just now, however, has nothing to do with whether the changes "
"that are being pushed by the copyright warriors are \"justified.\" 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 ""
"mitt argument akkurat nå, men har ingenting å gjøre med om endringene som "
"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om "
"deres effekt. for før vi komme til spørsmålet om berettigelse, et vanskelig "
"spørsmål som mye avhenger av verdier, bør vi først be om vi forstår effekten "
"av endringene innhold industrien ønsker."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Here's the metaphor that will capture the argument to follow."
msgstr "Her er til metaforen vil fange opp argumentet å følge."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, ble kjemiske ddt først syntetisert. i 1948, sveitsisk apotek paul "
"hermann müller vant nobel prisen for sitt arbeid demonstrere egenskapene "
"insecticidal av ddt. av 1950-tallet, var det mye brukt insektmiddel rundt om "
"i verden til å drepe sykdom-bærer skadedyr. Det ble også brukt til å øke "
"produksjonen av gården."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tvil at drepte sykdom-bærer skadedyr eller økende beskjære produksjon "
"som er en god ting. ingen tvil at arbeidet med müller var viktig og "
"verdifull og sannsynligvis lagret liv, kanskje millioner."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But in 1962, Rachel Carson published Silent Spring, 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, rachel carson publisert stille våren, som hevdet at ddt, uansett "
"dens primære fordeler, hadde også utilsiktede miljømessige konsekvenser. "
"fugler var å miste muligheten til å reprodusere. hele kjeder av økologi ble "
"blir ødelagt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 fastsatt til å ødelegge miljøet. Paul müller sikkert ikke mål å skade "
"noen fugler. men arbeidet med å løse ett sett med problemer produsert et "
"annet sett som i visningen av noen, var langt verre enn problemene som "
"opprinnelig ble angrepet. eller mer nøyaktig problemer ddt forårsaket var "
"verre enn problemer det løst, minst når de vurderer den andre, mer "
"miljøvennlig måten å løse problemer som ddt var ment å løse."

#.  f7
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See, for example, James Boyle, \"A Politics of Intellectual Property: "
"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
msgstr ""
"Se for eksempel james boyle, \"en politikk av åndsverk: environmentalism for "
"nettet?\" duke law journal 47 (1997): 87."

#.  PAGE BREAK 141
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"It is to this image precisely that Duke University law professor James Boyle "
"appeals when he argues that we need an \"environmentalism\" 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 \"for free.\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"mitt argument, i balanse av dette kapitlet, prøver å tilordne nøyaktig denne "
"effekten. teknologi på Internett har ingen tvil hadde en dramatisk effekt på "
"evnen til eiere av opphavsretter å beskytte innholdet sitt. men det bør også "
"være liten tvil om at når du legger sammen endringene i lov om opphavsrett "
"over tid, i tillegg til endringen i teknologi som Internett er under akkurat "
"nå, netto effekt av disse endringene vil ikke bare at opphavsrettsbeskyttet "
"arbeid effektivt er beskyttet. også, og generelt savnet, vil netto effekt av "
"denne massive økningen i beskyttelse være ødeleggende for miljøet for "
"kreativitet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"i en linje: for å drepe en mygg, er vi sprøyting ddt med konsekvenser, for "
"fri kultur som vil være langt mer ødeleggende enn denne mygg, vil gå tapt."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Beginnings"
msgstr "begynnelse"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"America copied English copyright law. Actually, we copied and improved "
"English copyright law. Our Constitution makes the purpose of \"creative "
"property\" rights clear; its express limitations reinforce the English aim "
"to avoid overly powerful publishers."
msgstr ""
"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret "
"engelsk lov om opphavsrett. vår grunnlov gjør formålet med \"creative "
"property\" fjerner du rettigheter; uttrykkelig begrensninger forsterke den "
"engelske mål å unngå altfor kraftig utgivere."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The power to establish \"creative property\" 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 ""
"makt til å etablere \"kreative\" eiendomsrettigheter gis til Kongressen på "
"en måte som for vår grunnlov, minst, er veldig rart. artikkel, del 8, 8-"
"setningsdelen i vår grunnlov sier at:"

#.  PAGE BREAK 142
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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.  We can call this the "
"\"Progress Clause,\" for notice what this clause does not say. It does not "
"say Congress has the power to grant \"creative property rights.\" It says "
"that Congress has the power to promote progress. 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 ""
"Kongressen har makt til å fremme utviklingen av vitenskap og nyttig kunst, "
"ved å sikre begrenset ganger til forfattere og oppfinnere den eksklusive "
"retten til deres respektive skrifter og funn. Vi kan kalle dette den "
"\"fremgang setningen,\" for å se hva denne bestemmelsen ikke si. Det er ikke "
"si Kongressen har makt til å gi \"kreative egenskapen rettigheter.\" det "
"står at Kongressen har makt til å fremme fremdrift. grant strøm er formålet, "
"og formålet er en offentlig, ikke hensikten med berikende utgivere, eller "
"med hovedsakelig formålet med givende forfatternes."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The Progress Clause expressly limits the term of copyrights. As we saw in "
"chapter 6, 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 \"to Authors"
"\" only."
msgstr ""
"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som "
"vi så i kapittel 6, ville engelsk begrenset av copyright å forsikre om at "
"noen ikke utøve uforholdsmessig kontroll over kultur ved å trene "
"uforholdsmessig kontroll over publisering. Vi kan anta underskrev etterfulgt "
"engelsk for lignende formål. faktisk, i motsetning til engelsk, underskrev "
"forsterket det målet ved å kreve at opphavsretten utvide \"til forfattere\" "
"bare."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 structure built checks and balances "
"into the constitutional frame, structured to prevent otherwise inevitable "
"concentrations of power."
msgstr ""
"utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens "
"design generelt. for å unngå et problem, bygget underskrev struktur. Hvis du "
"vil hindre at konsentrert strøm av utgivere, bygget de en struktur som holdt "
"opphavsrett fra utgivere og holdt dem kort. Hvis du vil hindre at "
"konsentrert strøm av en kirke, forbudt de den føderale regjeringen fra å "
"etablere en kirke. å hindre konsentrere seg makten i den føderale "
"regjeringen, de bygget strukturer for å forsterke kraften i USA--inkludert "
"Senatet, der medlemmene var på tiden som er valgt av USA, og en valg "
"college, også valgt av USA, å velge presidenten. i hvert tilfelle, en "
"struktur som ble bygd kontrollerer og saldoer i konstitusjonelle rammen, "
"strukturert for å hindre at ellers uunngåelig konsentrasjoner av makt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"I doubt the framers would recognize the regulation we call \"copyright\" "
"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 "
"\"copyright\" in context: We need to see how it has changed in the 210 years "
"since they first struck its design."
msgstr ""
"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i "
"dag. omfanget av denne forskriften er langt overgår alt de noensinne "
"vurdert. Hvis du vil begynne å forstå hva de gjorde, vi trenger å sette vår "
"\"copyright\" i sammenheng: vi trenger å se hvordan det har endret i 210 "
"årene siden de først slo sin design."

#.  PAGE BREAK 143
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"noen av disse endringene kommer fra loven: noen i lys av endringer i "
"teknologi, og noen i lys av endringer i teknologi gitt en bestemt "
"konsentrasjon av markedets makt. Når det gjelder vår modell startet vi her:"

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "We will end here:"
msgstr "Vi kommer til å ende opp her:"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "&quot;Copyright&quot; today."
msgstr "&quot;Opphavsrett&quot; i dag."

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1442.png\"></graphic>"
msgstr "<graphic fileref=\"images/1442.png\"></graphic>"

#.  PAGE BREAK 144
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "Let me explain how."
msgstr "La meg forklare hvordan."

#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "Law: Duration"
msgstr "Loven: Varighet"

#.  f8
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"William W. Crosskey, Politics and the Constitution in the History of the "
"United States (London: Cambridge University Press, 1953), vol. 1, "
"485&ndash;86: \"extinguish[ing], by plain implication of `the supreme Law of "
"the Land,' the perpetual rights which authors had, or were supposed by some "
"to have, under the Common Law\" (emphasis added)."
msgstr ""
"William W. Crosskey, politikk og Grunnloven i historien av USA (London: "
"Cambridge University Press, 1953), vol. 1, 485&ndash;86: \"slukke [ing], ved "
"vanlig implikasjon av\"øverstkommanderende lov av land\", evigvarende "
"rettigheter som forfattere hadde eller skulle etter noen å ha, under felles "
"lov\" (vekt legges til)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"When the first Congress enacted laws to protect creative property, it faced "
"the same uncertainty about the status of creative property that the English "
"had confronted in 1774. Many states had passed laws protecting creative "
"property, and some believed that these laws simply supplemented common law "
"rights that already protected creative authorship.<placeholder type="
"\"footnote\" id=\"0\"/> This meant that there was no guaranteed public "
"domain in the United States in 1790. If copyrights were protected by the "
"common law, then there was no simple way to know whether a work published in "
"the United States was controlled or free. Just as in England, this lingering "
"uncertainty would make it hard for publishers to rely upon a public domain "
"to reprint and distribute works."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Det usikkerheten tok slutt da kongressen vedtok lovgivning som tildelte "
"opphavsrettigheter.  Da føderal lov overstyrer medlemsstatenes lov, "
"fortrengte føderal beskyttelse av opphavsrettslig beskyttet verk noen staten "
"lov beskyttelse. akkurat som i england betydde Vedtektene for anne til slutt "
"at opphavsretten for alle engelsk arbeider utløpt, en føderale vedtekter "
"betydde at staten opphavsrettigheter utløpt også."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 vedtatt Kongressen den første lov om opphavsrett. den opprettet en "
"føderale copyright og sikret at copyright for fjorten år. Hvis forfatteren "
"var Live på slutten av at fjorten år, kan han velge for å fornye "
"opphavsretten for en annen fjorten år. Hvis han ikke fornye opphavsretten, "
"bestått hans arbeid i public domain."

#.  f9
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Although 13,000 titles were published in the United States from 1790 to "
"1799, only 556 copyright registrations were filed; John Tebbel, A History of "
"Book Publishing in the United States, vol. 1, The Creation of an Industry, "
"1630&ndash;1865 (New York: Bowker, 1972), 141. Of the 21,000 imprints "
"recorded before 1790, only twelve were copyrighted under the 1790 act; "
"William J. Maher, Copyright Term, Retrospective Extension and the Copyright "
"Law of 1790 in Historical Context, 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 ""

#. type: Content of: <book><chapter><sect1><sect2><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 ble skapt mange verker i USA i de første 10 årene til "
"republikken, så ble kun 5 prosent av verkene registrert under det føderale "
"opphavsrettsregimet.  Av alle verker skapt i USA både før 1790 og fra 1790 "
"fram til 1800, så ble 95 prosent øyeblikkelig sluppet i det fri (public "
"domain).  Resten ble fritt tilgjengelig i løpet av maksimalt 20 år, og mest "
"sansynlig i løpet av 14 år.<placeholder type=\"footnote\" id=\"0\"/>"

#.  PAGE BREAK 145
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This system of renewal was a crucial part of the American system of "
"copyright. It assured that the maximum terms of copyright would be granted "
"only for works where they were wanted. After the initial term of fourteen "
"years, if it wasn't worth it to an author to renew his copyright, then it "
"wasn't worth it to society to insist on the copyright, either."
msgstr ""
"Dette fornyelsessystemet var en avgjørende del av det amerikanske systemet "
"for opphavsrett.  Det sikret at maksimal vernetid i opphavsretten bare ble "
"gitt til verker der det var ønsket. Etter den første perioden på fjorten år, "
"hvis forfatteren ikke så verdien av å fornye sin opphavsrett, var det heller "
"ikke verdt det for samfunnet å håndheve opphavsretten."

#.  f10
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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, "
"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New "
"York: Practicing Law Institute, 1963), 618. For a more recent and "
"comprehensive analysis, see William M. Landes and Richard A.  Posner, "
"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 "
"(2003): 471, 498&ndash;501, and accompanying figures."
msgstr ""
"noen rettighetshavere valgte noensinne å fornye sine opphavsrettigheter. for "
"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i "
"1910. for et år etter år analyse av opphavsrett fornyelse priser, kan du se "
"barbara a. ringer, \"studere nr. 31: fornyelse av opphavsrett,\" studier på "
"opphavsrett, vol. 1 (new york: praktisere loven institute, 1963), 618. Hvis "
"en nyere og omfattende analyse, se william m landes og richard en. Posner, "
"\"på ubestemt tid fornybar copyright,\" university of chicago lov gå gjennom "
"70 (2003): 471, 498­501 og tilhørende tallene."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Fourteen years may not seem long to us, but for the vast majority of "
"copyright owners at that time, it was long enough: Only a small minority of "
"them renewed their copyright after fourteen years; the balance allowed their "
"work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  f11
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "See Ringer, ch. 9, n. 2."
msgstr "se ringer, ch. 9, n. 2."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Even today, this structure would make sense. Most creative work has an "
"actual commercial life of just a couple of years. Most books fall out of "
"print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that "
"happens, the used books are traded free of copyright regulation. Thus the "
"books are no longer effectively 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 hundre år av republikken ble av copyright endret én gang. i "
"1831, ble begrepet økt fra maksimum 28 år til maksimalt 42 ved å øke første "
"begrepet av opphavsrett fra 14 år til 28 år. i de neste femti årene av "
"Republikken begrepet økt igjen. i 1909 utvidet Kongressen begrepet fornyelse "
"av 14 år til 28 år, angi en maksimal periode på 56 år."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, begynner i 1962, Kongressen begynte en praksis som har definert "
"opphavsrett siden. elleve ganger i de siste 40 årene, har Kongressen utvidet "
"vilkårene i eksisterende opphavsrettigheter; to ganger i de førti år utvidet "
"Kongressen begrepet av fremtidige opphavsretten. i utgangspunktet var "
"utvidelser av eksisterende opphavsrettigheter kort, bare ett til to år. i "
"1976 utvidet Kongressen alle eksisterende opphavsrettigheter av nitten år. "
"og i 1998, i sonny bono opphavsrett begrepet forlengelse loven Kongressen "
"utvidet begrepet av eksisterende og fremtidige opphavsretten av tjue år."

#.  PAGE BREAK 146
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 av disse tilleggene er ganske enkelt å tollpenger, eller "
"forsinkelse, bestått av works i public domain. Denne siste utvidelsen betyr "
"at allemannseie vil ha blitt kirkeklokkene for trettini fifty-fem år, eller "
"70 prosent av tiden siden 1962. i tjue år etter sonny bono loven, mens en "
"million patenter vil passere i den offentlige sfæren, vil dermed null "
"opphavsrett passerer i public domain kraft av utløpet av en opphavsrett sikt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 av disse tilleggene har blitt forverret av en annen, lite merke "
"endringen i lov om opphavsrett. Husk jeg sa at underskrev etablert et todelt "
"opphavsrett regime, som krever en rettighetsinnehaveren å fornye sin "
"copyright etter en innledende sikt. kravet om fornyelse betydde at verk som "
"ikke lenger nødvendig opphavsrettsbeskyttelse ville passere raskere i public "
"domain. works gjenværende under beskyttelse vil være de som hadde noen "
"vedvarende kommersiell verdi."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"natural\" 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 forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet "
"etter 1978, var det bare en opphavsrett term--den maksimale betegnelsen. for "
"\"naturlige\" forfattere var dette ordet livet pluss femti år. for bedrifter "
"var begrepet sytti-fem år. deretter, i 1992, Kongressen forlatt fornyelse "
"kravet for alle arbeider opprettet før 1978. alle fungerer fortsatt under "
"opphavsrett ville substansiell den maksimale betegnelsen deretter "
"tilgjengelig. etter sonny bono loven, at begrepet var fem og nitti år."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"limited,\" "
"we have no evidence that anything will limit them."
msgstr ""
"Denne endringen betydde at amerikansk lov ikke lenger en automatisk måte å "
"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og "
"faktisk, etter disse endringene, er det uklart om det er også mulig å sette "
"fungerer i public domain. public domain er foreldreløse av disse endringene "
"i lov om opphavsrett. til tross for kravet om at vilkårene være \"begrenset"
"\", har vi ingen bevis for at noe vil begrense dem."

#.  f12
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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, "
"\"Indefinitely Renewable Copyright,\" loc. cit."
msgstr ""
"disse statistikkene er undervurdert. i årene 1910 og 1962 (det første året "
"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn "
"tretti-to år, og tretti år i gjennomsnitt. se landes og posner, \"på "
"ubestemt tid fornybar copyright,\" loc. cit."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The effect of these changes on the average duration of copyright is "
"dramatic. In 1973, more than 85 percent of copyright owners failed to renew "
"their copyright. That meant that the average term of copyright in 1973 was "
"just 32.2 years. Because of the elimination of the renewal requirement, the "
"average term of copyright is now the maximum term.  In thirty years, then, "
"the average term has tripled, from 32.2 years to 95 years.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "Law: Scope"
msgstr "Loven: Virkeområde"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The \"scope\" 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 ""
"\"område\" av en opphavsrett er området av rettigheter gitt av loven. "
"omfanget av amerikanske copyright har endret seg dramatisk. disse endringene "
"er ikke nødvendigvis dårlig. men vi bør forstå omfanget av endringene Hvis "
"vi å holde denne debatten i sammenheng."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"In 1790, that scope was very narrow. Copyright covered only \"maps, charts, "
"and books.\" 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 \"publish\" 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 \"derivative works.\" 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 at omfanget svært smale. Copyright dekket bare \"kart, diagrammer "
"og bøker.\", som betyr at det ikke dekker, for eksempel, musikk eller "
"arkitektur. mer betydelig, ga retten som er innvilget av en opphavsrett "
"forfatteren eneretten til \"Publiser\" opphavsrettslig beskyttet verk. Det "
"betyr at noen andre har brutt opphavsretten bare hvis han har publisert "
"arbeid uten opphavsrett eierens tillatelse på nytt. Endelig, retten som er "
"innvilget av en opphavsrett var en eksklusiv rett til den aktuelle boken. "
"høyre ikke strekker seg til det advokater kaller \"avledede works.\" det vil "
"ikke, derfor forstyrre retten av andre enn forfatteren å oversette en "
"opphavsrettsbeskyttet bok, eller å tilpasse historien til et annet skjema "
"(for eksempel et drama basert på en publiserte bok)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"publish\" the work, but also the exclusive right of control over any "
"\"copies\" 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 \"derivative work\" 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, også, har endret seg dramatisk. mens konturene av copyright i dag er "
"ekstremt vanskelig å beskrive bare, i generelle termer, dekker høyre nesten "
"ethvert skapende arbeid som er redusert til en håndgripelig form. den dekker "
"musikk så vel som arkitektur, drama og programmer på datamaskinen. Det gir "
"eieren av opphavsretten av det kreative arbeidet ikke bare den eksklusive "
"retten til \"Publiser\" arbeidet, men også den etablerte eneretten for "
"kontroll over alle \"Kopier\" av dem som fungerer. og mest betydningsfulle "
"for vårt formål her, høyre gir opphavsrettsinnehaveren-kontroll over ikke "
"bare hans eller hennes bestemt arbeid, men også noen \"avledet arbeid\" som "
"kan vokse ut av det opprinnelige arbeidet. på denne måten, høyre dekker mer "
"kreativt arbeid, beskytter det kreative arbeidet mer forstand, og beskytter "
"verk som er basert på en betydelig måte på det første skapende arbeidet."

#.  PAGE BREAK 148
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"copyright. 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 ""
"på samme tid som har utvidet omfanget av copyright, er fremgangsmåter for "
"begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig "
"fjerning av kravet om fornyelse i 1992. i tillegg til fornyelse behovet, for "
"det meste av historien til amerikansk lov om opphavsrett, det var et krav at "
"et arbeid registreres før den kan motta beskyttelse av opphavsretten. Det "
"var også et krav at opphavsrettsbeskyttet arbeid merkes enten med det "
"berømte © eller word-copyright. og for de fleste av historien til amerikansk "
"lov om opphavsrett, det var et krav at works settes med regjeringen før "
"opphavsretten som kan sikres."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"årsaken til registreringskrav var fornuftig forståelsen om at for de fleste "
"arbeider, ingen opphavsrett var nødvendig. igjen, i de første ti årene av "
"Republikken, 95 prosent av verker som er kvalifisert for opphavsrett ble "
"aldri opphavsrettsbeskyttet. dermed regelen reflektert normen: de fleste "
"works tilsynelatende ikke trenger opphavsrett, slik at registrering "
"begrenses regulering av loven til noen som gjorde. samme begrunnelsen "
"berettiget krav som et verk bli merket som opphavsrettsbeskyttet--måten det "
"var lett å vite om en copyright ble hevdet. kravet som fungerer være var "
"avsatt å sikre at etter at opphavsretten utløpt, det ville være en kopi av "
"arbeidet et sted slik at den kan kopieres av andre uten å finne den "
"opprinnelige forfatteren."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"All of these \"formalities\" 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 \"formaliteter\" ble avskaffet i det amerikanske systemet når vi "
"besluttet å følge europeiske lov om opphavsrett. Det er ingen krav at du "
"registrerer et arbeid for å få en copyright; opphavsretten nå er automatisk; "
"opphavsretten finnes om du merker arbeidet med en ©; og opphavsretten finnes "
"om du faktisk lage en kopi tilgjengelig for andre å kopiere."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Consider a practical example to understand the scope of these differences."
msgstr ""
"Vurder et praktisk eksempel for å forstå omfanget av disse forskjellene."

#.  f13
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of "
"American Literature,\" 29 New York University Journal of International Law "
"and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, "
"1790&ndash;1800 (U.S. G.P.O., 1987)."
msgstr ""
"se thomas bender og david sampliner, \"poeter, pirater og etableringen av "
"amerikansk litteratur,\" 29 new york university journal of internasjonal lov "
"og politikk 255 (1997), og james gilraeth, ed., føderale opphavsrett "
"records, 1790­1800 (US g.p.o., 1987)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"If, in 1790, you wrote a book and you were one of the 5 percent who actually "
"copyrighted that book, then the copyright law protected you against another "
"publisher's taking your book and republishing it without your permission. "
"The aim of the act was to regulate publishers so as to prevent that kind of "
"unfair competition. In 1790, there were 174 publishers in the United States."
"<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny "
"regulation of a tiny proportion of a tiny part of the creative market in the "
"United States&mdash;publishers."
msgstr ""

#.  PAGE BREAK 149
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Fakt venstre andre skaperne helt unregulated. Hvis jeg kopierte din diktet "
"for hånd, igjen og igjen, som en måte å lære det ved hjertet, var min "
"gjerning helt unregulated av 1790 act. Hvis jeg tok romanen og gjorde en "
"spiller som er basert på det, eller hvis jeg har oversatt eller utdrag det, "
"var ingen av disse aktivitetene regulert av opprinnelige copyright act. "
"disse kreative aktivitetene forble gratis, mens aktivitetene til utgivere "
"var behersket."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, every 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 historien er svært forskjellige: Hvis du skriver en bok, boken er "
"automatisk beskyttet. faktisk, ikke bare i adresseboken. hver e-post, hver "
"merknad til din ektefelle, hver doodle, alle kreative handle som er redusert "
"til en håndgripelig form--alt dette automatisk beskyttet med "
"kopirettigheter. Det er ikke nødvendig å registrere deg eller merke arbeidet "
"ditt. beskyttelse følger etablering, ikke trinnene du ta for å beskytte den."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"som beskyttelse gir deg rett til (begrenset et smalt spekter av fair use "
"unntak) til å kontrollere hvordan andre kopierer arbeidet, om de kopiere den "
"til å publisere den på nytt, eller for å dele et utdrag."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"derivative rights.\" "
"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 ""
"Det er mye den åpenbare delen. et system av copyright ville styre "
"konkurrerende publisering. men det er en andre del til opphavsretten i dag "
"som er overhodet ikke åpenbart. Dette er beskyttelse av \"avledede "
"rettigheter.\" Hvis du skriver en bok, ingen kan lage en film i boken din "
"uten tillatelse. Ingen kan oversette det uten tillatelse. dansk skuespiller "
"og gjøre ikke en forkortelse, med mindre tillatelse er gitt. alle disse "
"avledede bruksområdene for det originale arbeidet er styrt av "
"opphavsrettsinnehaveren. opphavsretten, med andre ord, er nå ikke bare en "
"eksklusiv rett til skrifter, men en eksklusiv rett til skrifter og en stor "
"andel av skrifter som er inspirert av dem."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 derivat høyre som vil synes mest bisarre til våre underskrev, "
"selv om det har blitt andre naturen til oss. i utgangspunktet ble denne "
"ekspansjonen opprettet for å håndtere åpenbare evasions av en smalere "
"opphavsrett. Hvis jeg skriver en bok, kan du endre ett ord og deretter "
"hevder en opphavsrett i en ny og annerledes bok? som ville selvsagt gjøre en "
"spøk av opphavsretten, slik loven ble riktig utvidet til å omfatte disse små "
"endringer, så vel som ordrett opprinnelige arbeidet."

#.  f14
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In preventing that joke, the law created an astonishing power within a free "
"culture&mdash;at least, it's astonishing when you understand that the law "
"applies not just to the commercial publisher but to anyone with a computer. "
"I understand the wrong in duplicating and selling someone else's work. But "
"whatever that 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 ""

#.  f15
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 \"copies\" and derivative works. See Jed "
"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" "
"Yale Law Journal 112 (2002): 1&ndash;60 (see especially pp. 53&ndash;59)."
msgstr ""
"professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
"forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "
"første endringen) bare \"Kopier\" og avledede produkter. se jed rubenfeld, "
"\"ytringsfriheten fantasi: opphavsrett 's constitutionality,\" yale law "
"journal 112 (2002): 1­60 (se spesielt s. 53­59)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Yet copyright law treats these two different wrongs in the same way. I can "
"go to court and get an injunction against your pirating my book. I can go to "
"court and get an injunction against your transformative use of my book."
"<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my "
"creative work are treated the same."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"Mickey "
"Mouse,\" 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 igjen virke riktig for deg. Hvis jeg skrev en bok, så hvorfor skal "
"du kunne skrive en film som tar min historie og gjør penger fra det uten å "
"betale meg eller kreditering meg? eller hvis disney oppretter en skapning "
"kalt \"Mikke Mus\", hvorfor skal du kunne gjøre Mikke Mus leker og være en "
"til å handle på verdien som disney opprinnelig opprettet?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"disse er gode argumenter, og generelt, mitt poeng er ikke at derivat høyre "
"er grunnløs. meg sikte akkurat nå er mye smalere: bare for å gjøre det klart "
"at denne utvidelsen er en betydelig endring fra de opprinnelig rettighetene."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Law and Architecture: Reach"
msgstr "lov og arkitektur: nå"

#.  f16
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"This is a simplification of the law, but not much of one. The law certainly "
"regulates more than \"copies\"&mdash;a public performance of a copyrighted "
"song, for example, is regulated even though performance per se doesn't make "
"a copy; 17 United States Code, section 106(4). And it certainly sometimes "
"doesn't regulate a \"copy\"; 17 United States Code, section 112(a). But the "
"presumption under the existing law (which regulates \"copies;\" 17 United "
"States Code, section 102) is that if there is a copy, there is a right."
msgstr ""
"Dette er en forenkling av loven, men ikke mye av en. loven absolutt "
"regulerer mer enn \"Kopier\"--en offentlig fremføring av en kopibeskyttet "
"sang, for eksempel er regulert selv om ytelse per se ikke gjøre en kopi; 17 "
"united states code, delen 106(4). og det sikkert noen ganger regulere ikke "
"en \"kopi\"; 17 united states code, delen 112(a). men antagelse under den "
"eksisterende lov (som regulerer \"Kopier\"; 17 united states code, avsnitt "
"102) er at hvis det er en kopi, det er rett."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Whereas originally the law regulated only publishers, the change in "
"copyright's scope means that the law today regulates publishers, users, and "
"authors. It regulates them because all three are capable of making copies, "
"and the core of the regulation of copyright law is copies.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 151
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"\"Copies.\" That certainly sounds like the obvious thing for copyright law "
"to regulate. But as with Jack Valenti's argument at the start of this "
"chapter, that \"creative property\" deserves the \"same rights\" as all "
"other property, it is the obvious 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 not be the trigger for "
"copyright law. More precisely, they should not always be the trigger for "
"copyright law."
msgstr ""
"\"Kopier.\" som absolutt høres ut som det åpenbare tingen for opphavsrett å "
"regulere. men som med jack valenti argumentet i begynnelsen av dette "
"kapitlet, at \"kreative property\" fortjener \"samme rettigheter\" som alle "
"andre eiendom, det er åpenbart at vi trenger å være mest forsiktig med. for "
"mens det kan være opplagt at i verden før Internett, Kopier var åpenbare "
"utløser for opphavsrett, på refleksjon, bør det være åpenbart at i verden "
"med Internett, Kopier ikke bør være utløser for lov om opphavsrett. mer "
"presist, bør de ikke alltid være utløser for lov om opphavsrett."

#.  f17
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 ""
"Således, mitt argument er ikke at i hvert sett at lov om opphavsrett "
"utvider, vi bør oppheve den. Det er i stedet at vi bør ha et godt argument "
"for dens utvidelse der den does, og bør ikke avgjøre sin rekkevidde på "
"grunnlag av vilkårlig og automatiske endringer forårsaket av teknologi."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This is perhaps the central claim of this book, so let me take this very "
"slowly so that the point is not easily missed. My claim is that the Internet "
"should at least force us to rethink the conditions under which the law of "
"copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> "
"because it is clear that the current reach of copyright was never "
"contemplated, much less chosen, by the legislators who enacted copyright law."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"We can see this point abstractly by beginning with this largely empty circle."
msgstr ""
"Vi kan se dette punktet abstractly begynner med dette i stor grad tom sirkel."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "All potential uses of a book."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1521.png\"></graphic>"
msgstr "<graphic fileref=\"images/1521.png\"></graphic>"

#.  PAGE BREAK 152
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Think about a book in real space, and imagine this circle to represent all "
"its potential uses. 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 ""
"Tenk på en bok i virkelige rommet, og tenke denne sirkelen til å "
"representere alle dens potensial bruker. de fleste av disse bruksområdene er "
"unregulated ved lov om opphavsrett, fordi bruker ikke opprette en kopi. Hvis "
"du leser en bok, er ikke det handle regulert av lov om opphavsrett. Hvis du "
"gir noen boken, er ikke det handle regulert av lov om opphavsrett. Hvis du "
"selge en bok, loven er ikke regulert (lov om opphavsrett uttrykkelig sier at "
"etter første salg av en bok, eieren av opphavsretten kan pålegge uten "
"ytterligere betingelser om tilstanden i boken). Hvis du sove på boken eller "
"bruke den til å holde opp en lampe eller la din valp tygge den opp, vil ikke "
"disse handlinger er regulert av lov om opphavsrett, fordi disse handlinger "
"ikke gjør en kopi."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "Examples of unregulated uses of a book."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1531.png\"></graphic>"
msgstr "<graphic fileref=\"images/1531.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 first "
"diagram on next page)."
msgstr ""
"åpenbart, men noen bruker av en opphavsrettsbeskyttet bok er regulert av lov "
"om opphavsrett. republishing boken, for eksempel lager en kopi. Det er "
"derfor regulert av lov om opphavsrett. faktisk står bruk i kjernen av denne "
"kretsen av mulige bruksområder for et opphavsrettslig beskyttet verk. Det er "
"paradigmatic bruk riktig regulert av opphavsrett regulering (se første "
"diagrammet på neste side)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Finally, there is a tiny sliver of otherwise regulated copying uses that "
"remain unregulated because the law considers these \"fair uses.\""
msgstr ""
"Endelig er det en liten sliver i regulert Ellers kopierer bruker som forblir "
"unregulated fordi loven vurderer disse \"rimelig bruk\"."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid ""
"Republishing stands at the core of this circle of possible uses of a "
"copyrighted work."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1541.png\"></graphic>"
msgstr "<graphic fileref=\"images/1541.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"fair uses\" for public policy (and possibly First Amendment) "
"reasons."
msgstr ""
"disse er bruker at selv innebære kopiering, men som det lov behandler som "
"unregulated fordi public policy krever at de forblir unregulated. du er fri "
"til å sitere fra denne boken, selv i en gjennomgang som er ganske negativ, "
"uten min tillatelse, selv om den sitere lager en kopi. Denne kopien vil "
"vanligvis gi eieren av opphavsretten eksklusiv rett til å si om kopien er "
"tillatt eller ikke, men loven fornekter eieren av en eksklusiv rett over "
"slike \"fair bruker\" for offentlig politikk (og muligens first endring) "
"grunner."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "Unregulated copying considered &quot;fair uses.&quot;"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1542.png\"></graphic>"
msgstr "<graphic fileref=\"images/1542.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid ""
"Uses that before were presumptively unregulated are now presumptively "
"regulated."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1551.png\"></graphic>"
msgstr "<graphic fileref=\"images/1551.png\"></graphic>"

#.  PAGE BREAK 154
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"fair\" regardless of the copyright owner's views."
msgstr ""
"i virkelige rommet, deretter mulige bruksområder for en bok er delt inn i "
"tre sorterer: (1) unregulated bruker, (2) regulert bruker og (3) regulert "
"bruker som likevel anses \"rettferdig\" uavhengig av copyrighteieren "
"visninger."

#.  f18
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"I don't mean \"nature\" 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 trenger ikke bety \"natur\" i den forstand at det kunne ikke være "
"annerledes, men heller at sin nåværende objektforekomst innebærer en kopi. "
"optisk nettverk ikke trenger lage kopier av innhold de overføre, og en "
"digital network kan være utformet for å slette noe det kopierer slik at det "
"samme antallet kopier forblir."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Enter the Internet&mdash;a distributed, digital network where every use of a "
"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> "
"And because of this single, arbitrary feature of the design of a digital "
"network, the scope of category 1 changes dramatically. Uses that before were "
"presumptively unregulated are now presumptively regulated. No longer is "
"there a set of presumptively unregulated uses that define a freedom "
"associated with a copyrighted work. Instead, each use is now subject to the "
"copyright, because each use also makes a copy&mdash;category 1 gets sucked "
"into category 2. And those who would defend the unregulated uses of "
"copyrighted work must look exclusively to category 3, fair uses, to bear the "
"burden of this shift."
msgstr ""

#.  PAGE BREAK 155
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 copyright-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 la oss være svært spesifikke å gjøre herfra Generelt og fjerner. før "
"Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke "
"sannsynlig copyright-relaterte argument som eieren av opphavsretten kan "
"gjøre for å kontrollere at bruk av hennes bok. lov om opphavsrett har "
"ingenting å si om hvorvidt du lese boken en gang, ti ganger eller hver natt "
"før du gikk til sengs. Ingen av disse forekomstene av bruk--lesing--kan "
"reguleres av lov om opphavsrett, fordi ingen av de bruker produsert en kopi."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 copyright law 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 den samme bok som en e-bok styres effektivt av et annet sett med regler. "
"nå hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller "
"bare en gang i måneden, så lov om opphavsrett skulle hjelpe eieren av "
"opphavsretten i utøvelse slik grad av kontroll, på grunn av funksjonen "
"tilfeldig i lov om opphavsrett som utløser sin søknad på det å være en kopi. "
"nå hvis du lese boken ti ganger, og lisensen sier du kan lese det bare fem "
"ganger, deretter hver gang du leser boken (eller deler av det) utover den "
"femte tid, gjør du en kopi av boken i strid med opphavsrett eierens ønske."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 noen folk som tror dette gjør perfekt forstand. meg sikte er akkurat "
"nå ikke å krangle om hvorvidt det er fornuftig eller ikke. min målet er bare "
"å gjøre det klart endringen. Når du ser dette punktet, bli noen andre "
"punkter også klar:"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Først gjør Kategori 1 forsvinne er ikke noe alle politikk-maker noensinne "
"ment. Kongressen ikke tenke gjennom sammenbruddet av presumptively "
"unregulated bruk av opphavsrettslig beskyttet verk. Det er ingen bevis på "
"alle at beslutningstakere hadde denne ideen i tankene når de tillater vår "
"policy her for å skifte. unregulated bruker var en viktig del av fri kultur "
"før Internett."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 any transformation "
"you make of creative work using a machine. \"Copy and paste\" and \"cut and "
"paste\" 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 ""
"andre, dette skiftet er spesielt troubling i sammenheng med transformative "
"bruk av kreative innholdet. igjen, kan vi alle forstå feil i kommersielle "
"piratkopiering. men loven nå hensikt å regulere alle transformasjoner som du "
"gjør i skapende arbeid ved hjelp av en maskin. \"Kopier og Lim inn\" og "
"\"klippe og lime\" bli forbrytelser. fiksing og triksing med en historie og "
"slippe det til andre viser til tinkerer å minst et krav for justering. "
"troubling utvidelse med hensyn til kopiere et bestemt arbeid, men det er "
"svært troubling med hensyn til transformative bruk av skapende arbeid."

#.  PAGE BREAK 156
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Third, this shift from category 1 to category 2 puts an extraordinary burden "
"on category 3 (\"fair use\") 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 ""
"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinære "
"belastning på kategori 3 (\"fair use\"), som rettferdig bruk aldri før hadde "
"å bære. Hvis en opphavsrettsinnehaveren nå prøvde å kontrollere hvor mange "
"ganger jeg kunne lese en bok på nettet, ville den naturlige reaksjon være å "
"hevde at dette er et brudd på mine fair use-rettigheter. men det har aldri "
"vært noen rettssaker jeg ha en rettferdig bruk høyre for å lese, fordi før "
"Internett, leser ikke utløse anvendelsen av lov om opphavsrett og dermed "
"behovet for en rettferdig bruk forsvar. retten til å lese var effektivt "
"beskyttet før fordi lesing ikke ble regulert."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 unregulated. But when everything becomes "
"presumptively regulated, then the protections of fair use are not enough."
msgstr ""
"dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis "
"kultur. Vi har vært cornered til kranglet at våre rettigheter er avhengige "
"av fair use--adressering aldri selv tidligere spørsmålet om utvidelse i "
"effektiv regulering. en tynn beskyttelse jordet i fair use fornuftig når det "
"store flertallet av bruker er unregulated. men når alt blir presumptively "
"regulert, deretter beskyttelse av fair use er ikke nok."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The case of Video Pipeline is a good example. Video Pipeline was in the "
"business of making \"trailer\" 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 ""
"tilfelle av video rørledning er et godt eksempel. video rørledningen var i "
"bransjen for å gjøre \"trailer\" reklame for filmer tilgjengelig til video "
"butikker. video butikkene vises tilhengere som en måte å selge videoer. "
"video rørledningen fikk tilhengere fra trevare, sette tilhengere på bånd, og "
"solgt kassetter til selge i detalj butikker."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"selling by sampling\" technique by giving on-line "
"stores the same ability to enable \"browsing.\" 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 ""
"selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte å "
"tenke på Internett som en måte å distribuere disse forhåndsvisninger. ideen "
"var å utvide sin \"selger ved prøvetaking\" teknikk ved å gi on-line "
"butikker samme muligheten til å aktivere \"surfing.\" akkurat som i en "
"bokhandel du kan lese noen få sider av en bok før du kjøper boken, så, du "
"vil også kunne smake litt fra filmen on-line før du kjøpte den."

#.  PAGE BREAK 157
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"fair use\" 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 informert video rørledningen disney og andre trevare at det ment å "
"distribuere tilhengere gjennom Internett (i stedet for å sende båndene) til "
"distributører av deres videoer. to år senere, fortalte disney video "
"rørledning til å stoppe. eieren av video rørledningen spurte disney å snakke "
"om saken, hadde han bygget en bedrift på distribuere dette innholdet som en "
"måte å hjelp Selg disney filmer; Han hadde kunder som var avhengig av hans "
"leverer dette innholdet. Disney aksepterer å snakke bare hvis video "
"rørledningen stoppet fordelingen umiddelbart. video rørledningen trodde det "
"var innenfor sine \"fair use\"-rettigheter til å distribuere utklippene som "
"de hadde. så de anlagt en sak å be retten å erklære at disse rettighetene "
"var faktisk sine rettigheter."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Disney countersued&mdash;for $100 million in damages. Those damages were "
"predicated upon a claim that Video Pipeline had \"willfully infringed\" 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 countersued--for $100 millioner i skader. disse skader ble predicated "
"upon et krav at video rørledningen hadde \"willfully krenket\" på disney's "
"copyright. Når en domstol gjør en oppdagelse av willful brudd, kan den "
"prisen skader ikke på grunnlag av den faktiske skaden for eieren av "
"opphavsretten, men på grunnlag av et beløp som er angitt i vedtektene. fordi "
"video rørledningen hadde distribuert syv hundre klipp av disney film å "
"aktivere video butikker å selge kopier av disse filmene, var disney nå suing "
"video rørledning for $100 millioner."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 rett til å kontrollere sin eiendom, selvfølgelig. men video "
"butikkene som solgte Disneys filmer hadde også en slags rett til å være i "
"stand til å selge filmer som de hadde kjøpt fra disney. disney's krav i "
"domstol var at butikkene ble tillatt å selge filmene og de ble tillatt å "
"vise titlene på filmene de solgte, men de var ikke lov til å vise klipp av "
"filmer som en måte å selge dem uten disney's tillatelse."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"first-sale doctrine\" 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 ""
"Nå kan du tror dette er en Lukk tilfelle, og jeg tror domstolene anser det "
"som en Lukk saken. Mitt poeng her er å tilordne endringen som gir disney "
"denne makten. før Internett, kunne ikke disney virkelig styre hvordan folk "
"har tilgang til innholdet. Når en video var i markedet, ville \"første-salg "
"doktrine\" gratis selgeren for å bruke videoen som han ønsket, inkludert "
"viser deler av det for å skape salg av hele filmen video. men med Internett, "
"blir det mulig for disney å sentralisere kontroll over tilgang til dette "
"innholdet. fordi hver bruk av Internett gir en kopi, blir copyrighteieren "
"kontroll en bruk på Internett. teknologien utvider omfanget av effektiv "
"kontroll, fordi teknologien bygger en kopi til hver transaksjon."

#.  PAGE BREAK 158
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"ingen tvil, et potensial er ikke et misbruk, og så potensialet for kontroll "
"er ikke ennå misbruk av kontroll. Barnes &amp; noble har rett til å si du "
"ikke røre en bok i deres store; opphavsrettslovgivningen gir dem det riktig. "
"men markedet beskytter effektivt mot at misbruk. Hvis barnes &amp; noble "
"utestengt surfing, vil deretter forbrukere velge andre bokhandlere. "
"konkurranse beskytter mot ytterpunktene. og det kan godt være (mitt argument "
"så langt ikke selv spørsmålet dette) at konkurransen ville hindre noen "
"lignende fare når det gjelder opphavsrett. sikker, kan utgivere utøve "
"rettigheter som forfattere har tildelt dem prøver å regulere hvor mange "
"ganger du leser en bok, eller prøv å opphøre du fra deler av boken med noen. "
"men i et konkurranseutsatt marked som bok-markedet, farene ved dette skjer "
"er ganske liten."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"igjen, mitt mål så langt er ganske enkelt å kartlegge endringene som er at "
"dette endret arkitekturen aktiverer. aktivere teknologien å håndheve "
"kontroll av opphavsrett betyr at kontroll av copyright er ikke lenger "
"definert av balansert policyen. kontroll på opphavsrett er bare hva privat "
"eiere velge. i enkelte sammenhenger, minst, er det faktum harmløse. men det "
"er en oppskrift på katastrofe i enkelte sammenhenger."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Architecture and Law: Force"
msgstr "arkitektur og lov: tvinge"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"forsvinningen av unregulated bruker ville være endre nok, men andre viktige "
"endringer forårsaket av Internett øker sin betydning. denne andre endringen "
"påvirker ikke rekkevidden av opphavsrett regulering; det påvirker hvordan "
"slike regulering fremtvinges."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 verden før digital teknologi var det generelt loven som kontrollerte om og "
"hvordan noen var regulert av lov om opphavsrett. loven, noe som betyr en "
"court, som betyr en dommer: til slutt, det var et menneske, utdannet i "
"tradisjonen med loven og cognizant av saldoer som tradisjon omfavnet, som sa "
"om og hvordan loven ville begrense friheten."

#.  f19
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
"Problems 44 (1981): 172&ndash;73."
msgstr ""
"se david lange, \"erkjenner allemannseie,\" lov og moderne problemer 44 "
"(1981): 172­73."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"There's a famous story about a battle between the Marx Brothers and Warner "
"Brothers. The Marxes intended to make a parody of Casablanca. 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 ""

#.  f20
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3."
msgstr "ibid. se også vaidhyanathan, opphavsrett og copywrongs, 1­3."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
"that the Marx Brothers \"were brothers long before you were.\"<placeholder "
"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word "
"brothers, and if Warner Brothers insisted on trying to control Casablanca, "
"then the Marx Brothers would insist on control over brothers."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"en absurd og hul trussel, selvfølgelig, fordi warner brothers, the marx "
"brothers, visste at ingen domstol ville noensinne håndheve slikt dumt krav. "
"Denne ekstremisme var irrelevant for ekte friheter nytes alle (inkludert "
"warner brothers)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Internett, men det er ingen kontroll av dum regler, fordi på Internett, i "
"økende grad regler gjelder ikke av et menneske, men av en maskin: i økende "
"grad reglene om opphavsrett, som tolkes av eieren av opphavsretten få "
"innebygd i teknologien som leverer opphavsrettsbeskyttet innhold. Det er "
"koden, i stedet for loven, at reglene. og problemet med koden forskrifter er "
"at, i motsetning til loven, koden har ingen skam. koden ville ikke få humor "
"av the marx brothers. konsekvensen av dette er overhodet ikke morsomt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Consider the life of my Adobe eBook Reader."
msgstr "vurdere livet av min adobe eBok-leser."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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-bok er en bok som er levert i elektronisk form. en adobe-eBok er ikke "
"en bok som adobe har publisert; Adobe gir ganske enkelt programvaren som "
"utgivere bruker å levere e-bøker. Det gir teknologien, og utgiveren leverer "
"innholdet ved hjelp av teknologien."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"On the next page is a picture of an old version of my Adobe eBook Reader."
msgstr ""
"på neste er siden et bilde av en gammel versjon av min adobe eBok-leser."

#.  PAGE BREAK 160
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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: "
"Middlemarch, for example, is in the public domain.  Some of them reproduce "
"content that is not in the public domain: My own book The Future of Ideas is "
"not yet within the public domain.  Consider Middlemarch first. If you click "
"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a "
"button at the bottom called Permissions."
msgstr ""
"som du ser, har jeg en liten samling av e-bøker i denne e-boken biblioteket. "
"noen av disse bøkene reprodusere innholdet i public domain: middlemarch, er "
"for eksempel i public domain. noen av dem reprodusere innhold som ikke er "
"allemannseie: min egen bok fremtiden for ideer er ennå ikke i public domain. "
"vurdere middlemarch først. Hvis du klikker på min e-bok-kopi av middlemarch, "
"vil du se en fancy cover og deretter en knapp på bunnen kalt tillatelser."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "Picture of an old version of Adobe eBook Reader"
msgstr "Bilde av en gammel versjon av Adobe eBook Reader."

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1611.png\"></graphic>"
msgstr "<graphic fileref=\"images/1611.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 knappen tillatelser, ser du en liste over tillatelsene "
"som utgiveren hensikt å gi med denne boken."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
#, mtrans, fuzzy
msgid "List of the permissions that the publisher purports to grant."
msgstr ""
"Hvis du klikker på knappen tillatelser, ser du en liste over tillatelsene "
"som utgiveren hensikt å gi med denne boken."

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1612.png\"></graphic>"
msgstr "<graphic fileref=\"images/1612.png\"></graphic>"

#.  PAGE BREAK 161
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Middlemarch read aloud through the computer."
msgstr ""
"Ifølge min eBok-leser har jeg tillatelse til å kopiere til utklippstavlen på "
"datamaskinen ti tekstområder ti dager. (så langt jeg har kopiert ingen tekst "
"til utklippstavlen.) Jeg har også tillatelse til å skrive ut ti sider fra "
"boken ti dager. til slutt, jeg har tillatelse til å bruke lese høyt knapp "
"for å høre middlemarch lest høyt gjennom datamaskinen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Here's the e-book for another work in the public domain (including the "
"translation): Aristotle's Politics."
msgstr ""
"Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert "
"oversettelse): Aristoteles politikk."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "E-book of Aristotle;s &quot;Politics&quot;"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1621.png\"></graphic>"
msgstr "<graphic fileref=\"images/1621.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tillatelsene, ingen utskrift eller kopiering er tillatt i det "
"hele tatt. men heldigvis kan du bruke lese høyt knappen for å høre boken."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "List of the permissions for Aristotle;s &quot;Politics&quot;."
msgstr "Liste med tillatelser for Aristotles &quot;Politics&quot;."

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1622.png\"></graphic>"
msgstr "<graphic fileref=\"images/1622.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Finally (and most embarrassingly), here are the permissions for the original "
"e-book version of my last book, The Future of Ideas:"
msgstr ""
"Endelig (og mest embarrassingly), her er du tillatelsene for den "
"opprinnelige e-bok-versjonen av boken min siste, fremtiden for ideer:"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "List of the permissions for &quot;The Future of Ideas&quot;."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1631.png\"></graphic>"
msgstr "<graphic fileref=\"images/1631.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "No copying, no printing, and don't you dare try to listen to this book!"
msgstr ""
"Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne boken!"

#.  f21
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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."
msgstr ""
"i prinsippet, kan en kontrakt pålegge et krav på meg. Jeg kan, for eksempel "
"kjøpe en bok fra deg som inkluderer en kontrakt som sier jeg vil lese den "
"bare tre ganger, eller at jeg lover å lese den tre ganger. men at "
"forpliktelse (og grensene for å opprette denne plikten) ville komme fra "
"kontrakten, ikke fra lov om opphavsrett og forpliktelsene ved kontrakt ville "
"ikke nødvendigvis gå til alle som senere kjøpt boken."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Now, the Adobe eBook Reader calls these controls \"permissions\"&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 Middlemarch 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The control comes instead from the code&mdash;from the technology within "
"which the e-book \"lives.\" Though the e-book says that these are "
"permissions, they are not the sort of \"permissions\" that most of us deal "
"with. When a teenager gets \"permission\" 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 koden--fra teknologi som e-bok \"liv.\" om e-"
"boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" som de "
"fleste av oss håndtere. Når en tenåring blir \"tillatelse\" til å være ute "
"til midnatt, vet hun (med mindre hun er cinderella) at hun kan være ute til "
"2 am, men vil lide en straff hvis hun er fanget. men når adobe eBok reader "
"sier jeg har tillatelse til å lage ti Kopier teksten inn i datamaskinens "
"minne, som betyr at etter at jeg har gjort ti eksemplarer, datamaskinen ikke "
"vil gjøre noe mer. det samme med utskrift begrensninger: eBok-leser ikke "
"skrives ut flere sider etter ti sider. Det er det samme med dum "
"størrelsesbegrensningen som sier at du ikke kan bruke lese høyt knappen til "
"å lese boken min høyt--det er ikke at selskapet vil saksøke deg hvis du "
"gjør; i stedet, hvis du presse lese høyt knappen med min bok, maskinen bare "
"vil ikke lese høyt."

#.  PAGE BREAK 163
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"These are controls, not permissions. Imagine a world where the Marx Brothers "
"sold word processing software that, when you tried to type \"Warner Brothers,"
"\" erased \"Brothers\" from the sentence."
msgstr ""
"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx "
"brødrene solgte tekstbehandling programvare som, da du prøvde å skrive inn "
"\"warner brothers,\" slettet \"brødre\" fra setningen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This is the future of copyright law: not so much copyright law as copyright "
"code. 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 til lov om opphavsrett: ikke så mye copyright lov som "
"opphavsrett kode. Kontroller over tilgangen til innholdet kan ikke "
"kontroller som er ratifisert av domstolene; Kontroller over tilgangen til "
"innholdet vil være kontroller som er kodet av programmerere. og mens "
"kontrollene som er innebygd i loven er alltid skal kontrolleres av en "
"dommer, kontrollene som er innebygd i teknologien har ingen tilsvarende "
"innebygde kontroller."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 betydelig er dette? er det ikke alltid mulig å komme seg rundt "
"kontrollene som er innebygd i teknologien? programvaren brukes til å bli "
"solgt med teknologier som begrenset mulighet til brukere å kopiere "
"programvaren, men det var trivielle beskyttelse til tap. Hvorfor vil ikke "
"være trivielt å beseire slik beskyttelse også?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"We've only scratched the surface of this story. Return to the Adobe eBook "
"Reader."
msgstr ""
"Vi har bare riper i overflaten av denne historien. gå tilbake til adobe eBok-"
"leser."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Alice's Adventures in Wonderland.  This wonderful "
"book is in the public domain. Yet when you clicked on Permissions for that "
"book, you got the following report:"
msgstr ""
"tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bøkene "
"som du kan laste ned gratis på adobe siden var en kopi av alice's adventures "
"in wonderland. denne fantastiske boken er offentlig tilgjengelig. ennå når "
"du klikket på tillatelser for boken, fikk du det fulgte rapporten:"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid ""
"List of the permissions for &quot;Alice's Adventures in Wonderland&quot;."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1641.png\"></graphic>"
msgstr "<graphic fileref=\"images/1641.png\"></graphic>"

#.  PAGE BREAK 164
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"permissions\" "
"indicated, not allowed to \"read aloud\"!"
msgstr ""
"Her var et frivare barnebok som du ikke var tillatt for å kopiere, ikke lov "
"til å låne, ikke lov til å gi og, som \"tillatelser\" angitt, ikke lov til å "
"\"lese høyt\"!"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"pr-mareritt som er knyttet til den endelige tillatelsen. for teksten ikke si "
"at du ikke var tillatt å bruke lese høyt knappen; det sa du ikke har "
"tillatelse til å lese boken høyt. som ledet noen folk å tenke at adobe var "
"begrense høyre for foreldre, for eksempel å lese boken til sine barn, som "
"syntes å si mildt, absurd."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 svarte raskt at det var absurd å tro at den prøvde å begrense "
"rettigheten til å lese en bok høyt. Det ble åpenbart bare begrense "
"muligheten til å bruke lese høyt knappen for å få boken lest høyt. Men "
"spørsmålet adobe aldri svar er dette: er adobe dermed enig at en forbruker "
"var fri til å bruke programvare for å banalisere rundt restriksjoner som er "
"innebygd i eBok-leser? Hvis noen selskap (kaller det elcomsoft) utviklet et "
"program for å deaktivere teknologiske beskyttelsen som er innebygd i en "
"adobe-eBok slik at en blind person, sier, kan bruke en datamaskin til å lese "
"boken høyt, vil adobe være enig at slik bruk av en eBok-leser var "
"rettferdig? Adobe ikke svare fordi svaret, men absurde det kan virke, er "
"ingen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Poenget er ikke å klandre adobe. faktisk, adobe er blant de mest innovative "
"selskapene som utvikler strategier for å balansere åpen tilgang til innhold "
"med insentiver for bedriftene å skape noe nytt. men Adobes teknologi gjør "
"det mulig for kontroll, og adobe har et insentiv til å forsvare denne "
"kontrollen. dette insentiv er forståelig, men hva som skaper er ofte gal."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"To see the point in a particularly absurd context, consider a favorite story "
"of mine that makes the same point."
msgstr ""
"Hvis du vil se punktet i en spesielt absurd sammenheng, bør du vurdere en "
"favoritt historien om mine som gjør det samme punktet."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Aibo robotic dog"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Consider the robotic dog made by Sony named \"Aibo.\" 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 ""
"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lærer triks, "
"cuddles, og følger deg. det spiser bare elektrisitet og som ikke la så mye "
"av et rot (i det minste i huset)."

#.  PAGE BREAK 165
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"aibo er dyrt og populære. fans fra hele verden har satt opp klubber til "
"handel historier. en vifte spesielt satt opp et webområde slik at "
"informasjon om aibo hunden som skal deles. Dette fan satt opp aibopet.com "
"(og aibohack.com, men de løser til det samme området), og han gitt "
"informasjon om hvordan du lære en aibo å gjøre triks i tillegg til de sony "
"hadde lært det på det området."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"\"Teach\" 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 \"dog\" to make it do new "
"tricks (thus, aibohack.com)."
msgstr ""
"\"lære\" har her en spesiell betydning. aibos er bare søt datamaskiner. du "
"lære en datamaskin hvor å gjøre noe ved programmering det annerledes. så å "
"si at aibopet.com var å gi informasjon om hvordan du lære hunden å gjøre nye "
"triks er bare å si at aibopet.com var å gi informasjon til brukere av aibo-"
"pet om hvordan å hacke datamaskinen \"hund\" slik at den gjør nye triks "
"(derfor aibohack.com)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"If you're not a programmer or don't know many programmers, the word hack 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, hack is a much more positive term. Hack 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 \"drive,\" 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 en programmerer, eller vet ikke mange programmerere, har det "
"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere "
"busker eller ugress. nonprogrammers i horror filmer gjøre enda verre. men "
"programmerere eller coders, som jeg kaller dem, banalisere er et mye mer "
"positiv begrep. banalisere betyr bare kode som gjør at programmet til å "
"gjøre noe det ikke var opprinnelig ment eller aktivert å gjøre. Hvis du "
"kjøper en ny skriver for en gammel datamaskin, kan du finne den gamle "
"datamaskinen ikke kjører, eller \"drive\", skriveren. Hvis du oppdaget at, "
"vil du senere gjerne til å oppdage en hack på nettet av noen som har skrevet "
"en driver for å aktivere datamaskinen til å kjøre skriveren du nettopp kjøpt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"noen hacks er lett. noen er utrolig vanskelig. hackere som et fellesskap "
"liker å utfordre seg selv og andre med stadig vanskeligere oppgaver. Det er "
"en viss respekt som går med talent å hacke godt. Det er en velfortjent "
"respekt som går med talent å hacke etisk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"fan aibo var vise litt av begge når han hacket programmet og tilbød å verden "
"litt kode som ville gjøre det mulig for aibo å danse jazz. hunden var ikke "
"programmert å danse jazz. Det var en smart bit av fiksing og triksing som "
"forvandlet hunden til en mer talentfull skapning enn sony hadde bygget."

#.  PAGE BREAK 166
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, What possible problem could there be "
"with teaching a robot dog to dance?"
msgstr ""
"Jeg har fortalt denne historien i mange sammenhenger, både i og utenfor USA. "
"Når jeg ble spurt av en rådvill medlem av publikum, er det tillatt for en "
"hunden å danse jazz i USA? Vi glemmer at artikler om backcountry fremdeles "
"flyter gjennom store deler av verden. så la oss være klare før vi "
"fortsetter: det er ikke en forbrytelse hvor som helst (lenger) å danse jazz. "
"heller ikke er det en forbrytelse å lære din hunden å danse jazz. heller "
"ikke bør det være en forbrytelse (selv om vi ikke har mye å gå på her) å "
"lære hunden din robot å danse jazz. dans jazz er en helt lovlig aktivitet. "
"en bilder at eieren av aibopet.com trodde, hva et mulig problem kan det være "
"med undervisning en robot hunden å danse?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"La oss sette hunden å sove litt, og slå til en ponni Vis--ikke bokstavelig "
"talt en ponni show, men heller et papir som en princeton akademiske kalt ed "
"felten forberedt på en konferanse. Denne princeton akademiske er godt kjent "
"og respektert. Han ble ansatt av regjeringen i microsoft-saken til å teste "
"Microsofts krav om hva kunne og ikke kunne gjøres med en egen kode. i denne "
"rettssaken demonstrerte han både hans herlighet og hans coolness. under tung "
"badgering av microsoft advokater, ed felten stått sin bakken. Han var ikke "
"om å bli mobba til å være stille om noe han visste godt."

#.  f22
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" "
"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the "
"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; "
"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual "
"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright "
"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is "
"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier "
"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA "
"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#27</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"But Felten's bravery was really tested in April 2001.<placeholder type="
"\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper "
"to be submitted at conference.  The paper was intended to describe the "
"weakness in an encryption system being developed by the Secure Digital Music "
"Initiative as a technique to control the distribution of music."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"this music cannot be "
"copied,\" and have a computer respect that command.  The technology was to "
"be part of a \"trusted system\" of control that would get content owners to "
"trust the system of the Internet much more."
msgstr ""
"sdmi-koalisjonen hadde som mål en teknologi for å aktivere innholdseiere å "
"utøve mye bedre kontroll over deres innhold enn Internett, som den "
"opprinnelig stod, gitt dem. Hvis du bruker kryptering, sdmi håpet å utvikle "
"en standard som ville tillate innholdseieren å si \"denne musikken ikke kan "
"kopieres\", og har en datamaskin respekterer kommandoen. teknologien var å "
"være del av et \"klarert system\" av kontroll som ville få innholdseiere kan "
"stole på systemet av Internett mye mer."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 trodde det var nær en standard, satt det opp en konkurranse. i "
"bytte for å gi contestants med koden til en sdmi-krypterte bit av innholdet, "
"var contestants å prøve å sprekk det, og hvis de gjorde, kan du rapportere "
"problemer til konsortiet."

#.  PAGE BREAK 167
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 teamet hans funnet ut kryptering systemet raskt. Han og teamet så "
"svakheten av dette systemet som en type: mange kryptering systemer vil lide "
"samme svakhet, og felten og teamet hans trodde det verdt å påpeke dette til "
"de som studerer kryptering."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"La oss vurdere bare hva felten gjorde. igjen, dette er USA. Vi har et "
"prinsipp for ytringsfrihet. Vi har dette prinsippet ikke bare fordi det er "
"loven, men også fordi det er en virkelig god idé. en sterkt beskyttet "
"tradisjon av ytringsfriheten er sannsynlig å oppmuntre til et bredt spekter "
"av kritikk. at kritikk er sannsynlig, i sin tur til å forbedre systemer "
"eller personer eller ideer kritisert."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Hva felten og hans kolleger gjorde var publisering en papiret beskriver "
"svakhet i en teknologi. de var ikke spre gratis musikk, eller bygge og "
"distribusjon av denne teknologien. papiret var en faglige essay, uleselig "
"for fleste. men det viste klart svakhetene i sdmi-systemet, og hvorfor sdmi "
"ville ikke, så dag konstituert, lykkes."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Hva kobler disse to, aibopet.com og felten, er bokstavene de deretter "
"mottatt. aibopet.com mottatt et brev fra sony om det aibopet.com banalisere. "
"Selv om en jazz-dans hunden er helt lovlig, skrev sony:"

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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 ""
"nettstedet inneholder informasjon metoder for å omgå aibo-ware "
"kopibeskyttelse protokollen utgjør et brudd på anti-omgåelse bestemmelsene i "
"digital millennium copyright act."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 papiret beskriver svakhet i et system av kryptering "
"bør også være helt lovlig, felten mottatt et brev fra en riaa advokat som "
"lese:"

#.  PAGE BREAK 168
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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 (\"DMCA\")."
msgstr ""
"enhver formidling av informasjon fra å delta i offentlig challenge ville "
"være utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og "
"kunne utsettes du og din undersøkelsesgruppen for handlinger under digital "
"millennium copyright act (\"dmca\")."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tilfeller ble denne nifs orwellian loven startet for å kontrollere "
"spredningen av informasjon. digital millennium copyright act gjort sprer seg "
"slik informasjon en krenkelser."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 code to modify the original code of the Internet, to "
"reestablish some protection for copyright owners."
msgstr ""
"dmca ble vedtatt som en reaksjon på opphavsrett eiernes første frykt om "
"cyberspace. frykt var at opphavsrett kontroll var effektivt død; svaret var "
"å finne teknologier som kan kompensere. disse nye teknologiene ville være "
"opphavsrettsbeskyttelse teknologier--teknologier for å kontrollere "
"replikering og distribusjon av opphavsrettsbeskyttet materiale. de ble "
"utviklet som kode for å endre den opprinnelige koden for Internett, for å "
"gjenopprette noe beskyttelse for eiere av opphavsretter."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, legal code "
"intended to buttress software code which itself was intended to support the "
"legal code of copyright."
msgstr ""
"dmca var litt av loven som er ment å sikkerhetskopiere beskyttelse av denne "
"koden som er utformet for å beskytte opphavsrettsbeskyttet materiale. Det "
"var vi kunne si, Juridisk Lisenstekst ment å buttress programvarekode som "
"selv var ment å støtte Juridisk Lisenstekst av opphavsrett."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ble ikke utformet for bare å beskytte opphavsrettslig beskyttet "
"verk i grad lov om opphavsrett beskyttet dem. sin beskyttelse, det vil si "
"ikke slutten på linjen som trakk av lov om opphavsrett. dmca regulert "
"enheter som ble utviklet for å omgå opphavsrettsbeskyttelse tiltak. den ble "
"utformet for å forby disse enheter, om bruk av opphavsrettslig materiale "
"gjort mulig ved at omgåelse ville ha vært et brudd på opphavsretten."

#.  PAGE BREAK 169
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 gjøre punktet. det aibo banalisere omgikk et system "
"for opphavsrettsbeskyttelse for å aktivere hunden å danse jazz. at "
"aktivering omfattet uten tvil bruk av opphavsrettsbeskyttet materiale. men "
"som aibopet.com's området var ikke-kommersielt, og bruk ikke aktiverte "
"etterfølgende opphavsrett infringements, er det ingen tvil om at aibopet.com "
"banalisere var rettferdig bruk av Sonys opphavsrettsbeskyttet materiale. "
"rettferdig bruk er ennå ikke krenkelser av dmca. spørsmålet er ikke om bruk "
"av opphavsrettslig materiale var et brudd på opphavsretten. spørsmålet er om "
"et system for opphavsrettsbeskyttelse var omgikk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"trusselen mot felten mer ble oppveid, men det fulgte den samme linjen med "
"resonnement. ved å publisere en papir som beskriver hvordan et system for "
"opphavsrettsbeskyttelse kan circumvented, riaa advokat foreslått, felten "
"selv var distribuere en omgåelse-teknologi. Således, selv om han ikke var "
"selv krenker andres opphavsrett, hans akademiske papir var aktivere andre "
"til å krenke andres opphavsrett."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"Mr. Rogers,\" for example, had testified in that case that he wanted "
"people to feel free to tape Mr. Rogers' Neighborhood."
msgstr ""
"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av "
"paul conrad. på den tiden, en domstol i california hadde holdt at "
"videoopptakeren kan bli utestengt fordi det var en copyright-krenkende "
"teknologi: det aktivert forbrukere til å kopiere filmer uten tillatelse fra "
"eieren av opphavsretten. Det var ingen tvil om bruk av teknologien som var "
"juridiske: fred rogers, aka \"mr. rogers,\" for eksempel hadde vitnet i så "
"fall at han ønsket å fremkalle gratis å tape mr. rogers' neighborhood."

#.  f23
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, "
"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James "
"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR "
"(New York: W. W. Norton, 1987), 270&ndash;71."
msgstr ""
"Sony corporation of america v. universal city studios, inc., 464 amerikanske "
"417, 455 fn. 27 (1984). Rogers endret aldri sitt syn om videoopptakeren. se "
"james lardner, spole fremover: hollywood, japanske og onslaught av "
"videoopptakeren (new york: w. w. norton, 1987), 270­71."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Some public stations, as well as commercial stations, program the "
"\"Neighborhood\" 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 \"Neighborhood\" off-the-"
"air, and I'm speaking for the \"Neighborhood\" 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 "
"\"You are an important person just the way you are. You can make healthy "
"decisions.\" 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 ""

#.  PAGE BREAK 170
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 var bruker som var juridiske, fordi det var noen bruksområder "
"som var ulovlig, domstolen holdt selskaper produsere vcr ansvarlig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This led Conrad to draw the cartoon below, which we can adopt to the DMCA."
msgstr ""
"Dette førte conrad å trekke tegneserie nedenfor, som vi kan vedta å dmca."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "No argument I have can top this picture, but let me try to get close."
msgstr ""
"ingen argument jeg har kan topp dette bildet, men la meg prøve å komme nær."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"anticircumvention bestemmelsene i dmca mot opphavsrett omgåelse teknologier. "
"omgåelse teknologiene kan brukes for ulike ender. de kan brukes, for "
"eksempel å aktivere massiv pirating av opphavsrettsbeskyttet materiale--en "
"dårlig slutt. eller de kan brukes til å aktivere bruken av bestemt "
"opphavsrettsbeskyttet materiale på måter som vil anses rimelig bruk--en god "
"slutt."

#.  PAGE BREAK 171
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"en pistol kan brukes til å skyte en politimann eller et barn. de fleste vil "
"være enige slik bruk er dårlig. eller en pistol kan brukes for målet "
"praksis, eller for å beskytte mot en inntrenger. minst noen vil si at slik "
"bruk ville vært bra. det, også, er en teknologi som har både gode og dårlige "
"bruker."

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "VCR/handgun cartoon."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1711.png\"></graphic>"
msgstr "<graphic fileref=\"images/1711.png\"></graphic>"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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: No one ever died from copyright "
"circumvention. 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 ""
"den åpenbare punkt conrad's tegneserie er weirdness av en verden der guns er "
"juridisk, til tross for skade som de kan gjøre, mens videospillere (og "
"omgåelse teknologier) er ulovlig. Flash: ingen noensinne døde fra "
"opphavsrett omgåelse. ennå forbud lov omgåelse teknologier absolutt, til "
"tross for potensialet som de kan gjøre noe godt, men tillater våpen, til "
"tross for den åpenbare og tragisk skaden de gjør."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"aibo og riaa eksemplene viser hvordan opphavsrett eiere endrer saldoen som "
"copyright lov tilskudd. ved hjelp av kode, begrense eiere av opphavsretter "
"fair use; bruker dmca, straffe de de som vil forsøke å unngå begrensningene "
"på rimelig bruk som de innføre gjennom koden. teknologien blir et middel som "
"kan bli slettet fair use; loven av dmca sikkerhetskopierer at sletting."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This is how code becomes law. 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 ""
"Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien "
"for kopiering og tilgang beskyttelse bli regler bryter som er også et brudd "
"på loven. på denne måten utvider koden loven--øke sin regulering, selv om "
"emnet den regulerer (aktiviteter som ellers tydelig utgjør rimelig bruk) er "
"utenfor rekkevidden av loven. koden blir lov; koden utvider loven, kode "
"dermed utvider kontrollen som eiere av opphavsretter effekt--minst for de "
"innehaverne av opphavsrett med advokater som kan skrive ekkel bokstavene som "
"felten og aibopet.com som er mottatt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Det er ett siste del av samspillet mellom arkitektur og lov som bidrar til "
"styrken av copyright's regulering. Dette er enkelt som infringements av "
"loven som kan oppdages. for i motsetning til retorikken felles fødselen av "
"cyberspace at på Internett, ingen vet du er en hunden, i økende grad er gitt "
"skiftende teknologier som er deployert på Internett, det enkelt å finne "
"hunden som har begått en juridisk feil. teknologien av Internett er åpne for "
"snoops, så vel som brukere, og snoops er stadig gode på sporing ned "
"identiteten til de som bryter reglene."

#.  f24
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, "
"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles "
"Entertainment Law Journal 17 (1997): 651."
msgstr ""
"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-"
"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles "
"underholdning law journal 17 (1997): 651."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"For example, imagine you were part of a Star Trek 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Internett var dette faktisk, en helt unregulated aktivitet. Uansett hva "
"som skjedde i club-rommet ditt, vil du aldri bli forstyrret av opphavsrett "
"politiet. du var gratis i denne plassen å gjøre som du vil. med denne delen "
"av vår kultur. du ble tillatt å bygge videre på det som du selv ønsker, uten "
"frykt for juridisk kontroll."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 har flyttet din klubb til Internett, og gjorde det vanligvis "
"tilgjengelig for andre til å delta, historien ville være svært forskjellige. "
"robotsøkeprogrammer scouring nettet for varemerke- og copyright infringement "
"vil raskt finne nettstedet. Innleggsaktivitet fan fiction, avhengig av "
"eierskap av serien som du som viser, kan også inspirere en advokat trussel. "
"og ignorerer den advokat trussel ville være uhyre kostbart faktisk. loven om "
"opphavsrett er ekstremt effektiv. straffene er alvorlige, og prosessen er "
"rask."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 endringen i effektiv makt i loven er forårsaket av en endring i lett "
"som kan håndheves loven. at endringen også skifter loven er balansere "
"radikalt. Det er som om bilen overføres hastigheten som du reist på hvert "
"øyeblikk som du kjørte; det ville være bare ett trinn før staten begynte å "
"utstede billetter basert på dataene du har overført. det vil si, hva som "
"skjer her."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Market: Concentration"
msgstr "markedet: konsentrasjon"

#.  PAGE BREAK 173
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Slik copyright's varighet har økt dramatisk--tredoblet de siste tretti "
"årene. og copyright's omfang har økt samt--fra regulerer bare utgivere å "
"regulere nå omtrent alle. og copyright's rekkevidde har endret, som hver "
"handling blir en kopi og dermed presumptively regulert. og som "
"Teknologorganisasjon finne bedre måter å kontrollere bruken av innhold, og "
"som copyright stadig fremtvinges gjennom teknologi, copyright's kraft "
"endringer, også. misbruk er enklere å finne og enklere å kontrollere. Denne "
"reguleringen av den kreative prosessen, som begynte som en liten regulering "
"som styrer en liten del av markedet for skapende arbeid, har blitt enkelt "
"viktigste regulator av kreativitet som det er. Det er en massiv økning i "
"omfanget av regjeringens kontroll over innovasjon og kreativitet; det ville "
"være helt ugjenkjennelige til de som fødte copyright's kontroll."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Likevel, etter mitt syn, alle disse endringene vil ikke saken mye hvis det "
"ikke var for en enda en endring som må vi også vurdere. Dette er en endring "
"som er i noen forstand den mest kjente, om sin betydning og omfang ikke er "
"godt forstått. Det er den som oppretter nettopp grunnen til å være bekymret "
"for alle andre endringer jeg har beskrevet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 percent of the media."
msgstr ""
"Dette er endring i konsentrasjon og integrering av media. i de siste tjue "
"årene, har natur av media eierskapet gjennomgått en radikal endring, "
"forårsaket av endringer i juridiske reglene som styrer media. før denne "
"endringen skjedde, var de ulike formene for media eid av egen media "
"selskapene. media eies nå, i økende grad av bare et par selskaper. faktisk, "
"etter endringene som fcc annonsert i juni 2003, mest forventer at innen få "
"år vil vi lever i en verden der bare tre selskaper kontrollere mer enn "
"prosent av media."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"These changes are of two sorts: the scope of concentration, and its nature."
msgstr ""
"disse endringene er i to former: omfanget av konsentrasjon, og dens natur."

#.  f25
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 oversight: høring før Senatet commerce, science and transport komiteen, "
"108th cong., 1 sess. (22 mai 2003) (setning av senator john mccain)."

#.  f26
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" "
"New York Times, 23 December 2002."
msgstr ""
"lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette å "
"skyve,\" new york times, 23 desember 2002."

#.  f27
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 "
"May 2003."
msgstr ""
"Molly ivins, \"media konsolidering må stoppes,\" charleston gazette, 31 kan "
"2003."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Changes in scope are the easier ones to describe. As Senator John McCain "
"summarized the data produced in the FCC's review of media ownership, \"five "
"companies control 85 percent of our media sources.\"<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 \"five largest cable companies pipe programming to 74 percent of the "
"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""

#.  PAGE BREAK 174
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 one 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 ""
"historien med radio er enda mer dramatisk. før dereguleringen, landets "
"største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag "
"eier en selskapet mer enn 1 200 stasjoner. i denne perioden av "
"konsolidering, det totale antallet radio eiere droppet av 34 prosent. i dag, "
"i de fleste markeder styre de to største broadcasters 74 prosent av dette "
"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets "
"radio annonsering inntekter."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"avisen eierskap er i ferd med å bli mer konsentrert også. i dag, er det seks "
"hundre færre daglige aviser i USA enn det var åtti år siden og ti selskaper "
"kontroll halvparten av landets sirkulasjon. Det er tjue stor avis utgivere i "
"USA. topp ti film studioer motta 99 prosent av alle inntekter for filmen. ti "
"største kabelselskaper konto for 85 prosent av alle inntekter for kabel. "
"Dette er et marked langt fra fri presse underskrev søkt å beskytte. Det er "
"faktisk et marked som er svært godt beskyttet--av markedet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"konsentrasjon i størrelse alene er én ting. mer invidious endringen er i "
"natur at konsentrasjon. som forfatter james fallows sette den i en fersk "
"artikkel om rupert murdoch,"

#.  f28
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): 89."
msgstr ""
"James fallows, \"en alder av murdoch,\" atlantic monthly (september 2003): "
"89."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Murdoch's companies now constitute a production system unmatched in its "
"integration. They supply content&mdash;Fox movies . . .  Fox TV shows . . . "
"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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 av moderne medier. ikke bare store "
"selskaper å eie mange radiostasjoner, men noen selskaper å eie så mange "
"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjøre "
"dette mønsteret:"

#. type: Content of: <book><chapter><sect1><sect2><figure><title>
msgid "Pattern of modern media ownership."
msgstr "Mønster for moderne mediaeierskap."

#. type: Content of: <book><chapter><sect1><sect2><figure>
msgid "<graphic fileref=\"images/1761.png\"></graphic>"
msgstr "<graphic fileref=\"images/1761.png\"></graphic>"

#.  PAGE BREAK 175
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"har denne konsentrasjonen saken? vil det påvirke hva er gjort, eller hva er "
"distribuert? eller er det bare en mer effektiv måte å produsere og "
"distribuere innhold?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Jeg var at konsentrasjon ikke ville saken. Jeg trodde det var ingenting mer "
"enn en mer effektive økonomiske strukturen. men nå, etter at lese og lytte "
"til en barrage av skaperne prøver å overbevise meg om det motsatte, jeg "
"begynner å endre meg sinn."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Here's a representative story that begins to suggest how this integration "
"may matter."
msgstr ""
"Her er en representant historie som begynner å foreslå hvordan denne "
"integreringen kan saken."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Lear, Norman"
msgstr "Lear, Norman"

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "All in the Family"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"In 1969, Norman Lear created a pilot for All in the Family. 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, norman lear opprettet en pilot for alle i familien. Han tok piloten "
"til abc. nettverket liker ikke det. Det var også irritabel, fortalte de "
"lear. gjøre det igjen. Lear gjort en andre pilot, mer irritabel enn først. "
"ABC var exasperated. du mangler punktet, fortalte de lear. Vi ønsket mindre "
"irritabel, ikke mer."

#.  f29
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Leonard Hill, \"The Axis of Access,\" remarks before Weidenbaum Center "
"Forum, \"Entertainment Economics: The Movie Industry,\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Rather than comply, Lear simply took the show elsewhere. CBS was happy to "
"have the series; ABC could not stop Lear from walking.  The copyrights that "
"Lear held assured an independence from network control.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 176
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"independent\" of the networks."
msgstr ""
"nettverket ikke kontrollere m├Ñte av opphavsrettighetene fordi lov forbød "
"nettverk fra controlling the content de skal grupperes. loven kreves et "
"skille mellom nettverkene og innhold produsenter; at separasjon ville "
"garantere lear frihet. og så sent som i 1992, på grunn av disse reglene, det "
"store flertallet av prime-time TV--75 prosent av det--var \"uavhengige\" av "
"nettverk."

#.  f30
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
"Ownership Before the Senate Commerce Committee, 108th Cong., 1st sess. "
"(2003) (testimony of Gene Kimmelman on behalf of Consumers Union and the "
"Consumer Federation of America), available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #30</ulink>. Kimmelman quotes Victoria Riskin, "
"president of Writers Guild of America, West, in her Remarks at FCC En Banc "
"Hearing, Richmond, Virginia, 27 February 2003."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In 1994, the FCC abandoned the rules that required this independence.  After "
"that change, the networks quickly changed the balance.  In 1985, there were "
"twenty-five independent television production studios; in 2002, only five "
"independent television studios remained. \"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.\" \"In 1992, 16 new series were produced "
"independently of conglomerate control, last year there was one."
"\"<placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime "
"time television was owned by the networks that ran it. \"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%.\"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Today, another Norman Lear with another All in the Family 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, en annen norman lear med en annen alle i familien ville finne at han "
"måtte velge å gjøre showet mindre irritabel eller sparken: innholdet i et "
"hvilket som helst Vis utviklet for et nettverk er i økende grad eid av "
"nettverket."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 antall kanaler har økt dramatisk, har eierskap av disse kanalene "
"begrenses til en stadig mindre og mindre få. som barry diller sa til bill "
"moyers,"

#.  f32
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
msgid ""
"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill "
"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #31</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"Well, if you have companies that produce, that finance, that air on their "
"channel and then distribute worldwide everything that goes through their "
"controlled distribution system, then what you get is fewer and fewer actual "
"voices participating in the process. [We u]sed to have dozens and dozens of "
"thriving independent production companies producing television programs. Now "
"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"dette begrense har en effekt på det som produseres. produktet av slike store "
"og konsentrert nettverk er stadig mer homogene. stadig mer trygg. stadig "
"sterilt. produktet av nyhetsprogrammer fra nettverk som dette er stadig "
"skreddersydd til meldingen nettverket ønsker å formidle. Dette er ikke det "
"kommunistiske parten, selv om fra innsiden, må det føles litt som det "
"kommunistiske parten. Ingen kan spørsmålet uten risiko for konsekvens--ikke "
"nødvendigvis banishment til Sibir, men straff likevel. uavhengige, kritiske, "
"forskjellige visninger er ødela. Dette er ikke miljø for et demokrati."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Clark, Kim B."
msgstr ""

#.  f33
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National "
"Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business "
"School Press, 1997). Christensen acknowledges that the idea was first "
"suggested by Dean Kim Clark. See Kim B. Clark, \"The Interaction of Design "
"Hierarchies and Market Concepts in Technological Evolution,\" Research "
"Policy 14 (1985): 235&ndash;51. For a more recent study, see Richard Foster "
"and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last "
"Underperform the Market&mdash;and How to Successfully Transform Them (New "
"York: Currency/Doubleday, 2001)."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Economics itself offers a parallel that explains why this integration "
"affects creativity. Clay Christensen has written about the \"Innovator's "
"Dilemma\": 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."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 vet nok om økonomien i media markedet å si med sikkerhet "
"hva konsentrasjon og integrering vil gjøre. effektiviteten er viktig, og "
"effekten på kultur er vanskelig å måle."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But there is a quintessentially obvious example that does strongly suggest "
"the concern."
msgstr "men det er en typiske åpenbare eksempel som sterkt at bekymringen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tillegg til opphavsrett krigene er vi midt i narkotika-krigene. "
"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker "
"og sivile domstolene er fylt med konsekvensene av denne kampen."

#.  PAGE BREAK 178
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"La meg herved diskvalifisere meg selv fra en hvilken som helst mulig avtale "
"til enhver posisjon i regjeringen ved å si jeg tror denne krigen er en dyp "
"feil. Jeg er ikke pro narkotika. faktisk, jeg kommer fra en familie en gang "
"havarerte av narkotika--om narkotika som havarerte familien min var alle "
"helt lovlig. Jeg tror at denne krigen er en dyp feil fordi "
"sikkerhetsstillelse skade fra det som er så stor at gjøre føre krig galskap. "
"Når du legger til sammen byrdene på det strafferettslige systemet, "
"desperasjon generasjoner av barna som har bare ekte økonomiske muligheter er "
"som narkotika krigere, queering av konstitusjonelle vern på grunn av "
"konstant overvåking krever at denne krigen, og, mest dypt total ødeleggelse "
"av juridiske systemer av mange søramerikanske land på grunn av kraften i "
"lokale stoffet cartelsJeg finner det umulig å tro at marginal nytte i "
"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse "
"kostnadene."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og "
"det er gjennom stemmer at vi skal velge policyen. men for å gjøre det, vi "
"avhengig fundamentalt pressen for å informere amerikanerne om disse "
"problemene."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Beginning in 1998, the Office of National Drug Control Policy launched a "
"media campaign as part of the \"war on drugs.\" 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 ""
"starten i 1998, office of nasjonale narkotikapolitikken kontroll lansert en "
"kampanje for media som en del av \"krigen mot narkotika.\" kampanjen "
"produsert score til kort film klipp om problemer i forbindelse med illegale "
"rusmidler. i én serie (nick og normen-serie) to menn er i en bar, diskuterer "
"ideen om legalizing narkotika som en måte å unngå noen av "
"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika "
"legalization. de andre svarer på en kraftig og effektiv måte mot argumentet "
"av første. til slutt, den første mann forandrer mening (Hei, det er TV). "
"pluggen på slutten er en damning angrep på pro-legalization kampanjen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding "
"godt. Det er en rettferdig og rimelig melding."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 la oss si at du tror det er en feil melding, og du ønsker å kjøre en "
"countercommercial. si du vil kjøre en rekke annonser som prøver å "
"demonstrere den ekstraordinære sikkerhetsstillelse skaden som kommer fra "
"stoffet krigen. kan du gjøre det?"

#.  PAGE BREAK 179
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve "
"penger. Anta at en gruppe av berørte borgere donerer alle pengene i verden "
"for å hjelpe deg å få budskapet. kan du være sikker på at meldingen vil "
"deretter bli hørt?"

#.  f34
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"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 \"against [their] policy."
"\" 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, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection "
"from TV Networks,\" New York Times, 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, "
"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and "
"Radio,\" Yale Law and Policy Review 6 (1988): 449&ndash;79, and for a more "
"recent summary of the stance of the FCC and the courts, see Radio-Television "
"News Directors Association v. FCC, 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, "
"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. "
"The ground was that the criticism was \"too controversial.\""
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"No. You cannot. Television stations have a general policy of avoiding "
"\"controversial\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ville være glad for å forsvare nettverk rettigheter, samt--hvis vi bodde "
"i en medier markedet som var virkelig mangfoldig. men konsentrasjon i media "
"kaster den betingelsen i tvil. Hvis en håndfull selskaper kontrollere "
"tilgangen til media, og at håndfull selskaper kommer til å bestemme hvilke "
"politiske holdninger som den gjør det mulig å bli forfremmet på sine "
"kanaler, så i en åpenbare og viktig måte, konsentrasjon teller. du kanskje "
"liker posisjoner håndfull selskaper velger. men du bør ikke liker en verden "
"der bare en noen kommer til å bestemme hvilke problemer med resten av oss få "
"vite om."

#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "Together"
msgstr "Sammen"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"There is something innocent and obvious about the claim of the copyright "
"warriors that the government should \"protect my property.\" In the "
"abstract, it is obviously true and, ordinarily, totally harmless. No sane "
"sort who is not an anarchist could disagree."
msgstr ""
"Det er noe uskyldig og åpenbar om kravet om opphavsrett warriors at "
"regjeringen bør \"beskytte min egenskapen.\" i abstrakt, det er åpenbart "
"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en "
"Anarkisten kan uenige."

#.  PAGE BREAK 180
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But when we see how dramatically this \"property\" 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 \"property\" 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 \"property\" er endret--når vi innser "
"hvor den kan nå kommunisere med både teknologi og markeder å bety at "
"effektiv begrensningen på den frihet å dyrke vår kultur er dramatisk "
"annerledes--kravet begynner å synes mindre uskyldig og åpenbar. gitt (1) den "
"kraftige teknologi til å supplere lovens kontroll, og (2) makt konsentrert "
"markeder for å svekke muligheten for dissens, hvis strengt håndheve massivt "
"utvidet \"property\"-rettigheter som er gitt av copyright fundamentalt "
"endres frihet i denne kulturen til å dyrke og bygge på vår fortid, så må vi "
"spørre om denne egenskapen skal defineres."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 starkly. eller absolutt. Mitt poeng er ikke at vi bør avskaffe "
"copyright eller gå tilbake til 1700-tallet. det ville være en totalt feil, "
"katastrofalt for de viktigste kreative bedriftene i vår kultur i dag."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 mellomrom mellom null og én, Internett-kultur til tross for. "
"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet "
"til økt konsentrasjon av innhold industrien og hvile i hendene på teknologi "
"som i økende grad vil aktivere kontroll over bruken av kultur, bør kjøre oss "
"til å vurdere om en annen justering kalles for. ikke en justering som øker "
"copyright's strøm. ikke en justering som øker sin sikt. snarere en justering "
"for å gjenopprette balansen som tradisjonelt har definert copyright's "
"regulering--en svekkelse av den reguleringen, å styrke kreativitet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 reductions in "
"the scope of copyright, in response to the extraordinary increase in control "
"that technology and the market enable."
msgstr ""
"lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett "
"med konstant forpliktelser gir at for noen mystisk grunn, tenåringer og "
"geeks nå blaffen. i stedet, opphavsrett makt har vokst dramatisk i en kort "
"periode, som teknologien av distribusjons- og etableringen er endret og som "
"lobbyister har presset for mer kontroll av innehaver av opphavsrett. "
"endringer i siste endringene i teknologi tyder på at vi kan godt trenger "
"lignende endringer i fremtiden. og disse endringene må være reduksjoner i "
"omfanget av opphavsrett, svar på det ekstraordinære økning i kontrollen som "
"teknologi og markedet aktivere."

#.  PAGE BREAK 181
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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: Never in our history have "
"fewer had a legal right to control more of the development of our culture "
"than now."
msgstr ""
"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi "
"ser bare etter kartlegging på rekke disse endringene. Når du legger sammen "
"til effekten av å endre loven, konsentrert markeder, og endre teknologien, "
"sammen de produserer en forbløffende konklusjon: aldri i vår historie har "
"færre hadde en lovfestet rett til å styre flere av utviklingen av vår kultur "
"enn nå."

#.  f35
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of "
"copyright law in the digital age. See Vaidhyanathan, 159&ndash;60."
msgstr ""
"Siva vaidhyanathan registrerer en liknende punktet i sin \"fire etableres\" "
"om opphavsrett i den digitale tidsalderen. se vaidhyanathan, 159­60."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Not when copyrights were perpetual, for when copyrights were perpetual, they "
"affected only that precise creative work. Not when only publishers had the "
"tools to publish, for the market then was much more diverse. Not when there "
"were only three television networks, for even then, newspapers, film "
"studios, radio stations, and publishers were independent of the networks. "
"Never 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "This has been a long chapter. Its point can now be briefly stated."
msgstr "Dette har vært en lang kapittel. sitt punkt kan nå kort oppgis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 av denne boken skilte jeg mellom kommersielle og ikke-kommersiell "
"kultur. i løpet av dette kapitlet, har jeg skilte mellom kopiere et arbeid "
"og transformerer det. Vi kan nå kombinere disse to utmerkelser og tegne en "
"Fjern tilordning av endringene som har gjennomgått en lov om opphavsrett. i "
"1790, loven så ut som dette:"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "PUBLISH"
msgstr "publisere"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "TRANSFORM"
msgstr "transformere"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Commercial"
msgstr "kommersielle"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "&copy;"
msgstr "�"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Free"
msgstr "gratis"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
#, mtrans, fuzzy
msgid "Noncommercial"
msgstr "reklamefrie"

#.  PAGE BREAK 182
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"loven av publisering på et kart, diagram og boken var regulert av lov om "
"opphavsrett. ingenting annet var. transformasjoner var gratis. og som "
"copyright tilknyttet bare med registrering, og bare de som ment å gagne "
"kommersielt ville registrere, kopiere gjennom publisering av ikke-"
"kommersielt arbeid var også gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "By the end of the nineteenth century, the law had changed to this:"
msgstr "ved slutten av det nittende århundre, hadde loven endres til dette:"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 var nå regulert av lov om opphavsrett--Hvis publisert, som igjen, "
"gitt økonomien i publisering på tiden, betyr hvis tilbudt kommersielt. men "
"ikke-kommersiell publisering og transformasjon var fortsatt hovedsakelig "
"gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 loven endres til regulere Kopier, ikke publisere, og etter denne "
"endringen omfanget av loven var knyttet til teknologi. som teknologi med å "
"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, "
"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte å se "
"slik ut:"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><thead><row><entry>
#, mtrans, fuzzy
msgid "COPY"
msgstr "Kopier"

#. type: Content of: <book><chapter><sect1><sect2><table><tgroup><tbody><row><entry>
msgid "&copy;/Free"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ble tolket for å nå reklamefrie kopiering gjennom, si, kopimaskiner, "
"men fortsatt mye med å kopiere utenfor det kommersielle markedet vært "
"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i "
"sammenheng med en digital network, betyr at loven nå ser slik ut:"

#.  PAGE BREAK 183
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"hver riket er underlagt lov om opphavsrett, mens før de fleste kreativitet "
"ikke var. loven regulerer nå hele omfanget av kreativitet--kommersielle "
"eller ikke, transformative eller ikke – med de samme reglene som er utformet "
"for å regulere kommersielle utgivere."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som "
"virker ikke godt. Så spørsmålet som vi bør spørre akkurat nå er enten utvide "
"forskrifter om opphavsrett i hver av disse domenene faktisk gjør noe bra."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 7 and 8, 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 har ingen tvil om at den gjør bra i regulerer kommersielle kopiering. "
"men jeg har ingen tvil om at det gjør mer skade enn bra når regulerer (som "
"den regulerer akkurat nå) ikke-kommersiell kopiering og, spesielt, ikke-"
"kommersiell transformasjon også. og i økende grad av årsaker som skisserte "
"spesielt i kapitlene 7 og 8, en kan vel rart om det gjør mer skade enn godt "
"for kommersielle transformasjon. mer kommersielt transformative arbeid vil "
"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset."

#.  f36
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"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, \"The Disintegration of Property,"
"\" in Nomos XXII: Property, J. Roland Pennock and John W.  Chapman, eds. "
"(New York: New York University Press, 1980)."
msgstr ""
"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å "
"demonstrere at alle eiendomsrettigheter alltid er laget for å balansere "
"offentlige og private interesser. se thomas c. grey, \"oppløsningen av "
"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. "
"(new york: new york university press, 1980)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The issue is therefore not simply whether copyright is property. Of course "
"copyright is a kind of \"property,\" 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 "
"\"copyright\" did not control at all 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 ""

#.  PAGE BREAK 184
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"We achieved that free culture because our law respected important limits on "
"the scope of the interests protected by \"property.\" The very birth of "
"\"copyright\" as a statutory right recognized those limits, by granting "
"copyright owners protection for a limited time only (the story of chapter "
"6). The tradition of \"fair use\" 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 7). Adding statutory rights "
"where markets might stifle innovation is another familiar limit on the "
"property right that copyright is (chapter 8). 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 9). 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 oppnådde at fri kultur fordi vår lov respektert viktig begrensninger på "
"omfanget av interessene beskyttet av \"egenskapen.\" svært fødselen av "
"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved å gi "
"eiere av opphavsretter beskyttelse for en begrenset tid bare (historien om "
"kapittel 6). tradisjonen med \"fair use\" animert av et lignende problem som "
"er stadig under press som kostnadene for å utøve noen rettferdig bruk høyre "
"bli uunngåelig høy (historien om kapittel 7). legge lovbestemte rettigheter "
"der markeder kan kveler innovasjon er en annen kjent grensen på eiendommen "
"høyre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred "
"frihet til å samle inn, påstander om egenskapen tross, er en avgjørende del "
"av garanterer sjelen til en kultur (kapittel 9). gratis kulturer, som gratis "
"markeder, er bygget med egenskapen. men innholdet i egenskapen som bygger en "
"fri kultur er svært forskjellig fra ekstremistgrupper visjonen som dominerer "
"debatten i dag."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 havariet i denne krigen mot piratkopiering. som svar på "
"en ekte, hvis ikke kvantifisert, trusselen som teknologien av Internett "
"presentere til 1900-tallet forretningsmodeller for produksjon og "
"distribusjon av kultur, blir lov og teknologi forvandlet på en måte som vil "
"undergrave vår tradisjon for fri kultur. eiendommen er copyright ikke lenger "
"rettigheten balansert som det var, eller var ment å være. egenskapen akkurat "
"det vil si opphavsrett har blitt ubalansert, skråstilt mot en ekstrem. "
"muligheten til å opprette og transformere blir svekket i en verden der "
"oppretting krever tillatelse og kreativitet må kontrollere med en advokat."

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

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER ELEVEN: Chimera"
msgstr "Kapittel elleve: Chimera"

#.  f1.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The "
"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: "
"Oxford University Press, 1996)."
msgstr ""
"h. g. wells, \"land for blind\" (1904, 1911). se h. g. wells, landet av "
"blind og andre historier, michael sherborne, ed. (new york: oxford "
"university press, 1996)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In a well-known 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 \"sweet water, pasture, an even climate, "
"slopes of rich brown soil with tangles of a shrub that bore an excellent "
"fruit.\" But the villagers are all blind. Nunez takes this as an "
"opportunity. \"In the Country of the Blind,\" he tells himself, \"the One-"
"Eyed Man is King.\" So he resolves to live with the villagers to explore "
"life as a king."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"blind.\" "
"They don't have the word blind. 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. \"`You don't understand,' he cried, in a "
"voice that was meant to be great and resolute, and which broke. `You are "
"blind and I can see. Leave me alone!'\""
msgstr ""
"ting går ikke helt som han har planlagt. han prøver å forklare ideen om "
"synet til landsbyboere. de forstår ikke. Han forteller dem at de er \"blind."
"\" de ikke har word-blind. de tror han er bare tykk. faktisk, som de stadig "
"mer merke tingene han ikke kan gjøre (høre lyden av gress å bli trappet på, "
"for eksempel), de stadig prøver å kontrollere ham. han, i sin tur blir "
"stadig mer frustrert. \"du ikke forstår, han gråt, i en stemme som var ment "
"å være stor og resolutt, og som brøt. ' du er blind, og jeg kan se. La meg "
"være! \"\""

#.  PAGE BREAK 187
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"the most beautiful thing in the whole of "
"creation,\" understands the beauty of sight. Nunez's description of what he "
"sees \"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.\" \"She did not believe,\" "
"Wells tells us, and \"she could only half understand, but she was "
"mysteriously delighted.\""
msgstr ""
"landsbyboere la ikke ham være. heller ikke har de ser (så å si) kraft av sin "
"spesielle kraft. ikke engang ultimate målet for hans hengivenhet, en ung "
"kvinne som til ham synes \"det vakreste tingen i hele skapelse,\" forstår "
"skjønnheten av syne. nunez's beskrivelse av det han ser \"syntes å henne de "
"mest poetiske liker, og hun lyttet til hans beskrivelse av stjerner og "
"fjellene og hennes egen søte hvite tent skjønnhet som om det var en skyldig "
"overbærenhet.\" \"hun ikke tro,\" brønner forteller oss, og \"hun kunne bare "
"halvparten forstår, men hun var mysteriously glad.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"When Nunez announces his desire to marry his \"mysteriously delighted\" "
"love, the father and the village object. \"You see, my dear,\" her father "
"instructs, \"he's an idiot. He has delusions. He can't do anything right.\" "
"They take Nunez to the village doctor."
msgstr ""
"Når nunez kunngjør hans ønske om å gifte seg med hans \"mysteriously glad\" "
"kjærlighet, Faderen og landsbyen-objekt. \"du se, min kjære,\" hennes far "
"instruerer, \"han er en idiot. Han har delusions. han kan ikke gjøre noe "
"høyre. \"de tar nunez til landsbyen legen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"After a careful examination, the doctor gives his opinion. \"His brain is "
"affected,\" he reports."
msgstr ""
"etter en forsiktig eksamen gir legen sin mening. \"hans hjernen er berørt,\" "
"rapporterer han."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"What affects it?\" the father asks.  \"Those queer things that are called "
"the eyes . . . are diseased . . . in such a way as to affect his brain.\""
msgstr ""
"\"hva påvirker det?\" spør Faderen. \"de skeiv ting som kalles øynene... er "
"sykelig... på en måte som påvirker hans hjernen.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The doctor continues: \"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]."
"\""
msgstr ""
"legen fortsetter: \"Jeg tror jeg kan si med rimelig sikkerhet at for å "
"helbrede ham helt, alt vi trenger å gjøre er en enkel og lett kirurgisk "
"operasjon – nemlig å fjerne disse irriterende organer [øynene].\""

#.  PAGE BREAK 188
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Thank Heaven for science!\" 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.)  It sometimes "
"happens that the eggs of twins fuse in the mother's womb. That fusion "
"produces a \"chimera.\" 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. \"But the "
"DNA shows with 100 percent certainty that she was not the person whose blood "
"was at the scene. . . .\""
msgstr ""
"\"thank heaven for science!\", sier faren til legen. de informere nunez av "
"denne tilstanden som er nødvendig for ham å være tillatt hans brud. (du må "
"lese den opprinnelige Hvis du vil vite hva som skjer i slutten. jeg tror i "
"fri kultur, men aldri i slutten av en historie for utdeling.) det skjer noen "
"ganger at egg med tvillinger sikring i en mors mage. at fusion produserer en "
"\"chimera.\" en chimera er en enkelt skapning med to sett med dna. dna i "
"blodet, for eksempel, kan være forskjellig fra dna av huden. Denne "
"muligheten er en underused tomten for mordet mysteriene. \"men dna viser med "
"100 prosent sikkerhet at hun ikke var personen med blod ble på scenen....\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"person\" should reflect "
"this reality."
msgstr ""
"før jeg hadde lest om regenererende, ville jeg sagt de var umulig. en enkelt "
"person kan ikke ha to sett med dna. selve ideen om dna er at det er koden "
"for en person. men faktisk, ikke bare kan to personer har samme sett med dna "
"(identisk tvillinger), men en person kan ha to forskjellige sett med dna (en "
"chimera). vår forståelse av en \"person\" skal gjenspeile denne "
"virkeligheten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"the copyright wars,\" the more I think we're dealing with a "
"chimera. For example, in the battle over the question \"What is p2p file "
"sharing?\" both sides have it right, and both sides have it wrong.  One side "
"says, \"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.\" 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 mer jeg arbeider for å forstå gjeldende kampen over copyright og kultur, "
"som jeg har noen ganger kalt urettferdig, og noen ganger ikke urettferdig "
"nok, \"copyright krigene,\" jo mer jeg tror vi arbeider med en chimera. for "
"eksempel i strid om spørsmålet \"Hva er p2p fildeling?\" begge sider har det "
"rett, og begge sider har det galt. ene siden sier, \"fildeling er akkurat "
"som to barn taping hverandres poster--slags ting vi har gjort de siste "
"tretti årene uten spørsmål ved alt.\" som er sann, i det minste delvis. Når "
"jeg forteller min beste venn å prøve ut en ny cd som jeg har kjøpt, men i "
"stedet for å bare sende cd, jeg peke ham til p2p-serveren, det vil si i alle "
"relevante henseender, akkurat som hva hver executive i hver innspilling "
"selskapet uten tvil gjorde som en unge: deling av musikk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"friends\" beyond "
"recognition to say \"my ten thousand best friends\" can get access. Whether "
"or not sharing my music with my best friend is what \"we have always been "
"allowed to do,\" we have not always been allowed to share music with \"our "
"ten thousand best friends.\""
msgstr ""
"men beskrivelsen er også falske delvis. for når min p2p-serveren er på en "
"p2p kan nettverk som alle kan få tilgang til min musikk, deretter sikker, "
"mine venner kan få tilgang, men det strekker seg betydningen av \"venner\" "
"det ugjenkjennelige å si \"mine ti tusen beste venner\" få tilgang. om dele "
"min musikk med min beste venn er hva \"vi har alltid vært tillatt å gjøre,\" "
"vi har ikke alltid vært tillatt å dele musikk med \"våre ti tusen beste "
"venner.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Likewise, when the other side says, \"File sharing is just like walking into "
"a Tower Records and taking a CD off the shelf and walking out with it,\" "
"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."
msgstr ""
"på samme måte når den andre siden, sier, \"fildeling er akkurat som å vandre "
"inn i en tower records og tar en cd av sokkelen og vandre ut med det,\" som "
"er sann, i det minste delvis. Hvis, etter at lyle lovett (endelig) slipper "
"et nytt album, heller enn å kjøpe det, jeg går til kazaa og finne en gratis "
"kopi til å ta, det er veldig mye som å stjele en kopi fra tårnet."

#.  PAGE BREAK 189
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 stjele fra tårnet. tross alt, når jeg tar en cd fra "
"tower records, har tårnet en mindre cd å selge. og når jeg tar en cd fra "
"tower records, får jeg en bit av plast og et dekke, og noe å vise på min "
"hyller. (og mens vi er i gang, vi kan også oppmerksom på at når jeg tar en "
"cd fra tower records, maksimum fine som kan bli pålagt på meg, under "
"california lov, i det minste er $1000. Ifølge riaa, derimot, er hvis jeg "
"dataoverføre en ti-sang-cd, jeg ansvarlig for $1,500,000 i skader.)"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Poenget er ikke at det er som verken side beskriver. Poenget er at det er "
"både--både som riaa beskriver det og som kazaa beskriver den. Det er en "
"chimera. og i stedet for bare nekte på den andre siden hevder, vi trenger "
"for å begynne å tenke på hvordan vi skal reagere på denne chimera. hvilke "
"regler bør styre det?"

#.  f2.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"For an excellent summary, see the report prepared by GartnerG2 and the "
"Berkman Center for Internet and Society at Harvard Law School, \"Copyright "
"and Digital Media in a Post-Napster World,\" 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, "
"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 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 RIAA v. Verizon Internet Services (In re. Verizon "
"Internet Services), 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, \"Downloading Could Lead to Fines,\" 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, \"RIAA Steps Up Bid to Force BC, MIT "
"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url="
"\"http://free-culture.cc/notes/\">link #36</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"We could respond by simply pretending that it is not a chimera. We could, "
"with the RIAA, decide that every act of file sharing should be a felony. We "
"could prosecute families for millions of dollars in damages just because "
"file sharing occurred on a family computer. And we can get universities to "
"monitor all computer traffic to make sure that no computer is used to commit "
"this crime. These responses might be extreme, but each of them has either "
"been proposed or actually implemented.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 måten mange barn handle som om vi har "
"svart. Vi kunne helt legalisere det. La det være ingen opphavsrett ansvar, "
"sivil- eller strafferettslige, for å gjøre opphavsrettsbeskyttet innhold "
"tilgjengelig på nettet. gjøre fildeling som sladder: regulert, hvis i det "
"hele tatt, av sosiale normer, men ikke av loven."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 "
"either extreme would be worse than a reasonable alternative.  But I believe "
"the zero-tolerance solution would be the worse of the two extremes."
msgstr ""
"enten svar er mulig. Jeg tror enten ville være feil. i stedet for å omfavne "
"en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i "
"begge. og mens jeg ender denne boken med en skisse av et system som gjør "
"bare at målet mitt i neste kapittel er å vise hvor forferdelig det ville "
"være for oss å vedta nulltoleranse ekstreme. Jeg tror begge ekstrem ville "
"være verre enn et rimelig alternativ. men jeg tror den nulltoleranse "
"løsningen ville være verre av to ytterpunktene."

#.  PAGE BREAK 190
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Nulltoleranse er ennå stadig våre regjeringens politikk. midt i kaoset som "
"Internett har opprettet, skjer en ekstraordinære land grip. lov og teknologi "
"er flyttet for å gi innhold holdere en type kontroll over vår kultur at de "
"aldri har hatt før. og i denne ekstremisme, mange en mulighet for ny "
"innovasjon og nye kreativitet går tapt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"I'm not talking about the opportunities for kids to \"steal\" 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 mulighetene for barn å \"stjele\" musikk. mitt fokus i "
"stedet er kommersielle og kulturelle innovasjon som denne krigen vil også "
"drepe. Vi har aldri sett makt til å skape noe nytt spredning så bredt blant "
"våre borgere, og vi har bare begynt å se innovasjon som denne myndighet vil "
"utløse. ennå har Internett allerede sett bestått av en syklus av innovasjon "
"rundt teknologier for å distribuere innhold. loven er ansvarlig for denne "
"bestått. som vice president for global public policy på en av disse nye "
"innovators sette emusic.com, det når kritiserer dmca ekstra beskyttelse for "
"opphavsrettsbeskyttet materiale,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"eMusic opposes music piracy. We are a distributor of copyrighted material, "
"and we want to protect those rights."
msgstr ""
"eMusic motsetter musikk piratkopiering. Vi er distributør av "
"opphavsrettsbeskyttet materiale, og vi ønsker å beskytte disse rettighetene."

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 bygge en teknologi festning som låser i innflytelse av de store "
"etikettene er ikke den eneste måten å beskytte opphavsretten interesser, og "
"heller ikke er det nødvendigvis best. Det er rett og Slett for tidlig å "
"besvare det spørsmålet. markedskrefter operere naturlig kan godt gi en helt "
"annen industri-modell."

#.  f3.
#. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para>
#, mtrans, 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 og dmca ett år senere: vurdering av forbruker tilgang til digital "
"underholdning på Internett og andre medier: høre før subcommittee on "
"telekommunikasjon, handel og consumer protection, huset committee on "
"commerce, 106th cong. 29 (1999) (setning av peter harter, vice president, "
"global offentlig politikk og standarder, emusic.com), tilgjengelig i lexis, "
"føderale dokumentet å fjerne huset Kongressens vitnesbyrd fil."

#. type: Content of: <book><chapter><sect1><blockquote><para>
msgid ""
"This is a critical point. The choices that industry sectors make with "
"respect to these systems will in many ways directly shape the market for "
"digital media and the manner in which digital media are distributed. This in "
"turn will directly influence the options that are available to consumers, "
"both in terms of the ease with which they will be able to access digital "
"media and the equipment that they will require to do so. Poor choices made "
"this early in the game will retard the growth of this market, hurting "
"everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the "
"major labels.\" Its position on these matters has now changed."
msgstr ""
"i april 2001, ble emusic.com kjøpt av vivendi universal, en av \"den store "
"etiketter.\" posisjonen på disse sakene er nå endret."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"snu vår tradisjon toleranse nå vil ikke bare quash piratkopiering. det vil "
"ofre verdier som er viktig for denne kulturen og vil drepe muligheter som "
"kan være svært verdifull."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER TWELVE: Harms"
msgstr "Kapittel tolv: Skader"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"To fight \"piracy,\" to protect \"property,\" 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 ""
"for å bekjempe \"piratkopiering\", for å beskytte \"eiendom\" har innhold "
"industrien lansert en krig. Lobbying og massevis av kampanjen bidrag har nå "
"ført regjeringen i denne krigen. som med noen krig, vil dette ha både "
"direkte og sikkerhetsstillelse skade. som med noen krig av forbudet, vil "
"disse skader bli rammet mest av våre egne folk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"My aim so far has been to describe the consequences of this war, in "
"particular, the consequences for \"free culture.\" But my aim now is to "
"extend this description of consequences into an argument. Is this war "
"justified?"
msgstr ""
"Målet mitt hittil har vært å beskrive konsekvensene av denne krigen, "
"spesielt konsekvenser for \"gratis kultur.\" men min målet nå er å utvide "
"denne beskrivelsen av konsekvenser til et argument. er denne krigen "
"rettferdiggjøres?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"intellectual property\" is at its greatest in our "
"history."
msgstr ""
"i min mening er det ikke. Det er ingen god grunn hvorfor denne gangen, for "
"første gang, loven skal forsvare gamle mot den nye, bare når strømmen av "
"egenskap kalt \"intellectual property\" er på sitt største i vår historie."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Yet \"common sense\" 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 \"piracy"
"\" still has play."
msgstr ""
"ennå se \"sunn fornuft\" ikke det på denne måten. sunn fornuft er fortsatt "
"på siden av causbys og innhold industrien. ekstreme krav til kontroll i "
"navnet på egenskapen fortsatt appellerer; ukritisk avvisningen av "
"\"piratkopiering\" har fortsatt spille."

#.  PAGE BREAK 193
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 konsekvensene av fortsetter denne krigen. Jeg vil "
"beskrive bare tre. alle tre kan sies å være utilsiktede. Jeg er ganske "
"sikker på tredjepart er utilsiktet. Jeg er mindre sikker på om to første. to "
"første beskytte moderne rcas, men det er ingen howard armstrong i vingene å "
"bekjempe dagens monopolists kultur."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Constraining Creators"
msgstr "Begrensende skaperne"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 neste ti årene vil vi se en eksplosjon av digitale teknologier. disse "
"teknologiene kan nesten hvem som helst å fange opp og dele innhold. å fange "
"og dele innhold, selvfølgelig, er det mennesker har gjort siden begynnelsen "
"av mannen. Det er hvordan vi lære og kommunisere. men å fange og dele "
"gjennom digital teknologi er forskjellig. gjengivelse og makt er "
"forskjellige. Du kan sende en e-postmelding fortelle noen om en spøk-du så "
"på comedy central, eller du kan sende klippet. Du kan skrive et essay om "
"inkonsekvenser i argumentene politiker du mest elsker å hate, eller du kan "
"lage en kortfilm som setter setning mot setningen. Du kan skrive et dikt for "
"å uttrykke din kjærlighet, eller du kan veve sammen en streng--en Mashup--av "
"sanger fra dine favoritt artister i en collage og gjøre den tilgjengelig på "
"nettet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This digital \"capturing and sharing\" 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 "
"\"capturing and sharing\" 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 \"fange og deling\" er delvis en utvidelse for å registrere "
"og dele det har alltid vært del av vår kultur, og delvis det er noe nytt. "
"den er kontinuerlig med kodak, men den eksploderer grensene for kodak-"
"lignende teknologier. teknologi for digital \"fange og deling av\" løfter en "
"verden av svært mangfoldig kreativitet som kan enkelt og forstand deles. og "
"så at kreativiteten brukes til demokrati, det vil muliggjøre et bredt "
"spekter av borgere å bruke teknologi for å uttrykke og kritisere og bidra "
"til kultur rundt."

#.  PAGE BREAK 194
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 gitt oss en mulighet til å gjøre noe med kultur som "
"bare har vært mulig for enkeltpersoner i små grupper, isolert fra andre. "
"Tenk på en gammel mann forteller en historie til en samling med naboer i en "
"liten by. Nå forestille det samme fortellinger utvidet over hele verden."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"ennå er alt dette mulig bare hvis aktiviteten er presumptively lovlig. i "
"dagens regime av juridiske regulering er det ikke. glem fildeling for et "
"øyeblikk. Tenk på din favoritt fantastiske nettsteder på nettet. webområder "
"som tilbyr tomten sammendrag fra glemt TV viser; områder katalogen "
"tegneserier fra 1960-tallet; områder som blande bilder og lyd å kritisere "
"politikere eller foretak. områder som samler avisartikler på ekstern emner "
"av vitenskap eller kultur. Det er en enorm mengde skapende arbeid spredt "
"over Internett. men som loven er nå laget, dette arbeidet er presumptively "
"ugyldig."

#.  f1.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, "
"N.J.: John Wiley &amp; Sons, 2003), 176, 204; for details of the settlement, "
"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC "
"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/"
"notes/\">link #37</ulink>."
msgstr ""

#.  f2.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"The bill, modeled after California's tort reform model, was passed in the "
"House of Representatives but defeated in a Senate vote in July 2003. For an "
"overview, see Tanya Albert, \"Measure Stalls in Senate: `We'll Be Back,' Say "
"Tort Reformers,\" amednews.com, 28 July 2003, available at <ulink url="
"\"http://free-culture.cc/notes/\">link #38</ulink>, and \"Senate Turns Back "
"Malpractice Caps,\" 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."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"That presumption will increasingly chill creativity, as the examples of "
"extreme penalties for vague infringements continue to proliferate. It is "
"impossible to get a clear sense of what's allowed and what's not, and at the "
"same time, the penalties for crossing the line are astonishingly harsh.  The "
"four students who were threatened by the RIAA ( Jesse Jordan of chapter 3 "
"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 ""

#.  f3.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The consequence of this legal uncertainty, tied to these extremely high "
"penalties, is that an extraordinary amount of creativity will either never "
"be exercised, or never be exercised in the open. We drive this creative "
"process underground by branding the modern-day Walt Disneys \"pirates.\" 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 \"illegal art\" tour the United States."
"<placeholder type=\"footnote\" id=\"0\"/> In what does their \"illegality\" "
"consist? In the act of mixing the culture around us with an expression that "
"is critical or reflective."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 10. 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 av årsaken til denne frykten for illegality har å gjøre med endring "
"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda "
"større del har å gjøre med den økende enkelt som brudd kan spores. som "
"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell "
"sak for opphavsrett eiere å få domstoler å bestille Internett-leverandører å "
"avsløre hvem som har hvilket innhold. Det er som hvis tape kassettspilleren "
"sendt en liste over sanger som du har spilt i personvernet til din egen "
"hjemmeside som noen kunne tune inn uansett grunn de valgte."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"aldri i vår historie har en maler hadde å bekymre deg om hans maleri krenket "
"på noen andre 's arbeid; men dagens maleren, ved hjelp av verktøyene i "
"photoshop, deling av innhold på nettet, må bekymre deg hele tiden. bilder er "
"rundt, men de eneste sikre bildene som skal brukes i loven av etableringen "
"er de kjøpt fra corbis eller en annen bilde farm. og i å kjøpe, sensurere "
"skjer. Det er et fritt marked i blyanter; Vi trenger ikke bekymre deg om sin "
"effekt på kreativitet. men det er en svært regulert, monopolized markedet i "
"kulturelle: ikoner; retten til å dyrke og forvandle dem er ikke på samme "
"måte gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Lawyers rarely see this because lawyers are rarely empirical. As I described "
"in chapter 7, 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 se sjelden dette fordi advokater er sjelden empirisk. som jeg "
"beskrevet i kapittel 7, som svar på historien om dokumentar filmskaper jon "
"annet, jeg har vært forelest igjen og igjen av advokater som insisterer "
"ellers har bruk var rettferdig bruk, og derfor er jeg feil å si at loven "
"regulerer slik bruk."

#.  PAGE BREAK 196
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 rimelig bruk i Amerika betyr ganske enkelt rett til å leie en advokat "
"for å forsvare din rett til å opprette. og som advokater elsker å glemme, "
"systemet vårt for å forsvare rettigheter for eksempel rimelig bruk er "
"astonishingly dårlig--i praktisk talt alle sammenheng, men spesielt her. Det "
"koster for mye, det leverer for tregt, og hva leverer ofte har liten "
"forbindelse til rettferdighet underliggende kravet. Det kan hende at "
"juridisk system utholdelig for de svært rike. for alle andre er det en "
"forlegenhet til en tradisjon som prides seg på rettssikkerhet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Judges and lawyers can tell themselves that fair use provides adequate "
"\"breathing room\" 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 \"law"
"\" with which judges comfort themselves."
msgstr ""
"dommere og advokater kan fortelle seg selv at fair use gir tilstrekkelig "
"\"puste rommet\" mellom regulering av loven, og access loven skal tillate. "
"men det er et mål på hvor ute av touch vår juridiske systemet har blitt noen "
"faktisk mener dette. reglene som utgivere legger på forfattere, reglene som "
"trevare legger på filmskapere, reglene at aviser legger på journalister--"
"disse er de virkelige lovene som regulerer kreativitet. og disse reglene har "
"lite i forhold til \"loven\" med hvilken dommere trøste seg."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"copyright\" 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 verden som truer $150.000 for en enkelt willful brudd på "
"opphavsretten, og som krever titusenvis av dollar til selv forsvar mot "
"opphavsrettsstridig krav, og som ville aldri tilbake til wrongfully anklaget "
"saksøkte noe av kostnadene lidd hun for å forsvare sin rett til å snakke--i "
"denne verden, astonishingly bred regelverket at pass under navnet \"copyright"
"\" stillhet tale og kreativitet. og i denne verden, det tar en studert "
"blindhet for folk å fortsette å tro de bor i en kultur som er gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
msgstr "som jed horovitz, forretningsmann bak video rørledning, sa til meg,"

#.  PAGE BREAK 197
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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 . . . you're not going to get it "
"distributed in the mainstream media unless you've got a little note from a "
"lawyer saying, \"This has been cleared.\" 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 miste [kreative] muligheter høyre og venstre. kreative mennesker blir "
"tvunget ikke til å uttrykke seg. tanker er ikke angitt. og mens mange ting "
"kan [fortsatt] opprettes, den fremdeles ikke får distribuert. Selv om ting "
"blir gjort... du ikke kommer til å få det distribueres i mainstream media, "
"med mindre du har et lite notat fra en advokat sier, \"Dette er tømt.\" du "
"skal ikke engang få det på pbs uten den typen tillatelse. Det er poenget som "
"de kontrollen."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Constraining Innovators"
msgstr "Begrensende innovators"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"historien om den siste delen var en crunchy lefty historie--kreativitet "
"ødela, kunstnere som ikke kan snakke, yada babbelet. kanskje det ikke komme "
"i gang. kanskje tror du det er nok rare kunst der ute, og nok uttrykk som er "
"kritisk til hva synes å være omtrent alt. og hvis du tror at du kanskje tror "
"det er lite i denne historien å bekymre deg over."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, 188 "
"pages into a book like this), then you can see this other aspect by "
"substituting \"free market\" every place I've spoken of \"free culture.\" "
"The point is the same, even if the interests affecting culture are more "
"fundamental."
msgstr ""
"men det er en del av denne historien ikke er lefty i noen betydning. Det er "
"faktisk et aspekt som kan være skrevet av den mest ekstreme promarket "
"ideologue. og hvis du er en av disse sorterer (og en spesiell en på at 188 "
"sider i en bok som dette), så du kan se dette andre aspekter ved å erstatte "
"\"fritt marked\" hvert sted som jeg har omtalt \"gratis kultur.\" poenget er "
"det samme, selv om interesser som påvirker kultur er mer grunnleggende."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Jeg har vært å gjøre om regulering av kultur er samme tillegget gratis "
"markedsførere gjøre om regulerer markeder. enhver, selvfølgelig innrømme at "
"noen regulering av markeder er nødvendig--et minimum, vi trenger reglene for "
"egenskapen og kontrakt og domstolene for å håndheve begge. på samme måte i "
"denne kultur debatten innrømme enhver at minst noen rammen av copyright er "
"også nødvendig. men begge perspektiver insisterer vehemently at bare fordi "
"noen regulering er bra, ikke det følger at mer regulering er bedre. og begge "
"perspektiver er stadig attuned til måtene i hvilke regulering aktiverer bare "
"de kraftige industriene i dag for å beskytte seg mot konkurrenter i morgen."

#.  PAGE BREAK 198
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This is the single most dramatic effect of the shift in regulatory strategy "
"that I described in chapter 10. 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 \"nuclear pall\" that has fallen over the Valley&mdash;has "
"been learned."
msgstr ""
"Dette er single mest dramatiske effekten av skiftet i regulatoriske strategi "
"som jeg beskrevet i kapittel 10. konsekvens av denne massiv trussel av "
"ansvar knyttet til skummel grensene om opphavsrett er at innovators som "
"ønsker å skape noe nytt i denne plassen kan trygt innovate bare hvis de har "
"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har "
"lært gjennom en rekke tilfeller som ble utformet og utført for å lære "
"venture kapitalister en leksjon. denne leksjonen--hva tidligere napster ceo "
"hank barry kaller en \"kjernefysisk pall\" som har falt over dalen--har "
"blitt lært."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Consider one example to make the point, a story whose beginning I told in "
"The Future of Ideas and which has progressed in a way that even I (pessimist "
"extraordinaire) would never have predicted."
msgstr ""
"vurdere ett eksempel for å gjøre punktet, en historie som begynnelsen jeg "
"fortalt i fremtiden for ideer og som har kommet i en måte at selv jeg "
"(pessimist extraordinaire) ville aldri ha forutsett."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, michael roberts lansert et firma som heter mp3.com. MP3.com var "
"opptatt av å remake musikkbransjen. deres mål var ikke bare for å lette nye "
"måter å få tilgang til innhold. deres mål var også å lette nye måter å lage "
"innhold. i motsetning til de store plateselskapene tilbudt mp3.com skaperne "
"en arena for å distribuere sine kreativitet, uten å kreve en eksklusiv "
"engasjement fra skaperne."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Hvis du vil gjøre dette systemet fungerer, men trengte mp3.com en pålitelig "
"måte å anbefale musikk til sine brukere. Ideen bak denne alternative var å "
"utnytte åpenbarte innstillingene av musikk lyttere å anbefale nye artister. "
"Hvis du liker lyle lovett, sannsynligvis du til å nyte bonnie raitt. og så "
"videre."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This idea required a simple way to gather data about user preferences.  MP3."
"com came up with an extraordinarily clever way to gather this preference "
"data. In January 2000, the company launched a service called my.mp3.com. "
"Using software provided by MP3.com, a user would sign into an account and "
"then insert into her computer a CD. The software would identify the CD, and "
"then give the user access to that content.  So, for example, if you inserted "
"a CD by Jill Sobule, then wherever you were&mdash;at work or at home&mdash;"
"you could get access to that music once you signed into your account. The "
"system was therefore a kind of music-lockbox."
msgstr ""

#.  PAGE BREAK 199
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"ingen tvil kan noen bruker dette systemet til å kopiere ulovlig innhold. men "
"at mulighet eksistert med eller uten mp3.com. målet for my.mp3.com-tjenesten "
"var å gi brukere tilgang til sitt eget innhold, og er et biprodukt ved å se "
"innholdet de allerede eid, til å oppdage hva slags innhold som brukerne "
"likte."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Hvis du vil gjøre denne systemfunksjon, men mp3.com nødvendig å kopiere "
"50.000 CDer til en server. (i prinsippet, det kunne ha vært brukeren som "
"lastet opp musikken, men som ville ha tatt mye tid, og ville har produsert "
"et produkt av tvilsom kvalitet.) Det er derfor kjøpt 50.000 CDer fra en "
"butikk, og startet prosessen med å lage kopier av disse CDene. igjen, det "
"ville ikke tjene innholdet fra de kopiene til alle bortsett fra de som "
"godkjent at de hadde en kopi av cd de ønsket å få tilgang til. så selv om "
"dette var 50 000 eksemplarer, det var 50,000 kopier som er rettet mot å gi "
"kunder noe de hadde allerede kjøpt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 dager etter mp3.com lansert sin tjeneste, brakte de fem store etikettene, "
"ledet av riaa, en sak mot mp3.com. MP3.com utlignet med fire av de fem. ni "
"måneder senere, en føderal dommer funnet mp3.com å ha vært skyldig i willful "
"brudd med hensyn til femte. å bruke loven som det er, pålagt dommeren en bot "
"mot mp3.com av 118 millioner. MP3.com deretter utlignet med gjenstående "
"saksøker, vivendi universal, betaler over $54 millioner. Vivendi kjøpt mp3."
"com omtrent et år senere."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "That part of the story I have told before. Now consider its conclusion."
msgstr "Den delen av historien har jeg fortalt før.  Nå kommer konklusjonen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Etter at Vivendi kjøpte MP3.com, snudde Vivendi seg rundt og saksøkte for "
"malpractice juristene som hadde anbefalt at de hadde en god tro hevder at de "
"ønsket å tilby tjenesten vil bli vurdert juridiske lover om opphavsrett. "
"Dette søksmålet påstått at det burde vært åpenbart at domstolene ville finne "
"denne virkemåten ulovlig; Derfor var dette søksmålet søkt å straffe noen "
"advokat som hadde våget å foreslå at loven mindre restriktive enn etikettene "
"krevde."

#.  PAGE BREAK 200
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The clear purpose of this lawsuit (which was settled for an unspecified "
"amount shortly after the story was no longer covered in the press) was to "
"send an unequivocal message to lawyers advising clients in this space: It is "
"not just your clients who might suffer if the content industry directs its "
"guns against them. It is also you. So those of you who believe the law "
"should be less restrictive should realize that such a view of the law will "
"cost you and your firm dearly."
msgstr ""
"Den åpenbare hensikten med dette søksmålet (som ble avsluttet med et forlik "
"for et uspesifisert beløp like etter at saken ikke lenger fikk "
"pressedekning), var å sende en melding som ikke kan misforstås til advokater "
"som gir råd til klienter på dette området: Det er ikke bare dine klienter "
"som får lide hvis innholdsindustrien retter sine våpen mot dem.  Det får "
"også du.  Så de av dere som tror loven burde være mindre restriktiv bør "
"innse at et slikt syn på loven vil koste deg og ditt firma dyrt."

#.  f4.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, "
"23 April 2003. For a parallel argument about the effects on innovation in "
"the distribution of music, see Janelle Brown, \"The Music Revolution Will "
"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #42</ulink>.  See also Jon Healey, \"Online "
"Music Services Besieged,\" Los Angeles Times, 28 May 2001."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This strategy is not just limited to the lawyers. In April 2003, Universal "
"and EMI brought a lawsuit against Hummer Winblad, the venture capital firm "
"(VC) that had funded Napster at a certain stage of its development, its "
"cofounder ( John Hummer), and general partner (Hank Barry).<placeholder type="
"\"footnote\" id=\"0\"/> The claim here, as well, was that the VC should have "
"recognized the right of the content industry to control how the industry "
"should develop. They should be held personally liable for funding a company "
"whose business turned out to be beyond the law. Here again, the aim of the "
"lawsuit is transparent: Any VC now recognizes that if you fund a company "
"whose business is not approved of by the dinosaurs, you are at risk not just "
"in the marketplace, but in the courtroom as well.  Your investment buys you "
"not only a company, it also buys you a lawsuit.  So extreme has the "
"environment become that even car manufacturers are afraid of technologies "
"that touch content. In an article in Business 2.0, Rafe Needleman describes "
"a discussion with BMW:"
msgstr ""

#.  f5.
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
msgid ""
"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 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."
msgstr ""
"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16. juni 2003, "
"tilgjengelig via <ulink url=\"http://free-culture.cc/notes/\">link #43</"
"ulink>. Jeg er Dr. Mohammad Al-Ubaydli takknemlig mot for dette eksemplet."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"I asked why, with all the storage capacity and computer power in the car, "
"there was no way to play MP3 files. I was told that BMW engineers in Germany "
"had rigged a new vehicle to play MP3s via the car's built-in sound system, "
"but that the company's marketing and legal departments weren't comfortable "
"with pushing this forward for release stateside. Even today, no new cars are "
"sold in the United States with bona fide MP3 players. . . . <placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This is the world of the mafia&mdash;filled with \"your money or your life\" "
"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 verden til mafiaen&mdash;fylt med \"penger eller livet\"-trusler, "
"som ikke er regulert av domstolene men av trusler som loven gir "
"rettighetsinnehaver mulighet til å komme med. Det er et system som åpenbart "
"og nødvendigvis vil kvele ny innovasjon. Det er vanskelig nok å starte et "
"selskap. Det blir helt umulig hvis selskapet er stadig truet av søksmål."

#.  PAGE BREAK 201
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The point is not that businesses should have a right to start illegal "
"enterprises. The point is the definition of \"illegal.\" 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 ""
"Poenget er ikke at virksomheter bør ha rett til å starte ulovlig bedrifter. "
"Poenget er definisjonen av \"ulovlig.\" loven er et rot av usikkerhet. Vi "
"har ingen god måte å vite hvordan den skal brukes på nye teknologier. ennå "
"gir ved å snu vår tradisjon av juridisk deference, og ved å omfavne de "
"astonishingly høyt straffene som pålegger lov om opphavsrett, det "
"usikkerheten nå en realitet som er langt mer konservative enn det som er "
"rett. Hvis loven pålagt dødsstraff for parkering billetter, vi ville ikke "
"bare ha færre parkering billetter, ville vi også ha mye mindre kjøring. det "
"samme prinsippet gjelder for innovasjon. Hvis innovasjon er stadig "
"kontrolleres av denne usikker og ubegrenset ansvar, har vi mye mindre "
"levende innovasjon og mye mindre kreativitet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The point is directly parallel to the crunchy-lefty point about fair use. "
"Whatever the \"real\" 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 overregulatedregulated market."
msgstr ""
"Poenget er direkte parallell til crunchy lefty punktet om fair use. Uansett "
"\"ekte\" loven er, er realisme om effekten av loven i begge sammenhenger den "
"samme. Denne vill straffende system av regulering vil systematisk kveler "
"kreativitet og innovasjon. den vil beskytte noen bransjer og noen skapere, "
"men det vil skade industri og kreativitet generelt. fritt marked og fri "
"kultur, avhenger av levende konkurranse. enda er virkningen av loven i dag å "
"undertrykke akkurat denne type konkurranse. effekten er å produsere en "
"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er "
"å produsere en overregulatedregulated markedet."

#.  PAGE BREAK 202
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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.  The uncertainty 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 ""
"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den første "
"viktige måten der vil endringene jeg har beskrevet byrden innovasjon. en "
"tillatelse kultur betyr en advokat kultur--en kultur der muligheten til å "
"opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke "
"antilawyer, minst når de er holdt i deres riktig sted. Jeg er sikkert ikke "
"antilaw. Men vårt yrke har mistet følelsen av sine grenser. og ledere i vår "
"profesjon har mistet en styrking av de høye kostnadene som vårt yrke "
"pålegger over andre. ineffektiviteten i loven er en forlegenhet til vår "
"tradisjon. og mens jeg tror vårt yrke bør derfor gjøre alt den kan for å "
"effektivisere loven, det bør minst gjøre alt den kan for å begrense "
"rekkevidden av loven der loven ikke gjør noe bra. transaksjonskostnader "
"begravde innen en tillatelse kultur er nok å begrave et bredt spekter av "
"kreativitet. noen må gjøre en masse rettferdiggjørende for å rettferdiggjøre "
"dette resultatet. Usikkerheten av loven er en byrde på innovasjon. Det er en "
"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen "
"innhold for å bruke loven til å regulere direkte teknologi på Internett slik "
"at det bedre beskytter innholdet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"bug.\" 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 \"piracy,\" then, this response says, we should break "
"the kneecaps of the Internet."
msgstr ""
"motivasjon for dette svaret er åpenbart. Internett gjør det mulig for "
"effektiv spredning av innhold. at effektiviteten er en funksjon av "
"internetts design. men fra perspektiv av innhold industrien, denne "
"funksjonen er en \"bug.\" effektiv spredning av innhold betyr at innhold "
"distributører har en hardere tid kontrollere distribusjon av innhold. ettall "
"åpenbare svaret å denne effektiviteten er derfor å gjøre Internett mindre "
"effektivt. Hvis Internett gjør at \"piratkopiering\", deretter dette svaret "
"sier, vi bør bryte kneecaps av Internett."

#.  f6.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"\"Copyright and Digital Media in a Post-Napster World,\" 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 ""

#.  f7.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "GartnerG2, 26&ndash;27."
msgstr "gartnerg2, 26­27."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The examples of this form of legislation are many. At the urging of the "
"content industry, some in Congress have threatened legislation that would "
"require computers to determine whether the content they access is protected "
"or not, and to disable the spread of protected content.<placeholder type="
"\"footnote\" id=\"0\"/> Congress has already launched proceedings to explore "
"a mandatory \"broadcast flag\" 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 ""

#.  PAGE BREAK 203
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"i en forstand synes disse løsningene fornuftig. Hvis problemet er koden, "
"hvorfor ikke regulere koden for å fjerne problemet. men noen regulering av "
"tekniske infrastruktur vil alltid er stilt inn på bestemt teknologi av "
"dagen. det vil innføre betydelig byrder og kostnader på teknologi, men vil "
"trolig være eclipsed av fremskritt rundt akkurat disse kravene."

#.  f8.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See David McGuire, \"Tech Execs Square Off Over Piracy,\" Newsbytes, "
"February 2002 (Entertainment)."
msgstr ""
"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, "
"februar 2002 (underholdning)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In March 2002, a broad coalition of technology companies, led by Intel, "
"tried to get Congress to see the harm that such legislation would impose."
"<placeholder type=\"footnote\" id=\"0\"/> Their argument was obviously not "
"that copyright should not be protected. Instead, they argued, any protection "
"should not do more harm than good."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"There is one 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 ""
"Det er en tydeligere måte der denne krigen har skadet innovasjon - igjen, en "
"historie som vil være ganske kjent for fritt marked publikum."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Copyright kanskje eiendom, men som all eiendom, det er også en form for "
"regulering. Det er en forordning som fordeler noen og skader andre. Når det "
"gjøres riktig, det fordeler skaperne og skader leeches. Når gjort galt, det "
"er regulering kraftig bruk å beseire konkurrenter."

#.  f9.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)."
msgstr ""
"Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"As I described in chapter 10, despite this feature of copyright as "
"regulation, and subject to important qualifications outlined by Jessica "
"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/"
"> overall this history of copyright is not bad. As chapter 10 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 mønsteret av deference til nye teknologier er nå endret med "
"veksten av Internett. i stedet for å treffe en balanse mellom kravene til en "
"ny teknologi og legitime rettighetene til skapere av innhold, har både "
"domstoler og Kongressen innført juridiske restriksjoner som vil ha effekten "
"av smothering ny for å dra nytte av gamle."

#.  f10.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"The only circuit court exception is found in Recording Industry Association "
"of America (RIAA) v. Diamond Multimedia Systems, 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 Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, "
"Ltd., 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 ""
"Det eneste unntaket fra circuit court er funnet i innspillingen industry "
"association of america (riaa) v. diamond multimedia systems, 180 f. 3d 1072 "
"(9 cir. 1999). det begrunnet court of appeals for niende circuit at skaperne "
"av en bærbar mp3-spiller ikke var ansvarlig for medvirkende opphavsretten "
"for en enhet som ikke kan registrere eller videredistribuere musikk (en "
"enhet Hvis bare kopiering funksjon er å gjengi bærbare en musikkfil som "
"allerede er lagret på brukerens harddisk). på district court-nivå, er det "
"eneste unntaket funnet i metro-goldwyn-mayer studios, inc. v. grokster, "
"ltd., 259 f. supp. 2d 1029 (Deportivo klientadgangslisens (CAL), 2003), der "
"domstolen fant koblingen mellom distributøren og noen gitt bruker 's "
"gjennomføre for attenuated å gjøre distributøren ansvarlig for krenkelse av "
"medvirkende eller stedfortredende erstatningsansvar."

#.  f11.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"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 \"broadcast flag\" 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, "
"\"Copyright and Digital Media in a Post-Napster World,\" 27 June 2003, "
"33&ndash;34, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#44</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The response by the courts has been fairly universal.<placeholder type="
"\"footnote\" id=\"0\"/> It has been mirrored in the responses threatened and "
"actually implemented by Congress. I won't catalog all of those responses "
"here.<placeholder type=\"footnote\" id=\"1\"/> But there is one example that "
"captures the flavor of them all. This is the story of the demise of Internet "
"radio."
msgstr ""

#.  PAGE BREAK 204
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"As I described in chapter 4, when a radio station plays a song, the "
"recording artist doesn't get paid for that \"radio performance\" unless he "
"or she is also the composer. So, for example if Marilyn Monroe had recorded "
"a version of \"Happy Birthday\"&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 \"Happy "
"Birthday\" would get some money, whereas Marilyn Monroe would not."
msgstr ""
"som jeg beskrevet i kapittel 4, når en radiostasjon spiller en sang, får "
"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han "
"eller hun er også komponisten. så, for eksempel hvis marilyn monroe hadde "
"spilt inn en versjon av \"happy birthday\"--for å memorialize sin berømte "
"opptreden før president kennedy i madison square garden--deretter når denne "
"innspillingen ble spilt på radio, gjeldende opphavsrett eierne av \"happy "
"birthday\" ville få noen penger, mens marilyn monroe ville ikke."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"begrunnelsen bak denne balansen truffet av Kongressen gjør noe fornuftig. "
"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte "
"dermed fordi ved å spille musikken hennes, radiostasjonen var å gjøre det "
"mer sannsynlig at hennes poster ville være kjøpt. dermed Plateartist fikk "
"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre å "
"gjøre med resultatet enn med makten av radiostasjoner: deres lobbyister var "
"ganske god til å stoppe enhver innsats for å få Kongressen til å kreve "
"kompensasjon for artistene."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 "
"\"tune in\" 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 ""
"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi "
"å direktesende innhold fra en kringkasteren til en lytter. kringkastingen "
"reiser over Internett, ikke på tvers av Eter av radio spectrum. Således, jeg "
"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i "
"san francisco, selv om det er ingen måte for meg å stille inn på en vanlig "
"radiostasjon langt utover san francisco metropolitan area."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 funksjonen i arkitekturen av Internett-radio betyr at det er "
"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn "
"til å bruke sin datamaskin, mens under den eksisterende arkitekturen for "
"kringkasting, det er en åpenbar grense for hvor mange broadcasters og fjerne "
"kringkastingsfrekvenser. Internett-radio kan derfor være mer "
"konkurransedyktige enn vanlige radio; den kunne gi et bredere spekter av "
"valgene. og fordi potensielle publikum for Internett-radio er hele verden, "
"nisje-stasjoner kan lett utvikle og markedsføre innholdet til et relativt "
"stort antall brukere over hele verden. Ifølge noen anslag har mer enn åtti "
"millioner brukere over hele verden stilt inn på denne nye formen for radio."

#.  PAGE BREAK 205
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Internett-radio er dermed til radio hva fm var å am. Det er en forbedring "
"potensielt vesentlig større betydning enn fm-forbedring over am, siden ikke "
"bare er teknologien bedre, så, også, er konkurransen. faktisk er det en "
"direkte parallell mellom kampen for å etablere fm-radio og kampen for å "
"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp "
"for å aktivere fm-radio,"

#.  f12.
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid "Lessing, 239."
msgstr "Lessing, 239."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"An almost unlimited number of FM stations was possible in the shortwaves, "
"thus ending the unnatural restrictions imposed on radio in the crowded "
"longwaves. If FM were freely developed, the number of stations would be "
"limited only by economics and competition rather than by technical "
"restrictions. . . . 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 ""

#.  f13.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid., 229."
msgstr "ibid., 229."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This potential for FM radio was never realized&mdash;not because Armstrong "
"was wrong about the technology, but because he underestimated the power of "
"\"vested interests, habits, customs and legislation\"<placeholder type="
"\"footnote\" id=\"0\"/> to retard the growth of this competing technology."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"nå kunne samme kravet gjort om Internett-radio. for på nytt finnes det ingen "
"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de "
"eneste begrensningene på Internett-radio som er pålagt av loven. lov om "
"opphavsrett er en slik lov. så det første spørsmålet som vi bør spørre er, "
"hvilke opphavsrett regler ville styre Internett-radio?"

#.  PAGE BREAK 206
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"Happy Birthday\" on the air, "
"Internet radio does. 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 kraften i lobbyister tilbakeføres. Internett-radio er en ny "
"industri. artister, derimot, har en svært kraftig lobby, riaa. dermed hadde "
"Kongressen vurdert når fenomenet Internett-radio i 1995, lobbyister primed "
"Kongressen å adoptere en annen regel for Internett-radio enn regelen som "
"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger å betale våre "
"hypotetisk marilyn monroe når den spilles hennes hypotetisk innspillingen av "
"\"happy birthday\" på luften, Internett-radio gjør. ikke bare er loven ikke "
"nøytral mot Internett-radio--loven faktisk byrder Internettradio mer enn det "
"byrder bakkesendte radio."

#.  f14.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"This example was derived from fees set by the original Copyright Arbitration "
"Royalty Panel (CARP) proceedings, and is drawn from an example offered by "
"Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July "
"2003, on file with author. Professors Fisher and Zittrain submitted "
"testimony in the CARP proceeding that was ultimately rejected.  See Jonathan "
"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral "
"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url="
"\"http://free-culture.cc/notes/\">link #45</ulink>.  For an excellent "
"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry "
"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall "
"2002): 461: \"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.\""
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"This financial burden is not slight. As Harvard law professor William Fisher "
"estimates, if an Internet radio station distributed adfree popular music to "
"(on average) ten thousand listeners, twenty-four hours a day, the total "
"artist fees that radio station would owe would be over $1 million a year."
"<placeholder type=\"footnote\" id=\"0\"/> A regular radio station "
"broadcasting the same content would pay no equivalent fee."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 every listening transaction:"
msgstr ""
"byrden er ikke økonomiske bare. under de opprinnelige reglene som ble "
"foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "
"ville ha til å samle inn følgende data fra hver lytting transaksjon:"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "name of the service;"
msgstr "navnet på tjenesten,"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
msgid "channel of the program (AM/FM stations use station ID);"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
msgid "type of program (archived/looped/live);"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "date of transmission;"
msgstr "dato for overføring;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "time of transmission;"
msgstr "tidspunktet for overføring;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "time zone of origination of transmission;"
msgstr "tidssonen til opprinnelse av overføring;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"numeric designation of the place of the sound recording within the program;"
msgstr "numeriske angivelsen av i stedet for lydopptak programmet;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "duration of transmission (to nearest second);"
msgstr "varigheten av overføring (til nærmeste sekund):"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "sound recording title;"
msgstr "Lydinnspilling-tittel;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "ISRC code of the recording;"
msgstr "ISRC-koden på opptaket;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 ""
"gi år av albumet per opphavsrett og når det gjelder samlealbum, utgivelsesår "
"av albumet og kopi høyre datoen for spor;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "featured recording artist;"
msgstr "anbefalte Plateartist;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "retail album title;"
msgstr "detaljhandel albumtittel;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "recording label;"
msgstr "plateselskap;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "UPC code of the retail album;"
msgstr "UPC koden for selge i detalj albumet;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "catalog number;"
msgstr "katalognummer;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "copyright owner information;"
msgstr "opphavsrettsinnehaveren informasjon;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "musical genre of the channel or program (station format);"
msgstr "musikksjanger av kanal eller -programmet (stasjon format);"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "name of the service or entity;"
msgstr "navnet på tjenesten eller selskap;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "channel or program;"
msgstr "kanal eller program;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "date and time that the user logged in (in the user's time zone);"
msgstr "datoen og klokkeslettet da brukeren logget på (i brukerens tidssone);"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "date and time that the user logged out (in the user's time zone);"
msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "time zone where the signal was received (user);"
msgstr "tidssone der signalet ble mottatt (bruker);"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "Unique User identifier;"
msgstr "unik bruker identifikator;"

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "the country in which the user received the transmissions."
msgstr "landet som brukeren mottok sendinger."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 type of copyright fee that terrestrial radio does not."
msgstr ""
"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, "
"ventende videre studium. og han endret også de opprinnelige prisene ved "
"voldgift panelet belastet med angivelse av priser. men den grunnleggende "
"forskjellen mellom Internett-radio og bakkesendte radio gjenstår: Internett "
"radio har å betale en type opphavsrett gebyr som bakkesendte radio ikke."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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? Hva rettferdiggjør denne forskjellen? var det noen studier av "
"økonomiske konsekvensene fra Internett-radio som ville forsvare disse "
"forskjellene? var motivet å beskytte kunstnere mot piratkopiering?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 sjeldne litt candor innrømmet én riaa ekspert hva syntes åpenbar for alle "
"samtidig. som alex alben fortalte visepresident for public policy på real "
"networks, meg:"

#.  PAGE BREAK 208
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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, . . . \"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. . . .\""
msgstr ""
"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd "
"om hva de tenkte en villig kjøper betaler til en villig selger, og det var "
"mye høyere. Det var ti ganger høyere enn hva radiostasjoner betale for å "
"utføre de samme sangene i samme periode av tid. og så advokater som "
"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en "
"hastighet som er så mye høyere? Hvorfor er det verdt mer enn radio? fordi "
"her har vi hundretusener av webcasters som ønsker å betale, og som bør "
"etablere markedet rate, og hvis du angir satsen så høyt, du kommer til å "
"drive små webcasters ut av business.... \""

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, fuzzy
msgid ""
"And the RIAA experts said, \"Well, we don't really model this as an industry "
"with thousands of webcasters, 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 added.)"
msgstr ""
"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med "
"tusenvis av webcasters, vi tror det bør være en bransje med, du vet, fem "
"eller sju store spillere som kan betale en høy hastighet, og det er en "
"stabil, forutsigbar marked.\" (vekt legges)."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"oversettelse: målet er å bruke loven til å eliminere konkurranse, slik at "
"denne plattformen av potensielt enorme konkurransen, som ville føre til "
"mangfoldet og omfanget av innholdet tilgjengelig til å eksplodere, ikke "
"ville forårsake smerte til dinosaurs av gamle. Det er ingen, enten til høyre "
"eller venstre, som bør bifaller denne bruken av loven. og ennå er det "
"praktisk talt ingen, enten til høyre eller venstre, som gjør noe effektivt "
"for å hindre den."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Corrupting Citizens"
msgstr "ødelegge borgere"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"overregulation stifles kreativitet. det smothers innovasjon. Det gir "
"dinosaurer vetorett over fremtiden. det avfall ekstraordinær mulighet for en "
"demokratisk kreativitet som digital teknologi gjør det mulig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 tillegg til disse viktige skadene er det en mer som var viktig for våre "
"forfedre, men synes glemt i dag. overregulation skader borgere og svekker "
"rettssikkerhet."

#.  f15.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Mike Graziano and Lee Rainie, \"The Music Downloading Deluge,\" 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 ""

#.  PAGE BREAK 209
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The war that is being waged today is a war of prohibition. As with every war "
"of prohibition, it is targeted against the behavior of a very large number "
"of citizens. According to The New York Times, 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 ""

#.  f16.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los "
"Angeles Times, 10 September 2003, Business."
msgstr ""
"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" "
"los angeles times, 10 september 2003, business."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The content industry's tactics exploit the failings of the American legal "
"system. When the RIAA brought suit against Jesse Jordan, it knew that in "
"Jordan it had found a scapegoat, not a defendant. The threat of having to "
"pay either all the money in the world in damages ($15,000,000) or almost all "
"the money in the world to defend against paying all the money in the world "
"in damages ($250,000 in legal fees)  led Jordan to choose to pay all the "
"money he had in the world ($12,000) to make the suit go away. The same "
"strategy animates the RIAA's suits against individual users. In September "
"2003, the RIAA sued 261 individuals&mdash;including a twelve-year-old girl "
"living in public housing and a seventy-year-old man who had no idea what "
"file sharing was.<placeholder type=\"footnote\" id=\"0\"/> As these "
"scapegoats discovered, it will always cost more to defend against these "
"suits than it would cost to simply settle. (The twelve year old, for "
"example, like Jesse Jordan, paid her life savings of $2,000 to settle the "
"case.) Our law is an awful system for defending rights. It is an "
"embarrassment to our tradition. And the consequence of our law as it is, is "
"that those with the power can use the law to quash any rights they oppose."
msgstr ""

#.  f17.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
"Prohibition,\" American Economic Review 81, no. 2 (1991): 242."
msgstr ""
"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" "
"amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242."

#.  f18.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 ""
"nasjonale narkotikapolitikken kontroll: høre før house government reform "
"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, "
"direktør for nasjonale narkotikapolitikken kontroll)."

#.  f19.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
"Journal of Economic Literature 36 (1998): 818 (survey of compliance "
"literature)."
msgstr ""
"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" "
"journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar "
"litteratur)."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Wars of prohibition are nothing new in America. This one is just something "
"more extreme than anything we've seen before. We experimented with alcohol "
"prohibition, at a time when the per capita consumption of alcohol was 1.5 "
"gallons per capita per year. The war against drinking initially reduced that "
"consumption to just 30 percent of its preprohibition levels, but by the end "
"of prohibition, consumption was up to 70 percent of the preprohibition "
"level. Americans were drinking just about as much, but now, a vast number "
"were criminals.<placeholder type=\"footnote\" id=\"0\"/> We have launched a "
"war on drugs aimed at reducing the consumption of regulated narcotics that 7 "
"percent (or 16 million) Americans now use.<placeholder type=\"footnote\" id="
"\"1\"/> That is a drop from the high (so to speak) in 1979 of 14 percent of "
"the population. We regulate automobiles to the point where the vast majority "
"of Americans violate the law every day. We run such a complex tax system "
"that a majority of cash businesses regularly cheat.<placeholder type="
"\"footnote\" id=\"2\"/> We pride ourselves on our \"free society,\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"ethics.\" 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 \"normally\" entails a certain degree of "
"illegality."
msgstr ""
"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt "
"fremtredende spørsmålet for lærere som meg, hvis jobb er det å undervise law "
"studenter om betydningen av \"etikk.\" som min kollega charlie nesson "
"fortalte en klasse ved stanford, hvert år lov skoler innrømme tusenvis av "
"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og "
"noen ganger narkotika, ulovlig arbeidet uten å betale skatt, ulovlig drevet "
"biler. disse er barna som oppfører seg ulovlig er stadig normen. og deretter "
"vi, som loven professorer, skal lære dem hvordan å oppføre seg etisk--"
"hvordan å si nei til bestikkelser, holde klienten midler atskilt eller ære "
"et krav til å avsløre et dokument som betyr at ditt tilfelle er over. "
"generasjoner av amerikanere--mer betydelig i enkelte deler av Amerika enn i "
"andre, men likevel, overalt i Amerika i dag--ikke kan lever sine liv både "
"normalt og lovlig, siden \"normalt\" innebærer en viss grad av illegality."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"response til denne generelle illegality er å håndheve loven mer alvorlig "
"eller endre loven. Vi har som et samfunn å lære hvordan du gjør mer "
"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om "
"kostnadene ved loven, både tiltenkte og sikkerhetsstillelse, oppveier "
"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, "
"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet "
"er mye større enn kostnadene for et alternativ, vi har en god grunn til å "
"vurdere alternativet."

#.  PAGE BREAK 211
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bør "
"derfor oppheve den. Vi kan selvfølgelig redusere mord statistikk dramatisk "
"ved legalizing drap for på onsdager og fredager. men det ville ikke gi noen "
"mening, siden drap er galt hver dag i uken. et samfunn er rett å utestenge "
"drap alltid og overalt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"sharing.\" We "
"need to be able to call these twenty million Americans \"citizens,\" not "
"\"felons.\""
msgstr ""
"Mitt poeng er i stedet en som demokratier forstått i generasjoner, men som "
"vi nylig har lært å glemme. rettssikkerhet, er avhengig av folk som følge "
"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd på "
"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, "
"det viktige spørsmålet er lov, ikke respekt for loven. jeg ikke bryr seg om "
"voldtektsforbryter respekterer loven eller ikke; Jeg ønsker å fange og "
"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer "
"loven. og jeg bryr seg Hvis reglene for loven purke økende aktelse på grunn "
"av ekstreme regulering de innføre. fem millioner amerikanere har kommet av "
"alder siden Internett innført denne annen ide om \"deling.\" vi trenger å "
"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 minst førti - tre millioner innbyggere dataoverføre innhold fra "
"Internett, og når de bruker verktøy til å kombinere at innhold på måter "
"uautorisert ved innehaver av opphavsrett, det første spørsmålet som vi bør "
"spørre ikke er hvordan man best kan innebære fbi. det første spørsmålet bør "
"være om dette bestemte forbudet er virkelig nødvendig for å oppnå riktig "
"ender som serverer lov om opphavsrett. er det en annen måte å forsikre at "
"artister får betalt uten å transformere førti - tre millioner amerikanere i "
"felons? betyr det fornuftig hvis det finnes andre måter å sikre at artister "
"får betalt uten å transformere Amerika til en nasjon av felons?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "This abstract point can be made more clear with a particular example."
msgstr "Denne abstrakte punkt kan gjøres mer tydelig med en bestemt eksempel."

#.  PAGE BREAK 212
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"use\" of the recordings is free."
msgstr ""
"vi alle egne CDer. mange av oss fortsatt eier fonograf poster. disse bitene "
"av plast kode musikk at i en viss forstand vi har kjøpt. loven beskytter vår "
"rett til å kjøpe og selge den plasten: det er ikke en krenkelse av "
"opphavsrett for meg å selge min klassisk poster på en brukte platebutikk og "
"kjøpe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"free\" to copy, or \"rip,\" music from "
"my records onto a computer hard disk. Indeed, Apple Corporation went so far "
"as to suggest that \"freedom\" was a right: In a series of commercials, "
"Apple endorsed the \"Rip, Mix, Burn\" capacities of digital technologies."
msgstr ""
"men som mp3-Mani har vist, er det en annen bruk av fonogram som er effektivt "
"gratis. Disse opptakene ble gjort uten kopibeskyttelse teknologier, og jeg "
"er det \"gratis\" for å kopiere eller \"rip\" musikk fra min poster på en "
"harddisk på datamaskinen. faktisk apple corporation gikk så langt som å "
"foreslå at \"friheten\" var en rett: i en rekke reklamefilmer, apple "
"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Adromeda"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This \"use\" 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 \"Bruk\" av min poster er absolutt verdifull. Jeg har begynt en stor "
"prosess hjemme med ripping av alle mine og min kones CDer, og lagre dem i en "
"arkiv. deretter bruker Apples itunes eller en praktfull program kalt "
"andromeda, kan vi bygge forskjellige spillelister over våre musikk: bach, "
"barokk, love songs, love songs av betydelige andre--potensialet er "
"uendelige. og ved å redusere kostnadene ved å blande spillelister, disse "
"teknologier hjelpe bygge en kreativitet med spille lister som selv er "
"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen "
"rett."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 bruken er aktivert av ubeskyttet media--CDer eller poster. men "
"ubeskyttet media også aktivere fildeling. fildeling truer (eller så innhold "
"industrien mener) evne til skaperne å tjene en god avkastning fra sin "
"kreativitet. og dermed mange begynner å eksperimentere med teknologier for å "
"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere "
"CDer som ikke blir rippet. eller de kan aktivere spion programmer å "
"identifisere rippede innhold på folks maskiner."

#.  PAGE BREAK 213
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"digital rights management\" system."
msgstr ""
"Hvis disse teknologiene tok av, ville og bygging av store arkiver av din "
"egen musikk bli ganske vanskelig. Du kan henge i hacker sirkler, og få "
"teknologi for å deaktivere teknologier som beskytter innholdet. handel i "
"disse teknologiene er ulovlig, men kanskje som bry ikke deg mye. i alle fall "
"for de aller fleste mennesker ville disse beskyttelse teknologiene effektivt "
"ødelegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss "
"alle tilbake til verden der vi lyttet til musikk ved å manipulere stykker av "
"plast eller var del av en svært kompleks \"digital rights management\" "
"systemet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 måten å sikre at artister får betalt var eliminering av "
"muligheten til å fritt flytte innhold, ville så disse teknologiene å "
"forstyrre bevege innhold være forsvarlig. men hva hvis det var en annen måte "
"å forsikre at kunstnere er betalt, uten å låse ned innhold? Hva om, med "
"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig "
"som du beholder også bevege innhold lett?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Mitt poeng er akkurat nå ikke for å bevise at det er et slikt system. Jeg "
"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for "
"nå, det eneste punktet er den relativt ukontroversiell: Hvis et annet system "
"oppnådd målene er samme legitime som eksisterende opphavsretten til systemet "
"oppnådd, men forlot forbrukere og skaperne mye mer gratis, så vi ville ha en "
"svært god grunn til å forfølge denne alternative--nemlig frihet. valg, med "
"andre ord, ville ikke være mellom eiendom og piratkopiering; valget ville "
"være mellom forskjellige eiendom systemer og frihetene hver tillatt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 er en måte å sikre at kunstnere er betalt uten å slå førti - "
"tre millioner amerikanere i felons. men funksjonen fremspringende i denne "
"alternativ er at det ville føre til en svært forskjellige markedet for "
"produksjon og distribusjon av kreativitet. de dominerende få, som i dag "
"kontrollerer det store flertallet av distribusjon av innhold i verden, ville "
"ikke lenger utøve denne ekstreme av kontroll. de ville heller gå veien for "
"hest trukket buggy."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"bortsett fra at denne generasjon vognen produsenter har allerede saddled "
"Kongressen, og sykle loven for å beskytte seg mot denne nye formen for "
"konkurranse. for dem er valget mellom fortythree millioner amerikanere som "
"kriminelle og deres egen overlevelse."

#.  PAGE BREAK 214
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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.  There's one more 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 \"collateral damage\" that "
"\"arises whenever you turn a very large percentage of the population into "
"criminals.\" This is the collateral damage to civil liberties generally."
msgstr ""
"Det er forståelig hvorfor de velger som de gjør. Det er ikke forståelig "
"hvorfor vi som et demokrati fortsette å velge som vi gjør. Jack valenti er "
"sjarmerende; men ikke så sjarmerende som å rettferdiggjøre å gi opp en "
"tradisjon som dypt og viktig som vår tradisjon for fri kultur. Det er en mer "
"aspekt til dette kan føre til minnefeil som er spesielt viktig for "
"borgerrettigheter, og følger direkte fra noen krig av forbudet. som "
"electronic frontier foundation advokat fred von sang beskriver, dette er den "
"\"sikkerhetsstillelse skaden\" som \"oppstår når du slår en veldig stor "
"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse "
"skader på borgerrettigheter vanligvis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains,"
msgstr ""
"\"Hvis du kan behandle noen som en antatte lawbreaker,\" forklarer von sang,"

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, fuzzy
msgid ""
"then all of a sudden a lot of basic civil liberty protections evaporate to "
"one degree or another. . . . 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? . . . Our sensibilities change as soon "
"as we think, \"Oh, well, but that person's a criminal, a lawbreaker.\" Well, "
"what this campaign against file sharing has done is turn a remarkable "
"percentage of the American Internet-using population into \"lawbreakers.\""
msgstr ""
"så plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe "
"til en grad eller annen.... Hvis du er en opphavsrett på lovgivningen, "
"hvordan kan du håper å ha noen personvernet? Hvis du er en opphavsrett på "
"lovgivningen, hvordan kan du håper å bli sikker mot beslag av datamaskinen? "
"Hvordan kan du håper å fortsette å motta Internett-tilgang? ... vår "
"sensibilities endre så snart vi tror, \"oh, vel, men denne personen er en "
"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er "
"å slå en bemerkelsesverdig prosent av den amerikanske internet-bruker "
"befolkningen i \"lawbreakers.\""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"og konsekvens av denne transformasjonen av den amerikanske offentligheten "
"til kriminelle er at den blir triviell, som et spørsmål om grunn prosessen "
"til å effektivt viske ut mye av personvernet mest ville anta."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"brukere av Internett begynte å se dette vanligvis i 2003 som riaa lanserte "
"sin kampanje for å tvinge nettleverandører til å snu navnene på kundene som "
"riaa trodde var bryter loven om opphavsrett. Verizon kjempet som krever, og "
"tapte. med en enkel forespørsel til en dommer, og uten varsel til kunden i "
"det hele tatt, er identiteten til en Internett-bruker avslørt."

#.  f20.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 "
"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File "
"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents "
"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel "
"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues "
"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's "
"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, "
"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September "
"2003, P7."
msgstr ""
"se frank ahrens, \"riaa's søksmål møte overrasket over mål; enkelt mor i "
"California, 12-år gammel jente i ny blant saksøkte,\"washington post, 10 "
"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen på filen"
"\"stjele\"; med musikkbransjen cracking ned på Filbytte, er foreldre prøver "
"å lure programvare fra hjemme-PC å unngå blir saksøkte,\"orlando sentinel "
"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues "
"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun "
"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september "
"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 "
"september 2003, p7."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The RIAA then expanded this campaign, by announcing a general strategy to "
"sue individual users of the Internet who are alleged to have downloaded "
"copyrighted music from file-sharing systems. But as we've seen, the "
"potential damages from these suits are astronomical: If a family's computer "
"is used to download a single CD's worth of music, the family could be liable "
"for $2 million in damages. That didn't stop the RIAA from suing a number of "
"these families, just as they had sued Jesse Jordan.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#.  f21.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See \"Revealed: How RIAA Tracks Downloaders: Music Industry Discloses Some "
"Methods Used,\" CNN.com, available at <ulink url=\"http://free-culture.cc/"
"notes/\">link #47</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Even this understates the espionage that is being waged by the RIAA. A "
"report from CNN late last summer described a strategy the RIAA had adopted "
"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> Using a "
"sophisticated hashing algorithm, the RIAA took what is in effect a "
"fingerprint of every song in the Napster catalog. Any copy of one of those "
"MP3s will have the same \"fingerprint.\""
msgstr ""

#.  f22.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston "
"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over "
"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington "
"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at "
"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert "
"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students "
"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, "
"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet "
"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/"
"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: "
"Freshman Orientation This Fall to Include Record Industry Warnings Against "
"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, "
"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"So imagine the following not-implausible scenario: Imagine a friend gives a "
"CD to your daughter&mdash;a collection of songs just like the cassettes you "
"used to make as a kid. You don't know, and neither does your daughter, where "
"these songs came from. But she copies these songs onto her computer. She "
"then takes her computer to college and connects it to a college network, and "
"if the college network is \"cooperating\" 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 \"criminal.\" 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 ""

#.  PAGE BREAK 216
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"contraband\" 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 ""
"nå, selvfølgelig, hun vil ha rett til å forsvare seg selv. Du kan leie en "
"advokat for henne (på $300 per time, hvis du er heldig), og hun kan erkjenne "
"at hun ikke visste noe om kilden til sangene eller at de kom fra napster. og "
"det kan godt være at universitetet mener henne. Men universitetet kan ikke "
"tro henne. Det kan behandle denne \"Kontrabande\" som presumptive av skyld. "
"og som mange studenter har allerede lært, våre arrogante forutsetningen om "
"uskyld forsvinne i midten av krigene om forbud. denne krigen er ikke "
"annerledes. sier von sang,"

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
#, mtrans, 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. . . . 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 ""
"så når vi snakker om tall som førti til seksti millioner amerikanere som er "
"egentlig opphavsrett varemerkerettigheter, oppretter du en situasjon der "
"borgerrettigheter av dem er svært mye i fare i en generell sak. [jeg ikke] "
"[det er noen] analog hvor du kunne tilfeldig velge en person av gaten og "
"være trygg på at de var begå en ulovlig handling som kan sette dem på kroken "
"for potensielle forbrytelse erstatningsansvar eller hundrevis av millioner "
"av dollar til sivilrettslig ansvar. sikkert vi alle hastighet, men fart er "
"ikke typen en handling som vi miste rutinemessig borgerrettigheter. noen "
"mennesker bruker narkotika, og jeg tror det er den nærmeste analoge, [men] "
"mange har bemerket at krigen mot narkotika har eroded alle våre "
"borgerrettigheter fordi det har behandlet så mange amerikanere som "
"kriminelle. Vel, jeg tror det er rimelig å si at fildeling er en bestilling "
"av omfanget større antall amerikanere enn narkotikabruk.... Hvis førti til "
"seksti millioner amerikanere har blitt lawbreakers, da er vi virkelig på en "
"glatt skråning å miste mye av borgerrettigheter for alle førti til seksti "
"millioner av dem."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"When forty to sixty million Americans are considered \"criminals\" under the "
"law, and when the law could achieve the same objective&mdash; securing "
"rights to authors&mdash;without these millions being considered \"criminals,"
"\" 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 førti til seksti millioner amerikanere anses \"kriminelle\" under loven, "
"og når loven kan oppnå det samme målet--sikre rettighetene til forfattere--"
"uten disse millioner blir betraktet som \"kriminelle\", som er skurk? "
"amerikanere eller loven? som er amerikansk, en konstant krig på våre egne "
"folk eller en felles innsats gjennom vårt demokrati for å endre vår lov?"

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

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"So here's 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 ""
"så her er bildet: du står på siden av veien. bilen er på brann. du er sint "
"og lei fordi delvis du hjalp starte til brann. nå vet du hvordan du setter "
"det. siden du er en bøtte, fylt med bensin. åpenbart, bensin vil ikke sette "
"brann ut."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"som du tenke rotet, kommer noen andre. i en panikk griper hun bøtte. før du "
"har en sjanse til å fortelle henne til å slutte-- eller før hun forstår bare "
"hvorfor hun bør stoppe--bøtte er i luften. til bensin er om å treffe Lynrask "
"bilen. og brann som bensin vil antennes er om å antennes alt rundt."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"A war 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 ""
"en krig om opphavsrett rages rundt-- og vi alle fokuserer på feil. ingen "
"tvil, truer aktuell teknologi eksisterende virksomheter. de kan uten tvil "
"True kunstnere. men teknologier endre. næringen og Teknologorganisasjon har "
"masse av veier å bruke teknologi for å beskytte seg mot gjeldende trusler på "
"Internett. Dette er en brann at hvis enn si ville brenne seg."

#.  PAGE BREAK 219
#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"beslutningstakere er ennå ikke villige til å forlate denne brann til seg "
"selv. primed med masse lobbyister penger, er de opptatt av å intervenere for "
"å eliminere problemet de oppfatter. men problemet de oppfatter er ikke den "
"virkelige trusselen denne kulturen står overfor. for mens vi se denne liten "
"brann i hjørnet, det er massiv gjøres en endring i måten kultur som skjer "
"rundt."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"noe har vi å finne en måte å slå oppmerksomhet til dette mer viktig og "
"grunnleggende problemet. noe har vi å finne en måte å unngå pouring bensin "
"bort på denne brann."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 funnet den måten ennå. i stedet synes vi fanget i en enklere, "
"binære visning. men mye mange folk skyve for å ramme denne debatten mer "
"forstand, det er den enkle, binære visningen som gjenstår. Vi rubberneck for "
"å se på ilden når vi skal holde våre øyne på veien."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 utfordringen har vært livet disse siste årene. Det har også vært min "
"feil. i to kapitlene som følger, beskriver jeg en liten klammeparentes av "
"innsats, så langt ikke klart, å finne en måte å refokusere denne debatten. "
"Hvis vi å forstå hva suksess vil kreve, må vi forstå disse feil."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER THIRTEEN: Eldred"
msgstr "Kapittel tretten: Eldred"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In 1995, 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 ""
"i 1995 var en far frustrert at hans døtre ikke synes å ha hawthorne. uten "
"tvil var det flere slike far, men minst én gjorde noe med det. Eric eldred, "
"en pensjonert datamaskinen programmerer bor i new hampshire, besluttet å "
"sette hawthorne på nettet. en elektronisk versjon eldred trodde, med "
"koblinger til bilder og forklarende tekst, ville gjøre av 1800-tallet "
"forfatterens arbeid blir levende."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"den gjorde ikke arbeide--minst for hans døtre. de finner ikke hawthorne noe "
"mer interessant enn før. men eldred's eksperimentet fødte en hobby og hans "
"hobby fikk en årsak: eldred ville bygge et bibliotek med bøker ved skanning "
"disse verkene og gjøre dem tilgjengelig gratis."

#.  PAGE BREAK 221
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"eldred's biblioteket var ikke bare en kopi av visse bøker, men ville ha vært "
"enda en kopi av stor verdi til folk over hele verden som ikke kan få tilgang "
"til trykte versjoner av disse verkene. eldred var i stedet brukes til å "
"produsere avledede produkter fra disse offentlige verker. akkurat som disney "
"omgjort grimm til historier mer tilgjengelig for det tjuende århundre, "
"eldred transformert hawthorne, og mange andre, til et skjema som er mer "
"tilgjengelig--teknisk tilgjengelig--i dag."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Eldred's freedom to do this with Hawthorne's work grew from the same source "
"as Disney's. Hawthorne's Scarlet Letter 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 (Cinderella), "
"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all "
"commercial publications of public domain works."
msgstr ""
"eldred's frihet til å gjøre dette med hawthorne's arbeid vokste fra den "
"samme kilden som disney's. hawthorne's sange hadde gått inn i den offentlige "
"sfæren, i 1907. Det var gratis for alle å ta uten tillatelse fra den "
"hawthorne eiendommen eller noen andre. noen, for eksempel dover trykk og "
"penguin klassikere, ta works fra public domain og produsere trykte utgavene, "
"som de selger i bokhandler over hele landet. andre, for eksempel disney, ta "
"disse historiene og slå dem i animerte-tegneserier, noen ganger lykkes "
"(cinderella), noen ganger ikke (hunchback i notre dame, skatt planeten). "
"disse er alle kommersielle publikasjoner av offentlige verker."

#.  f1.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"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 ""
"Det er en parallell her med pornografi som er litt vanskelig å beskrive, men "
"det er en sterk en. ett fenomen som Internett opprettet var en verden av "
"ikke-kommersiell pornographers--personer som var distribuere porno, men var "
"ikke å gjøre penger direkte eller indirekte fra at distribusjonen. slike en "
"klasse eksisterte ikke før Internett kom til å være fordi kostnadene ved å "
"distribuere porno var så høy. ennå fikk dette ny klasse med distributører "
"spesiell oppmerksomhet i Høyesterett, når domstolen slått ned kommunikasjon "
"sømmelighet act of 1996. Det var delvis på grunn av byrden på ikke-"
"kommersiell høyttalere som Vedtektene ble funnet for å overgå Kongressens "
"makt. samme punkt kunne vært gjort om ikke-kommersiell utgivere etter advent "
"av Internett. eric eldreds av verden før Internett var svært få. ennå skulle "
"en tro det minst like viktig å beskytte eldreds av verden som beskytter ikke-"
"kommersiell pornographers."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The Internet created the possibility of noncommercial publications of public "
"domain works. Eldred's is just one example. There are literally thousands of "
"others. Hundreds of thousands from across the world have discovered this "
"platform of expression and now use it to share works that are, by law, free "
"for the taking. This has produced what we might call the \"noncommercial "
"publishing industry,\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection "
"of poems New Hampshire 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 10, 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 sa, bor eldred i new hampshire. i 1998, var robert frost samling av "
"dikt i new hampshire slated skjedde i public domain. Eldred ønsket å legge "
"samlingen i hans gratis offentlig bibliotek. men landsmøtet fått i veien. "
"som jeg beskrevet i kapittel 10, i 1998, for ellevte gang i førti år, "
"utvidet Kongressen vilkårene i eksisterende opphavsrettigheter--denne tiden "
"av tjue år. Eldred ville ikke være fri til å legge til et hvilket som helst "
"works som er nyere enn 1923 i sin samling 2020. Faktisk ville ingen "
"opphavsrettsbeskyttede passere i public domain til samme år (og ikke engang "
"deretter, hvis Kongressen utvider sikt igjen). derimot i samme periode, vil "
"mer enn 1 million patenter passere i public domain."

#.  f2.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"The full text is: \"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,\" 144 Cong. Rec. "
"H9946, 9951-2 (October 7, 1998)."
msgstr ""
"hele teksten er: \"sonny [bono] ønsket av opphavsrettslig vern til å vare "
"evig. Jeg informert av ansatte at slik endring ville bryte Grunnloven. Jeg "
"inviterer alle til å arbeide med meg å styrke våre lover om opphavsrett i "
"alle måter som er tilgjengelig for oss. som du vet, er det også jack valenti "
"forslag til et uttrykk til å vare evig mindre en dag. Komiteen kan kanskje "
"se på at neste Kongressen,\"144 cong. REC h9946, 9951-2 (7. oktober 1998)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in "
"memory of the congressman and former musician Sonny Bono, who, his widow, "
"Mary Bono, says, believed that \"copyrights should be forever.\"<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 besluttet å kjempe denne loven. han først løst å bekjempe den gjennom "
"sivil ulydighet. i en rekke intervjuer kunngjort eldred at han vil publisere "
"som planlagt, ctea til tross for. men på grunn av en andre lov vedtatt i "
"1998, net (ingen elektronisk tyveri)-act hans handling av publisering ville "
"gjøre eldred en forbryter--om noen klaget. Dette var en farlig strategi for "
"en deaktivert programmerer å gjennomføre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 at jeg ble involvert i slaget ved eldred's. Jeg var en "
"konstitusjonelle lærd der første lidenskap var konstitusjonelle tolkning. og "
"selv om konstitusjonell rett kurs aldri fokus på setningsdelen fremdriften "
"av Grunnloven, hadde det alltid slo meg som viktigere forskjellige. som du "
"vet, Grunnloven sier,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, fuzzy
msgid ""
"Congress has the power to promote the Progress of Science . . .  by securing "
"for limited Times to Authors . . . exclusive Right to their . . . "
"Writings. . . ."
msgstr ""
"Kongressen har makt til å fremme utviklingen av vitenskap... ved å sikre for "
"begrenset ganger til forfattere... eksklusive rett til deres... skrifter...."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"commerce among the several states\" or \"declare War."
"\" But here, the \"something\" is something quite specific&mdash;to "
"\"promote . . . Progress\"&mdash;through means that are also specific&mdash; "
"by \"securing\" \"exclusive Rights\" (i.e., copyrights) \"for limited Times."
"\""
msgstr ""
"som jeg har beskrevet, denne bestemmelsen er unikt innenfor strøm-granting-"
"setningsdel i artikkelen i, Seksjon 8 av vår grunnlov. hver andre "
"setningsdelen gi strøm til Kongressen sier bare Kongressen har makt til å "
"gjøre noe--for eksempel, å regulere \"handel mellom flere stater\" eller "
"\"erklærer krig\" men her, \"noe\" er noe helt spesielt--å \"fremme... "
"fremgang\"--gjennom betyr at er også spesifikke--av \"sikre\" \"enerett"
"\" (det vil si opphavsrett) \"for begrenset ganger.\""

#.  PAGE BREAK 223
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"limited\" 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 \"on the installment plan,\" as Professor "
"Peter Jaszi so nicely put it."
msgstr ""
"i de siste 40 årene, har Kongressen fått i praksis for å utvide eksisterende "
"vilkår for opphavsrettslig vern. Hva rådvill meg om dette var, hvis "
"Kongressen har makt til å utvide eksisterende vilkår, så for grunnlovens "
"krav at vilkårene være \"begrenset\" vil ha noen praktiske effekten. Hvis "
"hver gang en opphavsrett er om å opphøre, Kongressen har makt til å utvide "
"sin sikt, Kongressen kan oppnå hva Grunnloven tydelig forbyr--evigvarende "
"vilkår \"på avbetaling plan,\" som professor peter jaszi så pent sette den."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 en akademiker var min første reaksjon å trykke bøker. Jeg husker "
"sittende sent på kontoret, scouring on-line databaser for noen seriøs "
"vurdering av spørsmålet. Ingen hadde noen gang utfordret congress's praksis "
"for å utvide eksisterende vilkår. at feil kan delvis være grunnen kongress "
"syntes så untroubled i sin vane. det, og det faktum at praksis hadde blitt "
"så lukrative for Kongressen. landsmøtet vet at eiere av opphavsretter vil "
"være villig til å betale mye penger å se sine opphavsrett vilkår utvidet. og "
"så congress er ganske fornøyd med å holde denne Kjøttsaft tog går."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"For this is the core of the corruption in our present system of government. "
"\"Corruption\" not in the sense that representatives are bribed.  Rather, "
"\"corruption\" 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 kjernen i korrupsjon i vår nåværende system av regjeringen. "
"\"ødelagt\" ikke i den forstand at representanter er bribed. snarere "
"\"corruption\" i den forstand at systemet leder beneficiaries av congress's "
"handlinger for å øke og gi penger til Kongressen for å få det til å handle. "
"Det er bare så mye tid; Det er bare så mye kongress kan gjøre. Hvorfor ikke "
"begrense handlingene til disse tingene det må gjøre-- og de tingene som "
"betaler? forlengelse av lønner seg."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 åpenbart for deg, kan du vurdere følgende: si du er en av "
"svært få heldige opphavsrett eierne som har copyright fortsetter å gjøre "
"penger ett hundre år etter at den ble opprettet. eiendom av robert frost er "
"et godt eksempel. Frost døde i 1963. hans poesi fortsetter å være svært "
"verdifull. Dermed kan robert frost eiendom fordelene sterkt fra noen "
"utvidelse av opphavsrett, siden ingen publisher vil betale eiendom noen "
"penger hvis dikt frost skrev publiseres av alle gratis."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"så forestille robert frost eiendom er tjener $100.000 i året fra tre av "
"frost's dikt. og forestille seg opphavsretten for disse diktene er i ferd "
"med å utløpe. du sitter i styret for robert frost eiendom. finansiell "
"rådgiver kommer til din styremøte med en svært dystre rapport:"

#.  PAGE BREAK 224
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Next year,\" the adviser announces, \"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."
msgstr ""
"\"neste år,\" rådgiver kunngjør, \"våre opphavsrett i works a, b og c vil "
"utløpe. Det betyr at etter neste år, vi vil ikke lenger motta årlige royalty "
"kontroll av $100.000 fra utgivere av disse fungerer."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"There's a proposal in Congress, however,\" she continues, \"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.\""
msgstr ""
"\"det er et forslag i Kongressen, men,\" hun fortsetter, \"som kan endre "
"dette. noen congressmen flyter en regning å utvide vilkårene i copyright ved "
"tjue år. at regningen ville være ekstremt verdifullt for oss. så vi bør håpe "
"passerer denne regningen.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Hope?\" a fellow board member says. \"Can't we be doing something about it?"
"\""
msgstr ""
"\"håper?\" styremedlem stipendiat sier. \"kan ikke vi gjøre noe med det?\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Well, obviously, yes,\" the adviser responds. \"We could contribute to the "
"campaigns of a number of representatives to try to assure that they support "
"the bill.\""
msgstr ""
"\"Vel, tydeligvis ja,\" rådgiver svarer. \"vi kunne bidra til kampanjene av "
"en rekke representanter å prøve å sikre at de støtter regningen.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"You hate politics. You hate contributing to campaigns. So you want to know "
"whether this disgusting practice is worth it. \"How much would we get if "
"this extension were passed?\" you ask the adviser. \"How much is it worth?\""
msgstr ""
"du hater politikk. du hater at bidra til kampanjer. så du ønsker å vite om "
"denne motbydelig praksis er verdt det. \"hvor mye ville vi få Hvis denne "
"utvidelsen ble passert?\" du be rådgiver. \"hvor mye er det verdt?\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Well,\" the adviser says, \"if you're confident that you will continue to "
"get at least $100,000 a year from these copyrights, and you use the "
"`discount rate' that we use to evaluate estate investments (6 percent), then "
"this law would be worth $1,146,000 to the estate.\""
msgstr ""
"\"Vel,\" rådgiver sier, \"Hvis du er sikker på at du vil fortsette å få "
"minst $100.000 i året fra disse opphavsrett, og du bruker 'diskontosats' som "
"vi bruker til å evaluere eiendom investeringer (6 prosent), og denne loven "
"vil være verdt $1,146,000 til eiendom.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"You're a bit shocked by the number, but you quickly come to the correct "
"conclusion:"
msgstr ""
"du er litt sjokkert av nummeret, men du komme raskt til riktig konklusjon:"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"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?\""
msgstr ""
"så du sier det ville være verdt det for oss å betale mer enn $1,000,000 i "
"kampanjen bidrag om vi var sikker på disse bidragene vil forsikre at "
"regningen ble sendt?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"Absolutely,\" the adviser responds. \"It is worth it to you to contribute "
"up to the `present value' of the income you expect from these copyrights. "
"Which for us means over $1,000,000.\""
msgstr ""
"\"absolutt\", svarer rådgiver. \"det er verdt det for deg å bidra med opp "
"til stede verdien av inntekten du forventer fra disse opphavsrettigheter. "
"som for oss betyr over $1,000,000.\""

#.  PAGE BREAK 225
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 raskt få poeng--du som medlem av styret, og jeg stoler du leseren. hver "
"gang opphavsrett er om å opphøre, hver mottaker i posisjon av robert frost "
"eiendom står overfor det samme valget: Hvis de kan bidra til å få en lov "
"vedtatt for å utvide opphavsrettigheter, de vil ha stor nytte fra denne "
"filtypen. og så hver gang opphavsrett er om å opphøre, det er en enorm "
"mengde lobbyvirksomhet for å få opphavsrett begrepet utvidet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 en Kongressens evighetsmaskin maskin: så lenge lovgivning kan kjøpes "
"(riktignok indirekte), vil det være alle ansporingen i verden til å kjøpe "
"ytterligere utvidelser av copyright."

#.  f3.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago "
"Tribune, 17 October 1998, 22."
msgstr ""
"Associated press, \"disney lobbyvirksomhet for opphavsrett filtypen ingen "
"Mikke Mus innsats; Kongressen øks bill tildeling skaperne 20 år,\"chicago "
"tribune, 17 oktober 1998, 22."

#.  f4.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>."
msgstr ""

#.  f5.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional "
"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #50</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
"Extension Act, this \"theory\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Constitutional law 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 \"limited.\" If they could extend "
"it once, they would extend it again and again and again."
msgstr ""
"konstitusjonelle loven er ikke oblivious til det åpenbare. eller i det "
"minste, det trenger ikke være. så når jeg var vurderer eldred's klage, denne "
"virkeligheten om never-ending insentiver til å øke opphavsrett begrepet var "
"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet "
"til å tolke og bruke Grunnloven av våre underskrev se at hvis Kongressen har "
"makt til å utvide eksisterende vilkår, og det vil være ingen effektiv "
"konstitusjonelle krav at vilkårene være \"begrenset.\" Hvis de kunne "
"forlenge det en gang, de ville utvide den igjen og igjen og igjen."

#.  PAGE BREAK 226
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It was also my judgment that this 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 mitt skjønn at denne Høyesterett ikke ville tillate at "
"Kongressen til å utvide eksisterende vilkår. alle nær Høyesterett arbeid "
"vet, har denne retten i økende grad begrenset kraften i Kongressen når det "
"har sett congress's handlinger som overstiger makt som er gitt til det av "
"Grunnloven. blant konstitusjonelle forskere var det mest kjente eksempelet "
"av denne trenden Høyesterett beslutning i 1995 å ramme en lov som forbød "
"besittelse av våpen i nærheten av skoler."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"commerce among the several states\" (aka \"interstate commerce\"), "
"the Supreme Court had interpreted that power to include the power to "
"regulate any activity that merely affected interstate commerce."
msgstr ""
"siden 1937, hadde Høyesterett tolket congress's gitt krefter svært bredt; så "
"mens Grunnloven gir Kongressen makt til å regulere bare \"handel mellom "
"flere stater\" (aka \"utdanningen handel\"), Høyesterett hadde tolket som "
"makt til å inkludere makt til å regulere alle aktiviteter som bare berørt "
"utdanningen handel."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"som økonomien vokste, mente denne standarden stadig at det var ingen grense "
"congress's makt til å regulere, siden omtrent hver aktivitet, når det i "
"nasjonal skala, påvirker utdanningen handel. en konstitusjon som er utformet "
"for å begrense Kongressens makt ble i stedet tolket for å innføre ingen "
"grense."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
"United States v. Lopez. 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 ""
"Høyesterett, under chief justice rehnquist kommando, endret som i USA v. "
"lopez. regjeringen hadde hevdet at ha våpen i nærheten av skoler berørt "
"utdanningen handel. våpen i nærheten av skoler øke kriminalitet, "
"kriminalitet senker egenskapsverdier, og så videre. i argumentet muntlig "
"bedt justisministeren regjeringen om det var noen aktivitet som ikke vil "
"påvirke utdanningen handel under begrunnelsen regjeringen Avansert. "
"regjeringen sa det var ikke; Hvis Kongressen sier en aktivitet påvirker "
"utdanningen handel, påvirker den aktiviteten utdanningen handel. "
"Høyesterett, regjeringen sa, var ikke i posisjon til å second-guess "
"Kongressen."

#.  f6.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)."
msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)."

#.  f7.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid "United States v. Morrison, 529 U.S. 598 (2000)."
msgstr "USA v. morrison, 529 amerikanske 598 (2000)."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"\"We pause to consider the implications of the government's arguments,\" 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 "
"Lopez was reaffirmed five years later in United States v. Morrison."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#.  f8.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, 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 \"limited times\" notwithstanding."
msgstr ""
"Hvis det er et prinsipp om nummerert kreftene, deretter bærer prinsippet fra "
"en nummerert power til en annen. animert poenget i konteksten av handel-"
"setningsdelen var at tolkningen tilbys av regjeringen ville tillate "
"regjeringen unending makt til å regulere handel--begrenset til utdanningen "
"handel til tross for. det samme punktet er sant i forbindelse med "
"opphavsrett-setningsdel. her også, regjeringens tolkning ville tillate "
"regjeringen unending makt til å regulere opphavsrett--begrenset til "
"\"begrenset ganger\" til tross for."

#.  PAGE BREAK 227
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"If a principle were at work here, then it should apply to the Progress "
"Clause as much as the Commerce Clause.<placeholder type=\"footnote\" id="
"\"0\"/> And if it is applied to the Progress Clause, the principle should "
"yield the conclusion that Congress can't extend an existing term. If "
"Congress could extend an existing term, then there would be no \"stopping "
"point\" 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"If, that is, the principle announced in Lopez stood for a principle.  Many "
"believed the decision in Lopez 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 \"fidelity\" 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 ""
"Hvis, det vil si at prinsippet annonsert i lopez stod for et prinsipp. mange "
"trodde beslutningen i lopez stod for politikk--en konservativ Høyesterett, "
"som trodde på states rettigheter, ved hjelp av sin makt over Kongressen for "
"å fremme sine egne personlige politiske preferanser. men jeg har avvist "
"denne visningen av Høyesterett beslutning. faktisk, kort tid etter vedtaket "
"skrev jeg en artikkel demonstrere \"kvalitet\" i en slik tolkning av "
"Grunnloven. ideen at Høyesterett bestemmer tilfeller basert på sin politikk "
"slo meg som svært kjedelig. Jeg hadde ikke tenkt å vie livet til "
"undervisning statsrett Hvis disse ni justiariusene skulle være smålig "
"politikere."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Now let's pause for a moment to make sure we understand what the argument in "
"Eldred 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 ""
"Nå la oss pause for et øyeblikk å sørge for at vi forstår hva argumentet i "
"eldred ikke var om. ved å insistere på grunnlovens grenser for opphavsrett, "
"var åpenbart eldred ikke støttet piratkopiering. faktisk i en åpenbar "
"forstand kjemper han en form for piratkopiering--piratkopiering av den "
"offentlige sfæren. da robert frost skrev hans arbeid og når walt disney "
"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks år. på "
"grunn av midlertidige endringer, hadde frost og disney allerede likte "
"monopol sytti-fem år for deres arbeid. de hadde fått fordelen av handel som "
"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-"
"seks år, de opprettet nytt arbeid. men nå disse enhetene bruker deres makt--"
"uttrykt gjennom strømmen av lobbyister penger--for å få en annen tyve års "
"dollop av monopol. at tyve års Dollop dollop ville bli Hentet fra public "
"domain. Eric eldred var kjemper en piratkopiering som påvirker oss alle."

#.  f9.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U."
"S.  186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #51</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Some people view the public domain with contempt. In their brief before the "
"Supreme Court, the Nashville Songwriters Association wrote that the public "
"domain is nothing more than \"legal piracy.\"<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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 sett, krever systemet vårt konstitusjonelle begrensninger på "
"opphavsrett som en måte å sikre at innehaver av opphavsrett ikke for sterkt "
"påvirke utviklingen og distribueringen av vår kultur. ennå, som eric eldred "
"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkårene vil "
"være gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den "
"perfekte stormen for public domain. opphavsrett er utløpt ikke, og utløper "
"ikke, så lenge congress er gratis kjøpes for å utvide dem igjen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It is valuable copyrights that are responsible for terms being extended.  "
"Mickey Mouse and \"Rhapsody in Blue.\" 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 ""
"Det er verdifull opphavsrett som er ansvarlig for vilkårene blir utvidet. "
"Mikke Mus og \"rhapsody in blue.\" disse verkene er også nyttig for eiere av "
"opphavsretter å ignorere. men reell skade samfunnet fra opphavsrett "
"servertilleggene er ikke at Mikke Mus forblir disney. glem Mikke Mus. glem "
"robert frost. Glem alle verker fra 1920- og 1930-tallet som har fortsetter "
"kommersiell verdi. reell skade sikt-utvidelsen kommer ikke fra disse berømte "
"verk. reell skade er Works ikke er kjent, ikke kommersielt utnyttede og ikke "
"lenger tilgjengelig som et resultat."

#.  f10.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"The figure of 2 percent is an extrapolation from the study by the "
"Congressional Research Service, in light of the estimated renewal ranges. "
"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url="
"\"http://free-culture.cc/notes/\">link #52</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"If you look at the work created in the first twenty years (1923 to 1942) "
"affected by the Sonny Bono Copyright Term Extension Act, 2 percent of that "
"work has any continuing commercial value. It was the copyright holders for "
"that 2 percent who pushed the CTEA through.  But the law and its effect were "
"not limited to that 2 percent. The law extended the terms of copyright "
"generally.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 229
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Tenk praktisk talt konsekvens av denne utvidelsen--praktisk talt, som en "
"businessperson, og ikke som en advokat ivrige etter å få mer juridisk "
"arbeid. i 1930, ble 10,047 bøker utgitt. i 2000 var 174 av bøkene fortsatt i "
"utskriften. La oss si at du var brewster kahle, og du vil gjøre tilgjengelig "
"for verden i iarchive prosjektet gjenværende 9,873. Hva ville du trenger å "
"gjøre?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, ville du har til å bestemme hvilke av de 9,873 bøkene var "
"fortsatt under copyright. som krever skal et bibliotek (disse dataene ikke "
"er on-line) og sidevekslingsfilen gjennom tomes bøker, på tvers av "
"kontrollere titler og forfatterne av 9,873 bøker med copyright registrering "
"og fornyelse postene for verk utgitt i 1930. som vil produsere en liste over "
"bøker som fortsatt under opphavsrett."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Then for the books still under copyright, you would need to locate the "
"current copyright owners. How would you do that?"
msgstr ""
"deretter for bøkene fortsatt under opphavsrett trenger du å finne gjeldende "
"opphavsrett eiere. How 'd du gjøre det?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 mennesker tror at det må være en liste over disse eiere av "
"opphavsretter et sted. praktisk folk tror på denne måten. Hvordan kunne det "
"være tusenvis og tusenvis av regjeringen monopoler uten det er minst en "
"liste?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 deretter i 1959, "
"på personen som registrerte opphavsretten. men det er bare tenke praktisk "
"talt på hvordan impossibly vanskelig det ville være å spore opp tusenvis av "
"slike poster--spesielt siden personen som registrert ikke er nødvendigvis "
"gjeldende eier. og vi snakker bare om 1930!"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"But there isn't a list of who owns property generally,\" the apologists "
"for the system respond. \"Why should there be a list of copyright owners?\""
msgstr ""
"\"men det er ikke en liste av hvem som eier egenskapen vanligvis\" "
"apologists for systemet svarer. \"Hvorfor skulle det være en liste over "
"eiere av opphavsretter?\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Well, actually, if you think about it, there are 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, egentlig, er Hvis du tenker på det, det masse av lister av hvem som "
"eier hva egenskapen. Tenk på gjerninger på hus eller titler til biler. og "
"der det ikke finnes en liste, koden for virkelige rommet er ganske god til å "
"foreslå som eieren av en bit av egenskapen er. (en sving i bakgården er "
"sannsynligvis ditt.) så har formelt eller uformelt, vi en ganske god måte å "
"vite hvem som eier hvilke konkrete-egenskapen."

#.  PAGE BREAK 230
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"slik: du gå ned en gate og ser et hus. du vet hvem som eier huset ved slå "
"opp i courthouse registret. Hvis du ser en bil, er det vanligvis en lisens "
"plate som skal knytte eieren til bilen. Hvis du ser en rekke barneleker "
"sitter på fremsiden plen av et hus, er det ganske enkelt å finne ut hvem som "
"eier leketøy. og hvis du tilfeldigvis ser en baseball liggende i en "
"innbindingsmarg på siden av veien, se deg rundt for andre for noen barn "
"spille ball. Hvis du ikke ser noen barn, deretter OK: Her er litt av eiendom "
"der eieren vi ikke finner lett. Det er unntaket som beviser regelen: at vi "
"vanligvis vet svært godt hvem som eier hva egenskapen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"sammenligne denne historien til immaterielle eiendom. du går inn i et "
"bibliotek. biblioteket eier bøkene. men hvem som eier opphavsretten? som jeg "
"allerede har beskrevet, er det ingen liste over eiere av opphavsretter. Det "
"finnes forfatternes navn, selvfølgelig, men sine opphavsrettigheter kan er "
"tilordnet, eller gått ned i en eiendom som grandma's gamle smykker. Hvis du "
"vil vite hvem som eier hva, ville du har til å ansette en privat "
"etterforsker. Bunnlinjen: eieren ikke lett blir funnet. og i et regime som "
"vårt, der er det en forbrytelse å bruke slike eiendom uten egenskapen "
"eierens tillatelse, egenskapen er ikke skal brukes."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"konsekvens med hensyn til gamle bøker er at de ikke digitalisert, og dermed "
"vil bare rot bort på hyller. men konsekvensen for andre kreative verker er "
"mye mer dire."

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Agee, Michael"
msgstr ""

#.  f11.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los "
"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, "
"Books at Stake; Supreme Court Hears Arguments Today on Striking Down "
"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002."
msgstr ""
"Hvis du vil se david g. savage, \"high court scene av showdown på lov om "
"opphavsrett\" los angeles times, 6 oktober 2002; David streitfeld, "
"\"klassiske filmer, sanger, bøker på spill; Høyesterett hører argumenter i "
"dag på støtning ned opphavsrett forlengelsen,\"orlando sentinel tribune, 9 "
"oktober 2002."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Consider the story of Michael Agee, chairman of Hal Roach Studios, which "
"owns the copyrights for the Laurel and Hardy films. Agee is a direct "
"beneficiary of the Bono Act. The Laurel and Hardy films were made between "
"1921 and 1951. Only one of these films, The Lucky Dog, 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, "
"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's "
"silent films.\"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"ennå imot agee ctea. hans grunner demonstrere en sjelden dyd i denne "
"kulturen: selflessness. Han hevdet i en kort før Høyesterett at sonny bono "
"opphavsrett begrepet filtypen act vil, hvis stå stående, ødelegge en hel "
"generasjon av american film."

#.  PAGE BREAK 231
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 liten brøkdel av dette arbeidet har noen "
"vedvarende kommersiell verdi. resten--i den grad det er blitt bevart på "
"alle--sitter i vaults samle støv. Det kan være at noe av dette arbeidet ikke "
"nå kommersielt verdifull, anses for å være verdifulle av eierne av vaults. "
"for at dette skal skje, men må kommersiell fordel fra arbeidet overskride "
"kostnadene ved å gjøre arbeidet tilgjengelig for distribusjon."

#.  f12.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See "
"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet "
"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture."
"cc/notes/\">link #53</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"We can't know the benefits, but we do know a lot about the costs.  For most "
"of the history of film, the costs of restoring film were very high; digital "
"technology has lowered these costs substantially. While it cost more than "
"$10,000 to restore a ninety-minute black-and-white film in 1993, it can now "
"cost as little as $100 to digitize one hour of mm film.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"restaurering teknologien er ikke den eneste kostnaden, og heller ikke det "
"viktigste. advokater, er også en kostnad, og i økende grad, en meget "
"betydelig ettall. i tillegg til bevare filmen, må en distributør å sikre "
"rettighetene. og for å sikre rettighetene for en film som er under "
"opphavsrett, du trenger å finne eieren av opphavsretten."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Or more accurately, owners. 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 mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt "
"copyright tilknyttet en film; Det er mange. Det er ikke en eneste person "
"hvem du kan kontakte om m├Ñte av opphavsrettighetene; Det er så mange som "
"kan holde rettigheter, som viser seg for å være et svært stort tall. dermed "
"kostnadene ved å fjerne rettighetene til disse filmene er usedvanlig høy."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"But can't you just restore the film, distribute it, and then pay the "
"copyright owner when she shows up?\" 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 ""
"\"men ikke kan du bare gjenopprette filmen, distribuere den, og deretter "
"betale eieren av opphavsretten når hun viser?\" sikker, hvis du vil utføre "
"en forbrytelse. og selv om din ikke ' bekymret når hun viser, begår du en "
"forbrytelse, hun vil ha rett til å saksøke deg for alle fortjeneste du har "
"gjort. så, hvis du lykkes, du kan være ganske sikker på at du får et anrop "
"fra noens advokat. og hvis du ikke er vellykket, kan du gjøre ikke nok til å "
"dekke kostnadene for din egen advokat. Uansett, du har å snakke med en "
"advokat. og som for ofte er tilfellet, sier du har til å snakke med en "
"advokat er det samme som å si du ikke gjøre noen penger."

#.  PAGE BREAK 232
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 noen filmer, kan fordelen av å slippe filmen godt overskride disse "
"kostnadene. men for de aller fleste av dem, det er ikke mulig nytte ville "
"oppveier saksomkostninger. Således, for de aller fleste av gamle filmer, "
"agee hevdet, filmen vil ikke bli restaurert og distribuert til opphavsretten "
"utløper."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 da opphavsretten for disse filmene utløper, vil filmen har utløpt. disse "
"filmene ble produsert på nitrat-basert lager, og nitrat lager oppløser over "
"tid. de vil være borte, og metall canisters der de er nå lagret bli fylt med "
"noe mer enn støv."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Of all the 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 \"engine of free expression.\""
msgstr ""
"av alle kreative arbeidet produsert av mennesker overalt, har en liten "
"brøkdel fortsetter kommersiell verdi. for at liten brøkdel er opphavsretten "
"en svært viktig juridisk enhet. for at liten brøkdel oppretter opphavsretten "
"incentiver til å produsere og distribuere skapende arbeid. for at liten "
"brøkdel fungerer opphavsretten som en \"motoren i fri ytring.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 at liten brøkdel, den faktiske tiden da skapende arbeid har en "
"kommersiell levetid er ekstremt kort. som jeg har angitt, vil de fleste "
"bøker gå ut av Skriv ut innen ett år. det samme gjelder av musikk og film. "
"kommersielle kultur er sharklike. Det må bevege. og når en skapende arbeid "
"faller ut av tjeneste med kommersielle distributører, kommersiell levetid "
"slutter."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Det betyr ennå ikke livet av endene skapende arbeid. vi holde ikke "
"biblioteker av bøker for å konkurrere med barnes &amp; noble, og vi har ikke "
"arkiver av filmer fordi forventer vi folk til å velge mellom utgifter fredag "
"kveld å se nye filmer og utgifter fredag kveld å se en 1930 nyheter "
"dokumentar. ikke-kommersiell livet av kultur er viktig og verdifull--for "
"underholdning men også, og enda viktigere, for kunnskap. for å forstå hvem "
"vi er, og der vi kom fra, og hvordan vi har gjort feil som vi har, trenger "
"vi å ha tilgang til denne historien."

#.  PAGE BREAK 233
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"opphavsrettigheter i denne konteksten Kjør ikke en motor gratis "
"uttrykksmåter. i denne sammenheng er det ikke behov for en eksklusiv rett. "
"opphavsrettigheter i denne konteksten ikke nytter."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 copyright-"
"related use 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 ""
"Likevel, for det meste av vår historie, de også gjorde lite skade. for de "
"fleste av vår historie, når et arbeid endte sin kommersielle liv, var det "
"ingen copyright-relaterte bruk som ville være inhibited med en eksklusiv "
"rett. Når en bok gikk ut av print, kan du ikke kjøpe det fra en utgiver. men "
"du kan fortsatt kjøpe den fra brukt boka store, og når brukt boka store "
"selger den, i Amerika, minst, det er ikke nødvendig å betale eieren av "
"opphavsretten noe. dermed var vanlig bruk av en bok etter sin kommersiell "
"levetid avsluttet en bruk som var uavhengig av lov om opphavsrett."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 effektivt sant av film. fordi kostnadene for å gjenopprette en "
"film--den virkelige økonomiske kostnader, ikke advokat kostnadene--var så "
"høyt, det var aldri i det hele tatt mulig å beholde eller gjenopprette "
"filmen. som restene av en stor middag, når det er over, er over. Når en film "
"gikk ut av sine kommersielle livet, det kan ha blitt arkivert for litt, men "
"det var slutten av sitt liv så lenge markedet ikke har mer å tilby."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, om copyright har vært relativt kort for mesteparten av vår "
"historie, ville ikke lang opphavsrett ha mattered for arbeider som mistet "
"sin kommersiell verdi. lang opphavsretten for disse arbeider ville ikke har "
"interfered med noe."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid "But this situation has now changed."
msgstr "men denne situasjonen er nå endret."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 svært viktig konsekvens av fremveksten av digital teknologi er å aktivere "
"arkivet at brewster kahle drømmer om. Digital teknologi gjør det nå mulig å "
"bevare og gi tilgang til alle slags kunnskap. Når en bok går ute av print, "
"kan vi nå forestille digitalisere det og gjøre den tilgjengelig for alle, "
"evig. Når en film går ut av distribusjon, kunne vi digitalisere det og gjøre "
"den tilgjengelig for alle, evig. Digital teknologi gi nytt liv til "
"opphavsrettsbeskyttet materiale når den sender ut av sin kommersiell "
"levetid. Det er nå mulig å bevare og forsikrer særlige til denne kunnskap og "
"kultur, mens før det ikke var."

#.  PAGE BREAK 234
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"og nå lov om opphavsrett komme i veien. hvert trinn for å produsere denne "
"digitalt arkiv av vår kultur krenker på eksklusive rett er copyright. Hvis "
"du vil digitalisere en bok er å kopiere den. Hvis du vil gjøre som krever "
"tillatelse fra eieren av opphavsretten. det samme med musikk, film eller "
"noen andre aspekter av vår kultur som er beskyttet av opphavsrett. innsatsen "
"for å gjøre disse tingene tilgjengelig til historien, forskere, eller til de "
"som ønsker å utforske, er nå inhibited med et sett med regler som ble "
"skrevet for en radikalt annen sammenheng."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 copyright 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 at all related to the "
"spread of knowledge. In this context, copyright is not an engine of free "
"expression. Copyright is a brake."
msgstr ""
"Her er kjernen av skade kommer fra utvide vilkår: nå som teknologi gjør det "
"mulig for oss å gjenoppbygge biblioteket i alexandria, loven kommer i veien. "
"og det ikke komme i veien for nyttig opphavsrett formål, med det formål å "
"copyright er å aktivere det kommersielle markedet som sprer kultur. Nei, vi "
"snakker om kultur etter at det har bodd sin kommersiell levetid. i denne "
"sammenhengen er copyright serverer ingen formål på alle relatert til "
"spredning av kunnskap. i denne sammenheng er copyright ikke en motor gratis "
"uttrykksmåter. Copyright er en brems."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"You may well ask, \"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?\""
msgstr ""
"Du kan også spørre, \"men hvis digital teknologi lavere kostnader for "
"brewster kahle, deretter de vil lavere kostnader for random house, også. så "
"ikke random house gjøre samt brewster kahle i å spre kultur allment?\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"the market\" 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 ""
"kanskje. en dag. men det er absolutt ingen bevis som tyder på at utgivere "
"ville være så fullstendig som biblioteker. Hvis barnes &amp; noble tilbudt å "
"låne bøker fra sine butikker for en lav pris, ville som eliminerer behovet "
"for biblioteker? bare hvis du mener at et bibliotek eneste rolle er å tjene "
"\"markedet\" ville kreve. men hvis du tror rollen til et bibliotek er større "
"enn dette--hvis du tror sin rolle er å arkivere kultur, om det er en "
"etterspørsel etter en bestemt bit av denne kulturen eller ikke-- så vi ikke "
"stole på det kommersielle markedet å gjøre arbeidet vårt bibliotek for oss."

#.  f13.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
msgid ""
"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
"December 2002, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #54</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"I would be the first to agree that it should do as much as it can: We should "
"rely upon the market as much as possible to spread and enable culture. My "
"message is absolutely not antimarket. But where we see the market is not "
"doing the job, then we should allow nonmarket forces the freedom to fill the "
"gaps. As one researcher calculated for American culture, 94 percent of the "
"films, books, and music produced between 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"In January 1999, 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 \"limited Times\" requirement, and (2) that extending terms "
"by another twenty years violated the First Amendment."
msgstr ""
"i januar 1999 anlagt vi en sak på eric eldred vegne i federal district court "
"i washington, DC, spør domstolen å erklære sonny bono opphavsrett begrepet "
"forlengelse loven unconstitutional. to sentrale krav som vi gjorde var (1) "
"at utvide eksisterende vilkårene krenket av Grunnloven \"begrenset ganger\" "
"krav, og (2) at utvide vilkårene ved en annen tjue år krenket first endring."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"district court avvist påstander om våre uten å selv høre et argument. et "
"panel av court of appeals for DC-kretsen også oppsagt våre krav, men etter "
"høre et omfattende argument. men at beslutningen hadde minst en dissens, av "
"en av de mest konservative dommerne på at domstolen. at ga dissens livet "
"vårt krav."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Judge David Sentelle said the CTEA violated the requirement that copyrights "
"be for \"limited Times\" only. His argument was as elegant as it was simple: "
"If Congress can extend existing terms, then there is no \"stopping point\" "
"to Congress's power under the Copyright Clause. The power to extend existing "
"terms means Congress is not required to grant terms that are \"limited.\" "
"Thus, Judge Sentelle argued, the court had to interpret the term \"limited "
"Times\" 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 sa ctea brutt kravet opphavsrett være for \"begrenset "
"ganger\" bare. hans argument var like elegant som den var enkel: Hvis "
"Kongressen kan utvide eksisterende vilkår, så det er ingen \"stoppe poeng\" "
"til Kongressens makten under opphavsrett-setningsdel. strøm for å forlenge "
"eksisterende vilkårene betyr Kongressen ikke er nødvendig å gi vilkårene at "
"er \"begrenset.\" derfor dømme sentelle hevdet, domstolen hadde å tolke "
"begrepet \"begrenset ganger\" å gi den mening. og beste tolkningen, dommer "
"sentelle hevdet, ville være å nekte Kongressen makt til å utvide "
"eksisterende vilkår."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"en banc\" to hear the case."
msgstr ""
"vi spurte court of appeals for DC-kretsen som helhet å høre tilfelle. "
"tilfeller er vanligvis hørt i paneler med tre, med unntak av viktige saker "
"eller tilfeller som øke problemer som er spesifikke for kretsen som helhet, "
"der domstolen skal sitte \"no banc\" for å høre tilfelle."

#.  PAGE BREAK 236
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"lagmannsrett avvist vår anmodning om å høre case no banc. Denne gangen "
"vurdere sentelle ble med seg mest liberale medlem av DC-krets, bedømme david "
"tatel. både den mest konservative og mest liberale dommere i DC-krets mente "
"Kongressen hadde overstepped sin grensene."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It was here that most expected Eldred v. Ashcroft would die, for the Supreme "
"Court rarely reviews any decision by a court of appeals. (It hears about one "
"hundred cases a year, out of more than five thousand appeals.) And it "
"practically never reviews a decision that upholds a statute when no other "
"court has yet reviewed the statute."
msgstr ""
"Det var her at de fleste forventet eldred v. ashcroft ville dø, for "
"Høyesterett vurderinger sjelden noen avgjørelse av en domstol i appeller. "
"(det hører rundt hundre tilfeller et år, ut av mer enn fem tusen appeller.) "
"og det praktisk talt aldri vurderinger en beslutning som opprettholder en "
"vedtekt når ingen andre domstolen har gjennomgått vedtektene."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, Høyesterett overrasket verden ved å gi vår "
"underskriftskampanje for å gå gjennom DC krets oppfatning. argumentet ble "
"satt for oktober 2002. sommeren ville være utbrent skrive truser og "
"forberede for argumentet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It is over 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 ""
"Det er over et år senere som jeg skriver disse ordene. Det er fortsatt "
"astonishingly vanskelig. Hvis du vet noe om denne historien, vet du at vi "
"mistet appell. og hvis du vet noe mer enn bare minste, du tror sannsynligvis "
"det var ingen måte dette tilfellet kunne ha blitt vunnet. etter vårt "
"nederlag fikk jeg bokstavelig talt tusenvis av missives ved godt wishers og "
"støttespillere, takke meg for mitt arbeid på vegne av denne edle men dømt "
"årsaken. og ingen fra jordhaugen var mer betydelig for meg enn e-post fra "
"min klient, eric eldred."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"But my client and these friends were wrong. This case could have been won. "
"It should have been won. And no matter how hard I try to retell this story "
"to myself, I can never escape believing that my own mistake lost it."
msgstr ""
"Men min klient og disse vennene tok feil. Denne saken kunne vært vunnet. Det "
"burde ha vært vunnet.  Og uansett hvor hardt jeg prøver å fortelle den "
"historien til meg selv, kan jeg aldri unnslippe troen på at det er min feil "
"at vi ikke vant."

#.  PAGE BREAK 237
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The mistake 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 ""
"feil ble gjort tidlig, skjønt det ble åpenbart bare på til slutten. vårt "
"tilfelle hadde vært støttes helt fra begynnelsen av en ekstraordinære "
"advokat, geoffrey stewart, og ved advokatfirmaet hadde han flyttet til "
"jones, dag, reavis og pogue. Jones dag tok mye varme fra klientene copyright-"
"protectionist for å støtte oss. de ignorert dette presset (noe som noen "
"advokatfirmaer i dag ville gjøre), og i hele saken, de ga det alt de kunne."

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Ayer, Don"
msgstr "Ayer, Don"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"important\" 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 \"the most powerful media companies in the world.\""
msgstr ""
"Det var tre viktige advokater tilfelle fra jones dag. Geoff stewart var "
"først, men deretter dan bromberg og don ayer ble ganske involvert. Bromberg "
"og ayer spesielt hadde en felles oppfatning om hvordan dette tilfellet ville "
"bli vunnet: vi ville bare vinne, de gjentatte ganger fortalte meg, hvis vi "
"kunne gjøre problemet synes \"viktig\" til Høyesterett. det måtte synes som "
"om dramatisk skade ble gjort til ytringsfriheten og fri kultur; ellers ville "
"de aldri stemt mot \"de kraftigste media selskapene i verden.\""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"right\" "
"as in \"true,\" I thought, but it is \"wrong\" as in \"it just shouldn't be "
"that way.\" 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 hater denne visningen av loven. Selvfølgelig trodde jeg sonny bono loven "
"var en dramatisk skade på ytringsfriheten og fri kultur. Selvfølgelig tror "
"jeg fortsatt det er. men ideen om at Høyesterett bestemmer loven basert på "
"hvor viktig de tror problemene er er bare galt. Det kan være \"riktig\" som "
"i \"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bør ikke være "
"den måten.\" som jeg mente at alle trofaste tolkning av forfatterne av vår "
"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg "
"mente at alle trofaste tolkning av hva den første endring betyr ville gi "
"konklusjonen som strøm for å forlenge eksisterende opphavsrett vilkårene er "
"unconstitutionalJeg var ikke overbevist om at vi måtte selge vårt tilfelle "
"som såpe. akkurat som en lov som forbud swastika er unconstitutional ikke "
"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, så "
"også, i min mening, ville domstol bestemmer om congress's lov var "
"konstitusjonelle basert på Grunnloven, ikke basert på om de likte verdiene "
"som underskrev de innlegge Grunnloven."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Uansett, jeg tenkte, domstolen må allerede se faren og skade som skyldes "
"denne typen lov. Hvorfor ville de gir gjennomgang? Det var ingen grunn å "
"høre tilfelle i Høyesterett hvis de ikke var overbevist om at denne "
"reguleringen var skadelig. så etter min mening, vi ikke trenger å overtale "
"dem at denne loven var ille, vi trengte å vise hvorfor det var "
"forfatningsstridig."

#.  PAGE BREAK 238
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 law 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 en måte, men i som jeg følte politikk ville saken og som jeg trodde "
"et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre våre "
"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty "
"loons. Denne Høyesterett var ikke om å lansere i et nytt felt med juridisk "
"vurdering Hvis det syntes at dette feltet av nytt var bare preferanse av et "
"lite politisk mindretall. Selv om mitt fokus i tilfelle var ikke til å "
"demonstrere hvor ille sonny bono handle var, men for å demonstrere at det "
"var forfatningsstridig, mitt håp var å gjøre dette argumentet mot et "
"bakteppe av truser som dekket hele spekteret av politiske synspunkter. å "
"vise at denne påstanden mot ctea ble jordet i loven og ikke politikk, så vi "
"prøvde å samle så mange søkeordresultater troverdig kritikere--troverdig "
"ikke fordi de var rike og berømte, men fordi de, i samlet, vist at denne "
"loven var forfatningsstridig uavhengig av ens politikk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"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?\" 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 trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, "
"eagle forum, hadde vært motstander av ctea fra begynnelsen. Mrs. schlafly "
"sett ctea som en sellout av Kongressen. i november 1998 skrev hun en "
"stinging redaksjonelle angripe det republikanske Kongressen for å la loven "
"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som "
"oppretter en finansiell nedfallsfrukt for å begrense spesielle interesser "
"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at "
"fordelen allmennheten synes å komme bogged ned?\", som de redaksjonelle "
"dokumentert, var svaret strømmen av penger. schlafly nummerert disney's "
"bidrag til sentrale aktører på komiteene. Det var penger, ikke "
"rettferdighet, som ga Mikke Mus tjue år i disney's kontroll, schlafly hevdet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 lagmannsrett var eagle forum ivrig etter å inngi en kort som støtter vår "
"posisjon. sine kort gjort argumentet om at ble kjernen kravet i Høyesterett: "
"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen "
"grense for Kongressens makt til å angi vilkår. som sterkt konservativ "
"argumentet overtalt en sterk konservative dommer, dommer sentelle."

#.  PAGE BREAK 239
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"In the Supreme Court, the briefs on our side were about as diverse as it "
"gets. They included an extraordinary historical brief by the Free Software "
"Foundation (home of the GNU project that made GNU/ Linux possible). They "
"included a powerful brief about the costs of uncertainty by Intel. There "
"were two law professors' briefs, one by copyright scholars and one by First "
"Amendment scholars. There was an exhaustive and uncontroverted brief by the "
"world's experts in the history of the Progress Clause. And of course, there "
"was a new brief by Eagle Forum, repeating and strengthening its arguments."
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 truser innrammet et juridisk argument. deretter for å støtte "
"argumentet juridiske, var det en rekke kraftige truser av biblioteker og "
"arkiver, inkludert internet archive, american association av loven "
"biblioteker og den nasjonale forfattere unionen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 truser fanget argumentet policyen best. en gjort argumentet jeg har "
"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven "
"ble truffet, en hel generasjon av american film ville forsvinne. den andre "
"gjort argumentet økonomiske helt klart."

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Akerlof, George"
msgstr "Akerlof, George"

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Arrow, Kenneth"
msgstr "Arrow, Kenneth"

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Buchanan, James"
msgstr ""

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Coase, Ronald"
msgstr ""

#. type: Content of: <book><chapter><sect1><indexterm><primary>
msgid "Friedman, Milton"
msgstr ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"rent-seeking\"&mdash;the "
"fancy term economists use to describe special-interest legislation gone wild."
msgstr ""
"Denne økonomer kort ble signert av sytten økonomer, inkludert fem "
"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton "
"friedman, kenneth pilen og george akerlof. økonomer, spredte som viser "
"listen over nobel vinnere, det politiske spektret. deres konklusjoner var "
"kraftig: det var ingen sannsynlig hevder at utvide vilkårene i eksisterende "
"opphavsrettigheter ville gjøre noe for å øke insentiver til å opprette. "
"slike utvidelser var ingenting mer enn \"leie-søker\"--fancy sikt økonomer "
"bruk å beskrive spesielle interesser lovgivning gone wild."

#.  PAGE BREAK 240
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"samme innsats på balanse ble reflektert i det juridiske teamet vi samles for "
"å skrive våre truser i tilfelle. jones dag advokater hadde blitt med oss fra "
"starten. men da saken kom til Høyesterett, vi har lagt tre advokater for å "
"hjelpe oss ramme dette argumentet til denne retten: alan morrison, en "
"advokat fra offentlige borger, en washington gruppe som hadde gjort "
"konstitusjonelle historie med en rekke banebrytende seire i Høyesterett "
"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde "
"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en "
"første endring strategi; og endelig, tidligere advokat general charles stekt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"stekt var en spesiell seier for vår side. hver andre tidligere advokat "
"generelt ble ansatt av den andre siden, å forsvare congress's kraft til å gi "
"medieselskaper spesiell gunst utvidet opphavsrett vilkårene. stekt var den "
"eneste som slått ned lukrative tildelingen til å stå opp for noe han mente "
"i. han hadde vært ronald reagan's sjef advokat i Høyesterett. Han hadde "
"bidratt til å skape linjen i tilfeller som begrenset Kongressens makt i "
"forbindelse med handel-setningsdel. og mens han hadde hevdet mange "
"posisjoner i Høyesterett som jeg personlig uenige med, hans begynte årsaken "
"var en stemme av tilliten i vår argumentet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The government, in defending the statute, had its collection of friends, as "
"well. Significantly, however, none of these \"friends\" 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 ""
"regjeringen, i å forsvare statutten, hadde sin samling av venner, også. "
"betydelig, men ingen av disse \"vennene\" inkludert historikere eller "
"økonomer. truser på den andre siden av saken ble skrevet utelukkende av "
"store medieselskaper, congressmen og innehaver av opphavsrett."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"media selskapene var ikke overraskende. de har mest å tjene på loven. "
"congressmen var ikke overraskende enten--de var å forsvare sin makt, og "
"indirekte, Kjøttsaft tog av bidrag slik makt indusert. og selvfølgelig var "
"det ikke overraskende at rettighetshavere ville forsvare ideen om at de bør "
"fortsette å ha rett til å kontrollere hvem som gjorde hva med innhold de "
"ønsket å kontroll."

#.  f14.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S.  "
"(2003) (No. 01-618), 19."
msgstr ""
"kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 "
"amerikanske (2003) (nr 01-618), 19."

#.  f15.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
"the Fray,\" New York Times, 28 March 1998, B7."
msgstr ""
"dinitia smith, \"udødelig ord, udødelig royalties? selv Mikke Mus tiltrer "
"fray,\"new york times, 28 mars 1998, b7."

#.  PAGE BREAK 241
#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Dr. Seuss's representatives, for example, argued that it was better for the "
"Dr. Seuss estate to control what happened to Dr. Seuss's work&mdash; better "
"than allowing it to fall into the public domain&mdash;because if this "
"creativity were in the public domain, then people could use it to \"glorify "
"drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> "
"That was also the motive of the Gershwin estate, which defended its "
"\"protection\" of the work of George Gershwin. They refuse, for example, to "
"license Porgy and Bess 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"Give us twenty years to control the speech about these "
"icons of American culture. We'll do better with them than anyone else.\" "
"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 argumentet gjort klart et tema som er sjelden merke i denne debatten. "
"Når Kongressen beslutter å forlenge eksisterende opphavsrettigheter, gjør "
"Kongressen et valg om hvilke høyttalere det prioriteres. berømte og elskede "
"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til "
"Kongressen og si, \"gi oss tjue år å kontrollere tale om disse ikonene av "
"den amerikanske kulturen. Vi vil gjøre bedre med dem enn noen andre."
"\"Kongressen liker selvfølgelig å belønne de populære og berømte ved å gi "
"dem det de ønsker. men når Kongressen gir folk en eksklusiv rett til å "
"snakke på en bestemt måte, det er akkurat hva den første endringen er "
"tradisjonelt ment å blokkere."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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.  Between February and October, "
"there was little I did beyond preparing for this case. Early on, as I said, "
"I set the strategy."
msgstr ""
"Vi hevdet så mye i en endelige kort. ikke bare vil opprettholde ctea bety at "
"det var ingen grense for strøm av Kongressen for å forlenge opphavsrett--"
"utvidelser som ytterligere konsentrere seg markedet; det vil også bety at "
"det var ingen grense congress's kraft til å spille favoritter, gjennom "
"opphavsrett, med som har rett til å snakke. mellom februar og oktober var "
"det lite jeg gjorde utover forbereder for denne saken. tidlig som jeg sa, "
"satt jeg strategien."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"The Supreme Court was divided into two important camps. One camp we called "
"\"the Conservatives.\" The other we called \"the Rest.\" 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 Lopez/"
"Morrison line of cases that said that an enumerated power had to be "
"interpreted to assure that Congress's powers had limits."
msgstr ""

#.  PAGE BREAK 242
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 fire justiariusene som hadde sterkt imot begrensninger på "
"Kongressens makt. disse fire--rettferdighet stevens, rettferdighet souter, "
"rettferdighet ginsburg og rettferdighet breyer--hadde gjentatte ganger "
"hevdet at grunnloven gir Kongressen bred skjønn å bestemme hvordan du best å "
"implementere sin myndighet. i sak etter sak, hadde disse to andre "
"justiariusene hevdet at retten rolle bør være en av deference. om stemmene "
"til disse fire justiariusene var stemmene som jeg personlig hadde mest "
"konsekvent avtalt med, var de også stemmene som vi var minst sannsynlig å få."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes "
"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjønn er "
"involvert), hadde hun vært spesielt deferential i forbindelse med "
"beskyttelse av intellektuell eiendom. Hun og hennes datter (en glimrende og "
"velkjente immaterielle scholar) ble kuttet fra samme immaterielle klut. vi "
"ventet Hun vil være enig med skriftene til datteren: at Kongressen hadde "
"makt i denne sammenheng å gjøre som det ønsket, selv om hva Kongressen "
"ønsket gjort lite fornuftig."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi også sett på "
"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter "
"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. "
"men begge var også svært sensitive til ytringsfriheten bekymringer. og som "
"vi sterkt mente, det var en svært viktig ytringsfriheten argument mot disse "
"retrospektiv utvidelser."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 stemme som vi kan være trygg på var at for rettferdighet stevens. "
"historie registrerer rettferdighet stevens som en av de største dommerne på "
"denne retten. hans stemmer er konsekvent variert, som betyr bare at ingen "
"enkel ideologi forklarer hvor han vil stå. men han hadde konsekvent "
"argumentert for grenser i forbindelse med immaterielle generelt. Vi var "
"ganske trygg på han ville anerkjenne grenser her."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"This analysis of \"the Rest\" 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 analysen av \"resten\" viste mest tydelig der vårt fokus måtte være: "
"på høyre. for å vinne dette tilfellet, vi hadde å sprekk åpne disse fem og "
"få minst et flertall å gå på vår måte. dermed enkelt overstyrende argument "
"som animert våre krav hvilte på Høyres viktigste jurisprudential innovasjon "
"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at "
"Kongressens makt må tolkes slik at dens nummerert kreftene har begrensninger."

#.  PAGE BREAK 243
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 Lopez 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 "
"\"limited.\" Our aim would be to get the Court to reconcile Eldred with "
"Lopez: If Congress's power to regulate commerce was limited, then so, too, "
"must Congress's power to regulate copyright be limited."
msgstr ""
"Dette var deretter kjernen i vår strategi--en strategi som jeg er ansvarlig. "
"Vi ville få retten å se at akkurat som du er med under regjeringens argument "
"her i tilfelle lopez, Kongressen ville alltid ha ubegrenset makt til å "
"utvide eksisterende vilkår. Hvis noe var vanlig om Kongressens makt under "
"setningsdelen fremdrift, det var at dette makt var ment for å være "
"\"begrenset.\" vårt mål vil være å få retten å avstemme eldred med lopez: "
"Hvis Kongressens makt til å regulere handel var begrenset, deretter så, "
"også, congress's makt til å regulere copyright skal begrenses."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The argument 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 ""
"argumentet på regjeringens side kom ned til dette: Kongressen har gjort det "
"før. det skal være tillatt å gjøre det igjen. regjeringen hevdet at helt fra "
"starten, Kongressen har blitt utvidelse av eksisterende opphavsrettigheter. "
"så regjeringen hevdet, domstolen bør ikke nå si at praksis er "
"unconstitutional."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"There was some truth to the government's claim, but not much. We certainly "
"agreed that Congress had extended existing terms in and in 1909. And of "
"course, in 1962, Congress began extending existing terms regularly&mdash;"
"eleven times in forty years."
msgstr ""
"Det var noen sannhet til regjeringens krav, men ikke mye. Vi absolutt avtalt "
"at Kongressen hadde utvidet eksisterende vilkårene i og i 1909. og "
"selvfølgelig, i 1962, Kongressen begynte utvide eksisterende regelmessig--"
"betingelser elleve ganger i førti år."

#.  PAGE BREAK 244
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"But this \"consistency\" 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.  Oral argument 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 \"mooted\" by lawyers who had volunteered to help in "
"the case. Such \"moots\" are basically practice rounds, where wannabe "
"justices fire questions at wannabe winners."
msgstr ""
"men dette \"konsistens\" bør holdes i perspektiv. Kongressen utvidet "
"eksisterende vilkårene en gang i første hundre år av Republikken. det "
"deretter utvidet eksisterende vilkårene igjen i de neste femti. disse "
"sjeldne utvidelser er i motsetning til nå vanlig praksis for å utvide "
"eksisterende vilkår. Uansett selvbeherskelse Kongressen hadde hatt i siste, "
"at selvbeherskelse nå var borte. Kongressen var nå i en syklus av "
"utvidelser; Det var ingen grunn til å forvente at syklus ville end. denne "
"domstolen hadde ikke vil nøle med å intervenere der Kongressen var i en "
"lignende syklus av filtypen. Det var ingen grunn det ikke kunne gripe inn "
"her. muntlig argumentet var planlagt for den første uken i oktober. Jeg "
"ankom i DC to uker før argumentet. i løpet av de to ukene, ble jeg gjentatte "
"ganger \"mooted\" av advokater som hadde frivillig til å hjelpe i tilfelle. "
"slike \"moots\" er i utgangspunktet praksis runder, der wannabe "
"justiariusene brann spørsmål på wannabe vinnere."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 å vinne, jeg måtte holde domstolen fokusert på "
"et enkelt punkt: at hvis denne utvidelsen er tillatt, så det er ingen grense "
"makt til å angi vilkår. Going med regjeringen ville bety at vilkårene vil "
"være effektivt ubegrenset; Going med oss ville gi Kongressen en klar linje å "
"følge: ikke utvide eksisterende vilkår. moots var en effektiv praksis, Jeg "
"har funnet måter å ta alle spørsmål tilbake til dette sentrale ideen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 moot var før jurister på jones dag. Don ayer var skeptisk. Han "
"tjenestegjorde i Justisdepartementet reagan med advokat general charles "
"stekt. Han hadde hevdet mange tilfeller før Høyesterett. og han la sin "
"bekymring snakke i sin anmeldelse av moot:"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"\"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.\""
msgstr ""
"Jeg er bare redd at med mindre de ser virkelig skade, de ikke vil være "
"villig til å opprørt denne praksis som regjeringen sier har vært en "
"konsekvent praksis for to hundre år. du har å gjøre dem se skade--"
"passionately få dem til å se skaden. for hvis de ser ikke som, så vi har "
"ikke noen sjanse til å vinne."

#.  PAGE BREAK 245
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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.  The night before 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 ""
"han kanskje har hevdet mange tilfeller før denne retten, jeg tenkte, men han "
"forstod ikke sin sjel. Jeg hadde sett justiariusene gjøre rette--ikke på "
"grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde "
"tilbrakt livet undervise elevene mine at denne retten gjør rette--ikke på "
"grunn av politikk som en lov professor, men fordi det er riktig. da jeg "
"lyttet til ayer's påstand om lidenskap i presserende politikk, jeg forsto "
"hans punkt, og jeg avviste den. Vårt argument var rett. Det var nok. La "
"politikerne lære å se at det var også god. natten før argumentet, en linje "
"av mennesker begynte å form foran Høyesterett. saken hadde blitt et fokus av "
"pressen og bevegelse for fri kultur. hundrevis sto i kø for sjansen til å se "
"proceedings. score tilbragte natten på Høyesterett trinnene slik at de ville "
"være trygg på et sete."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"ikke alle har til å vente på linjen. folk som vet de to andre justiariusene "
"kan be om seter de kontroll. (jeg spurte rettferdighet scalia kamre for "
"plasser for mine foreldre, for eksempel.) medlemmer av Høyesterett baren kan "
"få et sete i en spesiell del reservert for dem. og senators og congressmen "
"har et spesielt sted hvor de får å sitte, også. og til slutt, selvfølgelig, "
"pressen har et galleri som gjør clerks som jobber for de to andre "
"justiariusene på domstol. som vi har angitt den morgenen, var det ikke noe "
"sted som ikke ble tatt. Dette var et argument om lovgivning for "
"immaterielle, men hallene var fylt. så jeg gikk i å ta min plass på forsiden "
"av retten, så jeg mine foreldre som sitter til venstre. som jeg satte meg "
"ned ved bordet, så jeg jack valenti sitter i delen spesielle vanligvis "
"forbeholdt familie av de to andre justiariusene."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Når justisministeren ringte meg å starte mitt argument, jeg begynte hvor jeg "
"skal bo: på spørsmålet om begrensninger på Kongressens makt. Dette var en "
"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen "
"grense."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Justice O'Connor stopped me within one minute of my opening.  The history "
"was bothering her."
msgstr ""
"rettferdighet o'connor stoppet meg ett minutts min åpning. historien var "
"plaget henne."

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"rettferdighet o'connor: Kongressen har utvidet begrepet så ofte gjennom "
"årene, og hvis du har rett, ikke vi kjøre risikoen for upsetting tidligere "
"utvidelser av tid? Jeg mener, dette synes å være en praksis som begynte med "
"svært første akt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"She was quite willing to concede \"that this flies directly in the face of "
"what the framers had in mind.\" But my response again and again was to "
"emphasize limits on Congress's power."
msgstr ""
"Hun var ganske villig til å innrømme \"at dette flyr direkte i møte med hva "
"underskrev hadde i tankene.\", men mitt svar var igjen og igjen å "
"understreke begrensninger på Kongressens makt."

#.  PAGE BREAK 246
#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, "
"så spørsmålet er, er det en måte å tolke sine ord som gir kraft til hva de "
"hadde i tankene, og svaret er Ja."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 poeng i dette argumentet når jeg burde ha sett hvor domstolen "
"skulle. Først var et spørsmål av rettferdighet kennedy, som observert,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, "
"også, bør har blitt gjort ugyldige, og at vi kan la det være på grunn av "
"avbrudd, er som for alle disse årene loven har hindret fremgang i vitenskap "
"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Here follows my clear mistake. Like a professor correcting a student, I "
"answered,"
msgstr ""
"Her følger min klart feil. som professor korrigere en student, svarte jeg,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"Mr. lessig: rettferdighet, vi ikke gjør en empirisk krav på alle. ingenting "
"i våre opphavsrett-setningsdel krav henger på empirisk påstanden om hindrer "
"fremdrift. vår eneste argumentet er at dette er en strukturell begrensning "
"som er nødvendig for å sikre at det ville være et effektivt evigvarende sikt "
"ikke tillates under lover om opphavsrett."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 riktig svar, men det var ikke riktig svar. riktig svar var i stedet "
"at det var en opplagt og dyptgripende skade. en rekke truser hadde vært "
"skrevet om den. han ønsket å høre den. og her var sted don ayer's råd skal "
"ha mattered. Dette var en softball; mitt svar var en swing og en glipp."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The second came from the Chief, for whom the whole case had been crafted. "
"For the Chief Justice had crafted the Lopez ruling, and we hoped that he "
"would see this case as its second cousin."
msgstr ""
"andre kom fra sjefen, som hele saken hadde blitt utformet. for "
"justisministeren hadde utformet lopez avgjørelse, og vi håpet at ville han "
"se denne saken som sin andre fetter."

#.  PAGE BREAK 247
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 en andre i sin spørsmålet at han ikke var på alle sympatisk. "
"til ham var vi en gjeng med anarkistene. så han spurte:"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"Chief justice: godt, men du ønsker mer enn som. du vil ha rett til å kopiere "
"ordrett andres bøker, ikke du?"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"Mr. lessig: vi vil ha rett til å kopiere ordrett verk som bør være i den "
"offentlige sfæren, og ville være allemannseie, men for en vedtekter som ikke "
"kan begrunnes under vanlige første endring analyse eller under en riktig "
"lesing av grensene som er innebygd i setningsdelen opphavsrett."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 gikk bedre for oss når regjeringen ga argumentet; for nå domstolen "
"plukket opp på kjernen av våre krav. som rettferdighet spurte scalia advokat "
"generelt olson"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"rettferdighet scalia: du si at samme en ubegrenset tid ville være et brudd "
"[av Grunnloven], men det er nettopp argumentet som gjøres av petitioners "
"her, det en begrenset periode som er utvidbart er samme en ubegrenset tid."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Når olson var ferdig, var det min tur til å gi en avsluttende rebuttal. "
"olson's flailing hadde gjenopplivet sinnet mitt. men min vrede fortsatt ble "
"sendt til akademiske, ikke praktiske. regjeringen var kranglet som om dette "
"var det første tilfellet noensinne å vurdere begrensninger på congress's "
"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg "
"lukket noensinne ved å peke på den lange historien av domstolen innføre "
"begrensninger på Kongressens makt i navnet på opphavsrett og patent-"
"setningsdel--faktisk, det aller første tilfellet støtning en lov av "
"Kongressen som overskrider en bestemt, nummerert makt var basert på "
"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til å flytte "
"retten til min side."

#.  PAGE BREAK 248
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"As I left 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 ""
"som jeg venstre retten denne dagen, jeg visste det var en hundre punkter jeg "
"ønsket at jeg kunne remake. var det en hundre spørsmål jeg ønsket at jeg "
"hadde svart på en annen måte. men en måte å tenke på dette tilfellet forlatt "
"meg optimistisk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"regjeringen hadde blitt spurt om og om igjen, hva er grensen? igjen og "
"igjen, det hadde besvart det er ingen begrensning. Dette var nettopp svaret "
"jeg ville retten å høre. for jeg ikke kan forestille meg hvordan domstol "
"kunne forstå at regjeringen trodde congress's makt var ubegrenset under "
"betingelsene i setningsdelen opphavsrett, og opprettholde regjeringens "
"argumentet. advokat-general hadde gjort mitt argument for meg. uansett hvor "
"ofte jeg forsøkt, kunne jeg ikke forstå hvordan domstol finner at "
"Kongressens makt under handel-setningsdel var begrenset, men under den "
"opphavsrett setningen, ubegrenset. i de sjeldne øyeblikkene når jeg la meg "
"tro at vi kan ha kommet, det var fordi jeg følte denne retten--spesielt "
"ville konservative--føle seg begrenset av rettssikkerhet at det hadde "
"etablert andre steder."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The morning 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 ""
"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og "
"ubesvarte anropet 7: 00 am fra Høyesterett kontorist. lytte til meldingen, "
"jeg kunne fortelle på et øyeblikk at hun hadde dårlige nyheter til report."
"the hadde Høyesterett bekreftet avgjørelsen til court of appeals. syv "
"justiariusene hadde stemt i fleste. Det var to Dissensene."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"noen sekunder senere, kom meninger via e-post. Jeg tok telefonen av kroken, "
"postet en kunngjøring til vår blogg, og satte meg ned for å se hvor jeg "
"hadde vært feil i mitt resonnement."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"My reasoning. Here was a case that pitted all the money in the world against "
"reasoning. And here was the last naïve law professor, scouring the pages, "
"looking for reasoning."
msgstr ""
"mitt resonnement. Her var en sak som pitted alle pengene i verden mot "
"resonnement. og her var den siste naivt lov professoren, scouring sider, på "
"jakt etter resonnement."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"I first scoured the opinion, looking for how the Court would distinguish the "
"principle in this case from the principle in Lopez. 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 ""
"Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i "
"dette tilfellet fra prinsippet i lopez. argumentet var ingensteds å bli "
"funnet. saken ble ikke selv sitert. argumentet som ble argumentet kjernen i "
"vårt tilfelle ikke engang vises i retten mening."

#.  PAGE BREAK 249
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. "
"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, "
"hun hadde funnet Kongressens makt ikke begrenset her."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Her opinion was perfectly reasonable&mdash;for her, and for Justice Souter. "
"Neither believes in Lopez. 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 ""
"hennes mening var helt rimelig--for henne, og for rettferdighet souter. "
"Ingen av dem tror på lopez. det ville være for mye å forvente dem til å "
"skrive en uttalelse som gjenkjennes, mye mindre forklart, doktrine som de "
"hadde arbeidet så hardt for å beseire."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 by not addressing the argument. There was no inconsistency because "
"they would not talk about the two together.  There was therefore no "
"principle that followed from the Lopez case: In that context, Congress's "
"power would be limited, but in this context it would not."
msgstr ""
"men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg "
"hadde sagt det var ingen måte denne retten kan avstemme begrenset krefter "
"med handel-setningsdelen og ubegrensede krefter med fremgang-setningsdelen. "
"det hadde aldri skjedd for meg at de kunne forene to ved adressering ikke "
"argumentet. Det var ingen inkonsekvens fordi de ikke ville snakker om to "
"sammen. Det ble derfor ingen prinsippet som fulgt av lopez tilfelle: i den "
"sammenhengen, Kongressens makt ville være begrenset, men i denne sammenheng "
"vil det ikke."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"ennå ved hvilken rett de fikk til å velge hvilke av de underskrev verdiene "
"de ville respekt? ved hvilken rett gjorde de--de stille fem--får å velge "
"delen av Grunnloven de ville håndheve basert på verdiene de trodde viktig? "
"Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg hadde "
"mislyktes med å overbevise dem om at problemet her var viktig, og jeg hadde "
"unnlot å innse at det er systemet vi har, men mye jeg kan hater et system "
"der domstolen får velge konstitusjonelle verdiene som det vil respektere,."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"to andre justiariusene breyer og stevens skrev veldig sterk Dissensene. "
"Stevens mening laget interne til loven: han hevdet at tradisjonen med "
"lovgivning for immaterielle ikke bør støtter dette uberettiget forlengelse "
"av vilkårene. han basert hans argument på en parallell analyse som hadde "
"styrt i sammenheng med patenter (så hadde vi). men resten av domstolen "
"nedsatte parallelt--uten å forklare hvordan de samme ord i fremgang-"
"setningsdelen kan komme til å bety helt forskjellige ting som er avhengig av "
"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens "
"kostnad gå ubesvart."

#.  PAGE BREAK 250
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"limited,\" and the existing term was so "
"long as to be effectively unlimited, then it was unconstitutional."
msgstr ""
"rettferdighet breyer oppfatning, kanskje den beste mening han noensinne har "
"skrevet, var eksterne for Grunnloven. Han hevdet at begrepet av "
"opphavsretten har blitt så lenge som å være effektivt ubegrenset. Vi hadde "
"sagt at under gjeldende begrepet, opphavsretten ga en forfatter 99.8 prosent "
"av verdien av et evigvarende begrep. Breyer sa vi var galt, at det faktiske "
"antallet var 99.9997 prosent av en evigvarende sikt. Uansett, punktet var "
"klart: Hvis grunnloven sa en term måtte være \"begrenset\", og eksisterende "
"begrepet var så langt som å være effektivt ubegrenset, så det var "
"forfatningsstridig."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"These two justices understood all the arguments we had made. But because "
"neither believed in the Lopez 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 "
"Hamlet without the Prince."
msgstr ""
"disse to justiariusene forstått alle argumentene vi hadde gjort. men fordi "
"ingen trodde i lopez-saken, heller ikke var villig til å skyve den som en "
"grunn til å avvise denne utvidelsen. tilfellet var besluttet uten at noen "
"har adressert argumentet om at vi hadde fraktet fra dommer sentelle. Det var "
"hamlet uten prinsen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Defeat brings depression. 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 ""
"tap bringer depresjon. de sier det er et tegn på helse når depresjon gir "
"måte å sinne. min vrede kom raskt, men det gjorde ikke kurere depresjon. "
"Dette sinne var inälvor."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"It was first anger with the five \"Conservatives.\" It would have been one "
"thing for them to have explained why the principle of Lopez 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 \"originalism\"&mdash;to first understand the framers' text, "
"interpreted in their context, in light of the structure of the Constitution. "
"That method had produced Lopez and many other \"originalist\" rulings. Where "
"was their \"originalism\" now?"
msgstr ""
"Det var første sinne på fem \"konservative.\" det ville ha vært en ting for "
"dem å har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. "
"ikke som ville vært et veldig overbevisende argument, jeg ikke tror, etter å "
"ha lest det gjort av andre, og at de hadde prøvd å gjøre det selv. men i "
"alle fall ville det ha vært en handling av integritet. disse to andre "
"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven "
"er \"originalism\"--å først forstå underskrev tekst, tolkes i sin "
"sammenheng, i lys av strukturen av Grunnloven. Denne metoden hadde produsert "
"lopez og mange andre \"originalist\" rulings. hvor var deres \"originalism\" "
"nå?"

#.  PAGE BREAK 251
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, de hadde med seg en oppfatning at aldri en gang prøvde å forklare hva "
"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de "
"sluttet seg en oppfatning at aldri en gang forsøkt å forklare hvordan "
"strukturen i som ledd vil påvirke tolkningen av Kongressens makt. og de med "
"seg en mening som ikke engang forsøke å forklare hvorfor dette stipendet av "
"makt kan være ubegrenset, mens handel-setningsdel ville være begrenset. kort "
"sagt, hadde de sluttet en uttalelse som ikke gjelde, og var inkonsekvent med "
"sin egen metode for tolking av Grunnloven. denne mening kan også har gitt et "
"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin "
"egen prinsipper."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"mitt sinne med høyre raskt gitt til sinne med meg selv. for jeg hadde la en "
"visning av loven som jeg likte forstyrre en visning av loven som det er."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 jurister og de fleste lov professorer, har liten tålmodighet for "
"idealismen om domstoler Generelt og denne Høyesterett spesielt. de fleste "
"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet "
"basert på om jeg kunne overbevise de to andre justiariusene at verdiene for "
"de underskrev var viktig, jeg kjempet ideen, fordi jeg ikke ønsker å tro at "
"det er hvordan denne retten bestemmer. jeg insisterte på kranglet denne "
"saken som om den var en enkel Påføring av et sett prinsipper. Jeg hadde et "
"argument som fulgte i logikken. Jeg trengte ikke å kaste bort min tid viser "
"det bør også følge i popularitet."

#.  PAGE BREAK 252
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg "
"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, "
"der sannheten om skade som denne ukontrollert makt vil forårsake kunne vært "
"gjort klart til denne retten. rettferdighet kennedy i god tro ville være "
"vist. Jeg, idiotically, rettet opp sine spørsmål. rettferdighet souter i god "
"tro ville være vist den første endringen skader. Jeg, reframed som en "
"matematikk-lærer spørsmål for å gjøre det logiske punktet. Jeg hadde vist "
"dem hvordan de kunne streik denne lov av Kongressen hvis de ville. Det var "
"en hundre steder hvor jeg kunne ha hjulpet dem vil, men min vrangvilje, mine "
"nektet å gi i, stoppet meg. Jeg har stått før hundrevis av målgrupper prøver "
"å overtale; Jeg har brukt lidenskap i at forsøk på å overtale; men jeg "
"nektet å stå denne målgruppen og prøver å overtale med lidenskap jeg hadde "
"brukt et annet sted. Det var ikke grunnlag som en domstol bør avgjøre "
"problemet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"ville det ha vært annerledes hvis jeg hadde hevdet det annerledes? ville det "
"ha vært annerledes hvis don ayer hadde hevdet det? eller charles stekt? "
"eller kathleen sullivan?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 huddled rundt meg å insistere det ikke ville. domstolen ikke var "
"klar, insisterte mine venner. Dette var et tap som var bestemt. det vil ta "
"mye mer å vise vårt samfunn hvorfor våre underskrev hadde rett. og når vi "
"gjør det, vil vi være i stand til å vise at domstolen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"kanskje, men jeg tviler på det. disse to andre justiariusene har ingen "
"økonomiske interesse i å gjøre noe annet enn rette. de er ikke planlagt. de "
"har liten grunn til å motstå gjør akkurat. Jeg kan ikke hjelpe, men mener at "
"hvis jeg hadde trappet ned fra denne pen bilde av dispassionate "
"rettferdighet, jeg kunne har overbevist."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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. \"The Court is not ready,\" Peter Jaszi said; this issue should not "
"be raised until it is."
msgstr ""
"og selv om jeg ikke kunne, deretter som unnskylde ikke hva som skjedde i "
"januar. for ved starten av dette tilfellet uttalt en av Amerikas ledende "
"immaterielle professorer offentlig at mitt å bringe denne saken var en feil. "
"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bør ikke heves "
"før det er."

#.  PAGE BREAK 253
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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.  While the reaction 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. "
"The New York Times wrote in its editorial,"
msgstr ""
"etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han "
"var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, "
"deretter som er alle bevis som trengs for å vite at her igjen peter var "
"rett. Jeg var ikke klar til å argumentere denne saken på en måte som ville "
"gjøre noen gode eller de var ikke klar til å høre dette tilfellet på en måte "
"som ville gjøre noen gode. Uansett, beslutningen om å bringe denne saken--en "
"beslutning om jeg hadde gjort fire år før--var galt. mens reaksjonen til "
"sonny bono handle selv var nesten enstemmig negativ, var reaksjonen til "
"domstolens avgjørelse blandet. Ingen, minst i pressen, prøvde å si at "
"utvidelse av copyright var en god idé. Vi hadde vant den kampen over ideer. "
"der beslutningen ble rost, ble det rost av papir som hadde vært skeptisk til "
"retten aktivisme i andre tilfeller. ærbødighet var bra, selv om det igjen en "
"dum lov. men der beslutningen ble angrepet, den ble angrepet fordi det igjen "
"en dum og skadelig lov. new york times skrev i sin redaksjonell,"

#. type: Content of: <book><chapter><sect1><blockquote><para>
#, mtrans, 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 ""
"i kraft gjør av Høyesterett beslutningen det sannsynlig at vi ser "
"begynnelsen på slutten av public domain og fødselen av opphavsrett "
"perpetuity. public domain har vært en store eksperimentet, som ikke skal "
"tillates å dø. muligheten til å trekke fritt på hele kreativ produksjon av "
"menneskeheten er en av grunnene til at vi lever i en tid med slike fruktbart "
"kreative gjære."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 on the next page. The \"powerful and "
"wealthy\" line is a bit unfair. But the punch in the face felt exactly like "
"that."
msgstr ""
"de beste svarene var i tegneserier. Det var en gaggle av morsom bilder--av "
"mickey i fengsel og lignende. best, fra min mening i saken, var ruben "
"bolling, gjengis på neste side. linjen \"kraftige og velstående\" er en "
"smule urettferdig. Men slag i ansiktet følte akkurat sånn."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The image that will always stick in my head is that evoked by the quote from "
"The New York Times. That \"grand experiment\" we call the \"public domain\" "
"is over? When I can make light of it, I think, \"Honey, I shrunk the "
"Constitution.\" 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 ""
"bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new "
"york times. at \"store eksperimentet\" vi kaller \"public domain\" er over? "
"Når jeg kan gjøre lys av det, tror jeg, \"Elskling, jeg krympet Grunnloven."
"\", men jeg kan sjelden gjøre lyset av den. Vi hadde i vår grunnlov en "
"engasjement for fri kultur. i tilfelle at jeg far, avkall Høyesterett "
"effektivt at satsing. ha ville gjort en bedre advokat dem se annerledes."

#. type: Content of: <book><chapter><sect1><title>
msgid "CHAPTER FOURTEEN: Eldred II"
msgstr "Kapittel fjorten: Eldred II"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The day Eldred was decided, fate would have it that I was to travel to "
"Washington, D.C. (The day the rehearing petition in Eldred 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 ""
"dag-eldred ble besluttet, men skjebnen ville at som jeg var å reise til "
"washington, DC (dagen rehearing protestskriv i eldred ble nektet--noe som "
"betyr at saken var virkelig endelig over--skjebnen ville at at jeg ga en "
"tale til Teknologorganisasjon på disney verden.) dette var en spesielt lang "
"flytur til min minst favoritt by. stasjonen til byen fra dulles ble "
"forsinket på grunn av trafikk, så jeg åpnet opp min datamaskin, og skrev en "
"op-ed brikke."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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: \"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.\" And so, having failed in "
"the argument of constitutional principle, finally, I turned to an argument "
"of politics."
msgstr ""
"Det var en handling av contrition. under hele flyturen fra san francisco til "
"washington, jeg hadde hørt om og om igjen i hodet mitt samme råd fra don "
"ayer: du trenger å gjøre dem se hvorfor det er viktig. og alternerende med "
"den samme kommandoen ble spørsmålet om rettferdighet kennedy: \"for alle "
"disse år loven har hindret fremgang i vitenskap og nyttig kunst. Jeg ser "
"ikke noen empiriske bevis for som.\", og så å ha mislyktes i argument av "
"konstitusjonelle prinsippet, til slutt, jeg slått til et argument av "
"politikk."

#.  PAGE BREAK 256
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The New York Times 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 ""
"new york times publisert arb. i den, jeg foreslått en enkel Fiks: femti år "
"etter at et arbeid er publisert, eieren av opphavsretten ville være "
"nødvendig å registrere arbeidet og betale en liten avgift. Hvis han betalt "
"gebyret, fikk han fordelen med full sikt av opphavsrett. Hvis han ikke "
"gjorde bestått arbeidet i public domain."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 kalte denne loven eldred, men det var bare for å gi det et navn. Eric "
"eldred var slag nok å la hans navn brukes igjen, men som han sa tidlig, det "
"vil ikke få gått med mindre det er et annet navn."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"Or another two names. For depending upon your perspective, this is either "
"the \"Public Domain Enhancement Act\" or the \"Copyright Term Deregulation "
"Act.\" 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 en annen to navn. for avhengig av ditt perspektiv, dette er enten "
"\"public domain forbedring act\" eller den \"copyright begrepet "
"dereguleringen act.\" Uansett, essensen av ideen er klar og tydelig: fjerne "
"copyright der det gjør ingenting bortsett fra blokkerer tilgang og spredning "
"av kunnskap. La det for så lenge Kongressen tillater for disse arbeider der "
"er verdt minst $1. men for alt annet, kan du la til innhold gå."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"reaksjon på denne ideen var utrolig sterk. Steve forbes vedtok det i en "
"redaksjonell. Jeg mottok en skred av e-post og brev som uttrykker støtte. "
"Når du fokuserer problemet på tapt kreativitet, kan folk se opphavsretten "
"til systemet gir ingen mening. som en god republikansk kan si, komme her "
"regjeringen regulering bare i veien innovasjon og kreativitet. og som en god "
"demokratisk kan si, regjeringen blokkerer her tilgang og spredning av "
"kunnskap for ingen god grunn. faktisk, det er ingen reell forskjell mellom "
"demokratene og republikanerne på dette problemet. noen kan gjenkjenne de "
"dumme skader som dagens ordning."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 anerkjent mange den åpenbare fordelen med kravet om registrering. "
"for en av de vanskeligste tingene om dagens system for folk som ønsker å "
"lisens innholdet er at det er ingen åpenbare sted å lete etter gjeldende "
"opphavsrett eierne. siden registrering ikke er nødvendig, siden merking "
"innhold ikke er påkrevd, siden ingen formalitet i det hele tatt er "
"nødvendig, er det ofte impossibly vanskelig å finne eiere av opphavsretter "
"for å be om tillatelse til å bruke eller lisensierer sitt arbeid. Dette "
"systemet vil redusere disse kostnadene ved å etablere minst én registret der "
"eiere av opphavsretter kan identifiseres."

#.  f1.
#. type: Content of: <book><chapter><sect1><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"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 \"the enjoyment and the exercise\" of "
"rights guaranteed by the Convention \"shall not be subject to any formality."
"\" 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, International Intellectual Property Law, Cases and "
"Materials (New York: Foundation Press, 2001), 153&ndash;54."
msgstr ""
"før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett "
"lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med "
"formaliteter som registrering, innskudd og affixation av forfatterens "
"reklamasjon av opphavsrett. imidlertid, starter med 1908 act, hver tekst av "
"konvensjonen gitt som \"få glede og øvelsen\" av rettigheter garanteres ved "
"konvensjonen \"skal ikke være gjenstand for alle formalitet.\" forbud mot "
"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne "
"konvensjonen. mange land fortsatt å innføre noen form for innskudd eller "
"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk "
"lov, krever for eksempel innskudd på kopier av works i nasjonale, for, "
"hovedsakelig nasjonalmuseet. Kopier av bøker som er utgitt i Storbritannia "
"må settes i british library. tysk opphavsrett lov gir en registrar av "
"forfattere der forfatterens sanne navn kan være arkivert i tilfelle av "
"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for "
"immaterielle, saker og materialer (new york: foundation press, 2001), 153­54."

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"As I described in chapter 10, 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 \"natural right.\" "
"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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"Walt Disney "
"creativity\" is destroyed when there is no simple way to know what's "
"protected and what's not."
msgstr ""
"Det er stor retorikk. det høres usedvanlig romantiske. men det er absurd "
"copyright policy. Det er absurd spesielt for forfattere, fordi en verden "
"uten formaliteter skader skaperen. muligheten til å spre \"walt disney "
"kreativitet\" er ødelagt når det er ingen enkel måte å vite hva er beskyttet "
"og hva som ikke."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 i or "
"cross a t resulted in the loss of widows' only income."
msgstr ""
"kampen mot formaliteter oppnådde sin første virkelige seier i berlin i 1908. "
"internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til å "
"kreve opphavsrett vilkårene i livet pluss femti år, i tillegg til "
"avskaffelse av opphavsrett formaliteter. formaliteter ble hatet fordi "
"historiene til utilsiktet tap var stadig vanligere. Det var som om et "
"charles dickens tegn kjørte alle opphavsrett kontorer, og unnlatelse av å "
"dot en i eller på tvers av en t ført til tap av enker eneste inntekt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 fornuftig. og kravene i formaliteter, særlig i "
"USA, var absurd. loven skal alltid har måter å forgiving uskyldige feil. Det "
"er ingen grunn lov om opphavsrett kunne også. i stedet for å forlate "
"formaliteter helt, burde svaret i berlin vært å omfavne en mer rettferdig "
"system for registrering."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 som ville har vært motstått, men fordi registrering i 1800 og 1900-"
"tallet var fortsatt dyrt. Det var også en problemfri. oppløsning av "
"formaliteter lovet ikke bare å lagre sultende enker, men også å lette en "
"unødvendig regulatoriske belastning påtvang skapere."

#.  PAGE BREAK 258
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"naturally,\" 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 tillegg til praktiske klagen av forfattere i 1908 var det så vel moralsk "
"krav. Det var ingen grunn at creative egenskapen, bør være en annenklasses "
"form for egenskapen. Hvis en snekker bygger en tabell, avhenger ikke sine "
"rettigheter over tabellen av innlevering et skjema med regjeringen. Han har "
"en eiendomsrett over tabellen \"naturlig\", og han kan hevde at høyre mot "
"alle som ville stjele tabellen, om han har informert regjeringen av sitt "
"eierskap av tabellen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 argumentet er riktig, men dens implikasjoner er misvisende. for "
"argumentet til fordel for formaliteter ikke avhenger av på kreative "
"egenskapen blir annenklasses egenskapen. argumentet for formaliteter slår på "
"spesielle problemer som creative egenskapen presenterer. loven om "
"formaliteter svarer på spesielle fysikk av kreative eiendom, å sikre at det "
"kan være effektivt og ganske spredt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Ingen mener for eksempel at landet er annenklasses egenskapen bare fordi du "
"har å register en gjerning med en domstol Hvis din salg av land er å være "
"effektive. og få tror en bil er annenklasses egenskapen bare fordi du må "
"registrere bilen med staten og merke den med en lisens. i begge disse "
"tilfellene ser alle at det er en viktig grunn til å sikre registrering--både "
"fordi det gjør markedene mer effektiv, og fordi det sikrer bedre "
"rettighetene til eieren. uten en registreringssystemet for land måtte "
"grunneiere perpetually vokte deres eiendom. med registrering, kan de bare "
"peker politiet til en gjerning. uten en registreringssystemet for biler, "
"ville auto tyveri være mye enklere. med en registreringssystemet har tyven "
"en høy belastning å selge en stjålet bil. en liten byrde er plassert på "
"eiendommen eier, men de byrdene produserer et mye bedre system av "
"beskyttelse for egenskapen generelt."

#.  PAGE BREAK 259
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, lawyer transactions take their place."
msgstr ""
"på samme måte er det spesielle fysikk som gjør formaliteter viktig i lov om "
"opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen "
"som gjør det relativt åpenbare som kan eie en bestemt bit av kreative-"
"egenskapen. et opptak av lyle lovett siste albumet kan finnes i en milliard "
"steder uten noe nødvendigvis knytte det tilbake til en bestemt eieren. og "
"som en bil, det er ingen måte å kjøpe og selge kreative egenskapen med "
"tillit med mindre det er noen enkel måte å godkjenne hvem er forfatter og "
"hvilke rettigheter han har. enkle transaksjoner er ødelagt i en verden uten "
"formaliteter. komplisert, dyrt, advokat transaksjoner ta sin plass."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"get.\" "
"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, \"short,\" 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 av problemet med sonny bono loven som vi prøvde å "
"demonstrere for retten. Dette var delen som det ikke \"få.\" fordi vi lever "
"i et system uten formaliteter, det er ingen måte lett å bygge på, eller bruk "
"kultur fra vår fortid. Hvis opphavsrett vilkårene var, som rettferdighet "
"historien sa de ville være, ville ikke \"kort\", da dette saken mye. i "
"fjorten år, ville under underskrev system, et arbeid presumptively "
"kontrolleres. etter fjorten år, ville det være presumptively ukontrollerte."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 because there are no formalities."
msgstr ""
"men nå som opphavsrett kan være omtrent et århundre lang, manglende evne til "
"å vite hva er beskyttet og hva er ikke beskyttet blir en stor og åpenbare "
"byrde på den kreative prosessen. Hvis det er den eneste måten et bibliotek "
"kan tilby en Internett-utstilling om new deal til å ansette en advokat for å "
"fjerne rettighetene til hver bildefil og lydfil, er opphavsretten til "
"systemet bebyrde kreativitet på en måte som aldri har vært sett før fordi "
"det er ingen formaliteter."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 act ble utformet for å svare på akkurat dette problemet. Hvis det er "
"verdt $1 til deg, deretter registrere ditt arbeid, og du kan få på lengre "
"sikt. andre vil vite hvordan du kontakter du, og derfor, hvordan du får din "
"tillatelse hvis de vil bruke arbeidet. og du vil få nytte av en utvidet "
"opphavsrett sikt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 verdt det for deg å registrere for å få utbytte av en "
"utvidet periode, bør ikke så det være verdt det for regjeringen å forsvare "
"ditt monopol over som fungerer heller. arbeidet skal passere i public domain "
"der alle kan kopiere den, eller bygge arkivet med det eller opprette en film "
"basert på den. Det bør bli gratis hvis det ikke er verdt $1 for deg."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"noen bekymre byrden på forfattere. ikke byrden med å registrere arbeidet "
"mener at $1 er egentlig misvisende? er ikke hassle verdt mer enn $1? er ikke "
"det virkelige problemet med registrering?"

#.  PAGE BREAK 260
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 governments 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 er. stresset er forferdelig. systemet som finnes nå er forferdelig. Jeg "
"helt enig at opphavsrett kontoret har gjort en fryktelig jobb (ingen tvil "
"fordi de er veldig finansiert) ved å aktivere enkel og billig "
"registreringer. alle ekte løsning på problemet med formaliteter må adressen "
"den virkelige problemet av regjeringer stående i kjernen av et system av "
"formaliteter. i denne boken tilby jeg en slik løsning. Denne løsningen "
"remakes hovedsak copyright kontoret. for nå, kan du anta at det var amazon "
"som kjørte registreringssystemet. anta det var ett klikk registrering. "
"eldred act ville foreslå en enkel, ett klikk registrering femti år etter et "
"arbeid ble offentliggjort. basert på historiske data, at systemet ville "
"flytte opptil 98 prosent av kommersielle arbeid, kommersielle fungerer som "
"ikke lenger hadde en kommersiell levetid, i public domain innen femti år. "
"hva tror du?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"When Steve Forbes 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 ""
"Når steve forbes støttet ideen, enkelte i washington begynte å betale "
"oppmerksomhet. mange kontaktet meg peker til representanter som kan være "
"villig til å introdusere eldred act. og jeg hadde noen som direkte foreslo "
"at de kan være villige til å ta det første skrittet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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, \"we are close.\" There was a general reaction in the "
"blog community that something good might happen here."
msgstr ""
"en representant, zoe lofgren i california, gikk så langt som å få regningen "
"utarbeidet. utkastet løst noen problemer med internasjonal lov. det pålagt "
"enkleste kravet på eiere av opphavsretter mulig. i mai 2003, det så ut som "
"om regningen ville være innført. 16. mai, jeg postet på eldred act blogg, "
"\"vi er lukkes\" Det oppstod en generell reaksjon i bloggen samfunnet som "
"noe godt kan skje her."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 stadiet, lobbyister begynte å intervenere. Jack valenti og mpaa "
"sjefsjurist kom til congresswoman's office å gi oversikt over mpaa. hjulpet "
"av sin advokat, som valenti fortalte meg, informert valenti i congresswoman "
"at mpaa vil motsette seg eldred act. årsakene er embarrassingly tynn. enda "
"viktigere, viser deres tykkelse noe klart om hva denne debatten er virkelig "
"om."

#.  PAGE BREAK 261
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"The MPAA argued first that Congress had \"firmly rejected the central "
"concept in the proposed bill\"&mdash;that copyrights be renewed. That was "
"true, but irrelevant, as Congress's \"firm rejection\" 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 \"enormous\" 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 ""
"mpaa hevdet først at Kongressen hadde \"fast avvist sentrale konseptet i "
"lovforslaget\"--opphavsrett fornyes. Det var sant, men irrelevant, som "
"congress's \"fast avvisning\" hadde skjedd lenge før Internett gjort "
"etterfølgende bruker mye mer sannsynlig. for det andre, de hevdet at "
"forslaget vil skade dårlig eiere av opphavsretter--tilsynelatende de som "
"ikke hadde råd til $1 gebyret. tredje, de hevdet at Kongressen hadde bestemt "
"at utvide en opphavsrett sikt vil oppfordre restaurering arbeid. kanskje når "
"det gjelder en liten prosentdel av arbeid dekket av lov om opphavsrett som "
"fortsatt er kommersielt verdifulle, men igjen dette var irrelevant, som "
"forslaget ikke vil kuttet av på lengre sikt med mindre ikke ble betalt $1 "
"gebyret. fjerde, mpaa hevdet at regningen ville innføre \"enorme\" "
"kostnader, siden en registreringssystemet ikke er gratis. Sant nok, men "
"disse kostnadene er sikkert mindre enn kostnadene ved å fjerne rettighetene "
"for en copyright der eieren ikke er kjent. femte bekymret de om risikoene "
"hvis opphavsretten til en historie underliggende en film var skjedde i "
"public domain. men hva risikoen er at? Hvis det er allemannseie, deretter er "
"filmen en gyldig avledet bruk."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Endelig, mpaa hevdet at eksisterende lov aktivert opphavsrett eiere til å "
"gjøre dette hvis de ville. men hele poenget er at det er tusenvis av "
"opphavsrett eiere som ikke selv vet de har opphavsretten til å gi. enten de "
"er fri til å gi bort deres copyright eller ikke--kontroversielle krav i alle "
"fall--hvis de ikke kjenner om opphavsretten, sannsynligvis de ikke."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"At the beginning 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 ""
"i begynnelsen av denne boken fortalte jeg to historier om loven reagerer på "
"endringer i teknologi. i den prevailed sunn fornuft. i den andre, ble sunn "
"fornuft forsinket. forskjellen mellom to historiene var strømmen av "
"opposisjonen--kraften til siden som kjempet for å forsvare status quo. i "
"begge tilfeller truet en ny teknologi gamle interesser. men i bare ett "
"tilfelle gjorde de interessen har makt til å beskytte seg mot denne nye "
"konkurransedyktig trusselen."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 brukte disse to tilfellene som en måte å ramme som denne boken har vært "
"om krigen. for her, også, er en ny teknologi tvinge lov til å reagere. og "
"her vi bør spørre, også, er loven etter eller motsette sunn fornuft? Hvis "
"sunn fornuft støtter loven, forklarer hva denne sunn fornuft?"

#.  PAGE BREAK 262
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 piratkopiering, er det riktig for loven tilbake opphavsrett "
"eierne. kommersielle piratkopiering som jeg beskrevet er galt og skadelig, "
"og loven bør arbeide for å fjerne den. Når problemet er p2p deling, det er "
"lett å forstå hvorfor loven backs eierne fortsatt: mye av denne deling er "
"feil, selv om mye er harmløse. Når problemet er copyright vilkår for Mikke "
"Mus av verden, er det mulig for fortsatt å forstå hvorfor loven favoriserer "
"hollywood: de fleste folk ikke gjenkjenner årsakene til å begrense "
"opphavsrett vilkår; Det er derfor fremdeles mulig å se god tro i motstanden."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"Dark Content\" that fills archives around the "
"world. So when the warriors oppose a change like this, we should ask one "
"simple question:"
msgstr ""
"men når opphavsrett eierne motsette et forslag som eldred act, så, til "
"slutt, er det et eksempel at legger bare naken selfinterest kjører denne "
"krigen. Denne loven ville frigjøre en ekstraordinære rekke innhold som "
"ellers er ubrukt. det ville ikke forstyrre noen opphavsrettsinnehaveren "
"ønske om å utøve fortsatt kontroll over hans innhold. det vil bare frigjøre "
"hva kevin kelly kall det \"mørke innholdet\" at fyll arkiver rundt om i "
"verden. så når warriors motsette en endring som dette, bør vi ber ett enkelt "
"spørsmål:"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid "What does this industry really want?"
msgstr "Hva denne industrien virkelig vil?"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 "
"their 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 their permission first."
msgstr ""
"med svært liten innsats, kunne warriors beskytte deres innhold. så innsatsen "
"for å blokkere noe som eldred loven er ikke virkelig om å beskytte sitt "
"innhold. innsatsen for å blokkere eldred loven er et forsøk på å sikre at "
"ingenting mer passerer i public domain. Det er et skritt for å sikre at den "
"offentlige sfæren vil aldri konkurrere, at det vil være ingen bruk av "
"innhold som ikke er kommersielt kontrollert, og at det vil være ingen "
"kommersiell bruk av innhold som ikke krever at deres tillatelse først."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"property\" but the rejection of a tradition.  Their aim "
"is not simply to protect what is theirs. Their aim is to assure that all "
"there is is what is theirs."
msgstr ""
"motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. "
"mektigste og sexy og godt elsket av lobbies virkelig har som målet ikke "
"beskyttelse av \"property\" men avvisningen av en tradisjon. deres mål er "
"ikke bare å beskytte hva er deres. deres mål er å sikre at alt er det er hva "
"er deres."

#.  PAGE BREAK 263
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 vanskelig å forstå hvorfor warriors ta denne visningen. Det er "
"ikke vanskelig å se hvorfor det ville ha nytte dem. Hvis kunne noe ødela "
"konkurransen av den offentlige sfæren knyttet til Internett. akkurat som rca "
"fryktet konkurransen av fm, frykter de konkurransen av et offentlig-domene "
"som er koblet til et offentlig som nå har mulighet til å opprette med det og "
"dele sin egen etablering."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 ""
"Hva er vanskelig å forstå er grunnen til at offentligheten tar denne "
"visningen. Det er som om loven gjort fly trespassers. mpaa står med causbys "
"og krav at deres ekstern og unyttig eiendomsrettigheter bli respektert, slik "
"at disse eksterne og glemt innehaver av opphavsrett kan blokkere fremdriften "
"for andre."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"All this seems to follow easily from this untroubled acceptance of the "
"\"property\" 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 \"permission society.\" 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 synes å følge lett fra denne untroubled aksept av \"eiendom\" i "
"immaterielle. sunn fornuft støtter det, og så lenge den gjør det, assaults "
"blir regn på teknologien av Internett. konsekvensen vil være et økende "
"\"tillatelse samfunn.\" fortiden kan dyrkes bare hvis du kan identifisere "
"eieren og få tillatelse til å bygge på hans arbeid. fremtiden vil bli "
"kontrollert av denne døde (og ofte unfindable) hånden av fortiden."

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

#. type: Content of: <book><chapter><para>
msgid ""
"There are more 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 ""
"Det er mer enn trettifem millioner mennesker over hele verden med AIDS-"
"viruset. Tjuefem millioner av dem bor i Afrika sør for Sahara.  Sytten "
"millioner har allerede dødd.  Sytten millioner afrikanere er prosentvis "
"proporsjonalt med syv millioner amerikanere.  Viktigere er det at dette er "
"17 millioner afrikanere."

#. type: Content of: <book><chapter><para>
msgid ""
"There is no cure for AIDS, but there are drugs to slow its progression.  "
"These antiretroviral therapies are still experimental, but they have already "
"had a dramatic effect. In the United States, AIDS patients who regularly "
"take a cocktail of these drugs increase their life expectancy by ten to "
"twenty years. For some, the drugs make the disease almost invisible."
msgstr ""
"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme "
"sykdommens utvikling.  Disse antiretrovirale terapiene er fortsatt "
"eksperimentelle, men de har hatt en dramatisk effekt allerede.  I USA øker "
"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin "
"levealder med ti til tjue år. For noen gjøre medisinene sykdommen nesten "
"usynlig."

#.  f1.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Commission on Intellectual Property Rights, \"Final Report: Integrating "
"Intellectual Property Rights and Development Policy\" (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 ""

#. type: Content of: <book><chapter><para>
msgid ""
"These drugs are expensive. When they were first introduced in the United "
"States, they cost between $10,000 and $15,000 per person per year. Today, "
"some cost $25,000 per year. At these prices, of course, no African nation "
"can afford the drugs for the vast majority of its population: $15,000 is "
"thirty times the per capita gross national product of Zimbabwe. At these "
"prices, the drugs are totally unavailable.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Disse medisinene er dyre.  Da de ble først introdusert i USA, kostet de "
"melom $10 000 og $15 000 pr. person hvert år.  I dag koster noen av dem $25 "
"000 pr. år.  Med disse prisene har, selvfølgelig, ingen afrikansk stat  råd "
"til medisinen for det store flertall av sine innbyggere: $15 000 er tredve "
"ganger brutto nasjonalprodukt pr. innbygger i Zimbabwe.  Med slike priser er "
"disse medisinene fullstendig utilgjengelig.<placeholder type=\"footnote\" id="
"\"0\"/>"

#.  PAGE BREAK 265
#. type: Content of: <book><chapter><para>
msgid ""
"These prices are not high because the ingredients of the drugs are "
"expensive. These prices are high because the drugs are protected by patents. "
"The drug companies that produced these life-saving mixes enjoy at least a "
"twenty-year monopoly for their inventions. They use that monopoly power to "
"extract the most they can from the market. That power is in turn used to "
"keep the prices high."
msgstr ""
"Disse prisene er ikke høye fordi ingrediensene til medisinene er dyre.  "
"Disse prisene er høye fordi medisinene er beskyttet av patenter.  "
"Farmasiselskapene som produserer disse livreddende blandingene nyter minst "
"tjue års monopol på sine oppfinnelser.  De bruker denne monopolmakten til å "
"hente ut så mye de kan fra markedet.  Ved hjelp av denne makten holder de "
"prisene høye."

#. type: Content of: <book><chapter><para>
#, mtrans, 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, spesielt medisinpatenter. Det er "
"ikke jeg. faktisk av alle områder av forskning som kan være støttet av "
"patenter, er drug research, etter min mening, klareste tilfelle der patenter "
"er nødvendig. patent gir farmasøytisk firma noen forsikring om at hvis det "
"er vellykket i inventing et nytt medikament for å behandle en sykdom, vil "
"det kunne tjene tilbake sine investeringer og mer. Dette er sosialt et "
"ekstremt verdifullt insentiv. Jeg er den siste personen som vil hevde at "
"loven skal avskaffe det, i det minste uten andre endringer."

#. type: Content of: <book><chapter><para>
msgid ""
"But it is one thing to support patents, even drug patents. It is another "
"thing to determine how best to deal with a crisis. And as African leaders "
"began to recognize the devastation that AIDS was bringing, they started "
"looking for ways to import HIV treatments at costs significantly below the "
"market price."
msgstr ""
"Men det er én ting å støtte patenter, selv medisinske patenter. Det er en "
"annen ting å avgjøre hvordan en best skal håndtere en krise. Og i det "
"afrikanske ledere begynte å erkjenne ødeleggelsen AIDS brakte, begynte de å "
"se etter måter å importere HIV-medisiner til kostnader betydelig under "
"markedspris."

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

#.  f2.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
"Knowledge Economy? (New York: The New Press, 2003), 37."
msgstr ""
"Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the "
"Knowledge Economy? (New York: The New Press, 2003), 37."

#. type: Content of: <book><chapter><para>
msgid ""
"In 1997, South Africa tried one tack. It passed a law to allow the "
"importation of patented medicines that had been produced or sold in another "
"nation's market with the consent of the patent owner. For example, if the "
"drug was sold in India, it could be imported into Africa from India. This is "
"called \"parallel importation,\" and it is generally permitted under "
"international trade law and is specifically permitted within the European "
"Union.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#.  f3.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"International Intellectual Property Institute (IIPI), Patent Protection and "
"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
"for the World Intellectual Property Organization (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 ""

#.  f4.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"International Intellectual Property Institute (IIPI), Patent Protection and "
"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared "
"for the World Intellectual Property Organization (Washington, D.C., 2000), "
"15."
msgstr ""
"International Intellectual Property Institute (IIPI), Patent Protection and "
"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en rapport "
"forberedt for the World Intellectual Property Organization (Washington, D."
"C., 2000), 15."

#. type: Content of: <book><chapter><para>
msgid ""
"However, the United States government opposed the bill. Indeed, more than "
"opposed. As the International Intellectual Property Association "
"characterized it, \"The U.S. government pressured South Africa . . .  not to "
"permit compulsory licensing or parallel imports.\"<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 ""

#. type: Content of: <book><chapter><para>
msgid ""
"We should place the intervention by the United States in context.  No doubt "
"patents are not the most important reason that Africans don't have access to "
"drugs. Poverty and the total absence of an effective health care "
"infrastructure matter more. But whether patents are the most important "
"reason or not, the price of drugs has an effect on their demand, and patents "
"affect price. And so, whether massive or marginal, there was an effect from "
"our government's intervention to stop the flow of medications into Africa."
msgstr ""
"Vi bør sette intervensjonen til USA i sammenheng.  Det er ingen tvil om at "
"patenter ikke er den viktigste årsaken til at Afrikanere ikke har tilgang "
"til medisiner.  Fattigdom og den totale mangel på effektivt helsevesen betyr "
"mer. Men uansett om patenter er en viktigste grunnen eller ikke, så har "
"prisen på medisiner en effekt på etterspørselen, og patenter påvirker "
"prisen. Så uansett, massiv eller marginal, så var det en effekt av våre "
"myndigheters intervensjon for å stoppe flyten av medisiner inn til Afrika."

#. type: Content of: <book><chapter><para>
msgid ""
"By stopping the flow of HIV treatment into Africa, the United States "
"government was not saving drugs for United States citizens.  This is not "
"like wheat (if they eat it, we can't); instead, the flow that the United "
"States intervened to stop was, in effect, a flow of knowledge: information "
"about how to take chemicals that exist within Africa, and turn those "
"chemicals into drugs that would save 15 to 30 million lives."
msgstr ""
"Ved å stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i "
"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det så "
"kan ikke vi spise det). Det som USA i effekt intervenerte for å stoppe, var "
"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes "
"i Afrika og gjøre disse kjemikaliene om til medisiner som kan redde 15 til "
"30 millioner liv."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"heller ikke var intervensjon av den USA kommer til å beskytte fortjeneste av "
"USA stoffet selskaper&mdash;minst, ikke betydelig. Det var ikke som om disse "
"landene var i posisjon til å kjøpe narkotika for prisene stoffet selskaper "
"ble lading. igjen er afrikanere vill for dårlig til å ha råd til disse "
"stoffene til tilbys priser. stoppe parallellimport av disse stoffene ville "
"ikke øke betydelig salg etter amerikanske selskaper."

#.  f5.
#.  PAGE BREAK 333
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at "
"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> "
"(\"compulsory licenses and gray markets pose a threat to the entire system "
"of intellectual property protection\"); Robert Weissman, \"AIDS and "
"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign "
"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. "
"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding "
"the Proper Balance Between Intellectual Property Rights and Compassion, a "
"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"Instead, the argument in favor of restricting this flow of information, "
"which was needed to save the lives of millions, was an argument about the "
"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was "
"because \"intellectual property\" would be violated that these drugs should "
"not flow into Africa. It was a principle about the importance of "
"\"intellectual property\" that led these government actors to intervene "
"against the South African response to AIDS."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"sanctity\" 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 ""
"nå bare skritt tilbake for et øyeblikk. det vil være en gang tretti år fra "
"nå når våre barn ser tilbake på oss og spør, hvordan kan vi la dette skje? "
"Hvordan kan vi tillate en politikk for å gjennomføres med direkte kostnader "
"ville være å øke død 15 til 30 millioner afrikanere, og der bare ekte fordel "
"ville være å opprettholde \"sanctity\" av en idé? Hva eventuell berettigelse "
"kan det være for en politikk som fører til så mange dødsfall? Hva er den "
"sinnssykdom som ville tillate så mange til å dø for slike en abstraksjon?"

#. type: Content of: <book><chapter><para>
msgid ""
"Some blame the drug companies. I don't. They are corporations.  Their "
"managers are ordered by law to make money for the corporation.  They push a "
"certain patent policy not because of ideals, but because it is the policy "
"that makes them the most money. And it only makes them the most money "
"because of a certain corruption within our political system&mdash; a "
"corruption the drug companies are certainly not responsible for."
msgstr ""
"Noen skylder på farmasiselskapene.  Det gjør ikke jeg.  De er selskaper, og "
"deres ledere er lovpålagt å sikre at selskapene tjener penger.  De presser "
"på for en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er "
"dette som gjør at de tjener mest penger.  Og dete gjør kun at de tjener mest "
"penger på grunn av en slags korrupsjon i vårt politiske system&mdash; en "
"korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"korrupsjon er vår egen politikeres svikt i integritet. for stoffet selskaper "
"ville elske&mdash;de sier, og jeg tror dem &mdash; å selge sine narkotika så "
"billig som de kan til land i Afrika og andre steder. Det er problemer de må "
"løse å sikre at narkotika ikke komme tilbake i USA, men de er bare problemer "
"av teknologi. de kan bli overvunnet."

#.  PAGE BREAK 268
#. type: Content of: <book><chapter><para>
#, mtrans, 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, \"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?\" Because there is no \"sound bite\" 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 \"intellectual property.\""
msgstr ""
"et annet problem, men kunne ikke bli overvunnet. Dette er frykt for den "
"grandstanding politikeren som ville kalle presidenter av stoffet selskaper "
"før Senatet eller huset hørsel, og spør, \"hvor er det du kan selge stoffet "
"hiv i Afrika for bare $1 en pille, men det likt bedøve ville koste en "
"amerikansk $1500?\" fordi det er ingen \"lyd bite\" svar på det spørsmålet, "
"effekten ville være å indusere regulering av priser i Amerika. stoffet "
"selskaper dermed unngå denne spiral ved å unngå det første trinnet. de "
"forsterke ideen om at egenskapen skal være hellig. de vedta en rasjonell "
"strategi i en irrasjonell kontekst, med de utilsiktede konsekvensene som "
"kanskje millioner dø. og at rasjonell strategi dermed ramme når det gjelder "
"dette ideelle--sanctity av en idé som kalles \"immaterielle.\""

#. type: Content of: <book><chapter><para>
msgid ""
"So when the common sense of your child confronts you, what will you say? "
"When the common sense of a generation finally revolts against what we have "
"done, how will we justify what we have done? What is the argument?"
msgstr ""
"Så når du konfronteres av den sunne fornuften til ditt barn, hva vil du si?  "
"Når den sunne fornuften hos en generasjon endelig gjør opprør mot hva vi har "
"gjort, hvordan vil vi rettferdiggjøre hva vi har gjort?  Hva er argumentet?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 patent policy kan godkjenner og støtter patentsystemet uten å "
"nå alle overalt på nøyaktig samme måte. akkurat som en fornuftig copyright "
"policy kan godkjenner og støtter en opphavsretten til systemet uten å måtte "
"regulerer spredning av kultur perfekt og for evig, kan en fornuftig patent "
"policy godkjenner og støtter en patentsystemet uten å blokkere spredning av "
"narkotika til et land som ikke er rike nok til å ha råd til markedspriser i "
"alle fall. en fornuftig politikk, med andre ord, kan være en balansert "
"policy. for de fleste av vår historie, var både om opphavsrett og patent "
"politikk balansert i bare denne forstand."

#.  PAGE BREAK 269
#. type: Content of: <book><chapter><para>
#, mtrans, 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.  A simple idea 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 ""
"men vi som en kultur har mistet denne følelse av balanse. Vi har mistet blir "
"kritisk blikk som hjelper oss med å se forskjellen mellom sannheten og "
"ekstremisme. en bestemt egenskap fundamentalisme, har ingen forbindelse til "
"vår tradisjon, hersker nå i denne kulturen--bizarrely, og med konsekvenser "
"som er mer alvorlig til spredning av ideer og kultur enn nesten alle andre "
"enkelt policyen beslutning som vi som et demokrati vil gjøre. en enkel idé "
"gjorde oss blinde, og under dekke av mørke, mye skjer at de fleste av oss "
"vil avvise hvis noen av oss så. så kritikkløst aksepterer vi ideen om "
"eiendom i ideer at vi ikke engang merke til hvordan kjempestor det er å "
"nekte ideer til et folk som er døende uten dem. så kritikkløst aksepterer vi "
"ideen om eiendom i kultur at vi ikke selv spørsmålet når kontroll av "
"egenskapen fjerner vår evne, som mennesker, å utvikle vår kultur "
"demokratisk. blindhet blir våre sunn fornuft. og utfordringen for alle som "
"ville gjenvinne retten til å dyrke vår kultur er å finne en måte å gjøre "
"dette sunn fornuft åpne sine øyne."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"piracy,\" and "
"devastate a culture for creativity. They defend the idea of \"creative "
"property,\" 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 \"perfect storm\" for free culture."
msgstr ""
"så langt, sunn fornuft sover. Det er ingen opprør. sunn fornuft ser ennå "
"ikke hva det kunne til opprør om. ekstremisme som dominerer nå denne "
"debatten passer med ideer som virker naturlig, og som passer er forsterket "
"av rcas i dag. de føre en panisk krig for å bekjempe \"piratkopiering\" og "
"herje en kultur for kreativitet. de forsvare ideen om \"kreative eiendom\" "
"mens transformere virkelige skaperne til dagens sharecroppers. de er "
"fornærmet av ideen at rettigheter bør være balansert, selv om hver av de "
"største aktørene i denne innhold krigen var selv en mottaker av en mer "
"balansert ideell. hykleri reeks. ennå i en by som washington, hykleri er "
"ikke engang merke til. kraftig lobbies, komplekse problemer og mtv "
"oppmerksomhet spenn produsere \"perfect storm\" gratis kultur."

#.  f6.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August "
"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting "
"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available "
"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William "
"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National "
"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #61</ulink>."
msgstr ""

#.  PAGE BREAK 270
#. type: Content of: <book><chapter><para>
msgid ""
"In August 2003, 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 \"open and "
"collaborative projects to create public goods.\" 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 the 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 \"open "
"source and free software.\""
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"målet for møtet var å vurdere dette rekke prosjekter fra én felles "
"perspektiv: at ingen av disse prosjektene som grunnlag for immaterielle "
"ekstremisme. i stedet i alle av dem, ble immaterielle balansert av avtaler å "
"holde access åpne, eller for å angi begrensninger for hvordan proprietære "
"krav kan brukes."

#.  f7.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"I should disclose that I was one of the people who asked WIPO for the "
"meeting."
msgstr "Jeg bør avsløre at jeg var en av folkene som ba WIPO om dette møtet."

#. type: Content of: <book><chapter><para>
msgid ""
"From the perspective of this book, then, the conference was ideal."
"<placeholder type=\"footnote\" id=\"0\"/> The projects within its scope "
"included both commercial and noncommercial work. They primarily involved "
"science, but from many perspectives.  And WIPO was an ideal venue for this "
"discussion, since WIPO is the preeminent international body dealing with "
"intellectual property issues."
msgstr ""

#.  PAGE BREAK 271
#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"Information Society\" 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 var jeg en gang offentlig scolded for ikke å kjenne igjen dette "
"faktum om wipo. i februar 2003 leveres jeg en keynote-adressen til en "
"forberedende konferanse for toppmøtet i verden på informasjonssamfunnet "
"(wsis). på en pressekonferanse før adressen, ble jeg spurt hva jeg vil si. "
"Jeg svarte at jeg skulle snakke litt om betydningen av balanse i "
"immaterielle for utviklingen av en informasjonssamfunn. moderator for "
"hendelsen deretter umiddelbart avbrutt for å informere meg og sammensatte "
"journalister at ingen tvil om immaterielle vil bli diskutert av wsis, siden "
"disse spørsmålene var at et eksklusivt domene av wipo. i talk at jeg hadde "
"forberedt, hadde jeg faktisk gjorde saken av åndsverk som er relativt små. "
"men etter denne forbløffende erklæringen, jeg gjorde immaterielle eneste "
"fokus på mitt snakk. Det var ikke mulig å snakke om en "
"\"informasjonssamfunnet\", med mindre en også snakket om omfanget av "
"informasjon og kultur som vil være gratis. min snakk gjorde ikke min "
"immoderate moderator veldig glad. og hun var uten tvil riktig at omfanget av "
"beskyttelse av intellektuell eiendom var vanligvis ting av wipo. men etter "
"min mening, det kunne ikke være for mye av en samtale om hvor mye "
"immaterielle er nødvendig, siden etter mitt syn er selve ideen om balanse i "
"immaterielle hadde gått tapt."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"open and collaborative projects to create public goods\" "
"seemed perfectly appropriate within the WIPO agenda."
msgstr ""
"så om wsis kan diskutere saldoen i intellektuell eiendom, hadde jeg trodde "
"det var tatt for gitt at wipo kan og bør. og dermed møtet om \"åpent og nært "
"prosjekter til å opprette offentlige varer\" virket perfekt passende innen "
"wipo-agendaen."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"But there is one project within that list that is highly controversial, at "
"least among lobbyists. That project is \"open source and free software.\" "
"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 \"proprietary software,\" for their own internal "
"uses."
msgstr ""
"men det er ett prosjekt i listen som er svært kontroversielt, minst blant "
"lobbyister. Dette prosjektet er \"åpen kildekode og gratis programvare.\" "
"microsoft spesielt er skeptisk til diskusjon om emnet. fra sin perspektiv, "
"ville en konferanse for å diskutere åpen kildekode og fri programvare være "
"som en konferanse for å diskutere Apples operativsystem. både åpen kildekode "
"og fri programvare kan du konkurrere med Microsofts programvare. og "
"internasjonalt, mange regjeringer har begynt å utforske krav at de bruker "
"åpen kildekode eller gratis programvare, snarere enn \"proprietær "
"programvare,\" for sine egne interne bruk."

#.  f8.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Microsoft's position about free and open source software is more "
"sophisticated.  As it has repeatedly asserted, it has no problem with \"open "
"source\" software or software in the public domain. Microsoft's principal "
"opposition is to \"free software\" licensed under a \"copyleft\" license, "
"meaning a license that requires the licensee to adopt the same terms on any "
"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling "
"the Marketplace to Decide,\" Government Policy Toward Open Source Software "
"(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, The Commercial "
"Software Model, 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 ""

#. type: Content of: <book><chapter><para>
msgid ""
"I don't mean to enter that debate here. It is important only to make clear "
"that the distinction is not between commercial and noncommercial software. "
"There are many important companies that depend fundamentally upon open "
"source and free software, IBM being the most prominent. IBM is increasingly "
"shifting its focus to the GNU/Linux operating system, the most famous bit of "
"\"free software\"&mdash;and IBM is emphatically a commercial entity. Thus, "
"to support \"open source and free software\" 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 ""

#.  PAGE BREAK 272
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"More important for our purposes, to support \"open source and free software"
"\" is not to oppose copyright. \"Open source and free software\" 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 ""
"mer viktig for vårt formål, å støtte \"åpen kildekode og fri programvare\" "
"er ikke til å motsette copyright. \"åpen kildekode og fri programvare\" er "
"ikke programvare i den offentlige sfæren. i stedet, som Microsofts "
"programvare, opphavsrett eierne av gratis og åpen kildekode programvare "
"insistere ganske sterkt at vilkårene i deres programvarelisens respekteres "
"av adoptert av ledig og åpen kilde-programvare. vilkårene i denne lisensen "
"er ingen tvil om forskjellige fra vilkårene i en proprietær programvare-"
"lisens. fri programvare lisensiert under general public license (gpl), "
"krever for eksempel at kildekoden for programvaren gjøres tilgjengelig av "
"alle som endrer og redistribuerer programvaren. men at kravet er effektivt "
"bare hvis copyright styrer programvare. Hvis copyright ikke styre "
"programvare, kan deretter fri programvare ikke pålegge samme type krav på "
"sin adoptert. det dermed avhenger lov om opphavsrett på samme måte som "
"microsoft."

#.  f9.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Krim, \"The Quiet War over Open-Source,\" available at <ulink url=\"http://"
"free-culture.cc/notes/\">link #64</ulink>."
msgstr ""
"Krim, \"The Quiet War over Open-Source,\" tilgjengelig fra <ulink url="
"\"http://free-culture.cc/notes/\">link #64</ulink>."

#. type: Content of: <book><chapter><para>
msgid ""
"It is therefore understandable that as a proprietary software developer, "
"Microsoft would oppose this WIPO meeting, and understandable that it would "
"use its lobbyists to get the United States government to oppose it, as well. "
"And indeed, that is just what was reported to have happened. According to "
"Jonathan Krim of the Washington Post, 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 ""

#. type: Content of: <book><chapter><para>
msgid ""
"I don't blame Microsoft for doing what it can to advance its own interests, "
"consistent with the law. And lobbying governments is plainly consistent with "
"the law. There was nothing surprising about its lobbying here, and nothing "
"terribly surprising about the most powerful software producer in the United "
"States having succeeded in its lobbying efforts."
msgstr ""
"Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne "
"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er "
"åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres "
"lobbyvirksomhet, og ikke veldig overraskende at den mektigste "
"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"open-source software runs counter to the mission of WIPO, which is to "
"promote intellectual-property rights.\" She is quoted as saying, \"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.\""
msgstr ""
"Hva var overraskende var USA regjeringens begrunnelse for motstridende "
"møtet. igjen, som rapportert av krim, lois boland, direktør ved "
"internasjonale forbindelser for US patent og trademark office, forklarte at "
"\"åpen kilde-programvare kjører teller til mission av wipo, som er å fremme "
"intellektuelle-egenskapen rettigheter.\" hun er sitert som sier, \"for å "
"holde et møte som har som sitt formål å fraskriver seg eller frafalle slike "
"rettigheter synes å oss å være i strid med målene for wipo.\""

#. type: Content of: <book><chapter><para>
msgid "These statements are astonishing on a number of levels."
msgstr "Disse utsagnene er forbløffende på flere nivåer."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 "
"\"copyright\".  Without it, restrictions imposed by those licenses wouldn't "
"work. Thus, to say it \"runs counter\" 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 greit feil.  Som jeg beskrev, er det "
"meste av åpen kildekode og fri programvare fundamentalt avhengig av den "
"immaterielle retten kalt \"opphavsrett\".  Uten den vil restriksjoner pålagt "
"av disse lisensene ikke fungere. Dermed er det å si at det \"går imot\" "
"formålet om å fremme immaterielle rettigheter å avsløre en ekstraordinær "
"mangel på forståelse&mdash;den type feil som er tilgivelig hos en  førsteårs "
"jusstudent, men pinlig fra en høyt plassert statstjenesteperson som "
"håndterer utfordringer rundt immaterielle rettigheter."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Second, who ever said that WIPO's exclusive aim was to \"promote\" "
"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 noen gang hevdet at WIPOs eksklusive mål var å "
"\"fremme\" immaterielle maksimalt? som jeg hadde vært scolded på "
"forberedende konferansen av WSIS, WIPO er å vurdere hvordan man best kan "
"beskytte åndsverk, men også hva beste balanse av åndsverk. som alle økonom "
"og advokat vet, er det vanskelige spørsmålet i lovgivning for immaterielle å "
"finne denne balansen. men at det bør være grensene er, jeg hadde tenkt, "
"ubestridt. man ønsker å spørre ms. Boland, er generiske legemidler "
"(legemidler basert på narkotika med patent har utløpt) i strid med wipo-"
"oppdrag? allemannseie svekke immaterielle? ville det ha vært bedre hvis "
"protokoller av Internett hadde vært patenterte?"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 their rights. If they want to \"waive"
"\" or \"disclaim\" 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 their "
"property."
msgstr ""
"tredje, selv om en antatt at hensikten med wipo var å maksimere immaterielle "
"rettigheter, i vår tradisjon, immaterielle rettigheter er holdt av individer "
"og selskaper. de kommer til å bestemme hva de skal gjøre med disse "
"rettighetene fordi, igjen, de er deres rettigheter. Hvis de ønsker å "
"\"frafalle\" eller \"fraskriver\" deres rettigheter, det vil si at innen vår "
"tradisjon, helt riktig. Når bill gates gir bort mer enn $20 milliarder til å "
"gjøre godt i verden, det er ikke uforenlig med målene for egenskapen "
"systemet. det vil si tvert imot, bare hva et egenskapen system er ment for å "
"være om: å gi enkeltpersoner retten til å avgjøre hva å gjøre med deres "
"eiendom."

#.  PAGE BREAK 274
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"When Ms. Boland says that there is something wrong with a meeting \"which "
"has as its purpose to disclaim or waive such rights,\" 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 \"waiving\" or \"disclaiming\" 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 MS boland sier at det er noe galt med et møte \"som har som sitt formål "
"å fraskriver seg eller frafalle slike rettigheter, sier hun sier at wipo har "
"en interesse i forstyrre valgene av enkeltpersoner som selv immaterielle "
"rettigheter. at noe wipo's målet bør være å stoppe en person fra \"waiving\" "
"eller \"fraskrivelser\" en eiendomsrett. at interesse av wipo ikke er bare "
"at immaterielle rettigheter er maksimert, men at de også kan vere mest "
"ekstreme og restriktiv mulig."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"There is a history of just such a property system that is well known in the "
"Anglo-American tradition. It is called \"feudalism.\" 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 bare slikt egenskapen system som er godt kjent i anglo-"
"amerikanske tradisjonen. Det kalles \"føydalisme.\" under føydalisme, ikke "
"bare var egenskapen holdt av et relativt lite antall individer og entiteter. "
"og ikke bare var de samme rettighetene som kjørte med egenskapen kraftig og "
"omfattende. men føydale systemet hadde en sterk interesse for å sikre at "
"eiendom holders i dette systemet ikke svekke føydalisme av frigjørende "
"personer eller egenskapen innenfor deres kontroll til det frie markedet. "
"Føydalisme depended upon maksimal kontroll og konsentrasjon. det kjempet "
"noen friheten som kan forstyrre denne kontrollen."

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

#.  f10.
#. type: Content of: <book><chapter><para><footnote><para>
msgid "See Drahos with Braithwaite, Information Feudalism, 210&ndash;20."
msgstr "Se Drahos og Braithwaite, Information Feudalism, 210&ndash;­20."

#. type: Content of: <book><chapter><para>
msgid ""
"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
"are now making about intellectual property.<placeholder type=\"footnote\" id="
"\"0\"/> We will have an information society. That much is certain. Our only "
"choice now is whether that information society will be free or feudal. The "
"trend is toward the feudal."
msgstr ""

#. type: Content of: <book><chapter><para>
#, mtrans, 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 ""
"Når denne kampen brøt, jeg blogged det. en dristig debatt i kommentar-delen "
"ensued. MS. boland hadde en rekke tilhengere som prøvde å vise hvorfor "
"hennes Kommentarer gjort forstand. men det var en kommentar som var spesielt "
"deprimerende for meg. skrev en anonym plakat,"

#.  PAGE BREAK 275
#. type: Content of: <book><chapter><blockquote><para>
#, mtrans, fuzzy
msgid ""
"George, you misunderstand Lessig: He's only talking about the world as it "
"should be (\"the goal of WIPO, and the goal of any government, should be to "
"promote the right balance of intellectualproperty rights, not simply to "
"promote intellectual property rights\"), 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 misforstå lessig: han bare snakker om verden som den skal "
"(\"Målet med wipo og mål av enhver regjering, bør være å fremme den rette "
"balansen av intellectualproperty rettigheter, ikke bare for å fremme "
"immaterielle rettigheter\"), ikke som det er. Hvis vi snakker om i verden "
"som det er, så si selvfølgelig boland ikke noe galt. men i verden som lessig "
"ville ha det, så selvfølgelig hun gjorde. alltid ta hensyn til skillet "
"mellom lessig's verden og vår."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 savnet den ironi først gangen jeg leste den. jeg lese det raskt og "
"trodde plakaten var støtter ideen om at søker balansen var hva vår regjering "
"bør gjøre. (selvfølgelig, min kritikk av ms. Boland var ikke om om hun var "
"søker balansen eller ikke; min kritikk var at hennes kommentarer forrådt en "
"første året law student-feil. Jeg har noen illusjon om ekstremisme av vår "
"regjering om republikaner eller demokrat. min eneste illusjon angivelig er "
"om om vår regjering bør snakke sannheten eller ikke.)"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"goal\" of "
"a government should be \"to promote the right balance\" of intellectual "
"property. That was obviously silly to him. And it obviously betrayed, he "
"believed, my own silly utopianism. \"Typical for an academic,\" the poster "
"might well have continued."
msgstr ""
"åpenbart, men plakaten var ikke støtter at ideen. i stedet, plakaten var "
"latterliggjøre the very ideen om at i den virkelige verden, \"mål\" av en "
"regjering bør være \"for å fremme den rette balansen\" av åndsverk. Det var "
"tydeligvis dum til ham. og det åpenbart forrådt, han mente, min egen dum "
"utopianism. \"typisk for en akademiker,\" plakaten kan godt har fortsatt."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 kritikk av akademisk utopianism. Jeg tror utopianism er dum, "
"også, og jeg vil være først til å rote det gøy på absurd urealistisk idealer "
"akademikere gjennom historien (og ikke bare i vårt eget land historie)."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"But when it has become silly to suppose that the role of our government "
"should be to \"seek balance,\" 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 blitt dum å anta at rollen som vår regjering bør være å "
"\"søke balanse\", deretter teller meg med dum, for det betyr at dette har "
"blitt ganske alvorlig faktisk. Hvis det skal være klart for alle at "
"regjeringen ikke søker balanse, at regjeringen er ganske enkelt de mektigste "
"lobbyister verktøyet, at ideen om å holde regjeringen å en annen standard er "
"absurd, at ideen om krevende av regjeringen at det taler sannheten og ikke "
"løgn er bare naiv, og som har vi, det mektigste demokratiet i verden, bli?"

#.  PAGE BREAK 276
#. type: Content of: <book><chapter><para>
#, mtrans, 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 gal å forvente en høy regjeringen offisielle å si sannheten. "
"Det kan være gal å tro at regjeringens politikk blir noe mer enn handmaiden "
"av de mektigste interessene. Det kan være gal å argumentere at vi skal "
"bevare en tradisjon som har vært en del av vår tradisjon for de fleste av "
"vår historie--fri kultur."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"If this is crazy, then let there be more crazies. Soon.  There are moments "
"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 ""
"Hvis dette er gal, så la det være mer crazies. snart. Det er øyeblikk av håp "
"i denne kampen. og øyeblikk som overraske. Når fcc var vurderer avslappende "
"eierskap regler, som ville dermed ytterligere øke konsentrasjon i media "
"eierskap, en ekstraordinære bipartisan koalisjon dannet for å bekjempe denne "
"endringen. for kanskje første gang i historien, interesser så forskjellige "
"som nra, aclu, moveon.org, william safire, ted turner og codepink kvinner "
"for fred organisert til å motsette seg denne endringen i fcc-policyen. en "
"forbløffende 700.000 bokstaver ble sendt til fcc, krever mer hearings og et "
"annet resultat."

#. type: Content of: <book><chapter><para>
msgid ""
"This activism did not stop the FCC, but soon after, a broad coalition in the "
"Senate voted to reverse the FCC decision. The hostile hearings leading up to "
"that vote revealed just how powerful this movement had become. There was no "
"substantial support for the FCC's decision, and there was broad and "
"sustained support for fighting further concentration in the media."
msgstr ""
"Denne aktivismen stoppet ikke FCC, men like etter stemte en bred koalisjon i "
"senatet for å reversere avgjørelsen i FCC. De fientlige høringene som ledet "
"til avstemmingen avslørte hvor mektig denne bevegelsen hadde blitt.  Det var "
"ingen betydnigsfull støtte for FCCs avgjørelse, mens det var bred og "
"vedvarende støtte for å bekjempe ytterligere konsentrasjon i media."

#. type: Content of: <book><chapter><para>
msgid ""
"But even this movement misses an important piece of the puzzle.  Largeness "
"as such is not bad. Freedom is not threatened just because some become very "
"rich, or because there are only a handful of big players.  The poor quality "
"of Big Macs or Quarter Pounders does not mean that you can't get a good "
"hamburger from somewhere else."
msgstr ""
"Men selv denne bevegelsen går glipp av en viktig brikke i puslespillet.  Å "
"være stor er ikke ille i seg selv. Frihet er ikke truet bare på grunn av at "
"noen blir veldig rik, eller på grunn av at det bare er en håndfull store "
"aktører.  Den dårlige kvaliteten til Big Macs eller Quartar Punders betyr "
"ikke at du ikke kan få en god hamburger fra andre plasser."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 i media konsentrasjon kommer ikke fra konsentrasjonen, men i stedet "
"fra føydalisme som denne konsentrasjonen knyttet til endring i copyright, "
"produserer. Det er ikke bare at det er noen kraftige selskaper som styrer en "
"stadig voksende stykke media. Det er at denne konsentrasjonen kan påkalle en "
"like oppsvulmet rekke rettigheter--eiendomsrettighetene til en historisk "
"ekstrem form--som gjør deres bigness dårlig."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 \"big,\" wisely or not. That we could be motivated to "
"fight \"big\" again is not something new."
msgstr ""
"Det er derfor viktig at så mange vil rally til etterspørselen konkurranse og "
"økt mangfold. Likevel, hvis rally er forstått som om bigness alene, det er "
"ikke veldig overraskende. Vi amerikanere har en lang historie med å slåss "
"\"stort,\" klokt eller ikke. at vi kunne være motivert til å slåss er \"store"
"\" igjen ikke noe nytt."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 "
"\"intellectual property.\" 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 \"property\" is not well "
"exercised within this tradition anymore."
msgstr ""
"det ville være noe nytt, og noe veldig viktig, hvis like mange kan være "
"rallied for å bekjempe økende ekstremisme bygget i ideen om \"intellektuelle "
"eiendom.\" ikke fordi balanse er alien til vår tradisjon; som jeg har "
"hevdet, er faktisk vår tradisjon i balanse. men fordi muskler til å tenke "
"kritisk på omfanget av noe kalt \"property\" ikke er frisk trenet i denne "
"tradisjonen lenger."

#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"If we were Achilles, this would be our heel. This would be the place of our "
"tragedy."
msgstr ""
"Hvis vi var achilles, ville dette være våre hæl. Dette ville være stedet for "
"våre tragedie."

#.  f11.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</"
"ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" 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, "
"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York "
"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet "
"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among "
"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, "
"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available "
"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
msgstr ""

#.  f12.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Jon Wiederhorn, \"Eminem Gets Sued . . . by a Little Old Lady,\" mtv.com, 17 "
"September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #68</ulink>."
msgstr ""

#.  f13.
#.  PAGE BREAK 334
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan "
"Songs,\" Kansascity.com, 9 July 2003, available at <ulink url=\"http://free-"
"culture.cc/notes/\">link #69</ulink>."
msgstr ""

#. type: Content of: <book><chapter><para>
msgid ""
"As I write 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 \"sampling\" someone "
"else's music.<placeholder type=\"footnote\" id=\"1\"/> The story about Bob "
"Dylan \"stealing\" 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 \"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.\" "
"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 ""

#.  f14.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"\"BBC Plans to Open Up Its Archive to the Public,\" BBC press release, 24 "
"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#70</ulink>."
msgstr ""

#.  f15.
#. type: Content of: <book><chapter><para><footnote><para>
msgid ""
"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6 August 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #71</ulink>."
msgstr ""

#.  PAGE BREAK 278
#. type: Content of: <book><chapter><para>
msgid ""
"Yet on the other side of the Atlantic, the BBC has just announced that it "
"will build a \"Creative Archive,\" 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 ""

#.  PAGE BREAK 279
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"Common sense must revolt. It must act to free culture. Soon, if this "
"potential is ever to be realized."
msgstr ""
"sunn fornuft må opprør. Det må handle til fri kultur. snart, hvis dette "
"potensialet er stadig å bli realisert."

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

#.  PAGE BREAK 280
#. type: Content of: <book><chapter><para>
#, mtrans, fuzzy
msgid ""
"At least some 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 ""
"minst noen som har lest dette langt vil være enig med meg at noe må gjøres "
"hvis du vil endre hvor vi er på vei. saldoen på denne boken tilordner hva "
"kan gjøres."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 dele dette kartet i to deler: at som alle kan gjøre nå, og som krever "
"hjelp av lovgivere. Hvis det er en lærdom som vi kan trekke fra historien om "
"remaking sunn fornuft, er det at det krever remaking hvor mange mennesker "
"tenker om det samme problemet."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 betyr at denne bevegelsen må begynne i gatene. Det må rekruttere et "
"betydelig antall foreldre, lærere, bibliotekarer, skaperne, forfattere, "
"musikere, filmskapere, forskere--alle for å fortelle historien med egne ord "
"og å fortelle sine naboer hvorfor denne kampen er så viktig."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 bevegelsen har sin effekt i gatene, har det noe håp om å ha en "
"effekt i washington. Vi er fortsatt et demokrati. Hva folk tror saker. ikke "
"så mye som det skal, minst når en rca står imot, men likevel, det teller. og "
"således, i den andre delen nedenfor jeg skissere endringer som Kongressen "
"kan gjøre for å sikre bedre en fri kultur."

#. type: Content of: <book><chapter><sect1><title>
#, mtrans, fuzzy
msgid "US, NOW"
msgstr "oss nå"

#. type: Content of: <book><chapter><sect1><para>
msgid ""
"Common sense 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 ""

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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;\"All Rights Reserved\"&mdash; and those "
"who reject copyright&mdash;\"No Rights Reserved.\" The \"All Rights Reserved"
"\" sorts believe that you should ask permission before you \"use\" a "
"copyrighted work in any way. The \"No Rights Reserved\" sorts believe you "
"should be able to do with content as you wish, regardless of whether you "
"have permission or not."
msgstr ""
"feil her er feil om den ekskluderte tredje. Det er ekstreme i denne "
"debatten, men ekstreme er ikke alt som det er. Det er de som tror på "
"maksimal copyright--\"all rights reserved\"-- og de som avviser copyright--"
"\"ingen rettigheter reservert\". \"all rights reserved\" sorterer mener at "
"du bør spørre tillatelse før du \"Bruk\" en opphavsrettslig beskyttede verk "
"som på noen måte. \"ingen rettigheter reservert\" sorterer tror du burde "
"være i stand til å gjøre med innhold som du ønsker, uavhengig av om du har "
"tillatelse eller ikke."

#.  PAGE BREAK 282
#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"When the Internet was first born, its initial architecture effectively "
"tilted in the \"no rights reserved\" 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 \"no rights reserved.\" Content was "
"\"taken\" regardless of the rights. Any rights were effectively unprotected."
msgstr ""
"da Internett ble født, skråstilt sin første arkitektur effektivt i retning "
"\"ingen rettigheter reservert\". innholdet kan kopieres perfekt og billig; "
"rettigheter kan ikke lett kontrolleres. Således, uavhengig av hvem som helst "
"ønske, effektiv regimet av opphavsrett under den opprinnelige utformingen av "
"Internett var \"ingen rettigheter reservert.\" innhold ble \"tatt\" "
"uavhengig av rettighetene. alle rettigheter som var effektivt ubeskyttet."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 \"no rights reserved,\" the future architecture will make the "
"effective default \"all rights reserved.\" The architecture and law that "
"surround the Internet's design will increasingly produce an environment "
"where all use of content requires permission.  The \"cut and paste\" world "
"that defines the Internet today will become a \"get permission to cut and "
"paste\" world that is a creator's nightmare."
msgstr ""
"dette første tegnet produsert en reaksjon (motsatt, men ikke helt like) av "
"eiere av opphavsretter. som reaksjon har vært tema for denne boken. gjennom "
"lovgivning, søksmål og endringer til nettverkets design, har innehaver av "
"opphavsrett vært i stand til å endre det avgjørende tegnet av det "
"opprinnelige Internett-miljøet. Hvis den originale arkitekturen gjort "
"effektiv standard \"ingen rettigheter reservert\", vil den fremtidige "
"arkitekturen gjøre effektiv standard \"all rights reserved.\" arkitektur og "
"lov som omgir Internetts design vil stadig produsere et miljø der alle bruk "
"av innhold som krever tillatelse. \"klippe og lime\" verden som definerer "
"Internett i dag vil bli en \"få tillatelse til å klippe og lime\" verden som "
"er en creator mareritt."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"What's needed is a way to say something in the middle&mdash;neither \"all "
"rights reserved\" nor \"no rights reserved\" but \"some rights reserved"
"\"&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 ""
"Hva trenger er en måte å si noe i midten--verken \"all rights reserved\" "
"eller \"ingen rettigheter reservert\" men \"noen rettigheter reservert\"- og "
"dermed en måte å Respekter opphavsrettigheter, men aktivere skaperne til "
"gratis innhold som de ønsker. med andre ord, trenger vi en måte å "
"gjenopprette et sett med andre friheter som vi bare kunne ta for gitt før."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr "å gjenoppbygge friheter tidligere antatt: eksempler"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"privacy\" "
"of your browsing habits was assured."
msgstr ""
"Hvis du går tilbake fra slaget som jeg har vært beskriver her, vil du "
"gjenkjenne dette problemet fra andre sammenhenger. Tenk om personvern. før "
"Internett måtte de fleste av oss ikke bekymre deg mye om data om våre liv at "
"vi broadcast til world. Hvis du gikk inn i en bokhandel og bladde gjennom "
"noen av verk av karl marx, du ikke trenger å bekymre deg om å forklare "
"Internett-vanene dine naboer eller sjefen. du surfer vaner \"personvern\" "
"var trygg på."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "What made it assured?"
msgstr "Hva gjorde det forsikret?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Well, if we think in terms of the modalities I described in chapter 10, 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 \"privacy\" 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 tror når det gjelder metoder jeg beskrevet i kapittel 10, "
"personvernet var forsikret på grunn av en ineffektiv arkitektur for å samle "
"data og dermed betingelsen markedet (kostnader) på alle som ønsket å samle "
"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville "
"arbeider for cia, ingen tvil om personvernet ikke være trygg. men det er "
"fordi vil cia (håper vi) finne det verdifullt nok til å bruke tusenvis som "
"er nødvendig for å spore deg. men for de fleste av oss (igjen, vi kan "
"håper), spionere ikke betaler. svært ineffektiv arkitektur virkelige rommet "
"betyr at vi alle nyte en ganske robust mengden personvern. at personvern er "
"garantert til oss ved hjelp av friksjon. ikke ved loven (det er ingen lov "
"som beskytter \"personvern\" i offentlige steder), og mange steder, ikke av "
"normer (snooping og sladder er bare morsomt), men i stedet av kostnader som "
"friksjon pålegger på alle som ønsker å spy."

#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>
msgid "Amazon"
msgstr "Amazon"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"recently viewed\" "
"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 \"privacy\" protected by the friction "
"disappears, too."
msgstr ""
"Angi Internett, der kostnaden for sporing av surfing spesielt har blitt "
"ganske liten. Hvis du er en kunde på amazon, deretter samler som du blar "
"gjennom sidene, amazon data om hva du har sett på. du vet dette fordi på "
"side av siden, er det en liste over \"sist sett\" sider. nå, på grunn av "
"arkitekturen på nettet og funksjon av informasjonskapsler på nettet, er det "
"enklere å samle inn data enn ikke. friksjonen har forsvunnet, og dermed alle "
"\"personvern\" beskyttet av friksjonen forsvinner, også."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"right\" 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, selvfølgelig, er ikke problemet. men vi kan begynne å bekymre deg om "
"biblioteker. Hvis du er en av de sprø lefties som mener at folk skal ha "
"\"rett\" til å bla i et bibliotek uten regjeringen å vite hvilke bøker du "
"ser på (jeg er en av disse lefties også), og deretter denne endringen i "
"teknologien for overvåking kan angår deg. Hvis det blir enkelt å samle og "
"sortere hvem gjør hva i elektronisk mellomrom, forsvinner personvern "
"friksjon i går."

#.  f1.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See, for example, Marc Rotenberg, \"Fair Information Practices and the "
"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law "
"Review 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, The Naked Crowd: "
"Reclaiming Security and Freedom in an Anxious Age (New York: Random House, "
"2004) (mapping tradeoffs between technology and privacy)."
msgstr ""

#.  PAGE BREAK 284
#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"It is this reality that explains the push of many to define \"privacy\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 liknende historie kan fortelles om fødselen av fri programvare-"
"bevegelsen. Når datamaskiner med programvare ble først gjort tilgjengelig "
"kommersielt, var programvaren--både kildekoden og binærfiler--gratis. Du kan "
"ikke kjøre et program som er skrevet for en generell data-maskinen på en ibm-"
"maskin, slik at data Generelt og ibm ikke vare mye om hvordan du styrer "
"deres programvare."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Det var richard stallman ble født inn i verden, og mens han var forsker ved "
"mit, han vokste til å elske samfunnet som utviklet når en var fri til å "
"utforske og tinker med programvaren som kjørte på maskiner. å være en smart "
"sortering selv, og en talentfull programmerer, vokste stallman avhengige av "
"frihet til å legge til eller endre andre personers arbeid."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 akademiske omgivelser, minst, er det ikke en veldig radikale idé. noen "
"ville være gratis å tinker med et bevis på at noen tilbys i en matematikk-"
"avdeling. Hvis du trodde du hadde en bedre måte å bevise en teorem, kan du "
"ta hva noen andre gjorde, og endre den. i en klassikere avdeling, hvis du "
"trodde en kollega oversettelse av en nylig oppdagede tekst var feil, var du "
"fri til å forbedre den. dermed til stallman syntes det åpenbart at du bør "
"være gratis å tinker med og forbedre koden som kjørte en maskin. Dette, "
"også, var kunnskap. Hvorfor bør ikke være åpen for kritikk som noe annet?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 har besvart dette spørsmålet. i stedet endret arkitekturen i inntekter "
"for databehandling. som det ble mulig å importere programmer fra ett system "
"til et annet, det ble økonomisk attraktive (minst i visningen av noen) å "
"skjule koden av programmet. så, også, som selskaper som begynte å selge "
"eksterne enheter for stormaskinsystemer. Hvis jeg kunne bare ta "
"skriverdriveren og kopiere den, og deretter som ville gjøre det enklere for "
"meg å selge en skriver til markedet enn det var for deg."

#.  PAGE BREAK 285
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 praksisen med proprietære koden begynte å spre seg, og 1980-tallet, "
"stallman fant seg selv omringet av proprietære koden. verden av fri "
"programvare hadde blitt slettet av en endring i økonomien i databehandling. "
"og som han mente, hvis han gjorde ikke noe om det, og frihet til å endre og "
"dele programvare ville være grundig svekket."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Therefore, in 1984, Stallman began a project to build a free operating "
"system, so that at least a strain of free software would survive. That was "
"the birth of the GNU project, into which Linus Torvalds's \"Linux\" kernel "
"was added to produce the GNU/Linux operating system."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 teknikken var å bruke lov om opphavsrett til å bygge en verden av "
"programvare som må holdes gratis. programvare lisensiert under gpl av free "
"software foundation kan ikke endres og distribuert med mindre kildekoden for "
"denne programvaren gjøres tilgjengelig også. Dermed noen bygger på gpl ville "
"programvare ville ha å gjøre sine bygninger gratis også. Dette vil forsikre, "
"stallman trodd at en økologi av koden ville utvikle som forble gratis for "
"andre å bygge på. hans grunnleggende målet var frihet; nyskapende, kreative "
"koden var en byproduct."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 var dermed gjøre for programvare og hvilke personvernkontroller "
"talsmenn nå har for personvern. Han var søker en måte å gjenoppbygge et "
"slags friheten som ble tatt for gitt før. gjennom bekreftende bruk av "
"lisenser som binder opphavsrettsbeskyttet kode, var stallman affirmatively "
"gjenerobring et mellomrom der fri programvare ville overleve. Han var aktivt "
"beskytter hva før hadde vært passivt garantert."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 slutt, vurdere en svært nylig eksempel mer direkte resonates med "
"historien om denne boken. Dette er skiftet i måten faglige og vitenskapelige "
"journaler er produsert."

#.  PAGE BREAK 286
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"som digitale teknologien blir bedre, blir det åpenbart for mange som skriver "
"ut tusenvis av kopier av journaler hver måned og sende dem til biblioteker "
"ikke er kanskje den mest effektive måten å distribuere kunnskap. i stedet, "
"journaler er stadig å bli elektronisk, og biblioteker og deres brukere gis "
"tilgang til disse elektroniske journaler gjennom passordbeskyttede områder. "
"noe som ligner på dette har foregått i loven for nesten tretti år: lexis og "
"westlaw har hatt elektroniske versjoner av Saksrapporter som er tilgjengelig "
"for abonnenter til deres tjeneste. Selv om en Høyesterett mening ikke er "
"beskyttet av opphavsretten, og noen er fri til å gå til et bibliotek og lese "
"den, er lexis og westlaw også gjerne Belast brukerne for privilegiet av å få "
"tilgang til at Høyesterett mening gjennom sine respektive tjenester."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ingenting galt med dette Generelt, og muligheten til å ta betalt for "
"tilgang til selv allemannseie materialet er faktisk en god insentiv for folk "
"å utvikle nye og innovative måter å spre kunnskap. loven har avtalt, som er "
"grunnen til at lexis og westlaw har fått lov til å blomstre. og hvis det er "
"ingenting galt med å selge allemannseie, det kan være noe galt i prinsippet "
"med selger tilgang til materiale som ikke er allemannseie."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 hva om du bare kan få tilgang til sosiale og vitenskapelige data var "
"gjennom proprietære tjenester? Hva om ingen hadde muligheten til å bla "
"gjennom denne data unntatt ved å betale for et abonnement?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 mange begynner å legge merke til, er dette stadig virkeligheten med "
"vitenskapelige journaler. Når disse kladdene ble distribuert i papirskjema, "
"kan biblioteker gjøre journalene tilgjengelig for alle som hadde tilgang til "
"biblioteket. pasienter med kreft kan derfor bli kreft eksperter fordi "
"biblioteket ga dem tilgang. eller pasienter prøver å forstå risikoen for en "
"bestemt behandling kunne forskning disse risikoene ved å lese alle "
"tilgjengelige artikler om at behandling. denne friheten ble derfor en "
"funksjon av institusjonen av biblioteker (normer) og teknologi i papir "
"journaler (arkitektur)--nemlig at det var svært vanskelig å kontrollere "
"tilgangen til en papir-journal."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Når journaler blir elektronisk, men er utgivere krevende at biblioteker ikke "
"gir generell offentlig tilgang til journalene. Dette betyr at frihetene som "
"er levert av Skriv ut journaler i offentlige bibliotek begynner å forsvinne. "
"Således, som med personvern og med programvare, en skiftende teknologi og "
"markedet forminske en frihet tatt for gitt før."

#.  PAGE BREAK 287
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 krympende friheten har ført mange å ta bekreftende trinnene for å "
"gjenopprette frihet som har gått tapt. public library of science (plos), for "
"eksempel er en nonprofit aksjeselskap som er dedikert til å gjøre "
"vitenskapelig forskning tilgjengelig for alle som har en Webtilkobling. "
"forfatterne av vitenskapelig arbeid sende det fungerer til public library of "
"science. Dette arbeidet er deretter gjenstand for peer review. Dersom de "
"blir akseptert, er arbeidet deretter oppbevart i et offentlig, elektronisk "
"arkiv og gjort permanent tilgjengelig gratis. PLOs selger også en "
"utskriftsversjon av sitt arbeid, men opphavsretten for utskrift journal "
"forhindre ikke høyre for noen til å videredistribuere arbeidet gratis."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ett av mange slike anstrengelser til å gjenopprette en frihet tatt "
"for gitt før, men nå truet av skiftende teknologi og markeder. Det er ingen "
"tvil om at denne alternative konkurrerer med tradisjonelle utgivere og deres "
"innsats for å tjene penger fra den eksklusive distribusjonen av innhold. men "
"konkurransen i vår tradisjon er presumptively en god--spesielt når det "
"bidrar til å spre kunnskap og vitenskap."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "Rebuilding Free Culture: One Idea"
msgstr "å gjenoppbygge fri kultur: en idé"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The same strategy could be applied to culture, as a response to the "
"increasing control effected through law and technology."
msgstr ""
"samme strategi som kan brukes til kultur, som et svar på økende kontrollen "
"berørt gjennom lov og teknologi."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 reasonable 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 ""
"Angi creative commons. creative commons er et nonprofit selskap etablert i "
"massachusetts, men med sitt hjem ved stanford university. Målet er å bygge "
"et lag av rimelig opphavsrett på toppen av den ekstreme som nå regjere. "
"Dette gjøres ved å gjøre det lett for folk å bygge på andres arbeid, ved å "
"gjøre det enkelt for skaperne å uttrykke frihet for andre å ta, og bygge på "
"sitt arbeid. Simple tags, knyttet til lesbar beskrivelser, knyttet til "
"vanntett lisenser, gjør dette mulig."

#.  PAGE BREAK 288
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Simple&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 \"All\" or \"No\" extremes. "
"Content is marked with the CC mark, which does not mean that copyright is "
"waived, but that certain freedoms are given."
msgstr ""
"enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved å "
"utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, "
"creative commons har som mål å markere et utvalg av innhold som kan enkelt "
"og pålitelig, være bygget på. disse kodene er deretter koblet til "
"maskinlesbar versjoner av lisensen som gjør at datamaskiner automatisk å "
"identifisere innhold som kan lett deles. disse tre uttrykkene sammen--en "
"juridisk lisens, en lesbar beskrivelse og maskinlesbar koder--utgjør en "
"creative commons-lisens. en creative commons-lisens utgjør en bevilgning av "
"frihet til alle som har tilgang til lisensen, og enda viktigere, et uttrykk "
"for ideelt som personen som er knyttet til lisensen tror på noe annet enn "
"\"all\" eller \"Nei\" ekstreme. innholdet er merket med kopi-merket, som "
"ikke betyr at copyright fratres, men at visse friheter er gitt."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 (\"share and share alike\"). 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 frihetene er utenfor friheter lovet av fair use. deres presis "
"konturer, avhenger av valgene skaperen gjør. skaperen kan velge en lisens "
"som tillater enhver bruk, så lenge henvisning er gitt. hun kan velge en "
"lisens som tillater bare ikke-kommersiell bruk. hun kan velge en lisens som "
"tillater enhver bruk så lenge de samme frihetene er gitt til andre bruker "
"(\"del og share alike\"). eller enhver bruk så lenge ingen avledede bruk er "
"gjort. eller noen bruke overhodet i utviklingsland. eller noen prøvetaking "
"bruk, så lenge alle kopiene ikke er laget. eller til slutt, noen pedagogisk "
"bruk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 valgene dermed etablere en rekke friheter utover standard om "
"opphavsrett. de har også aktivere friheter som går utover tradisjonelle fair "
"use. og viktigst, de uttrykker disse frihetene på en måte at etterfølgende "
"brukere kan bruke og stole på uten å måtte ansette en advokat. Creative "
"commons dermed tar sikte på å bygge et lag med innhold, styrt av et lag med "
"rimelig lov om opphavsrett, som andre kan bygge på. frivillig valg av "
"enkeltpersoner og skaperne vil gjøre dette innholdet tilgjengelig. og at "
"innholdet i sin tur kan vi bygge et offentlig-domene."

#.  PAGE BREAK 289
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 (\"content conducers,\" 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 ett prosjekt blant mange innenfor creative commons. og "
"selvfølgelig, creative commons er ikke den eneste organisasjonen å forfølge "
"slike friheter. men poenget som skiller creative commons fra mange er at vi "
"ikke er interessert i å få lovgivere til å bygge et frivare eller bare i "
"snakker om et frivare. vårt mål er å bygge en bevegelse av forbrukere og "
"produsenter av innhold (\"innhold conducers,\" som advokat mia garlick "
"kaller dem) hvem hjelpe bygge allemannseie, og ved deres arbeid, demonstrere "
"viktigheten av public domain til andre kreativitet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The aim is not to fight the \"All Rights Reserved\" 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 å kjempe \"med enerett\"-sorteringer. Målet er å utfylle dem. "
"problemene som loven oppretter for oss som en kultur er produsert av galskap "
"og utilsiktede konsekvenser av lover skrevet århundrer siden, brukt til en "
"teknologi som bare jefferson kunne ha forestilt meg. reglene kan godt ha "
"gjort følelse mot et bakteppe av teknologi fra århundrer siden, men de gjør "
"ikke fornuftig på bakgrunn av digitale teknologier. nye regler--med "
"forskjellige friheter, uttrykt i måter slik at mennesker uten advokater kan "
"bruke dem – er nødvendig. Creative commons gir folk en måte for effektivt å "
"begynne å bygge disse reglene."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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, Down and Out in the Magic Kingdom, 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 ville skaperne delta i å gi opp full kontroll? noen delta for å "
"bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-"
"forfatter. hans første novelle, ned og ut i magiske riket, ble utgitt på "
"nettet og gratis, under en creative commons-lisens på samme dag som det gikk "
"på salg i bokhandler."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 increase sales of Cory's book."
msgstr ""
"Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at "
"hans publisher begrunnet som dette: det finnes to grupper av mennesker der "
"ute: (1) de som vil kjøpe cory bok om det er på Internett, og (2) de som kan "
"aldri høre av cory's bok, hvis det ikke er gjort tilgjengelig gratis på "
"Internett. noen del av (1) laster ned cory bok i stedet for å kjøpe den. "
"ringe dem dårlig-(1) s. noen del av (2) lastet ned cory's bok, liker det, og "
"deretter bestemmer deg for å kjøpe den. kalle dem (2)-varer. Hvis det er mer "
"(2)-varer enn dårlig-(1) s, strategien for lanserer cory bok gratis on-line "
"trolig vil øke salg av cory's bok."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"opplevelsen av hans publisher støtter faktisk klart at konklusjonen. bokens "
"første utskrift er oppbrukt måneder før utgiveren hadde forventet. denne "
"første romanen av en science fiction-forfatteren var en total suksess."

#.  PAGE BREAK 290
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Free for All, 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 ""
"ideen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av "
"opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri "
"programvare-bevegelsen med tittelen gratis for alle, en elektronisk versjon "
"av sin bok gratis on-line under en creative commons-lisens etter at boken "
"gikk ut av print. han overvåket deretter brukt boka store priser for boken. "
"som spådd, som antall nedlastinger økt, brukte boken-pris for sin bok øker "
"også."

#.  f2.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Willful Infringement: A Report from the Front Lines of the Real Culture Wars "
"(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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"These are examples of using the Commons to better spread proprietary "
"content. I believe that is a wonderful and common use of the Commons. There "
"are others who use Creative Commons licenses for other reasons. Many who use "
"the \"sampling license\" 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 legal 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 \"allow\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"All Rights Reserved\" 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 \"Some Rights Reserved,\" "
"and gives many the chance to say it to others."
msgstr ""
"Endelig er det mange som merker innholdet med en creative commons-lisens, "
"bare fordi de ønsker å uttrykke til andre betydningen av saldoen i denne "
"debatten. Hvis du bare gå sammen med systemet som det er, sier du effektivt "
"du tror på \"all rights reserved\"-modellen. bra for deg, men mange gjør det "
"ikke. mange tror at men passer denne regelen er for hollywood og freaks, det "
"ikke er en passende beskrivelse av hvordan de fleste skaperne vise "
"rettigheter knyttet til deres innhold. creative commons-lisens uttrykker "
"dette begrepet \"noen rettigheter reservert\", og gir mange sjansen til å si "
"det til andre."

#.  PAGE BREAK 291
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 månedene av creative commons-eksperimentet, ble over 1 "
"million objekter lisensiert med disse gratis-kultur-lisenser. det neste "
"trinnet er partnerskap med mellomvare innholdsleverandører å hjelpe dem å "
"bygge inn i deres teknologier enkle måter for brukere å merke innholdet sitt "
"med creative commons-friheter. så er neste trinn å se på og feire skaperne "
"som bygger innhold basert på innhold satt fri."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 første trinn å gjenoppbygge et frivare. de er ikke bare argumenter; "
"de er handlingen. bygge et offentlig-domene er det første skrittet til viser "
"folk hvor viktig dette domenet er til kreativitet og innovasjon. Creative "
"commons, avhengig av frivillig tiltak for å oppnå dette å gjenoppbygge. de "
"vil føre til en verden der flere frivillige trinnene er mulig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ett eksempel på frivillig innsats av enkeltpersoner "
"og skaperne å endre blanding av rettigheter som nå styrer feltet kreative. "
"prosjektet ikke stiller til Start med copyright; det utfyller det. Målet er "
"ikke å beseire rettighetene til forfattere, men å gjøre det enklere for "
"forfattere og skaperne å utøve sine rettigheter, mer fleksibelt og billig. "
"at vi tror forskjellen, aktiverer kreativitet å spre lettere."

#. type: Content of: <book><chapter><sect1><title>
#, mtrans, fuzzy
msgid "THEM, SOON"
msgstr "dem snart"

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, fuzzy
msgid ""
"We will 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 ""
"Vi vil ikke gjenvinne en fri kultur av handling alene. det vil også ta "
"viktige reformer av lover. Vi har en lang vei å gå før politikerne vil lytte "
"til disse ideene og implementere disse reformene. men det betyr også at vi "
"har tid til å bygge opp bevisstheten rundt endringene som vi trenger."

#. type: Content of: <book><chapter><sect1><para>
#, mtrans, 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 kapitlet, jeg skissere fem typer endringer: fire som er generelt, og "
"som er spesifikk for den mest opphetede kampen på dagen, musikk. hver er et "
"skritt, ikke en slutt. men noen av disse trinnene vil bære oss en lang vei "
"til vår side."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "1. More Formalities"
msgstr "1. mer formaliteter"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 kjøper et hus, må du registrere salg i en gjerning. Hvis du kjøper "
"land som å bygge et hus, må du registrere kjøp i en gjerning. Hvis du kjøper "
"en bil, kan du få en regning for salg og registrere bilen. Hvis du kjøper en "
"flybillett, har navnet ditt på den."

#.  PAGE BREAK 293
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 egenskapen. de er krav som vi alle må "
"bære hvis vi ønsker vår eiendom skal beskyttes."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"formalities\" are banished."
msgstr ""
"derimot under gjeldende lov om opphavsrett få du automatisk en opphavsrett, "
"uavhengig av om du overholder eventuelle formalitet. du trenger ikke å "
"registrere deg. du trenger ikke engang å merke innholdet. standard er "
"kontrollen, og \"formaliteter\" er kastet ut."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "Why?"
msgstr "hvorfor?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"As I suggested in chapter 10, 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 antydet i kapittel 10, var motivasjon til å avskaffe formaliteter en "
"god en. i verden før digital teknologi pålagt formaliteter en byrde på "
"innehaver av opphavsrett uten mye fordel. dermed var det fremdriften når "
"loven avslappet formelle krav som en opphavsrettsinnehaveren må bære å "
"beskytte og sikre hans arbeid. disse formaliteter var komme i veien."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 lack of formalities forces many into "
"silence where they otherwise could speak."
msgstr ""
"men Internett endrer alt dette. formaliteter trenger i dag ikke være en "
"byrde. verden uten formaliteter er heller verden som byrder kreativitet. i "
"dag, det er ingen enkel måte å vite hvem som eier hva eller hvem må en "
"avtale for å kunne bruke eller bygge på kreative arbeidet til andre. Det "
"finnes ingen poster, er det ingen systemer til spor--det er ingen enkel måte "
"å vite hvordan du får tillatelse. men gitt den massive økningen i omfanget "
"av copyright's regelen, få tillatelse er et nødvendig skritt for alt arbeid "
"som bygger på vår fortid. og dermed mangel på formaliteter styrker mange i "
"stillhet der de ellers kunne snakke."

#.  f1.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, 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 er fremme her ville gjelde american Works bare. Selvfølgelig, "
"jeg tror det vil være fordelaktig for samme ideen om å bli vedtatt av andre "
"land også."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The law should therefore change this requirement<placeholder type=\"footnote"
"\" id=\"0\"/>&mdash;but it should not change it by going back to the old, "
"broken system. We should require formalities, but we should establish a "
"system that will create the incentives to minimize the burden of these "
"formalities."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"viktig formaliteter er tre: merking opphavsrettsbeskyttede, registrerer "
"opphavsrett og fornye kravet til copyright. tradisjonelt, var først av disse "
"tre noe eieren av opphavsretten gjorde; de andre to var noe regjeringen "
"gjorde. men et revidert system av formaliteter ville forvise regjeringen fra "
"prosessen, unntatt for formålet å godkjenne standarder utviklet av andre."

#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
#, mtrans, fuzzy
msgid "REGISTRATION AND RENEWAL"
msgstr "registrering og fornyelse"

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 ""
"under det gamle systemet hadde en opphavsrettighetene til filen en "
"registrering med opphavsrett office registrere eller fornye opphavsretten. "
"Når innlevering at registrering, betales eieren av opphavsretten en avgift. "
"som med de fleste myndigheter hadde opphavsrett kontoret få insentiver til å "
"minimere byrden av registrering; det hadde også få insentiver til å minimere "
"gebyret. og så opphavsrett kontoret ikke er hovedmålet for regjeringen "
"policymaking, kontoret har historisk sett vært veldig underfunded. Således, "
"når folk som vet noe om prosessen hører denne ideen om formaliteter, deres "
"første reaksjon er panikk--ingenting kunne være verre enn tvinge folk til å "
"håndtere rotet som er copyright kontoret."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 ""
"Likevel er det alltid utrolig for meg at vi, som kommer fra en tradisjon av "
"ekstraordinære innovasjon i statlige design, kan ikke lenger tror innovativt "
"om hvordan statlige funksjoner kan være utformet. bare fordi det er et "
"offentlig formål til en regjering-rolle, følger ikke det at regjeringen må "
"faktisk administrere rollen. i stedet, vi bør være å skape insentiver til "
"private selskaper å tjene allmennheten, underlagt standarder som regjeringen "
"angir."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 sammenheng med registrering er en opplagt modell Internett. Det finnes "
"minst 32 millioner web-områder som er registrert i verden. domeneeiere navn "
"for disse web-områder må betale en avgift for å holde sine registrering "
"Live. Det er et sentralt register i de viktigste domenene (.com, .org, ."
"net). de faktiske registreringene utføres imidlertid av mange konkurrerende "
"registrarer. at konkurransen stasjoner kostnadene for å registrere ned, og "
"enda viktigere, det stasjoner brukervennligheten som registrering oppstår "
"opp."

#.  PAGE BREAK 295
#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 alle bør vedtas en lignende modell for registrering og fornying av "
"opphavsretten. opphavsrett kontoret kan også tjene som sentrale registret, "
"men det bør ikke være i virksomhet registrar. Det bør i stedet opprette en "
"database, og et sett med standarder for registrarer. det skal godkjenne "
"registrarer som oppfyller sine standarder. disse registrarer vil så "
"konkurrere med hverandre for å levere de billigste og enkleste systemene for "
"registrering og fornying av opphavsrett. at konkurransen ville vesentlig "
"lavere byrden av denne formalitet--mens en database med registreringer som "
"ville forenkler lisensiering av innhold."

#. type: Content of: <book><chapter><sect1><sect2><sect3><title>
#, mtrans, fuzzy
msgid "MARKING"
msgstr "merking"

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 pleide å være at å inkludere en opphavsrett på en skapende arbeid "
"betydde at opphavsretten ble forkastet. Det var en streng straff for ikke å "
"overholde en regulatoriske regel--sammenlignes med imponerende dødsstraff "
"for en parkeringsbilletten i verden av kreative rettigheter. Her igjen, er "
"det ingen grunn som et merking krav må håndheves på denne måten. og enda "
"viktigere, det er ingen grunn et merking krav må håndheves jevnt på tvers av "
"alle medier."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 merking er med signal til publikum at dette arbeidet er "
"opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine rettigheter. "
"mark gjør det også enkelt å finne en som har opphavsrettighetene for å sikre "
"tillatelse til å bruke arbeidet."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 ""
"ett av problemene opphavsretten til systemet konfrontert tidlig var at ulike "
"opphavsrettslig beskyttet verk måtte være annerledes merket. Det var ikke "
"klart hvordan eller hvor en statue var å bli merket, eller en oppføring, "
"eller en film. en nye merking kravet kunne løse disse problemene ved å "
"gjenkjenne forskjellene i media, og tillater systemet av merking å utvikle "
"seg som teknologier gir det til. systemet kan gjøre det mulig for en "
"spesiell signalet fra å merke--ikke tap av opphavsretten, men tap av retten "
"til å straffe noen for ikke å få tillatelse først."

#.  f2.
#. type: Content of: <book><chapter><sect1><sect2><sect3><para><footnote><para>
#, mtrans, 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 ""
"det ville være en complication med avledede produkter som jeg ikke har løst "
"her. etter mitt syn er oppretter loven av derivater et mer komplisert system "
"enn er rettferdiggjort av marginale incitament opprettes."

#.  PAGE BREAK 296
#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
msgid ""
"Let's start with the last point. If a copyright owner allows his work to be "
"published without a copyright notice, the consequence of that failure need "
"not be that the copyright is lost. The consequence could instead be that "
"anyone has the right to use this work, until the copyright owner complains "
"and demonstrates that it is his work and he doesn't give permission."
"<placeholder type=\"footnote\" id=\"0\"/> The meaning of an unmarked work "
"would therefore be \"use unless someone complains.\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 ""
"som i sin tur reiser spørsmålet om hvordan arbeidet best bør være merket. "
"Her igjen, må systemet justere som teknologien utvikler seg. den beste måten "
"å sikre at systemet utvikler seg er å begrense opphavsrett kontorets rolle "
"for å godkjenne standarder for å merke innhold som har vært laget andre "
"steder."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 solely 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 recording industry association devises en metode for å "
"merke CDer, ville det foreslå som til opphavsrett kontoret. opphavsrett "
"kontoret ville holde en høring, som andre forslag kan gjøres. opphavsrett "
"kontoret deretter velger forslaget at det dømt foretrekke, og det vil basere "
"det valget utelukkende på vurdering som kan best metoden integreres i "
"systemet registrering og fornyelse. Vi ville ikke stole på regjeringen til å "
"skape noe nytt; men vi vil stole på regjeringen for å holde produktet av "
"innovasjon i tråd med sin andre viktige funksjoner."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 slutt, markerer innholdet klart vil forenkle krav til registrering. Hvis "
"fotografier var preget av forfatteren og år, ville det være liten grunn til "
"ikke å tillate en fotograf å registrere på nytt, for eksempel alle bildene "
"som er tatt i et bestemt år i ett trinn. Målet med formalitet er å unngå "
"unødige belastninger skaperen; selve systemet bør holdes så enkelt som mulig."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 ""
"Målet med formaliteter er å gjøre ting klart. eksisterende systemet gjør "
"ingenting for å gjøre ting klart. Ja, det synes designet for å gjøre ting "
"som er uklart."

#. type: Content of: <book><chapter><sect1><sect2><sect3><para>
#, mtrans, 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 for eksempel registrering er gjenopprettet, en av de "
"vanskeligste sidene av stole på allemannseie ville bli fjernet. det ville "
"være enkelt å identifisere hvilket innhold er presumptively gratis; det "
"ville være enkelt å identifisere hvem styrer rettighetene for en bestemt "
"type innhold; det ville være enkelt å hevde de rettighetene og å fornye at "
"påstanden på riktig tidspunkt."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "2. Shorter Terms"
msgstr "2. kortere vilkår"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"begrepet av opphavsrett har gått fra fjorten år til ninety-fem år for "
"corporate forfattere og livet forfatter pluss sytti år for naturlig "
"forfattere."

#.  f3.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available "
"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In The Future of Ideas, 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 Eldred v.  Ashcroft, the "
"proposals became even more radical. The Economist 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 enig med de som tror at vi trenger en radikal endring i copyright's "
"sikt. men om fjorten år eller sytti-fem, finnes det fire prinsipper som er "
"viktig å huske på om opphavsrett terms."

#.  (1)
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"Keep it short: 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 ""
"holde det kort: begrepet skal være så lenge som nødvendig for å gi "
"insentiver til å opprette, men ikke lenger. Hvis det var knyttet til veldig "
"sterk beskyttelse for forfattere (slik at forfattere klarte å gjenvinne "
"rettigheter fra utgivere), kan rettighetene til frembringelsen som samme "
"(ikke avledede) utvides ytterligere. nøkkelen er ikke å knytte arbeidet opp "
"med forskrifter når det ikke lenger fordeler en forfatter."

#.  (2)
#.  PAGE BREAK 298
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
msgid ""
"Keep it simple: The line between the public domain and protected content "
"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the "
"distinction between \"ideas\" and \"expression.\" 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 \"lawyer-free zone\" makes the complexities of \"fair use\" "
"and \"idea/expression\" less necessary to navigate."
msgstr ""

#.  f4.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><footnote><para>
msgid ""
"Department of Veterans Affairs, Veteran's Application for Compensation and/"
"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #75</ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
msgid ""
"Keep it alive: 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 ""

#.  (4)
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"Keep it prospective: 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 ""
"holde det potensielle: hva begrepet av opphavsrett skal være, klareste "
"lærdommen om at økonomer lære er at en term når gitt ikke bør utvides. Det "
"kan ha vært en feil i 1923 for lov å tilby forfattere bare en femti-seks års "
"sikt. Jeg tror ikke det, men det er mulig. Hvis det var en feil, da var "
"konsekvensen at vi fikk færre forfattere å opprette i 1923 enn vi ellers "
"ville ha. men vi kan ikke korrigere at feil i dag ved å øke begrepet. "
"Uansett hva vi gjør i dag, vil vi ikke øke antall forfattere som skrev i "
"1923. Selvfølgelig, kan vi øke belønning som dem som skriver nå få (eller "
"eventuelt øke opphavsrett byrden som smothers mange fungerer som i dag er "
"usynlig). men øke deres belønning vil ikke øke sin kreativitet i 1923. Hva "
"er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nå."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"These changes together should produce an average 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 endringene skal sammen produsere en gjennomsnittlig opphavsrett begrep "
"som er mye kortere enn gjeldende begrepet. frem til 1976 var gjennomsnittlig "
"begrepet bare 32.2 år. Vi bør være sikter for samme."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"No doubt the extremists will call these ideas \"radical.\" (After all, I "
"call them \"extremists.\") But again, the term I recommended was longer than "
"the term under Richard Nixon. How \"radical\" can it be to ask for a more "
"generous copyright law than Richard Nixon presided over?"
msgstr ""
"uten tvil vil ekstremistene kalle disse ideene \"radikale\". (tross alt, jeg "
"kaller dem \"ekstremister.\") men igjen, jeg anbefalt begrepet var lengre "
"enn begrepet under richard nixon. hvordan \"radikale\" kan det være for å be "
"om en mer sjenerøs opphavsrettighet enn richard nixon presided over?"

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "3. Free Use Vs. Fair Use"
msgstr "3. gratis bruk vs. fair use"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 observert i begynnelsen av denne boken, gitt "
"opphavsrettslovgivningen opprinnelig bolig retten til å kontrollere deres "
"eiendom fra bakken til himmelen. flyet kom. omfanget av eiendomsrettigheter "
"endres raskt. Det var ingen oppstyr, ingen konstitusjonelle utfordring. det "
"gjorde ingen sans lenger for å gi så mye kontroll, gitt fremveksten av den "
"nye teknologien."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Our Constitution gives Congress the power to give authors \"exclusive right"
"\" to \"their writings.\" Congress has given authors an exclusive right to "
"\"their writings\" 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 \"my writing.\""
msgstr ""
"vår grunnlov gir Kongressen makt til å gi forfattere \"eksklusiv rett\" til "
"\"deres skrifter.\" Kongressen har gitt forfatterne en eksklusiv rett til å "
"\"deres skrifter\" pluss eventuelle avledede skrifter (laget av andre) som "
"er tilstrekkelig nær forfatterens opprinnelige arbeid. Dermed, hvis jeg "
"skrive en bok og en film basert på boken, jeg har makt til å nekte deg rett "
"til å frigi den filmen, selv om filmen ikke er \"min skrive.\""

#.  f5.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia "
"University Press, 1967), 32."
msgstr ""
"Benjamin kaplan, en makelige visning av opphavsrett (new york: columbia "
"university press, 1967), 32."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Congress granted the beginnings of this right in 1870, when it expanded the "
"exclusive right of copyright to include a right to control translations and "
"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> The "
"courts have expanded it slowly through judicial interpretation ever since. "
"This expansion has been commented upon by one of the law's greatest judges, "
"Judge Benjamin Kaplan."
msgstr ""

#.  f6.
#. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para>
#, mtrans, fuzzy
msgid "Ibid., 56."
msgstr "ibid., 56."

#. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
msgid ""
"So inured have we become to the extension of the monopoly to a large range "
"of so-called derivative works, that we no longer sense the oddity of "
"accepting such an enlargement of copyright while yet intoning the "
"abracadabra of idea and expression.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 å anerkjenne at det er fly i dette feltet og "
"expansiveness av disse rettigheter til avledede bruk ikke lenger fornuftig. "
"mer presist, fornuftig de ikke for hvor lang tid som en copyright kjører. og "
"de har ikke noen mening som en formløse grant. vurdere hver begrensning "
"igjen."

#.  PAGE BREAK 300
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Term: 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."
msgstr ""
"begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for "
"en mye kortere sikt. Det er fornuftig å beskytte john grisham's rett til å "
"selge film rettighetene til hans siste roman (eller minst er jeg villig til "
"å påta seg det gjør); men det gjør ikke sans for det riktig å kjøre på samme "
"ordet som underliggende opphavsretten. avledede høyre kan være viktig i "
"inducing kreativitet; Det er ikke viktig lenge etter skapende arbeid er "
"gjort."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Scope: 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 \"reuse\" 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 ""
"område: på samme måte bør omfanget av avledede rettigheter bli innsnevret. "
"igjen, det er noen tilfeller der avledede rettigheter er viktig. de skal "
"angis. men loven skal tegne klare linjer rundt regulert og unregulated bruk "
"av opphavsrettsbeskyttet materiale. Når alle \"gjenbruk\" av kreative "
"materiale var har kontroll over bedrifter, kanskje gjort det fornuftig å "
"kreve advokater å forhandle linjene. Det er ikke lenger fornuftig for "
"jurister å forhandle linjene. Tenk alle de kreative mulighetene som digital "
"teknologi aktivere; Nå forestille pouring molasses til maskinene. Det er hva "
"denne generelle krav om tillatelse betyr for den kreative prosessen. "
"Smothers det."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 poenget som alben gjort når beskriver inngåelse av clint eastwood-"
"cd. mens det er fornuftig å kreve forhandling for overskuelig avledede "
"rettigheter--snu en bok i en film eller et dikt i en musikalsk poengsum--det "
"ikke fornuftig å kreve forhandling for den unforeseeable. her, ville en "
"lovfestet rett gjøre mye mer fornuftig."

#.  f7.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
#, mtrans, fuzzy
msgid ""
"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
"(Stanford: Stanford University Press, 2003), 187&ndash;216."
msgstr ""
"Paul goldstein, copyright's highway: fra gutenberg til den himmelske "
"jukeboksen (stanford: stanford university press, 2003), 187­216."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In each of these cases, the law should mark the uses that are protected, and "
"the presumption should be that other uses are not protected.  This is the "
"reverse of the recommendation of my colleague Paul Goldstein.<placeholder "
"type=\"footnote\" id=\"0\"/> His view is that the law should be written so "
"that expanded protections follow expanded uses."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"goldstein's analyse ville gjøre perfekt forstand Hvis kostnaden for juridisk "
"system var små. men som vi nå ser i sammenheng med Internett, usikkerhet om "
"omfanget av beskyttelse og insentiver for å beskytte eksisterende "
"arkitekturer av inntekt, kombinert med en sterk copyright svekke prosessen "
"med innovasjon."

#.  PAGE BREAK 301
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 rette opp dette problemet ved å fjerne beskyttelsen utover delen "
"som er eksplisitt tegnede eller ved å gi gjenbruk rettigheter på visse "
"lovbestemte betingelser. Uansett hva effekten ville være å frigjøre mye "
"kultur for andre å dyrke. og under en lovbestemte rettigheter-regimet at "
"gjenbruk ville tjene artister mer inntekter."

#. type: Content of: <book><chapter><sect1><sect2><title>
#, mtrans, fuzzy
msgid "4. Liberate the Music&mdash;Again"
msgstr "4. frigjøre musikk--på nytt"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 fikk dette hele krigen går var om musikk, så det ikke ville være "
"rettferdig å avslutte denne boken uten å ta opp problemet som er, for "
"fleste, de fleste presserende--musikk. Det er ingen andre spørsmål som bedre "
"lærer erfaringene fra denne boken enn slagene rundt deling av musikk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Anken av fildelings-musikken var crack-kokain av internetts vekst. den "
"kjørte behov for tilgang til Internett mer kraftfullt enn andre enkelt "
"program. Det var Internetts killer app--muligens i to sanser i beskrivelsen "
"av ordet. Det var ingen tvil om programmet som kjørte etterspørselen etter "
"båndbredde. Det kan godt være programmet som driver etterspørselen etter "
"forskrifter som til slutt drepe innovasjon på nettverket."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 opphavsrett, med hensyn til innhold Generelt og musikk er spesielt "
"å skape insentiver for musikk komponert, utført, og, viktigst, spre. loven "
"gjør dette ved å gi en eksklusiv rett til en komponisten å kontrollere "
"offentlig fremføring av sitt arbeid, og til en profesjonell artist å "
"kontrollere kopier av hennes ytelse."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 5, they enable "
"four different kinds of sharing:"
msgstr ""
"fildeling nettverk komplisere denne modellen ved å aktivere spredning av "
"innhold som utøveren ikke er blitt betalt. men selvfølgelig, det er ikke "
"alle fildeling nettverk gjør. som jeg beskrevet i kapittel 5, aktivere de "
"fire forskjellige typer deling:"

#.  A.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"There are some who are using sharing networks as substitutes for purchasing "
"CDs."
msgstr ""
"Det er noen som bruker deling nettverk som erstatninger for å kjøpe CDer."

#.  B.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"There are also some who are using sharing networks to sample, on the way to "
"purchasing CDs."
msgstr ""
"Det er også noen som bruker deling nettverk for å prøve, på vei til å kjøpe "
"CDer."

#.  PAGE BREAK 302
#.  C.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 bruker fildelingsprogrammer nettverk til å få tilgang til "
"innhold som selges ikke lenger, men er fortsatt under opphavsrett eller som "
"ville ha vært altfor tunge å kjøpe fra nettet."

#.  D.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, 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 bruker fildelingsprogrammer nettverk å få tilgang til "
"innhold som ikke er beskyttet av opphavsretten, eller å få tilgang som "
"eieren av opphavsretten tydelig godkjenner."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"noen reform av loven behov for å holde disse ulike bruksområder i fokus. den "
"må unngå bebyrde type d selv om formålet er å eliminere type a. den iver "
"etter med som loven sikte på å eliminere type a, videre bør avhenger "
"omfanget av typen b. som med videospillere, hvis netto effekt av en deling "
"er faktisk ikke svært skadelige, behovet for regulering er betydelig svekket."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"As I said in chapter 5, 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 sa i kapittel 5, er den faktiske skaden forårsaket av deling "
"kontroversielt. i hensikt av dette kapitlet, men antar jeg skaden er reell. "
"Jeg antar, med andre ord, denne typen en deling er betydelig større enn type "
"b, og er dominerende bruk av deling av nettverk."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Likevel, det er en avgjørende faktor om gjeldende teknologiske kontekst som "
"vi må huske på at vi skal forstå hvordan loven skal reagere."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 addictive. i ti år, vil ikke det være. Det er addictive "
"i dag fordi det er den enkleste måten å få tilgang til et bredt spekter av "
"innhold. det vil ikke være den enkleste måten å få tilgang til et bredt "
"spekter av innhold i ti år. i dag, tilgang til Internett er tunge og sakte--"
"vi i USA er heldig å ha bredbåndstjeneste på 1,5 mbs og svært sjelden får vi "
"service på den hastigheten som er både opp og ned. Selv om trådløs tilgang "
"er økende, få de fleste av oss fortsatt tilgang på tvers av ledninger. de "
"fleste bare få tilgang gjennom en maskin med et tastatur. ideen om den "
"alltid på, alltid tilkoblet Internett er hovedsakelig bare en idé."

#.  PAGE BREAK 303
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 bli en realitet, og det betyr at måten vi får tilgang til "
"Internett i dag er en teknologi i overgangen. beslutningstakere må ikke "
"policyen på grunnlag av teknologi i overgangen. de bør gjøre policyen på "
"grunnlag av hvor teknologien går. spørsmålet bør ikke være, og hvordan bør "
"loven regulere deling i denne verden? spørsmålet bør være, hva loven vil vi "
"krever når nettverket blir nettverket blir det klart? Dette nettverket er en "
"der hver enkelt maskin med elektrisitet er egentlig på nettet; der overalt "
"du er--unntatt kanskje ørkenen eller rockies--du kan umiddelbart kobles til "
"Internett. Tenk deg så allestedsnærværende som beste mobiltelefonen "
"tjenesten, der med flippen på en enhet, du er tilkoblet Internett."

#.  f8.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #76</"
"ulink>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"In that world, it will be extremely easy to connect to services that give "
"you access to content on the fly&mdash;such as Internet radio, content that "
"is streamed to the user when the user demands. Here, then, is the critical "
"point: When it is extremely easy to connect to services that give access to "
"content, it will be easier to connect to services that give you access to "
"content than it will be to download and store content on the many devices "
"you will have for playing content. 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 \"free"
"\" content is available in the form of MP3s across the Web.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#.  PAGE BREAK 304
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This point about the future is meant to suggest a perspective on the "
"present: It is emphatically temporary. The \"problem\" 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 \"solving\" 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 punktet om fremtiden er ment å foreslå et perspektiv på stede: det er "
"spesielt midlertidig. \"problemet\" med fildeling--i den grad det er et "
"reelt problem--er et problem som i økende grad vil forsvinne som det blir "
"enklere å koble til Internett. og således det er en ekstraordinære feil for "
"beslutningstakere i dag til å være \"løse\" dette problemet i lys av en "
"teknologi som vil være borte i morgen. spørsmålet bør ikke hvordan å "
"regulere Internett til å eliminere fildeling (nettet vil utvikle seg det "
"problemet unna). spørsmålet bør i stedet hvor å forsikre at artister får "
"betalt, under denne overgangen mellom 1900-tallet modeller for å gjøre "
"forretnings- og tyve-første-tallet teknologier."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"The answer begins with recognizing that there are different \"problems\" "
"here to solve. Let's start with type D content&mdash;uncopyrighted content "
"or copyrighted content that the artist wants shared. The \"problem\" 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 begynner med erkjenner at det er ulike \"problemer\" her å løse. La "
"oss starte med typen d innhold--uncopyrighted innhold eller opphavsrettslig "
"beskyttet innhold som kunstneren ønsker delt. \"problemet\" med dette "
"innholdet er å sørge for at teknologien som ville gjøre det mulig for denne "
"type deling ikke gjengis ulovlig. Du kan tenke på det på denne måten: betal "
"telefoner brukes til å levere løsepenger krav, ingen tvil. men det er mange "
"som trenger å bruke betale telefoner som har ingenting å gjøre med ransoms. "
"det ville være feil å utestenge betale telefoner for å eliminere kidnapping."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Type C content raises a different \"problem.\" 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 ""
"c-innhold av typen reiser et annet \"problem.\" Dette er innhold som ble, "
"samtidig, publisert og er ikke lenger tilgjengelig. Det kan være "
"utilgjengelig fordi kunstneren er ikke lenger nok kostbar for plateselskap "
"han signert med å bære sitt arbeid. eller det kan være utilgjengelig fordi "
"arbeidet er glemt. Uansett bør sikte på loven å forenkle tilgang til dette "
"innholdet, ideelt på en måte som returnerer noe til kunstneren."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"sharing\" "
"of his content without his being compensated is less than ideal."
msgstr ""
"igjen er modellen her brukt boka store. Når en bok går ut av Skriv ut, det "
"kan fortsatt være tilgjengelig i biblioteker og brukte bokhandlere. men "
"biblioteker og brukte bokhandlere betaler ikke eieren av opphavsretten når "
"noen leser eller kjøper en ut-av-print-bok. Det er totalt fornuftig, "
"selvfølgelig, siden andre systemet ville være så tunge som å eliminere "
"muligheten for brukte boken butikker eksisterende. men fra forfatterens "
"perspektiv, denne \"deling\" av hans innhold uten hans blir kompensert er "
"mindre enn ideell."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"share\" 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 ""
"modell for brukte boken butikker tyder på at loven kan bare anser-print "
"musikk rettferdig spill. Hvis utgiveren ikke gjør kopier av musikken "
"tilgjengelig for salg, vil og kommersielle og ikke-kommersiell leverandører "
"være gratis, under denne regelen, å \"dele\" innholdet, selv om deling "
"involvert gjør en kopi. Kopier hit ville være tilfeldige for handel; i en "
"sammenheng der kommersielle publisering er avsluttet, bør handel musikk være "
"gratis som handel bøker."

#.  PAGE BREAK 305
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"loven kan eventuelt opprette en lovbestemte lisens som vil sørge for at "
"artister får noe fra handel av sitt arbeid. for eksempel hvis loven satt en "
"lav lovbestemte sats for kommersielle deling av innhold som ikke ble tilbudt "
"for salg av en kommersiell utgiver, og hvis den hastigheten ble automatisk "
"overført til en tillit til fordel for kunstneren, deretter bedrifter kan "
"utvikle rundt ideen om handel dette innholdet, og kunstnere vil dra nytte av "
"denne handelen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 systemet vil også skape et insentiv for utgivere å holde works "
"tilgjengelig kommersielt. verk som er kommersielt tilgjengelige ville ikke "
"være underlagt denne lisensen. utgivere kan derfor beskytte retten til å "
"belaste hva de vil for innhold hvis de holdt arbeidet som er kommersielt "
"tilgjengelig. men hvis de ikke holde det tilgjengelig, og i stedet, "
"datamaskin harddisk av fans over hele verden holde det Live, deretter alle "
"royalty skyldte for slike kopiering bør være mye mindre enn beløpet skyldte "
"en kommersiell utgiver."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"vanskelig saken er innhold av typer en og b, og igjen, denne saken er "
"vanskelig fordi omfanget av problemet vil endres over tid, som teknologiene "
"for å få tilgang til innhold endres. lovens løsning skal være så fleksibelt "
"som problemet er, forstå at vi er midt i en radikal endring i teknologien "
"for å levere og tilgang til innhold."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 vil først virke underlig til begge sider i denne "
"krigen, men som på refleksjon, jeg foreslå, bør gjøre noe fornuftig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"frastjålet retorikken om sanctity av egenskapen, grunnleggende kravet av "
"innhold industrien er dette: en ny teknologi (Internett) har skadet et sett "
"med rettigheter som sikre copyright. Hvis disse rettighetene er å bli "
"beskyttet, så innhold industrien skal kompenseres for at skade. akkurat som "
"teknologien av tobakk skadet helsen til millioner av amerikanere, eller "
"teknologien for asbest forårsaket en alvorlig sykdom til tusenvis av miners, "
"så har også, teknologien for digitale nettverk skadet interessene til "
"innhold industrien."

#.  PAGE BREAK 306
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 Internett, og så jeg ikke liker likening det til tobakk eller "
"asbest. men analogien er en rettferdig en fra et perspektiv av loven. og det "
"antyder en virkelig svar: i stedet for søker å ødelegge Internett eller p2p-"
"teknologier som er tiden skade innholdsleverandører på Internett, må vi "
"finne en relativt enkel måte å kompensere de som er skadet."

#.  f9.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 "
"October 2000), available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and "
"the Future of Entertainment (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, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. "
"For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" "
"Washington Post, 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, A Quick "
"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at "
"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson "
"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 "
"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum "
"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" "
"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>."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The idea would be a modification of a proposal that has been floated by "
"Harvard law professor William Fisher.<placeholder type=\"footnote\" id=\"0\"/"
"> Fisher suggests a very clever way around the current impasse of the "
"Internet. Under his plan, all content capable of digital transmission would "
"(1) be marked with a digital watermark (don't worry about how easy it is to "
"evade these marks; as you'll see, there's no incentive to evade them). Once "
"the content is marked, then entrepreneurs would develop (2) systems to "
"monitor how many items of each content were distributed. On the basis of "
"those numbers, then (3) artists would be compensated. The compensation would "
"be paid for by (4) an appropriate tax."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"Fisher's proposal is careful and comprehensive. It raises a million "
"questions, most of which he answers well in his upcoming book, Promises to "
"Keep. 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 ""
"fisher's forslag er grundige og omfattende. det reiser en million "
"spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "
"endring som jeg ville gjøre er relativt enkel: fisher bilder hans forslag "
"erstatte eksisterende opphavsretten til systemet. Jeg antar det utfyller det "
"eksisterende systemet. Målet med forslaget vil være å forenkle kompensasjon "
"i den grad at skade kan bli vist. Denne kompensasjon skulle være "
"midlertidig, som tar sikte på å lette en overgang mellom regimer. og det "
"ville kreve fornyelse etter en periode med årene. Hvis den fortsetter å gi "
"mening å forenkle gratis utveksling av innhold, støttet gjennom en "
"skattesystemet, så det kan fortsettes. Hvis denne typen beskyttelse ikke "
"lenger er nødvendig, kan systemet lapse i det gamle systemet å kontrollere "
"tilgangen."

#.  PAGE BREAK 307
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 \"semiotic democracy\" 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 vil balk på ideen om å la systemet synker. hans mål er ikke bare for "
"å sikre at kunstnere er betalt, men også å sikre at systemet støtter en "
"rekke ulike \"semiotic demokrati\" mulig. men målene for semiotic demokrati "
"ville være fornøyd hvis endringene jeg beskrevet ble oppnådd--spesielt "
"begrensninger på derivat bruker. et system som belaster bare for tilgang "
"ville ikke sterkt belaster semiotic demokrati Hvis det var noen "
"begrensninger på hva en var tillatt å gjøre med selve innholdet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"No doubt it would be difficult to calculate the proper measure of \"harm\" "
"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 \"free\" 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 ""
"ingen tvil om ville det være vanskelig å beregne riktig mål for \"skade\" "
"til en industri. men vanskeligheten av å gjøre multiplikasjonene ville være "
"oppveies av fordel for tilrettelegging innovasjon. Dette bakgrunn-systemet "
"for å kompensere ville ikke må også forstyrre nyskapende forslag for "
"eksempel Apples musicstore. som eksperter spådd når apple lanserte "
"musicstore, vil det kunne slå \"gratis\" ved å være enklere enn er gratis. "
"Dette har vist riktig: apple har solgt flere millioner sanger på selv svært "
"høy pris på 99 cents en sang. (på 99 cents, kostnaden tilsvarer en per sang "
"cd pris, men etikettene har ingen av kostnadene for en cd for å betale.) "
"Apple nå går ble motvirket av real networks, tilbyr musikk på bare 79 cents "
"en sang. og ingen tvil om det vil være mye konkurranse å tilby og selge "
"musikk på nettet."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"This competition has already occurred against the background of \"free\" "
"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 \"competing with free.\" 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 \"first class\" seats, and meals served while you watch "
"a movie&mdash;as they struggle and succeed in finding ways to compete with "
"\"free.\""
msgstr ""
"Denne konkurransen har allerede skjedd på bakgrunn av \"gratis\" musikk fra "
"p2p-systemer. som selgere av kabel-TV har kjent for tretti år og selgere av "
"flaskevann for mye mer enn det, det er ingenting umulig overhodet om "
"\"konkurrerer med gratis.\" faktisk, om noe, inspirerer konkurransen "
"konkurrenter å tilby nye og bedre produkter. Dette er nettopp hva "
"konkurransedyktige markedet var å være om. dermed i singapore er selv om "
"piratkopiering er frodig, kinoer ofte luksuriøse--med \"første klasse\" "
"seter og måltider servert mens du ser en film--er de kampen og lykkes i å "
"finne måter å konkurrere med \"gratis\"."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 regimet av konkurranse, med en backstop å sikre at kunstnere ikke "
"mister, ville gjøre mye innovasjon innen levering av innhold. at "
"konkurransen ville fortsette å krympe type en deling. det vil inspirere en "
"ekstraordinære rekke nye innovators--de som ville ha rett til innholdet, og "
"ville ikke lenger frykter usikker og barbarically alvorlige straffene av "
"loven."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid "In summary, then, my proposal is this:"
msgstr "Oppsummert, så er mitt forslag dette:"

#.  PAGE BREAK 308
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Internett er i overgang. Vi bør ikke regulerer en teknologi i overgangen. Vi "
"bør i stedet regulerer for å minimere skade på interesser som er berørt av "
"denne teknologiske endringen, samtidig som du gir, og oppmuntre, den mest "
"effektive teknologien vi kan opprette."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid "We can minimize that harm while maximizing the benefit to innovation by"
msgstr ""
"Vi kan minimere den skade samtidig maksimere fordelen til innovasjon av"

#.  1.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid "guaranteeing the right to engage in type D sharing;"
msgstr "garantere retten til å engasjere seg i type-d dele;"

#.  2.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"permitting noncommercial type C sharing without liability, and commercial "
"type C sharing at a low and fixed rate set by statute;"
msgstr ""
"tillater ikke-kommersiell type c deling uten erstatningsansvar og "
"kommersielle type c deling med en lav og fast hastighet ved lov;"

#.  3.
#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para>
#, mtrans, fuzzy
msgid ""
"while in this transition, taxing and compensating for type A sharing, to the "
"extent actual harm is demonstrated."
msgstr ""
"mens du er i denne overgangen, taxing og kompensere for typen en deling, i "
"grad er faktiske skade vist."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, fuzzy
msgid ""
"But what if \"piracy\" doesn't disappear? What if there is a competitive "
"market providing content at a low cost, but a significant number of "
"consumers continue to \"take\" content for nothing? Should the law do "
"something then?"
msgstr ""
"men hva om \"piratkopiering\" ikke forsvinne? Hva hvis det er et "
"konkurranseutsatt marked å gi innhold på en lav pris, men et betydelig "
"antall forbrukere fortsette å \"ta\" innhold for ingenting? loven gjør noe "
"deretter?"

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 x, or (b) to have a technology "
"that is 50 percent secure but produces a market of five times x? 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 skal. men igjen, hva det gjør avhenger hvordan fakta utvikle. disse "
"endringene kan ikke eliminere type en deling. men det virkelige problemet er "
"ikke om det eliminerer deling i abstrakt. det virkelige problemet er sin "
"effekt på markedet. er det bedre (a) å ha en teknologi som er 95 prosent "
"sikker og produserer et marked av størrelse x, eller (b) for å ha en "
"teknologi som er 50 prosent sikker, men gir et marked av fem ganger x? "
"mindre sikker kan gi mer uautorisert deling, men det er sannsynlig å "
"produsere også et mye større marked i autoriserte deling. viktigste er å "
"sikre kunstneres kompensasjon uten å bryte Internett. Når som er trygg, kan "
"deretter det godt være riktig å finne måter å spore opp smålig pirates."

#.  PAGE BREAK 309
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 unna whittling problemet ned til dette delsettet av typen en "
"sharers. og vårt fokus før vi er det bør ikke være på å finne måter å bryte "
"Internett. vårt fokus før vi er det bør være på hvordan du kontrollerer "
"kunstnerne er betalt, og beskytter området for innovasjon og kreativitet som "
"Internett er."

#. type: Content of: <book><chapter><sect1><sect2><title>
msgid "5. Fire Lots of Lawyers"
msgstr "5. Spark en masse advokater"

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe "
"in the law of copyright. Indeed, I have devoted my life to working in law, "
"not because there are big bucks at the end but because there are ideals at "
"the end that I would love to live."
msgstr ""
"Jeg er en advokat. Jeg lever av å lage advokater. Jeg tror på loven. Jeg "
"tror på opphavsrettsloven. Jeg har faktisk viet livet til å jobbe med loven, "
"ikke fordi det er mye penger å tjene, men fordi det innebærer idealer som "
"jeg elsker å leve opp til."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"likevel mye av denne boken har vært en kritikk av advokater, eller rolle "
"advokater har spilt i denne debatten. loven taler til idealer, men det er "
"min oppfatning at vårt yrke bli for attuned til klienten. og i en verden der "
"rike klientene har en sterk visning, yrke å spørsmålet eller telleren uvilje "
"mot en sterk visningen queers loven."

#.  f10.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069&ndash;70."
msgstr ""
"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
"Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069&ndash;70."

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"The evidence of this bending is compelling. I'm attacked as a \"radical\" 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 ""

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 kritikk av rollen som advokater har spilt i denne debatten er imidlertid "
"ikke bare om en profesjonell skjevhet. Det er enda viktigere om vår "
"manglende evne til å faktisk regner med kostnadene for loven."

#.  f11.
#. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
msgid ""
"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
"commended for his careful review of data about infringement, leading him to "
"question his own publicly stated position&mdash;twice. He initially "
"predicted that downloading would substantially harm the industry. He then "
"revised his view in light of the data, and he has since revised his view "
"again.  Compare Stan J. Liebowitz, Rethinking the Network Economy: The True "
"Forces That Drive the Digital Marketplace (New York: Amacom, 2002), "
"(reviewing his original view but expressing skepticism) with Stan J.  "
"Liebowitz, \"Will MP3s Annihilate the Record Industry?\" 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, Rethinking, "
"174&ndash;76."
msgstr ""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"Economists are supposed to be good at reckoning costs and benefits.  But "
"more often than not, economists, with no clue about how the legal system "
"actually functions, simply assume that the transaction costs of the legal "
"system are slight.<placeholder type=\"footnote\" id=\"0\"/> They see a "
"system that has been around for hundreds of years, and they assume it works "
"the way their elementary school civics class taught them it works."
msgstr ""

#.  PAGE BREAK 310
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 juridiske systemet fungerer ikke. eller mer nøyaktig det fungerer ikke "
"for alle unntatt de med mest ressurser. ikke fordi systemet er skadet. Jeg "
"tror ikke våre juridisk system (på føderalt nivå, minst) er overhodet "
"skadet. Jeg mener bare fordi kostnadene for vår juridiske systemet er så "
"astonishingly høyt som rettferdighet praktisk talt aldri kan gjøres."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 kostnadene forvrenge fri kultur på mange måter. en advokat tid er "
"fakturert i største selskaper på mer enn $400 per time. hvor mye tid bør "
"slike en advokat tilbringe lesing tilfeller nøye, eller undersøker obskure "
"retninger av myndighet? svaret er økende virkeligheten: svært lite. loven "
"depended upon forsiktig articulation og utvikling av doktrine, men forsiktig "
"articulation og utvikling av juridiske doktrine, avhenger av forsiktig "
"arbeid. men at forsiktig arbeid koster for mye, bortsett fra i de mest "
"høyprofilerte og kostbare tilfeller."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"costliness og clumsiness og tilfeldigheten til dette systemet håne vår "
"tradisjon. og advokater, samt akademikere, bør vurdere det deres plikt til å "
"endre hvordan loven fungerer-- eller bedre, endre loven slik at det "
"fungerer. Det er galt at systemet fungerer godt bare for toppen 1 prosent av "
"klientene. Det kan gjøres radikalt mer effektiv, og billig og dermed "
"radikalt mer rettferdig."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 til at reform er fullført, bør vi som et samfunn følger loven fra "
"områder som vi vet det vil bare skade. og det er nettopp hva loven vil "
"altfor ofte gjøre hvis for mye av vår kultur er igjen til gjennomgangen."

#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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 ""
"Tenk på de fantastiske tingene barnet kan gjøre eller gjøre med digital "
"teknologi--filmen, musikken, web-siden, bloggen. eller Tenk på de "
"fantastiske tingene fellesskapet kunne fasilitere med digital teknologi--en "
"wiki, en låve heve, aktivisme til å endre noe. Tenk på alle de kreative "
"tingene, og deretter tenke kaldt molasses strømmet på maskinene. Dette er "
"hva noen regime som krever tillatelse produserer. igjen, dette er "
"virkeligheten av brezhnev's Russland."

#.  PAGE BREAK 311
#. type: Content of: <book><chapter><sect1><sect2><para>
#, mtrans, 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: \"Will it do good?\" When challenged about the expanding reach of "
"the law, the lawyer answers, \"Why not?\""
msgstr ""
"loven skal regulere i visse områder av kultur-- men det skal regulere kultur "
"bare der den reguleringen gjør bra. men advokater sjelden teste deres makt, "
"eller kraften som de fremme, mot dette enkle pragmatisk spørsmålet: \"vil "
"det gjøre gode?\" når utfordret om det utvider nå av loven, advokat-svar, "
"\"Hvorfor ikke?\""

#. type: Content of: <book><chapter><sect1><sect2><para>
msgid ""
"We should ask, \"Why?\" 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 spørre: \"Hvorfor?\" Vis meg hvorfor din regulering av kultur er "
"nødvendig og vis meg hvordan reguleringen fungerer bra.  Før du kan vise meg "
"begge, holde advokatene din unna."

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

#. type: Content of: <book><chapter><para>
msgid ""
"Throughout this text, there are references to links on the World Wide Web. "
"As anyone who has tried to use the Web knows, these links can be highly "
"unstable. I have tried to remedy the instability by redirecting readers to "
"the original source through the Web site associated with this book. For each "
"link below, you can go to 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 teksten er det referanser til lenker på verdensveven.  Og som alle "
"som har forsøkt å bruke nettet vet, så vil disse lenkene være svært "
"ustabile.  Jeg har forsøkt å motvirke denne ustabiliteten ved å omdirigere "
"lesere til den originale kilden gjennom en nettside som hører til denne "
"boken.  For hver lenke under, så kan du gå til http://free-culture.cc/notes "
"og finne den originale kilden ved å klikke på nummeret etter #-tegnet.  If "
"den originale lenken fortsatt er i live, så vil du bli omdirigert til den "
"lenken.  Hvis den originale lenken har forsvunnet, så vil du bli omdirigert "
"til en passende referanse til materialet."

#. type: Content of: <book><chapter><title>
msgid "ACKNOWLEDGMENTS"
msgstr "Takk til"

#. type: Content of: <book><chapter><para>
msgid ""
"This book is the product of a long and as yet unsuccessful struggle that "
"began when I read of Eric Eldred's war to keep books free. Eldred's work "
"helped launch a movement, the free culture movement, and it is to him that "
"this book is dedicated."
msgstr ""
"Denne boken er produktet av en lang og så langt mislykket kamp som begynte "
"da jeg leste om Eric Eldreds krig å sørge for at bøker forble frie. Eldreds "
"innsats bidro til å lansere en bevegelse, fri kultur-bevegelsen, og denne "
"boken er tilegnet ham."

#. type: Content of: <book><chapter><para>
#, mtrans, 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 fikk veiledning i forskjellige steder fra venner og akademikere, "
"inkludert glenn brun, peter dicola, jennifer mnookin, richard posner, "
"markere rose og kathleen sullivan. og jeg fikk korreksjon og veiledning fra "
"mange fantastiske studenter ved stanford law school og stanford university. "
"de inkludert andrew b. coan, john eden, james p. fellers, christopher "
"guzelian, erica goldberg, robert hallman, andrew harris, matthew kahn, brian-"
"kobling, ohad mayblum, alina ng og erica platt. Jeg er særlig takknemlig "
"overfor catherine crump og harry surden, som hjalp direkte deres forskning "
"og til laura lynch, som briljant klarte hæren at de samlet, og ga sin egen "
"kritisk blikk på mye av dette."

#.  PAGE BREAK 337
#. type: Content of: <book><chapter><para>
#, mtrans, 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 meg å forstå lovene i japan, så vel som sin kultur. Jeg "
"er takknemlig til henne, og til mange i japan som hjalp meg med å forberede "
"denne boken: joi ito, alt matsutani, naoto misaki, michihiro sasaki "
"hiromichi tanaka, hiroo yamagata og yoshihiro yonezawa. Jeg er takknemlig så "
"vel som professor nobuhiro nakayama og tokyo university business law center, "
"for å gi meg muligheten til å bruke tid i japan, og tadashi shiraishi og "
"kiyokazu yamagami for deres sjenerøs hjelp mens jeg var der."

#. type: Content of: <book><chapter><para>
#, mtrans, 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, \"Wink,\" Roger Wood, \"Ximmbo da Jazz,\" 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 tradisjonelle former for hjelp som akademikere regelmessig "
"trekke på. men i tillegg til dem, Internett har gjort det mulig å motta råd "
"og korrigering fra mange hvem jeg har aldri møtt. blant de som har svart med "
"svært nyttig råd til forespørsler på bloggen min om boken er dr. Muhammed al-"
"ubaydli, david gerstein og peter dimauro, samt en lang liste med de som "
"hadde spesifikke ideer om måter å utvikle mitt argument. de inkludert "
"richard bondi, steven cherry, david coe, nik cubrilovic, bob devine, charles "
"eicher, thomas fjord, elihu m gerson, jeremy hunsinger, vaughn iverson, john "
"karabaic, jeff-keltner, james lindenschmidt, k. l. mann, merke bemanning, "
"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, \"kyss,\" roger "
"tre, \"ximmbo da jazz\", og richard yanco. (jeg beklager hvis jeg har savnet "
"noen, med datamaskiner kommer glitches og krasj av min e-postsystemet mente "
"jeg mistet en haug med stor svar.)"

#. type: Content of: <book><chapter><para>
#, mtrans, 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 lest utkast av hele denne "
"boken, og hver av dem har bidratt med svært nyttige korreksjoner og råd  "
"Michael hjalp meg å se mer tydelig betydningen av regulering av avledede "
"verk. og Richard korrigerte en pinlig stor  mengde feil.  Selv om mitt "
"arbeid er delvis inspirert av Stallmans, enig han ikke med meg viktige "
"steder i denne boken."

#. type: Content of: <book><chapter><para>
msgid ""
"Finally, and forever, I am thankful to Bettina, who has always insisted that "
"there would be unending happiness away from these battles, and who has "
"always been right. This slow learner is, as ever, grateful for her perpetual "
"patience and love."
msgstr ""
"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert "
"på at det ville være lykke uten ende borte fra disse kampene, og som alltid "
"har hatt rett.  Denne trege eleven er som alltid takknemlig for hennes "
"evigvarende tålmodighet og kjærlighet."