msgid "Free Culture" msgstr "Fri kultur" #. type: Content of: <book><bookinfo> msgid "<abbrev>\"freeculture\"</abbrev>" msgstr "<abbrev>\"frikultur\"</abbrev>" #. type: Content of: <book><dedication><para> msgid "" "HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " "CREATIVITY" msgstr "" "Hvordan store medieaktører bruker teknologi og loven til å låse ned kulturen " "og kontrollere kreativiteten" #. type: Content of: <book><bookinfo> msgid "<pubdate>2004-03-25</pubdate>" msgstr "" #. type: Content of: <book><bookinfo><releaseinfo> 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><subjectset><subject><subjectterm> msgid "Intellectual property—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Mass media—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Technological innovations—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Art—United States." msgstr "" #. type: Content of: <book><bookinfo><publisher><address> #, no-wrap msgid "<city>New York</city>" msgstr "" #. type: Content of: <book><bookinfo> msgid "" "<publisher> <publishername>The Penguin Press</publishername> <placeholder " "type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " "<holder>Lawrence Lessig</holder> </copyright>" msgstr "" #. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> msgid "" "<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " "width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " "fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" "\"/> </imageobject>" msgstr "" "<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " "width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " "fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" "\"/> </imageobject>" #. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> msgid "Creative Commons, Some rights reserved" msgstr "Creative Commons, noen rettigheter reservert" #. type: Content of: <book><bookinfo><legalnotice><para> msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" #. type: Content of: <book><bookinfo><legalnotice><para> msgid "" "This version of <citetitle>Free Culture</citetitle> 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>" msgstr "" "Denne versjonen av <citetitle>Fri Kultur</citetitle> er lisensiert 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>" #. type: Content of: <book><bookinfo><abstract><title> msgid "ABOUT THE AUTHOR" msgstr "Om forfatteren" #. type: Content of: <book><bookinfo><abstract><para> #, fuzzy #| msgid "" #| "LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig." #| "org</ulink>), professor of law and a 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." 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 <quote>e.biz 25," "</quote> and named one of Scientific American's <quote>50 visionaries.</" "quote> A graduate of the University of Pennsylvania, Cambridge University, " "and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " "Seventh Circuit Court of Appeals." msgstr "" "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 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, " "assisterte Lessig dommer Richard Posner ved U.S. Seventh Circuit Court of " "Appeals." # # # #. testing different ways to tag the cover page #. <imageobject remap="s" role="front"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. <imageobject remap="xs" role="front-small"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. <imageobject remap="cs" role="thumbnail"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. type: Content of: <book><bookinfo><mediaobject> msgid "" "<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" "cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" msgstr "" #. LCCN from #. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page #. #. type: Content of: <book><bookinfo> msgid "" " <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" "\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" "\">2003063276</biblioid>" msgstr "" #. type: Content of: <book><dedication><para> msgid "You can buy a copy of this book by clicking on one of the links below:" msgstr "" "Du kan kjøpe et eksemplar av denne boken ved å klikke på en av lenkene " "nedenfor:" #. type: Content of: <book><dedication><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><dedication><itemizedlist><listitem><para> msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" #. type: Content of: <book><dedication><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><dedication><para> msgid "ALSO BY LAWRENCE LESSIG" msgstr "Andre bøker av Lawrence Lessig" #. type: Content of: <book><dedication><para> msgid "The Future of Ideas: The Fate of the Commons in a Connected World" msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" #. type: Content of: <book><dedication><para> msgid "Code: And Other Laws of Cyberspace" msgstr "Code: And Other Laws of Cyberspace" #. type: Content of: <book><dedication><para> msgid "THE PENGUIN PRESS, NEW YORK" msgstr "The Penguin Press, New York" #. type: Content of: <book><dedication><para> msgid "FREE CULTURE" msgstr "Fri Kultur" #. type: Content of: <book><dedication><para> msgid "LAWRENCE LESSIG" msgstr "Lawrence Lessig" #. type: Content of: <book><colophon><para> msgid "" "THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " "New York, New York" msgstr "" #. type: Content of: <book><colophon><para> msgid "Copyright © Lawrence Lessig. All rights reserved." msgstr "" "Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert." #. type: Content of: <book><colophon><para> msgid "" "Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" "quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " "Copyright © 2003 by The New York Times Co. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "Cartoon in <xref linkend=\"fig-1711\"/> by Paul Conrad, copyright Tribune " "Media Services, Inc. All rights reserved. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "Diagram in <xref linkend=\"fig-1761\"/> courtesy of the office of FCC " "Commissioner, Michael J. Copps." msgstr "" #. type: Content of: <book><colophon><para> msgid "Library of Congress Cataloging-in-Publication Data" msgstr "" #. type: Content of: <book><colophon><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><colophon><para> msgid "p. cm." msgstr "" #. type: Content of: <book><colophon><para> msgid "Includes index." msgstr "" #. type: Content of: <book><colophon><para> msgid "ISBN 1-59420-006-8 (hardcover)" msgstr "" #. type: Content of: <book><colophon><para> msgid "" "1. Intellectual property—United States. 2. Mass media—United " "States." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "3. Technological innovations—United States. 4. Art—United " "States. I. Title." msgstr "" #. type: Content of: <book><colophon><para> msgid "KF2979.L47" msgstr "" #. type: Content of: <book><colophon><para> msgid "343.7309'9—dc22" msgstr "" #. type: Content of: <book><colophon><para> msgid "This book is printed on acid-free paper." msgstr "" #. type: Content of: <book><colophon><para> msgid "Printed in the United States of America" msgstr "" #. type: Content of: <book><colophon><para> msgid "1 3 5 7 9 10 8 6 4" msgstr "" #. type: Content of: <book><colophon><para> msgid "Designed by Marysarah Quinn" msgstr "" #. type: Content of: <book><colophon><para> msgid "&translationblock;" msgstr "" "Oversatt til bokmål av Petter Reinholdtsen og Anders Hagen Jarmund. " "Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" "petterreinholdtsen/free-culture-lessig\">tilgjengelig fra github</ulink>. " "Rapporter feil med oversettelsen via github." #. type: Content of: <book><colophon><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." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "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><dedication><para> msgid "" "To Eric Eldred—whose work first drew me to this cause, and for whom it " "continues still." msgstr "" "Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for " "hvem saken fortsetter." #. type: Content of: <book><lot><title> msgid "List of figures" msgstr "Figurliste" #. type: Content of: <book><preface><title> msgid "PREFACE" msgstr "Forord" #. type: Content of: <book><preface><indexterm><primary> msgid "Pogue, David" msgstr "Pogue, David" #. type: Content of: <book><preface><para> msgid "" "At the end of his review of my first book, <citetitle>Code: And Other Laws " "of Cyberspace</citetitle>, David Pogue, a brilliant writer and author of " "countless technical and computer-related texts, wrote this:" msgstr "" "David Pogue, en glimrende skribent og forfatter av utallige tekniske " "datarelaterte tekster, skrev dette på slutten av hans gjennomgang av min " "første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:" #. type: Content of: <book><preface><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York " #| "Times</citetitle>, 30 January 2000." msgid "" "David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " "York Times</citetitle>, 30 January 2000." msgstr "" "David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</" "citetitle>, 30. januar 2000" #. type: Content of: <book><preface><blockquote><para> msgid "" "Unlike actual law, Internet software has no capacity to punish. It doesn't " "affect people who aren't online (and only a tiny minority of the world " "population is). And if you don't like the Internet's system, you can always " "flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "I motsetning til faktiske lover, så har ikke internett-programvare " "kapasiteten til å straffe. Den påvirker ikke folk som ikke er online (og " "kun en veldig liten minoritet av verdens befolkning er online). Og hvis du " "ikke liker systemet på internett, så kan du alltid slå av modemet." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "Pogue was skeptical of the core argument of the book—that software, " #| "or \"code,\" functioned as a kind of law—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 <emphasis>that</emphasis> space wouldn't \"affect\" us anymore." msgid "" "Pogue was skeptical of the core argument of the book—that software, or " "<quote>code,</quote> functioned as a kind of law—and his review " "suggested the happy thought that if life in cyberspace got bad, we could " "always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " "switch and be back home. Turn off the modem, unplug the computer, and any " "troubles that exist in <emphasis>that</emphasis> space wouldn't " "<quote>affect</quote> us anymore." msgstr "" "Pogue var skeptisk til argumentet som er kjernen av boken — at " "programvaren, eller \"koden\", fungerte som en slags lov — og foreslo " "i sin anmeldelse den lykkelig tanken at hvis livet i cyberspace gikk dårlig, " "så kan vi alltid som med en trylleformel slå over en bryter og komme hjem " "igjen. Slå av modemet, koble fra datamaskinen, og eventuelle problemer som " "finnes <emphasis>den</emphasis> virkeligheten ville ikke \"påvirke\" oss mer." #. PAGE BREAK 12 #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "Pogue might have been right in 1999—I'm skeptical, but maybe. But " #| "even if he was right then, the point is not right now: <citetitle>Free " #| "Culture</citetitle> is about the troubles the Internet causes even after " #| "the modem is turned off. It is an argument about how the battles that now " #| "rage regarding life on-line have fundamentally affected \"people who " #| "aren't online.\" There is no switch that will insulate us from the " #| "Internet's effect." msgid "" "Pogue might have been right in 1999—I'm skeptical, but maybe. But " "even if he was right then, the point is not right now: <citetitle>Free " "Culture</citetitle> is about the troubles the Internet causes even after the " "modem is turned off. It is an argument about how the battles that now rage " "regarding life on-line have fundamentally affected <quote>people who aren't " "online.</quote> There is no switch that will insulate us from the Internet's " "effect." msgstr "" "Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " "Men selv om han hadde rett da, så er ikke argumentet gyldig nå. " "<citetitle>Fri Kultur</citetitle> er om problemene internett forårsaker selv " "etter at modemet er slått av. Den er et argument om hvordan slagene som nå " "brer om seg i livet on-line har fundamentalt påvirket \"folk som er ikke " "pålogget.\" Det finnes ingen bryter som kan isolere oss fra internettets " "effekt." #. type: Content of: <book><preface><para> msgid "" "But unlike <citetitle>Code</citetitle>, the argument here is not much about " "the Internet itself. It is instead about the consequence of the Internet to " "a part of our tradition that is much more fundamental, and, as hard as this " "is for a geek-wanna-be to admit, much more important." msgstr "" "Men i motsetning til i boken <citetitle>Code</citetitle>, 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><preface><para><footnote><para> msgid "" "Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " "(Joshua Gay, ed. 2002)." msgstr "" "Richard M. Stallman, <citetitle>Fri programvare, Frie samfunn</citetitle> 57 " "(Joshua Gay, red. 2002)." #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "That tradition is the way our culture gets made. As I explain in the " #| "pages that follow, we come from a tradition of \"free culture\"—not " #| "\"free\" as in \"free beer\" (to borrow a phrase from the founder of the " #| "free software 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 <emphasis>as free as possible</emphasis> from the " #| "control of the past. A free culture is not a culture without property, " #| "just as a free market is not a market in which everything is free. The " #| "opposite of a free culture is a \"permission culture\"—a culture in " #| "which creators get to create only with the permission of the powerful, or " #| "of creators from the past." msgid "" "That tradition is the way our culture gets made. As I explain in the pages " "that follow, we come from a tradition of <quote>free culture</quote>—" "not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " "from the founder of the free software movement<placeholder type=\"footnote\" " "id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " "<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " "enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" "quote> A free culture supports and protects creators and innovators. It does " "this directly by granting intellectual property rights. But it does so " "indirectly by limiting the reach of those rights, to guarantee that follow-" "on creators and innovators remain <emphasis>as free as possible</emphasis> " "from the control of the past. A free culture is not a culture without " "property, just as a free market is not a market in which everything is free. " "The opposite of a free culture is a <quote>permission culture</quote>—" "a culture in which creators get to create only with the permission of the " "powerful, or of creators from the past." msgstr "" "Den tradisjonen er måten vår kultur blir laget på. Som jeg vil forklare i " "sidene som følger, kommer vi fra en tradisjon av \"fri kultur\"—ikke " "\"fri\" som i \"fri bar\" (for å låne et uttrykk fra stifteren av fri " "programvarebevegelsen<placeholder type=\"footnote\" id=\"0\"/>), men \"fri\" " "som i \"talefrihet\", \"fritt marked\", \"frihandel\", \"fri konkurranse\", " "\"fri vilje\" og \"frie valg\". En fri kultur støtter og beskytter skapere " "og oppfinnere. Dette gjør den direkte ved å tildele immaterielle " "rettigheter. Men det gjør den indirekte ved å begrense rekkevidden for " "disse rettighetene, for å garantere at neste generasjon skapere og " "oppfinnere forblir <emphasis>så fri som mulig</emphasis> fra kontroll fra " "fortiden. En fri kultur er ikke en kultur uten eierskap, like lite som et " "fritt marked er et marked der alt er gratis. Det motsatte av fri kultur er " "\"tillatelseskultur\"—en kultur der skapere kun kan skape med " "tillatelse fra de mektige, eller fra skaperne fra fortiden." #. type: Content of: <book><preface><para> #, 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." msgid "" "If we understood this change, I believe we would resist it. Not <quote>we</" "quote> on the Left or <quote>you</quote> on the Right, but we who have no " "stake in the particular industries of culture that defined the twentieth " "century. Whether you are on the Left or the Right, if you are in this sense " "disinterested, then the story I tell here will trouble you. For the changes " "I describe affect values that both sides of our political culture deem " "fundamental." msgstr "" "Hvis vi forsto denne endringen, så tror jeg vi ville stå imot den. Ikke \"vi" "\" på venstresiden eller \"dere\" på høyresiden, men vi som ikke har " "investert i den spesifikke kulturindustrien som har definert det tjuende " "århundre. Enten du er på venstre eller høyresiden, hvis du i denne forstand " "ikke har interesser, 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><indexterm><primary> msgid "CodePink Women in Peace" msgstr "" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Safire, William" msgstr "Safire, William" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "We saw a glimpse of this bipartisan outrage in the early summer of 2003. " #| "As the FCC considered changes in media ownership rules that would relax " #| "limits on media concentration, an extraordinary coalition generated more " #| "than 700,000 letters to the FCC opposing the change. As William Safire " #| "described marching \"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, <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " "the FCC considered changes in media ownership rules that would relax limits " "on media concentration, an extraordinary coalition generated more than " "700,000 letters to the FCC opposing the change. As William Safire described " "marching <quote>uncomfortably alongside CodePink Women for Peace and the " "National Rifle Association, between liberal Olympia Snowe and conservative " "Ted Stevens,</quote> he formulated perhaps most simply just what was at " "stake: the concentration of power. And as he asked, <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Vi så et glimt av dette tverrpolitiske raseri på forsommeren i 2003. Da FCC " "vurderte endringer i reglene for medieeierskap som ville slakke på " "begrensningene rundt mediekonsentrasjon, sendte en ekstraordinær koalisjon " "mer enn 700 000 brev til FCC for å motsette seg endringen. Mens William " "Safire beskrev å marsjere \"ubehagelig sammen med CodePink Women for Peace " "and the National Rifle Association, mellom liberale Olympia Snowe og " "konservative Ted Stevens\", formulerte han kanskje det enkleste uttrykket " "for hva som var på spill: konsentrasjonen av makt. Så spurte han: " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><preface><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" #| "citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " "Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" "citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><preface><blockquote><para> msgid "" "Does that sound unconservative? Not to me. The concentration of power—" "political, corporate, media, cultural—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 "" "Høres dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " "makt—politisk, selskapsmessig, pressemessig, kulturelt—bør være " "bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " "derigjennom oppmuntre til individuell deltagelse, er essensen i føderalismen " "og det største uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" ">" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "This idea is an element of the argument of <citetitle>Free Culture</" #| "citetitle>, though my focus is not just on the concentration of power " #| "produced by concentrations in ownership, but more importantly, if because " #| "less visibly, on the concentration of power produced by a radical change " #| "in the effective scope of the law. The law is changing; that change is " #| "altering the way our culture gets made; that change should worry " #| "you—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 <citetitle>Free Software, Free Society</" #| "citetitle>, I realize that all of the theoretical insights I develop here " #| "are insights Stallman described decades ago. One could thus well argue " #| "that this work is \"merely\" derivative." msgid "" "This idea is an element of the argument of <citetitle>Free Culture</" "citetitle>, though my focus is not just on the concentration of power " "produced by concentrations in ownership, but more importantly, if because " "less visibly, on the concentration of power produced by a radical change in " "the effective scope of the law. The law is changing; that change is altering " "the way our culture gets made; that change should worry you—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 <citetitle>Free Software, Free Society</citetitle>, I realize that all of " "the theoretical insights I develop here are insights Stallman described " "decades ago. One could thus well argue that this work is <quote>merely</" "quote> derivative." msgstr "" "Denne idéen er et element i argumentet til <citetitle>Fri Kultur</" "citetitle>, selv om min fokus ikke bare er på konsentrasjonen av makt som " "følger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " "synlig, på konsentrasjonen av makt som er resultat av en radikal endring i " "det effektive virkeområdet til loven. Loven er i endring, og endringen " "forandrer på hvordan vår kultur blir skapt. Den endringen bør bekymre " "deg—Uansett om du bryr deg om internett eller ikke, og uansett om du " "er til venstre for Safires eller til høyre. Inspirasjonen til tittelen og " "mye av argumentet i denne boken kommer fra arbeidet til Richard Stallman og " "Free Software Foundation. Faktisk, da jeg leste Stallmans egne tekster på " "nytt, spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " "innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " "som Stallman beskrev for tiår siden. Man kan dermed godt argumentere for at " "dette verket kun er et avledet verk." #. PAGE BREAK 14 #. type: Content of: <book><preface><para> msgid "" "I accept that criticism, if indeed it is a criticism. The work of a lawyer " "is always derivative, and I mean to do nothing more in this book than to " "remind a culture about a tradition that has always been its own. Like " "Stallman, I defend that tradition on the basis of values. Like Stallman, I " "believe those are the values of freedom. And like Stallman, I believe those " "are values of our past that will need to be defended in our future. A free " "culture has been our past, but it will only be our future if we change the " "path we are on right now. Like Stallman's arguments for free software, an " "argument for free culture stumbles on a confusion that is hard to avoid, and " "even harder to understand. A free culture is not a culture without property; " "it is not a culture in which artists don't get paid. A culture without " "property, or in which creators can't get paid, is anarchy, not freedom. " "Anarchy is not what I advance here." msgstr "" "Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " "er alltid avledede verker, og jeg mener ikke å gjøre noe mer i denne boken " "enn å minne en kultur om en tradisjon som alltid har vært deres egen. Som " "Stallman forsvarer jeg denne tradisjonen på grunnlag av verdier. Som " "Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " "dette er verdier fra vår fortid som må forsvares i vår fremtid. En fri " "kultur har vært vår fortid, men vil bare være vår fremtid hvis vi endrer " "retningen vi følger akkurat nå. På samme måte som Stallmans argumenter for " "fri programvare, treffer argumenter for en fri kultur på forvirring som er " "vanskelig å unngå, og enda vanskeligere å forstå. En fri kultur er ikke en " "kultur uten eierskap. Det er ikke en kultur der kunstnere ikke får betalt. " "En kultur uten eierskap eller en der skaperne ikke kan få betalt, er anarki, " "ikke frihet. Anarki er ikke hva jeg fremmer her." #. type: Content of: <book><preface><para> msgid "" "Instead, the free culture that I defend in this book is a balance between " "anarchy and control. A free culture, like a free market, is filled with " "property. It is filled with rules of property and contract that get enforced " "by the state. But just as a free market is perverted if its property becomes " "feudal, so too can a free culture be queered by extremism in the property " "rights that define it. That is what I fear about our culture today. It is " "against that extremism that this book is written." msgstr "" "I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " "mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " "fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " "blir håndhevet av staten. Men på samme måte som det frie markedet blir " "pervertert hvis dets eierskap blir føydalt, så kan en fri kultur bli ødelagt " "av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " "frykter om vår kultur i dag. Det er som motpol til denne ekstremismen at " "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 fartøy tyngre " "enn luft kunne fly. Øyeblikket var elektrisk, og dens betydning ble alment " "forstått. Nesten umiddelbart, eksploderte interessen 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> msgid "" "St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " "Hackensack, N.J.: Rothman Reprints, 1969), 18." msgstr "" "St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " "Hackensack, N.J.: Rothman Reprints, 1969), 18." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "At the time the Wright brothers invented the airplane, American law held " #| "that a property owner presumptively owned not just the surface of his " #| "land, but all the land below, down to the center of the earth, and all " #| "the space above, to \"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?" msgid "" "At the time the Wright brothers invented the airplane, American law held " "that a property owner presumptively owned not just the surface of his land, " "but all the land below, down to the center of the earth, and all the space " "above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" "\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " "to interpret the idea that rights in land ran to the heavens. Did that mean " "that you owned the stars? Could you prosecute geese for their willful and " "regular trespass?" msgstr "" "Da Wright-brødrene fant opp flymaskinen, hevdet loven i USA at en grunneier " "ble antatt å eie ikke bare overflaten på området sitt, men også alt landet " "under bakken, helt ned til senterpunktet i jorda, og alt volumet over " "bakken, \"i ubestemt grad, oppover\".<placeholder type=\"footnote\" id=\"0\"/" "> I mange år undret lærde over hvordan en best skulle tolke idéen om at " "eiendomsretten gikk helt til himmelen. Betød dette at du eide stjernene? " "Kunne en dømme gjess for at de regelmessig og med vilje tok seg inn på annen " "manns eiendom?" #. type: Content of: <book><chapter><para> msgid "" "Then came airplanes, and for the first time, this principle of American " "law—deep within the foundations of our tradition, and acknowledged by " "the most important legal thinkers of our past—mattered. If my land " "reaches to the heavens, what happens when United flies over my field? Do I " "have the right to banish it from my property? Am I allowed to enter into an " "exclusive license with Delta Airlines? Could we set up an auction to decide " "how much these rights are worth?" msgstr "" "Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i " "USA—dypt nede i grunnlaget for vår tradisjon og akseptert av de " "viktigste juridiske tenkerne i vår fortid—en betydning. Hvis min " "eiendom rekker til himmelen, hva skjer når United flyr over mitt område? " "Har jeg rett til å nekte dem å bruke min eiendom? Har jeg mulighet til å " "inngå en eksklusiv avtale med Delta Airlines? Kan vi gjennomføre en auksjon " "for å finne ut hvor mye disse rettighetene er verdt?" #. type: Content of: <book><chapter><indexterm><primary> msgid "Causby, Thomas Lee" msgstr "Causby, Thomas Lee" #. type: Content of: <book><chapter><indexterm><primary> msgid "Causby, Tinie" msgstr "Causby, Tinie" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "In 1945, these questions became a federal case. When North Carolina " #| "farmers Thomas Lee and Tinie Causby started losing chickens because of " #| "low-flying military aircraft (the terrified chickens apparently flew into " #| "the barn walls and died), the Causbys filed a lawsuit saying that the " #| "government was trespassing on their land. The airplanes, of course, never " #| "touched the surface of the Causbys' land. But if, as Blackstone, Kent, " #| "and Coke had said, their land reached to \"an indefinite extent, upwards," #| "\" then the government was trespassing on their property, and the Causbys " #| "wanted it to stop." msgid "" "In 1945, these questions became a federal case. When North Carolina farmers " "Thomas Lee and Tinie Causby started losing chickens because of low-flying " "military aircraft (the terrified chickens apparently flew into the barn " "walls and died), the Causbys filed a lawsuit saying that the government was " "trespassing on their land. The airplanes, of course, never touched the " "surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " "said, their land reached to <quote>an indefinite extent, upwards,</quote> " "then the government was trespassing on their property, and the Causbys " "wanted it to stop." msgstr "" "I 1945 ble disse spørsmålene en føderal sak. Da bøndene Thomas Lee og Tinie " "Causby i Nord Carolina begynte å miste kyllinger på grunn av lavtflygende " "militære fly (vettskremte kyllinger fløy tilsynelatende i låveveggene og " "døde), saksøkte Causbyene regjeringen for å trenge seg inn på deres eiendom. " "Flyene rørte selvfølgelig aldri overflaten på Causbys' eiendom. Men hvis det " "stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " "\"i ubestemt grad, oppover,\" så hadde regjeringen trengt seg inn på deres " "eiendom, og Causbys ønsket å sette en stopper for dette." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "The Supreme Court agreed to hear the Causbys' case. Congress had declared " #| "the airways public, but if one's property really extended to the heavens, " #| "then Congress's declaration could well have been an unconstitutional " #| "\"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," msgid "" "The Supreme Court agreed to hear the Causbys' case. Congress had declared " "the airways public, but if one's property really extended to the heavens, " "then Congress's declaration could well have been an unconstitutional " "<quote>taking</quote> of property without compensation. The Court " "acknowledged that <quote>it is ancient doctrine that common law ownership of " "the land extended to the periphery of the universe.</quote> But Justice " "Douglas had no patience for ancient doctrine. In a single paragraph, " "hundreds of years of property law were erased. As he wrote for the Court," msgstr "" "Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at " "luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " "rakk til himmelen, da kunne muligens kongressens vedtak ha vært i strid med " "grunnlovens forbud mot å \"ta\" eiendom uten kompensasjon. Retten erkjente " "at \"det er gammel doktrine etter sedvane at en eiendom rakk til utkanten av " "universet.\", men dommer Douglas hadde ikke tålmodighet for forhistoriske " "doktriner. I et enkelt avsnitt, ble hundrevis av år med " "eiendomslovgivningen strøket. Som han skrev på vegne av retten," #. type: Content of: <book><chapter><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find " #| "that there could be a \"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," #| "\" <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " #| "also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " #| "Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" " #| "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " "there could be a <quote>taking</quote> if the government's use of its land " "effectively destroyed the value of the Causbys' land. This example was " "suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" "quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " "also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " "Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være " "å \"ta\" hvis regjeringens bruk av sitt land reelt sett hadde ødelagt " "verdien av eiendomen til Causby. Dette eksemplet ble foreslått for meg i " "Keith Aokis flotte stykke, \"(intellectual) Property and Sovereignty: Notes " "Toward a cultural Geography of Authorship\", <citetitle>Stanford Law Review</" "citetitle> 48 (1996): 1293, 1333. Se også Paul Goldstein, <citetitle>Real " "Property</citetitle> (Mineola, N.Y.: Foundation Press (1984)), " "1112–13. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" #. type: Content of: <book><chapter><blockquote><para> msgid "" "[The] doctrine has no place in the modern world. The air is a public " "highway, as Congress has declared. Were that not true, every " "transcontinental flight would subject the operator to countless trespass " "suits. Common sense revolts at the idea. To recognize such private claims to " "the airspace would clog these highways, seriously interfere with their " "control and development in the public interest, and transfer into private " "ownership that to which only the public has a just claim.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " "offentlig motorvei, slik kongressen har erklært. Hvis det ikke var " "tilfelle, ville hver eneste transkontinentale flyrute utsette operatørene " "for utallige søksmål om inntrenging på annen manns eiendom. Idéen er i " "strid med sunn fornuft. Å anerkjenne slike private krav til luftrommet " "ville blokkere disse motorveiene, seriøst forstyrre muligheten til kontroll " "og utvikling av dem i fellesskapets interesse og overføre til privat " "eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "\"Common sense revolts at the idea.\"" msgid "<quote>Common sense revolts at the idea.</quote>" msgstr "\"Idéen er i strid med sunn fornuft.\"" #. PAGE BREAK 18 #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "This is how the law usually works. Not often this abruptly or " #| "impatiently, but eventually, this is how it works. It was Douglas's style " #| "not to dither. Other justices would have blathered on for pages to reach " #| "the conclusion that Douglas holds in a single line: \"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." msgid "" "This is how the law usually works. Not often this abruptly or impatiently, " "but eventually, this is how it works. It was Douglas's style not to dither. " "Other justices would have blathered on for pages to reach the conclusion " "that Douglas holds in a single line: <quote>Common sense revolts at the idea." "</quote> But whether it takes pages or a few words, it is the special genius " "of a common law system, as ours is, that the law adjusts to the technologies " "of the time. And as it adjusts, it changes. Ideas that were as solid as rock " "in one age crumble in another." msgstr "" "Det er hvordan loven vanligvis fungerer. Ikke ofte like brått eller " "utålmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " "stilen til Douglas å utbrodere. Andre dommere ville ha skrevet mange flere " "sider før de nådde sin konklusjon, men for Douglas holdt det med en enkel " "linje: \"Idéen er i strid med sunn fornuft.\". Men uansett om det tar flere " "sider eller kun noen få ord, så er det en genial egenskap med et " "rettspraksis-system, slik som vårt er, at loven tilpasser seg til aktuelle " "teknologiene. Og mens den tilpasser seg, så endres den. Idéer som var " "solide som fjell i en tidsalder knuses i en annen." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "Or at least, this is how things happen when there's no one powerful on " #| "the other side of the change. The Causbys were just farmers. And though " #| "there were no doubt many like them who were upset by the growing traffic " #| "in the air (though one hopes not many chickens flew themselves into " #| "walls), the Causbys of the world would find it very hard to unite and " #| "stop the idea, and the technology, that the Wright brothers had birthed. " #| "The Wright brothers spat airplanes into the technological meme pool; the " #| "idea then spread like a virus in a chicken coop; farmers like the Causbys " #| "found themselves surrounded by \"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—the power of \"common sense\"—would prevail. " #| "Their \"private interest\" would not be allowed to defeat an obvious " #| "public gain." msgid "" "Or at least, this is how things happen when there's no one powerful on the " "other side of the change. The Causbys were just farmers. And though there " "were no doubt many like them who were upset by the growing traffic in the " "air (though one hopes not many chickens flew themselves into walls), the " "Causbys of the world would find it very hard to unite and stop the idea, and " "the technology, that the Wright brothers had birthed. The Wright brothers " "spat airplanes into the technological meme pool; the idea then spread like a " "virus in a chicken coop; farmers like the Causbys found themselves " "surrounded by <quote>what seemed reasonable</quote> given the technology " "that the Wrights had produced. They could stand on their farms, dead " "chickens in hand, and shake their fists at these newfangled technologies all " "they wanted. They could call their representatives or even file a lawsuit. " "But in the end, the force of what seems <quote>obvious</quote> to everyone " "else—the power of <quote>common sense</quote>—would prevail. " "Their <quote>private interest</quote> would not be allowed to defeat an " "obvious public gain." msgstr "" "Eller, det er hvordan ting skjer når det ikke er noen mektige på andre siden " "av endringen. Causbyene var bare bønder. Og selv om det uten tvil var " "mange som dem som var lei av den økende trafikken i luften (og en håper ikke " "for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " "finne det svært hardt å samles for å stoppe idéen, og teknologien, som " "Wright-brødrene hadde ført til verden. Wright-brødrene spyttet flymaskiner " "inn i den teknologiske meme-dammen. Idéen spredte seg deretter som et virus " "i en kyllingfarm. Causbyene i verden fant seg selv omringet av \"det synes " "rimelig\" gitt teknologien som Wright-brødrene hadde produsert. De kunne " "stå på sine gårder, med døde kyllinger i hendene, og heve knyttneven mot " "disse nye teknologiene så mye de ville. De kunne ringe sine representanter " "eller til og med saksøke. Men når alt kom til alt, ville kraften i det som " "virket \"åpenbart\" for alle andre—makten til \"sunn fornuft\"—" "ville vinne frem. Deres \"personlige interesser\" ville ikke få lov til å " "nedkjempe en åpenbar fordel for fellesskapet." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Bell, Alexander Graham" msgstr "Bell, Alexander Graham" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Edison, Thomas" msgstr "Edison, Thomas" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Faraday, Michael" msgstr "Faraday, Michael" #. type: Content of: <book><chapter><para> 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. <placeholder type=\"indexterm\" " "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/>" msgstr "" "Edwin Howard Armstrong er en av USAs glemte oppfinnergenier. Han dukket opp " "på oppfinnerscenen etter titaner som Thomas Edison og Alexander Graham " "Bell. Alle hans bidrag på området radioteknologi gjør han til kanskje den " "viktigste av alle enkeltoppfinnere i de første femti årene av radio. Han " "var bedre utdannet enn Michael Faraday, som var bokbinderlærling da han " "oppdaget elektrisk induksjon i 1831. Men han hadde like god intuisjon om " "hvordan radioverden virket, og ved minst tre anledninger, fant Armstrong opp " "svært viktig teknologier som brakte vår forståelse av radio et hopp videre. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>" #. type: Content of: <book><chapter><para> msgid "" "On the day after Christmas, 1933, four patents were issued to Armstrong for " "his most significant invention—FM radio. Until then, consumer radio " "had been amplitude-modulated (AM) radio. The theorists of the day had said " "that frequency-modulated (FM) radio could never work. They were right about " "FM radio in a narrow band of spectrum. But Armstrong discovered that " "frequency-modulated radio in a wide band of spectrum would deliver an " "astonishing fidelity of sound, with much less transmitter power and static." msgstr "" "Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " "hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " "forbrukerradioer vært amplitude-modulert (AM) radio. Tidens teoretikere " "hadde sagt at frekvens-modulert (FM) radio. De hadde rett når det gjelder " "et smalt bånd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " "radio i et vidt bånd i spektrumet leverte en forbløffende gjengivelse av " "lyd, med mye mindre senderstyrke og støy." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "On November 5, 1935, he demonstrated the technology at a meeting of the " #| "Institute of Radio Engineers at the Empire State Building in New York " #| "City. He tuned his radio dial across a range of AM stations, until the " #| "radio locked on a broadcast that he had arranged from seventeen miles " #| "away. The radio fell totally silent, as if dead, and then with a clarity " #| "no one else in that room had ever heard from an electrical device, it " #| "produced the sound of an announcer's voice: \"This is amateur station " #| "W2AG at Yonkers, New York, operating on frequency modulation at two and a " #| "half meters.\"" msgid "" "On November 5, 1935, he demonstrated the technology at a meeting of the " "Institute of Radio Engineers at the Empire State Building in New York City. " "He tuned his radio dial across a range of AM stations, until the radio " "locked on a broadcast that he had arranged from seventeen miles away. The " "radio fell totally silent, as if dead, and then with a clarity no one else " "in that room had ever heard from an electrical device, it produced the sound " "of an announcer's voice: <quote>This is amateur station W2AG at Yonkers, New " "York, operating on frequency modulation at two and a half meters.</quote>" msgstr "" "Den 5. november 1935 demonstrerte han teknologien på et møte hos institutt " "for radioingeniører ved Empire State-bygningen i New York City. Han vred " "radiosøkeren over en rekke AM-stasjoner, inntil radioen låste seg mot en " "kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " "stille, som om den var død, og så, med en klarhet ingen andre i rommet noen " "gang hadde hørt fra et elektrisk apparat, produserte det lyden av en " "opplesers stemme: \"Dette er amatørstasjon W2AG ved Yonkers, New York, som " "opererer på frekvensmodulering ved 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> msgid "" "Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" "citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." msgstr "" "Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" "citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." #. type: Content of: <book><chapter><blockquote><para> #, fuzzy #| msgid "" #| "A glass of water was poured before the microphone in Yonkers; it sounded " #| "like a glass of water being poured. … 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\"/>" 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 <quote>music box.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hørtes ut som " "et glass som ble fylt opp. … Et papir ble krøllet og revet opp, og " "det hørtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" "marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " "utført. … Musikken ble presentert med en livaktighet som sjeldent om " "noen gang før hadde vært hørt fra en radio-\"musikk-boks\".<placeholder type=" "\"footnote\" id=\"0\"/>" #. PAGE BREAK 20 #. type: Content of: <book><chapter><para> msgid "" "As our own common sense tells us, Armstrong had discovered a vastly superior " "radio technology. But at the time of his invention, Armstrong was working " "for RCA. RCA was the dominant player in the then dominant AM radio market. " "By 1935, there were a thousand radio stations across the United States, but " "the stations in large cities were all owned by a handful of networks." msgstr "" "Som vår egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " "bedre radioteknologi. Men på tidspunktet for hans oppfinnelse, jobbet " "Armstrong for RCA. RCA var den dominerende aktøren i det da dominerende AM-" "radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " "stasjonene i de store byene var alle eid av en liten håndfull selskaper." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Sarnoff, David" msgstr "Sarnoff, David" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " #| "Armstrong discover a way to remove static from AM radio. So Sarnoff was " #| "quite excited when Armstrong told him he had a device that removed static " #| "from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff " #| "was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " "Armstrong discover a way to remove static from AM radio. So Sarnoff was " "quite excited when Armstrong told him he had a device that removed static " "from <quote>radio.</quote> But when Armstrong demonstrated his invention, " "Sarnoff was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter å få " "Armstrong til å oppdage en måte å fjerne støyen fra AM-radio. Så Sarnoff var " "ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " "støy fra \"radio.\". Men da Armstrong demonstrerte sin oppfinnelse, var " "ikke Sarnoff fornøyd. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><blockquote><para><footnote><para> #, fuzzy #| 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>." msgid "" "See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " "First Electronic Church of America, at www.webstationone.com/fecha, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." msgstr "" "Se \"Saints: The Heroes and Geniuses of the Electronic Era,\" første " "elektroniske kirke i USA, hos www.webstationone.com/fecha, tilgjengelig fra " "<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." #. type: Content of: <book><chapter><blockquote><para> msgid "" "I thought Armstrong would invent some kind of a filter to remove static from " "our AM radio. I didn't think he'd start a revolution— 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 AM-radioen vår. 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> 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, <placeholder " "type=\"indexterm\" id=\"0\"/>" msgstr "" "Armstrongs oppfinnelse truet RCAs AM-herredømme, så selskapet lanserte en " "kampanje for å knuse FM-radio. Mens FM kan ha vært en overlegen teknologi, " "var Sarnoff en overlegen taktiker. En forfatter beskrev det slik, " "<placeholder type=\"indexterm\" id=\"0\"/>" #. 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 "" "Kreftene til fordel for FM, i hovedsak ingeniørfaglige, kunne ikke overvinne " "tyngden til strategien utviklet av avdelingene for salg, patenter og juss " "for å undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " "hvis det fikk utvikle seg uten begrensninger … en komplett endring i " "maktforholdene rundt radio … og muligens fjerningen av det nøye " "begrensede AM-systemet som var grunnlaget for RCA stigning til makt." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "RCA at first kept the technology in house, insisting that further tests were " "needed. When, after two years of testing, Armstrong grew impatient, RCA " "began to use its power with the government to stall FM radio's deployment " "generally. In 1936, RCA hired the former head of the FCC and assigned him " "the task of assuring that the FCC assign spectrum in a way that would " "castrate FM—principally by moving FM radio to a different band of " "spectrum. At first, these efforts failed. But when Armstrong and the nation " "were distracted by World War II, RCA's work began to be more successful. " "Soon after the war ended, the FCC announced a set of policies that would " "have one clear effect: FM radio would be crippled. As Lawrence Lessing " "described it," msgstr "" "RCA holdt først teknologien innomhus, og insistere på at det var nødvendig " "med ytterligere tester. Da Armstrong, etter to år med testing, ble " "utålmodig, begynte RCA å bruke sin makt hos myndighetene til holde tilbake " "den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " "lederen av FCC og ga ham oppgaven med å sikre at FCC tilordnet " "radiospekteret på en måte som ville kastrere FM—hovedsakelig ved å " "flytte FM-radio til et annet band i spekteret. I første omgang lyktes ikke " "disse forsøkene. Men mens Armstrong og nasjonen var distrahert av andre " "verdenskrig, begynte RCAs arbeid å bære frukter. Like etter at krigen var " "over, annonserte FCC et sett med avgjørelser som ville ha en klar effekt: FM-" "radio ville bli forkrøplet.Lawrence lessing beskrevet det slik," #. 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 "" "Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " "serie med avgjørelser manipulert gjennom FCC av de store radiointeressene, " "var nesten utrolige i deres kraft og underfundighet.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><indexterm><primary> msgid "AT&T" msgstr "AT&T" #. type: Content of: <book><chapter><para> msgid "" "To make room in the spectrum for RCA's latest gamble, television, FM radio " "users were to be moved to a totally new spectrum band. The power of FM radio " "stations was also cut, meaning FM could no longer be used to beam programs " "from one part of the country to another. (This change was strongly " "supported by AT&T, because the loss of FM relaying stations would mean " "radio stations would have to buy wired links from AT&T.) The spread of " "FM radio was thus choked, at least temporarily." msgstr "" "For å gjøre plass i spektrumet for RCAs nyeste satsingsområde, televisjon, " "skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " "Sendestyrken til FM-radioene ble også redusert, og gjorde at FM ikke lenger " "kunne brukes for å sende programmer fra en del av landet til en annen. " "(Denne endringen ble sterkt støttet av AT&T, på grunn av at fjerningen " "av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nødt " "til å kjøpe kablede linker fra AT&T.) Spredningen av FM-radio var " "dermed kvalt, i hvert fall midlertidig." #. type: Content of: <book><chapter><para> msgid "" "Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " "patents. After incorporating FM technology into the emerging standard for " "television, RCA declared the patents invalid—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 sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " "Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS " "patentene ugyldige—uten grunn og nesten femten år etter at de ble " "utstedet. De nektet dermed å betale ham for bruken av patentene. I seks år " "kjempet Armstrong en dyr søksmålskrig for å forsvare patentene sine. Til " "slutt, samtidig som patentene utløp, tilbød RCA et forlik så lavt at det " "ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nå blakk, " "skrev Armstrong i 1954 en kort beskjed til sin kone, før han gikk ut av et " "vindu i trettende etasje og falt i døden." #. PAGE BREAK 22 #. type: Content of: <book><chapter><para> msgid "" "This is how the law sometimes works. Not often this tragically, and rarely " "with heroic drama, but sometimes, this is how it works. From the beginning, " "government and government agencies have been subject to capture. They are " "more likely captured when a powerful interest is threatened by either a " "legal or technical change. That powerful interest too often exerts its " "influence within the government to get the government to protect it. The " "rhetoric of this protection is of course always public spirited; the reality " "is something different. Ideas that were as solid as rock in one age, but " "that, left to themselves, would crumble in another, are sustained through " "this subtle corruption of our political process. RCA had what the Causbys " "did not: the power to stifle the effect of technological change." msgstr "" "Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " "med heltemodig drama, men noen ganger er det slik det virker. Fra starten " "har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " "sannsynlig at de blir fanget når en mektig interesse er truet av enten en " "juridisk eller teknologisk endring. Denne mektige interessen utøver for " "ofte sin innflytelse hos myndighetene til å få myndighetene til å beskytte " "den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus på " "fellesskapets beste. Realiteten er noe annet. Idéer som kan være solide " "som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " "en annen, er videreført gjennom denne subtile korrupsjonen i vår politiske " "prosess. RCA hadde hva Causby-ene ikke hadde: Makten til å undertrykke " "effekten av en teknologisk endring." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " "Internet Access and the Digital Divide,</quote> Pew Internet and American " "Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #2</ulink>." msgstr "" "Amanda Lenhart, \"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, tilgjengelig fra <ulink url=\"http://free-" "culture.cc/notes/\">link #2</ulink>." #. 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 "" "Det er ingen enkeltoppfinner av Internet. Ei heller er det en god dato som " "kan brukes til å markere når det ble født. Likevel har internettet i løpet " "av svært kort tid blitt en del av vanlige amerikaneres liv. I følge the Pew " "Internet and American Life-prosjektet, har 58 prosent av amerikanerne hatt " "tilgang til internettet i 2002, opp fra 49 prosent to år tidligere." "<placeholder type=\"footnote\" id=\"0\"/> Det tallet kan uten problemer " "passere to tredjedeler av nasjonen ved utgangen av 2004." #. type: Content of: <book><chapter><para> msgid "" "As the Internet has been integrated into ordinary life, it has changed " "things. Some of these changes are technical—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 "" "Etter hvert som internett er blitt integrert inn i det vanlige liv har ting " "blitt endret. Noen av disse endringene er teknisk—internettet har " "gjort kommunikasjon raskere, det har redusert kostnaden med å samle inn " "data, og så videre. Disse tekniske endringene er ikke fokus for denne " "boken. De er viktige. De er ikke godt forstått. Men de er den type ting " "som ganske enkelt ville blir borte hvis vi alle bare slo av internettet. De " "påvirker ikke folk som ikke bruker internettet, eller i det miste påvirker " "det ikke dem direkte. De er et godt tema for en bok om internettet. Men " "dette er ikke en bok om internettet." #. type: Content of: <book><chapter><para> msgid "" "Instead, this book is about an effect of the Internet beyond the Internet " "itself: an effect upon how culture is made. My claim is that the Internet " "has induced an important and unrecognized change in that process. That " "change will radically transform a tradition that is as old as the Republic " "itself. Most, if they recognized this change, would reject it. Yet most " "don't even see the change that the Internet has introduced." msgstr "" "I stedet er denne boken om effekten av internettet ut over internettet i seg " "selv. En effekt på hvordan kultur blir skapt. Min påstand er at " "internettet har ført til en viktig og ukjent endring i denne prosessen. " "Denne endringen vil forandre en tradisjon som er like gammel som republikken " "selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " "Men de fleste legger ikke engang merke til denne endringen som internettet " "har introdusert." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Barlow, Joel" msgstr "Barlow, Joel" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Webster, Noah" msgstr "Webster, Noah" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "We can glimpse a sense of this change by distinguishing between " #| "commercial and noncommercial culture, and by mapping the law's regulation " #| "of each. By \"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. <placeholder type=\"indexterm\" id=" #| "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "We can glimpse a sense of this change by distinguishing between commercial " "and noncommercial culture, and by mapping the law's regulation of each. By " "<quote>commercial culture</quote> I mean that part of our culture that is " "produced and sold or produced to be sold. By <quote>noncommercial culture</" "quote> I mean all the rest. When old men sat around parks or on street " "corners telling stories that kids and others consumed, that was " "noncommercial culture. When Noah Webster published his <quote>Reader,</" "quote> or Joel Barlow his poetry, that was commercial culture. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Vi kan få en følelse av denne endringen ved å skille mellom kommersiell og " "ikke-kommersiell kultur, ved å knytte lovens reguleringer til hver av dem. " "Med \"kommersiell kultur\" mener jeg den delen av vår kultur som er " "produsert og solgt eller produsert for å bli solgt. Med \"ikke-kommersiell " "kultur\" mener jeg alt det andre. Da gamle menn satt rundt i parker eller på " "gatehjørner og fortalte historier som unger og andre lyttet til, så var det " "ikke-kommersiell kultur. Da Noah Webster publiserte sin \"Reader\", eller " "Joel Barlow sin poesi, så var det kommersiell kultur. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "At the beginning of our history, and for just about the whole of our " #| "tradition, noncommercial culture was essentially unregulated. Of course, " #| "if your stories were lewd, or if your song disturbed the peace, then the " #| "law might intervene. But the law was never directly concerned with the " #| "creation or spread of this form of culture, and it left this culture " #| "\"free.\" The ordinary ways in which ordinary individuals shared and " #| "transformed their culture—telling stories, reenacting scenes from " #| "plays or TV, participating in fan clubs, sharing music, making " #| "tapes—were left alone by the law." msgid "" "At the beginning of our history, and for just about the whole of our " "tradition, noncommercial culture was essentially unregulated. Of course, if " "your stories were lewd, or if your song disturbed the peace, then the law " "might intervene. But the law was never directly concerned with the creation " "or spread of this form of culture, and it left this culture <quote>free.</" "quote> The ordinary ways in which ordinary individuals shared and " "transformed their culture—telling stories, reenacting scenes from " "plays or TV, participating in fan clubs, sharing music, making tapes—" "were left alone by the law." msgstr "" "Fra historisk tid, og for omtrent hele vår tradisjon, har ikke-kommersiell " "kultur i hovedsak ikke vært regulert. Selvfølgelig, hvis din historie var " "utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " "Men loven var aldri direkte interessert i skapingen eller spredningen av " "denne form for kultur, og lot denne kulturen være \"fri\". Den vanlige " "måten som vanlige individer delte og formet deres kultur—" "historiefortelling, formidling av scener fra teater eller TV, delta i fan-" "klubber, deling av musikk, laging av kassetter—ble ikke styrt av " "lovverket." #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Brandeis, Louis D." msgstr "Brandeis, Louis D." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "This is not the only purpose of copyright, though it is the " #| "overwhelmingly primary purpose of the copyright established in the " #| "federal constitution. State copyright law historically protected not " #| "just the commercial interest in publication, but also a privacy interest. " #| "By granting authors the exclusive right to first publication, state " #| "copyright law gave authors the power to control the spread of facts about " #| "them. See Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy," #| "\" Harvard Law Review 4 (1890): 193, 198–200. <placeholder type=" #| "\"indexterm\" id=\"0\"/>" msgid "" "This is not the only purpose of copyright, though it is the overwhelmingly " "primary purpose of the copyright established in the federal constitution. " "State copyright law historically protected not just the commercial interest " "in publication, but also a privacy interest. By granting authors the " "exclusive right to first publication, state copyright law gave authors the " "power to control the spread of facts about them. See Samuel D. Warren and " "Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " "(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Dette er ikke det eneste formålet med opphavsrett, men det er helt klart " "hovedformålet med opphavsretten slik den er etablert i føderal grunnlov. " "Opphavsrettslovene i delstatene beskyttet historisk ikke bare kommersielle " "interesse når det gjaldt publikasjoner, men også personverninteresser. Ved " "å gi forfattere eneretten til å publisere først, ga delstatenes " "opphavsrettslovene forfatterne makt til å kontrollere spredningen av fakta " "om seg selv. Se Samuel D. Warren og Louis Brandeis, \"The Right to Privacy" "\", Harvard Law Review 4 (1890): 193, 198–200. <placeholder type=" "\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "The focus of the law was on commercial creativity. At first slightly, then " "quite extensively, the law protected the incentives of creators by granting " "them exclusive rights to their creative work, so that they could sell those " "exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " "id=\"0\"/> This is also, of course, an important part of creativity and " "culture, and it has become an increasingly important part in America. But in " "no sense was it dominant within our tradition. It was instead just one part, " "a controlled part, balanced with the free." msgstr "" "Fokuset på loven var kommersiell kreativitet. I starten forsiktig, etter " "hvert betraktelig, beskytter loven insentivet til skaperne ved å tildele dem " "en eksklusiv rett til deres kreative verker, slik at de kan selge disse " "eksklusive rettighetene på en kommersiell markedsplass.<placeholder type=" "\"footnote\" id=\"0\"/> Dette er også, naturligvis, en viktig del av " "kreativitet og kultur, og det har blitt en viktigere og viktigere del i " "USA. Men det var på ingen måte dominerende i vår tradisjon. Det var i " "stedet bare en del, en kontrollert del, balansert mot det frie." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Litman, Jessica" msgstr "Litman, Jessica" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " "Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " "Prometheus bøker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "This rough divide between the free and the controlled has now been erased." "<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " "this erasure and, pushed by big media, the law has now affected it. For the " "first time in our tradition, the ordinary ways in which individuals create " "and share culture fall within the reach of the regulation of the law, which " "has expanded to draw within its control a vast amount of culture and " "creativity that it never reached before. The technology that preserved the " "balance of our history—between uses of our culture that were free and " "uses of our culture that were only upon permission—has been undone. " "The consequence is that we are less and less a free culture, more and more a " "permission culture." msgstr "" "Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt " "fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " "scenen for denne fjerningen, og pressen frem av store medieaktører har loven " "nå påvirket det. For første gang i vår tradisjon, har de vanlige måtene som " "individer skaper og deler kultur havnet innen rekekvidde for reguleringene " "til loven, som har blitt utvidet til å dra inn i sitt kontrollområde den " "enorme mengden kultur og kreativitet som den aldri tidligere har nådd over. " "Teknologien som tok vare på den historiske balansen—mellom bruken av " "den delen av kulturen vår som var fri og bruken av vår kultur som krevde " "tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " "en fri kultur, og mer og mer en tillatelseskultur." #. type: Content of: <book><chapter><para> msgid "" "This change gets justified as necessary to protect commercial creativity. " "And indeed, protectionism is precisely its motivation. But the protectionism " "that justifies the changes that I will describe below is not the limited and " "balanced sort that has defined the law in the past. This is not a " "protectionism to protect artists. It is instead a protectionism to protect " "certain forms of business. Corporations threatened by the potential of the " "Internet to change the way both commercial and noncommercial culture are " "made and shared have united to induce lawmakers to use the law to protect " "them. It is the story of RCA and Armstrong; it is the dream of the Causbys." msgstr "" "Denne endringen blir rettferdiggjort som nødvendig for å beskytte " "kommersiell kreativitet. Og ganske riktig, proteksjonisme er nøyaktig det " "som motiverer endringen. Men proteksjonismen som rettferdiggjør endringene " "som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " "som har definert loven tidligere. Dette er ikke en proteksjonisme for å " "beskytte artister. Det er i stedet en proteksjonisme for å beskytte " "bestemte forretningsformer. Selskaper som er truet av potensialet til " "internettet for å endre måten både kommersiell og ikke-kommersiell kultur " "blir skapt og delt, har samlet seg for å få lovgiverne til å bruke loven for " "å beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " "drømmen til Causbyene." #. type: Content of: <book><chapter><para> msgid "" "For the Internet has unleashed an extraordinary possibility for many to " "participate in the process of building and cultivating a culture that " "reaches far beyond local boundaries. That power has changed the marketplace " "for making and cultivating culture generally, and that change in turn " "threatens established content industries. The Internet is thus to the " "industries that built and distributed content in the twentieth century what " "FM radio was to AM radio, or what the truck was to the railroad industry of " "the nineteenth century: the beginning of the end, or at least a substantial " "transformation. Digital technologies, tied to the Internet, could produce a " "vastly more competitive and vibrant market for building and cultivating " "culture; that market could include a much wider and more diverse range of " "creators; those creators could produce and distribute a much more vibrant " "range of creativity; and depending upon a few important factors, those " "creators could earn more on average from this system than creators do " "today—all so long as the RCAs of our day don't use the law to protect " "themselves against this competition." msgstr "" "For internettet har sluppet løs en ekstraordinær mulighet for mange til å " "delta i prosessen med å bygge og kultivere en kultur som rekker lagt utenfor " "lokale grenselinjer. Den makten har endret markedsplassen for å lage og " "kultivere kultur generelt, og den endringen truer i neste omgang etablerte " "innholdsindustrier. Internettet er dermed for industriene som bygget og " "distribuerte innhold i det tjuende århundret hva FM-radio var for AM-radio, " "eller hva traileren var for jernbaneindustrien i det nittende århundret: " "begynnelsen på slutten, eller i hvert fall en markant endring. Digitale " "teknologier, knyttet til internettet, kunne produsere et mye mer " "konkurransedyktig og levende marked for å bygge og kultivere kultur. Dette " "markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " "Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " "kreativitet. Og avhengig av noen få viktige faktorer, så kunne disse " "skaperne tjenere mer i snitt fra dette systemet enn skaperne gjør i " "dag—så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem " "selv mot denne konkurransen." #. type: Content of: <book><chapter><para> msgid "" "Yet, as I argue in the pages that follow, that is precisely what is " "happening in our culture today. These modern-day equivalents of the early " "twentieth-century radio or nineteenth-century railroads are using their " "power to get the law to protect them against this new, more efficient, more " "vibrant technology for building culture. They are succeeding in their plan " "to remake the Internet before the Internet remakes them." msgstr "" "Likevel, som jeg argumenterer for i sidene som følger, er dette nøyaktig det " "som skjer i vår kultur i dag. Dette som er dagens ekvivalenter til tidlig " "tjuende århundres radio og nittende århundres jernbaner bruker deres makt " "til å få loven til å beskytte dem mot dette nye, mer effektive, mer levende " "teknologi for å bygge kultur. De lykkes i deres plan om å gjøre om " "internettet før internettet gjør om på dem." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " #| "Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " #| "Times</citetitle>, 17 January 2002." msgid "" "Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " "Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " "York Times</citetitle>, 17 January 2002." msgstr "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " "Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " "Times</citetitle>, 17. januar 2002." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "It doesn't seem this way to many. The battles over copyright and the " #| "Internet seem remote to most. To the few who follow them, they seem " #| "mainly about a much simpler brace of questions—whether \"piracy\" " #| "will be permitted, and whether \"property\" will be protected. The \"war" #| "\" that has been waged against the technologies of the Internet—" #| "what Motion Picture Association of America (MPAA) president Jack Valenti " #| "calls his \"own terrorist war\"<placeholder type=\"footnote\" id=\"0\"/" #| ">—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." 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—whether <quote>piracy</quote> " "will be permitted, and whether <quote>property</quote> will be protected. " "The <quote>war</quote> that has been waged against the technologies of the " "Internet—what Motion Picture Association of America (MPAA) president " "Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" "\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " "law and respect for property. To know which side to take in this war, most " "think that we need only decide whether we're for property or against it." msgstr "" "Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " "internettet er fjernt for de fleste. For de få som følger dem, virker de i " "hovedsak å handle om et enklere sett med spørsmål—hvorvidt " "\"piratvirksomhet\" vil bli akseptert, og hvorvidt \"eiendomsretten\" vil " "bli beskyttet. \"Krigen\" som har blitt erklært mot teknologiene til " "internettet—det presidenten for Motion Picture Association of America " "(MPAA) Jack Valenti kaller sin \"egen terroristkrig\"<placeholder type=" "\"footnote\" id=\"0\"/>—har blitt rammet inn som en kamp om å følge " "loven og respektere eiendomsretten. For å vite hvilken side vi bør ta i " "denne krigen, de fleste tenker at vi kun trenger å bestemme om hvorvidt vi " "er for eiendomsrett eller mot den." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "If those really were the choices, then I would be with Jack Valenti and " #| "the content industry. I, too, am a believer in property, and especially " #| "in the importance of what Mr. Valenti nicely calls \"creative property.\" " #| "I believe that \"piracy\" is wrong, and that the law, properly tuned, " #| "should punish \"piracy,\" whether on or off the Internet." msgid "" "If those really were the choices, then I would be with Jack Valenti and the " "content industry. I, too, am a believer in property, and especially in the " "importance of what Mr. Valenti nicely calls <quote>creative property.</" "quote> I believe that <quote>piracy</quote> is wrong, and that the law, " "properly tuned, should punish <quote>piracy,</quote> whether on or off the " "Internet." msgstr "" "Hvis dette virkelig var alternativene, så ville jeg være enig med Jack " "Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt " "på viktigheten av hva Mr. Valenti så pent kaller \"kreativ eiendomsrett\". " "Jeg tror at \"piratvirksomhet\" er galt, og at loven, riktig innstilt, bør " "straffe \"piratvirksomhet\", både på og utenfor internettet." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "But those simple beliefs mask a much more fundamental question and a much " #| "more dramatic change. My fear is that unless we come to see this change, " #| "the war to rid the world of Internet \"pirates\" will also rid our " #| "culture of values that have been integral to our tradition from the start." msgid "" "But those simple beliefs mask a much more fundamental question and a much " "more dramatic change. My fear is that unless we come to see this change, the " "war to rid the world of Internet <quote>pirates</quote> will also rid our " "culture of values that have been integral to our tradition from the start." msgstr "" "Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spørsmål " "og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner å " "legge merke til denne endringen, så vil krigen for å befri verden fra " "internettets \"pirater\" også fjerne verdier fra vår kultur som har vært " "integrert til vår tradisjon helt fra starten." #. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> msgid "Netanel, Neil Weinstock" msgstr "Netanel, Neil Weinstock" #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " #| "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" "\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "These values built a tradition that, for at least the first 180 years of our " "Republic, guaranteed creators the right to build freely upon their past, and " "protected creators and innovators from either state or private control. The " "First Amendment protected creators against state control. And as Professor " "Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " "copyright law, properly balanced, protected creators against private " "control. Our tradition was thus neither Soviet nor the tradition of patrons. " "It instead carved out a wide berth within which creators could cultivate and " "extend our culture." msgstr "" "Disse verdiene bygget en tradisjon som, for i hvert fall de første 180 årene " "av vår republikk, garanterte skaperne rettigheten til å bygge fritt på deres " "fortid, og beskyttet skaperne og innovatørene fra både statlig og privat " "kontroll. Det første grunnlovstillegget beskyttet skaperne fra statlig " "kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " "type=\"footnote\" id=\"0\"/> opphavsrettslov, skikkelig balansert, beskyttet " "skaperne mot privat kontroll. Vår tradisjon var dermed hverken Sovjet eller " "tradisjonen til velgjørere. I stedet skar det ut en bred manøvreringsrom " "hvor skapere kunne kultivere og utvide vår kultur." #. type: Content of: <book><chapter><para> msgid "" "Yet the law's response to the Internet, when tied to changes in the " "technology of the Internet itself, has massively increased the effective " "regulation of creativity in America. To build upon or critique the culture " "around us one must ask, Oliver Twist–like, for permission first. " "Permission is, of course, often granted—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 "" "Likevel har lovens respons til internettet, når det knyttes sammen til " "endringer i teknologien i internettet selv, ført til massiv økting av den " "effektive reguleringen av kreativitet i USA. For å bygge på eller kritisere " "kulturen rundt oss må en spørre, som Oliver Twist, om tillatelse først. " "Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " "innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " "kulturell adel. De innen dette adelskapet har et enkelt liv, mens de på " "utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " "vår tradisjon." #. type: Content of: <book><chapter><para> #, 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." msgid "" "The story that follows is about this war. Is it not about the " "<quote>centrality of technology</quote> to ordinary life. I don't believe in " "gods, digital or otherwise. Nor is it an effort to demonize any individual " "or group, for neither do I believe in a devil, corporate or otherwise. It is " "not a morality tale. Nor is it a call to jihad against an industry." msgstr "" "Historien som følger er om denne krigen. Er det ikke om \"betydningen av " "teknologi\" i vanlig liv. Jeg tror ikke på guder, hverken digitale eller " "andre typer. Det er heller ikke et forsøk på å demonisere noen individer " "eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig eller på annen " "måte. Det er ikke en moralsk historie. Ei heller er det et rop om hellig " "krig mot en industri." #. type: Content of: <book><chapter><para> msgid "" "It is instead an effort to understand a hopelessly destructive war inspired " "by the technologies of the Internet but reaching far beyond its code. And by " "understanding this battle, it is an effort to map peace. There is no good " "reason for the current struggle around Internet technologies to continue. " "There will be great harm to our tradition and culture if it is allowed to " "continue unchecked. We must come to understand the source of this war. We " "must resolve it soon." msgstr "" "Det er i stedet et forsøk på å forstå en håpløst ødeleggende krig som er " "inspirert av teknologiene til internettet, men som rekker lang utenfor dens " "kode. Og ved å forstå denne kampen er den en innsats for å finne veien til " "fred. Det er ingen god grunn for å fortsette dagens batalje rundt internett-" "teknologiene. Det vil være til stor skade for vår tradisjon og kultur hvis " "den får lov til å fortsette ukontrollert. Vi må forstå kilden til denne " "krigen. Vi må finne en løsning snart." #. type: Content of: <book><chapter><para> #, 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." msgid "" "Like the Causbys' battle, this war is, in part, about <quote>property.</" "quote> The property of this war is not as tangible as the Causbys', and no " "innocent chicken has yet to lose its life. Yet the ideas surrounding this " "<quote>property</quote> are as obvious to most as the Causbys' claim about " "the sacredness of their farm was to them. We are the Causbys. Most of us " "take for granted the extraordinarily powerful claims that the owners of " "<quote>intellectual property</quote> now assert. Most of us, like the " "Causbys, treat these claims as obvious. And hence we, like the Causbys, " "object when a new technology interferes with this property. It is as plain " "to us as it was to them that the new technologies of the Internet are " "<quote>trespassing</quote> upon legitimate claims of <quote>property.</" "quote> It is as plain to us as it was to them that the law should intervene " "to stop this trespass." msgstr "" "Lik Causbyenes kamp er denne krigen, delvis, om \"eiendomsrett\". Eiendommen " "i denne krigen er ikke like håndfast som den til Causbyene, og ingen " "uskyldige kyllinger har så langt mistet livet. Likevel er idéene rundt " "denne \"eiendomsretten\" like åpenbare for de fleste som Causbyenes krav om " "ukrenkeligheten til deres bondegård var for dem. De fleste av oss tar for " "gitt de uvanlig mektige krav som eierne av \"immaterielle rettigheter\" nå " "hevder. De fleste av oss, som Causbyene, behandler disse kravene som " "åpenbare. Og dermed protesterer vi, som Causbyene,, når ny teknologi griper " "inn i denne eiendomsretten. Det er så klart for oss som det var fro dem at " "de nye teknologiene til internettet \"tar seg til rette\" mot legitime krav " "til \"eiendomsrett\". Det er like klart for oss som det var for dem at " "loven skulle ta affære for å stoppe denne inntrengingen i annen manns " "eiendom." #. PAGE BREAK 27 #. type: Content of: <book><chapter><para> msgid "" "And thus, when geeks and technologists defend their Armstrong or Wright " "brothers technology, most of us are simply unsympathetic. Common sense does " "not revolt. Unlike in the case of the unlucky Causbys, common sense is on " "the side of the property owners in this war. Unlike the lucky Wright " "brothers, the Internet has not inspired a revolution on its side." msgstr "" "Og dermed, når nerder og teknologer forsvarer sin tids Armstrong og Wright-" "brødenes teknologi, får de lite sympati fra de fleste av oss. Sunn fornuft " "gjør ikke opprør. I motsetning til saken til de uheldige Causbyene, er sunn " "fornuft på samme side som eiendomseierne i denne krigen. I motsetning til " "hos de heldige Wright-brødrene, har internettet ikke inspirert en revolusjon " "til fordel for seg." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "My hope is to push this common sense along. I have become increasingly " #| "amazed by the power of this idea of intellectual property and, more " #| "importantly, its power to disable critical thought by policy makers and " #| "citizens. There has never been a time in our history when more of our " #| "\"culture\" was as \"owned\" as it is now. And yet there has never been a " #| "time when the concentration of power to control the <emphasis>uses</" #| "emphasis> of culture has been as unquestioningly accepted as it is now." msgid "" "My hope is to push this common sense along. I have become increasingly " "amazed by the power of this idea of intellectual property and, more " "importantly, its power to disable critical thought by policy makers and " "citizens. There has never been a time in our history when more of our " "<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " "there has never been a time when the concentration of power to control the " "<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " "it is now." msgstr "" "Mitt håp er å skyve denne sunne fornuften videre. Jeg har blitt stadig mer " "overrasket over kraften til denne idéen om immaterielle rettigheter og, mer " "viktig, dets evne til å slå av kritisk tanke hos lovmakere og innbyggere. " "Det har aldri før i vår historie vært så mye av vår \"kultur\" som har vært " "\"eid\" enn det er nå. Og likevel har aldri før konsentrasjonen av makt til " "å kontrollere <emphasis>bruken</emphasis> av kulturen vært mer akseptert " "uten spørsmål enn det er nå." #. type: Content of: <book><chapter><para> msgid "" "The puzzle is, Why? Is it because we have come to understand a truth about " "the value and importance of absolute property over ideas and culture? Is it " "because we have discovered that our tradition of rejecting such an absolute " "claim was wrong?" msgstr "" "Gåten er, hvorfor det? Er det fordi vi fått en innsikt i sannheten om " "verdien og betydningen av absolutt eierskap over idéer og kultur? Er det " "fordi vi har oppdaget at vår tradisjon med å avvise slike absolutte krav var " "feil?" #. type: Content of: <book><chapter><para> msgid "" "Or is it because the idea of absolute property over ideas and culture " "benefits the RCAs of our time and fits our own unreflective intuitions?" msgstr "" "Eller er det på grunn av at idéer om absolutt eierskap over idéer og kultur " "gir fordeler til RCA-ene i vår tid, og passer med vår ureflekterte intuisjon?" #. type: Content of: <book><chapter><para> msgid "" "Is the radical shift away from our tradition of free culture an instance of " "America correcting a mistake from its past, as we did after a bloody war " "with slavery, and as we are slowly doing with inequality? Or is the radical " "shift away from our tradition of free culture yet another example of a " "political system captured by a few powerful special interests?" msgstr "" "Er denne radikale endringen vekk fra vår tradisjon om fri kultur en " "forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " "etter en blodig krig mot slaveri, og slik vi sakte gjør det mot " "forskjellsbehandling? Eller er denne radikale endringen vekk fra vår " "tradisjon med fri kultur nok et eksempel på at vårt politiske system er " "fanget av noen få mektige særinteresser?" #. type: Content of: <book><chapter><para> msgid "" "Does common sense lead to the extremes on this question because common sense " "actually believes in these extremes? Or does common sense stand silent in " "the face of these extremes because, as with Armstrong versus RCA, the more " "powerful side has ensured that it has the more powerful view?" msgstr "" "Fører sunn fornuft til det ekstreme i dette spørsmålet på grunn av at sunn " "fornuft faktisk tror på dette ekstreme? Eller står sunn fornuft i stillhet " "i møtet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " "mektige siden har sikret seg at det har et mye mer mektig synspunkt?" #. PAGE BREAK 28 #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "I don't mean to be mysterious. My own views are resolved. I believe it " #| "was right for common sense to revolt against the extremism of the " #| "Causbys. I believe it would be right for common sense to revolt against " #| "the extreme claims made today on behalf of \"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." msgid "" "I don't mean to be mysterious. My own views are resolved. I believe it was " "right for common sense to revolt against the extremism of the Causbys. I " "believe it would be right for common sense to revolt against the extreme " "claims made today on behalf of <quote>intellectual property.</quote> What " "the law demands today is increasingly as silly as a sheriff arresting an " "airplane for trespass. But the consequences of this silliness will be much " "more profound." msgstr "" "Jeg forsøker ikke å være mystisk. Mine egne synspunkter er klare. Jeg mener " "det var riktig for sunn fornuft å gjøre opprør mot ekstremismen til " "Causbyene. Jeg mener det ville være riktig for sunn fornuft å gjøre opprør " "mot de ekstreme krav som gjøres i dag på vegne av \"immaterielle rettigheter" "\". Det som loven krever i dag er mer å mer like dumt som om lensmannen " "skulle arrestere en flymaskin for å trenge inn på annen manns eiendom. Men " "konsekvensene av den nye dumskapen vil bli mye mer dyptgripende." #. type: Content of: <book><chapter><para> #, 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." msgid "" "The struggle that rages just now centers on two ideas: <quote>piracy</quote> " "and <quote>property.</quote> My aim in this book's next two parts is to " "explore these two ideas." msgstr "" "Basketaket som pågår akkurat nå senterer seg rundt to idéer: " "\"piratvirksomhet\" og \"eiendom\". Mitt mål med denne bokens neste to " "deler er å utforske disse to idéene." #. type: Content of: <book><chapter><para> msgid "" "My method is not the usual method of an academic. I don't want to plunge you " "into a complex argument, buttressed with references to obscure French " "theorists—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 "" "Metoden min er ikke den vanlige metoden for en akademiker. Jeg ønsker ikke " "å pløye deg inn i et komplisert argument, steinsatt med referanser til " "obskure franske teoretikere—uansett hvor naturlig det har blitt for " "den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " "med en samling historier som etablerer en sammenheng der disse " "tilsynelatende enkle idéene kan bli fullt ut forstått." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "The two sections set up the core claim of this book: that while the " #| "Internet has indeed produced something fantastic and new, our government, " #| "pushed by big media to respond to this \"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—and more importantly, to use " #| "their power to change something fundamental about who we have always been." msgid "" "The two sections set up the core claim of this book: that while the Internet " "has indeed produced something fantastic and new, our government, pushed by " "big media to respond to this <quote>something new,</quote> is destroying " "something very old. Rather than understanding the changes the Internet might " "permit, and rather than taking time to let <quote>common sense</quote> " "resolve how best to respond, we are allowing those most threatened by the " "changes to use their power to change the law—and more importantly, to " "use their power to change something fundamental about who we have always " "been." msgstr "" "De to delene setter opp kjernen i påstanden til denne boken: at mens " "internettet faktisk har produsert noe fantastisk og nytt, bidrar våre " "myndigheter, presset av store medieaktører for å møte dette \"noe nytt\" til " "å ødelegge noe som er svært gammelt. I stedet for å forstå endringene som " "internettet kan gjøre mulig, og i stedet for å ta den tiden som trengs for å " "la \"sunn fornuft\" finne ut hvordan best svare på utfordringen, så lar vi " "de som er mest truet av endringene bruke sin makt til å endre loven—og " "viktigere, å bruke sin makt til å endre noe fundamentalt om hvordan vi " "alltid har fungert." #. type: Content of: <book><chapter><para> msgid "" "We allow this, I believe, not because it is right, and not because most of " "us really believe in these changes. We allow it because the interests most " "threatened are among the most powerful players in our depressingly " "compromised process of making law. This book is the story of one more " "consequence of this form of corruption—a consequence to which most of " "us remain oblivious." msgstr "" "Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " "de fleste av oss tror på disse endringene. Vi tillater det på grunn av at " "de interessene som er mest truet er blant de mest mektige aktørene i vår " "deprimerende kompromitterte prosess for å utforme lover. Denne boken er " "historien om nok en konsekvens for denne type korrupsjon—en konsekvens " "for de fleste av oss forblir ukjent med." #. type: Content of: <book><part><title> msgid "<quote>PIRACY</quote>" msgstr "" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Mansfield, William Murray, Lord" msgstr "Mansfield, William Murray, Lord" #. type: Content of: <book><part><partintro><para> #, 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," msgid "" "Since the inception of the law regulating creative property, there has been " "a war against <quote>piracy.</quote> The precise contours of this concept, " "<quote>piracy,</quote> are hard to sketch, but the animating injustice is " "easy to capture. As Lord Mansfield wrote in a case that extended the reach " "of English copyright law to include sheet music," msgstr "" "Helt siden loven begynte å regulere kreative eierrettigheter, har det vært " "en krig mot \"piratvirksomhet\". De presise konturene av dette konseptet, " "\"piratvirksomhet\", har vært vanskelig å tegne opp, men bildet av " "urettferdighet er enkelt å beskrive. Som Lord Mansfield skrev i en sak som " "utvidet rekkevidden for engelsk opphavsrettslov til å inkludere noteark," #. f1 #. type: Content of: <book><part><partintro><blockquote><para><footnote><para> msgid "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777) (Mansfield)." msgstr "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777) (Mansfield)." #. type: Content of: <book><part><partintro><blockquote><para> msgid "" "A person may use the copy by playing it, but he has no right to rob the " "author of the profit, by multiplying copies and disposing of them for his " "own use.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "En person kan bruke kopien til å spille den, men han har ingen rett til å " "robbe forfatteren for profitten, ved å lage flere kopier og distribuere " "etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" #. PAGE BREAK 31 #. type: Content of: <book><part><partintro><para> #, 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." msgid "" "Today we are in the middle of another <quote>war</quote> against " "<quote>piracy.</quote> The Internet has provoked this war. The Internet " "makes possible the efficient spread of content. Peer-to-peer (p2p) file " "sharing is among the most efficient of the efficient technologies the " "Internet enables. Using distributed intelligence, p2p systems facilitate the " "easy spread of content in a way unimagined a generation ago." msgstr "" "I dag er vi midt inne i en annen \"krig\" mot \"piratvirksomhet\". " "Internettet har fremprovosert denne krigen. Internettet gjør det mulig å " "effektivt spre innhold. Peer-to-peer (p2p) fildeling er blant det mest " "effektive av de effektive teknologier internettet muliggjør. Ved å bruke " "distribuert intelligens, kan p2p-systemer muliggjøre enkel spredning av " "innhold på en måte som ingen forestilte seg for en generasjon siden." #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This efficiency does not respect the traditional lines of copyright. The " #| "network doesn't discriminate between the sharing of copyrighted and " #| "uncopyrighted content. Thus has there been a vast amount of sharing of " #| "copyrighted content. That sharing in turn has excited the war, as " #| "copyright owners fear the sharing will \"rob the author of the profit.\"" msgid "" "This efficiency does not respect the traditional lines of copyright. The " "network doesn't discriminate between the sharing of copyrighted and " "uncopyrighted content. Thus has there been a vast amount of sharing of " "copyrighted content. That sharing in turn has excited the war, as copyright " "owners fear the sharing will <quote>rob the author of the profit.</quote>" msgstr "" "Denne effektiviteten respekterer ikke de tradisjonelle skillene i " "opphavsretten. Nettverket skiller ikke mellom deling av " "opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " "vært deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " "delingen har i sin tur ansporet til krigen, på grunn av at eiere av " "opphavsretter frykter delingen vil \"frata forfatteren overskuddet.\"" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "The warriors have turned to the courts, to the legislatures, and " #| "increasingly to technology to defend their \"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—our kids are becoming <emphasis>thieves</" #| "emphasis>!" msgid "" "The warriors have turned to the courts, to the legislatures, and " "increasingly to technology to defend their <quote>property</quote> against " "this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " "being raised to believe that <quote>property</quote> should be <quote>free.</" "quote> Forget tattoos, never mind body piercing—our kids are becoming " "<emphasis>thieves</emphasis>!" msgstr "" "Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større " "grad til teknologi for å forsvare sin \"eiendom\" mot denne " "\"piratvirksomheten\". En generasjon amerikanere, advarer krigerne, blir " "oppdratt til å tro at \"eiendom\" skal være \"gratis\". Glem tatoveringer, " "ikke tenk på kroppspiercing—våre barn blir <emphasis>tyver</emphasis>!" #. type: Content of: <book><part><partintro><para> #, 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." msgid "" "There's no doubt that <quote>piracy</quote> is wrong, and that pirates " "should be punished. But before we summon the executioners, we should put " "this notion of <quote>piracy</quote> in some context. For as the concept is " "increasingly used, at its core is an extraordinary idea that is almost " "certainly wrong." msgstr "" "Det er ingen tvil om at \"piratvirksomhet\" er galt, og at pirater bør " "straffes. Men før vi roper på bødlene, bør vi sette dette \"piratvirksomhets" "\"-begrepet i en sammenheng. For mens begrepet blir mer og mer brukt, har " "det i sin kjerne en ekstraordinær idé som nesten helt sikkert er feil." #. type: Content of: <book><part><partintro><para> msgid "The idea goes something like this:" msgstr "Idéen høres omtrent slik ut:" #. type: Content of: <book><part><partintro><blockquote><para> msgid "" "Creative work has value; whenever I use, or take, or build upon the creative " "work of others, I am taking from them something of value. Whenever I take " "something of value from someone else, I should have their permission. The " "taking of something of value from someone else without permission is wrong. " "It is a form of piracy." msgstr "" "Kreativt arbeid har verdi. Når jeg bruker, eller tar, eller bygger på det " "kreative arbeidet til andre, så tar jeg noe fra dem som har verdi. Når jeg " "tar noe av verdi fra noen andre, bør jeg få tillatelse fra dem. Å ta noe " "som har verdi fra andre uten tillatelse er galt. Det er en form for " "piratvirksomhet." #. type: Content of: <book><part><partintro><indexterm><primary> msgid "Dreyfuss, Rochelle" msgstr "Dreyfuss, Rochelle" #. f2 #. type: Content of: <book><part><partintro><para><footnote><para> #, fuzzy #| msgid "" #| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " #| "the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 " #| "(1990): 397." msgid "" "See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " "in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" "citetitle> 65 (1990): 397." msgstr "" "Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the " "Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 (1990): " "397." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Zittrain, Jonathan" msgstr "Zittrain, Jonathan" #. type: Content of: <book><part><partintro><para><footnote><para> #, fuzzy #| msgid "" #| "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up," #| "\" <citetitle>Wall Street Journal</citetitle>, 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,\" <citetitle>Boston Globe</citetitle>, 24 November " #| "2002. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," "</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " "Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " "Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" "citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " "<citetitle>Wall Street Journal</citetitle>, 21. august 1996, tilgjengelig " "fra <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,\" <citetitle>Boston Globe</citetitle>, 24. november " "2002. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This view runs deep within the current debates. It is what NYU law " #| "professor Rochelle Dreyfuss criticizes as the \"if value, then right\" " #| "theory of creative property<placeholder type=\"footnote\" id=\"0\"/> " #| "—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\"—" #| "even against the Girl Scouts." msgid "" "This view runs deep within the current debates. It is what NYU law professor " "Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " "theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" "if there is value, then someone must have a right to that value. It is the " "perspective that led a composers' rights organization, ASCAP, to sue the " "Girl Scouts for failing to pay for the songs that girls sang around Girl " "Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " "<quote>value</quote> (the songs) so there must have been a <quote>right</" "quote>—even against the Girl Scouts." msgstr "" "Dette synet går dypt i de pågående debattene. Det er hva jussprofessor " "Rochelle Dreyfuss ved NYU kritiserer som \"hvis verdi, så rettighet\"-" "teorien for kreative eierrettigheter <placeholder type=\"footnote\" id=\"0\"/" ">—hvis det finnes verdi, så må noen ha rettigheten til denne verdien. " "Det er perspektivet som fikk komponistenes rettighetsorganisasjon, ASCAP, " "til å saksøke jentespeiderne for å ikke betale for sangene som jentene sagt " "rundt jentespeidernes leirbål.<placeholder type=\"footnote\" id=\"1\"/> Det " "fantes \"verdi\" (sangene), så det måtte ha vært en \"rettighet\"—til " "og med mot jentespeiderne." #. type: Content of: <book><part><partintro><indexterm><primary> msgid "ASCAP" msgstr "ASCAP" #. PAGE BREAK 32 #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This idea is certainly a possible understanding of how creative property " #| "should work. It might well be a possible design for a system of law " #| "protecting creative property. But the \"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." msgid "" "This idea is certainly a possible understanding of how creative property " "should work. It might well be a possible design for a system of law " "protecting creative property. But the <quote>if value, then right</quote> " "theory of creative property has never been America's theory of creative " "property. It has never taken hold within our law." msgstr "" "Denne idéen er helt klart en mulig forståelse om hvordan kreative " "eierrettigheter bør virke. Det er helt klart et mulig design for et " "lovsystem som beskytter kreative eierrettigheter. Men teorien om \"hvis " "verdi, så rettighet\" for kreative eierrettigheter har aldri vært USAs teori " "for kreative eierrettigheter. It har aldri stått rot i vårt lovverk." #. type: Content of: <book><part><partintro><para> msgid "" "Instead, in our tradition, intellectual property is an instrument. It sets " "the groundwork for a richly creative society but remains subservient to the " "value of creativity. The current debate has this turned around. We have " "become so concerned with protecting the instrument that we are losing sight " "of the value." msgstr "" "I vår tradisjon har immaterielle rettigheter i stedet vært et instrument. " "Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " "til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " "har blitt så opptatt av å beskytte instrumentet at vi mister verdien av syne." #. type: Content of: <book><part><partintro><para> msgid "" "The source of this confusion is a distinction that the law no longer takes " "care to draw—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 forvirringen er et skille som loven ikke lenger bryr seg om " "å markere—skillet mellom å gjenpublisere noens verk på den ene siden, " "og bygge på og gjøre om verket på den andre. Da opphavsretten kom var det " "kun publisering som ble berørt. Opphavsretten i dag regulerer begge." #. type: Content of: <book><part><partintro><para> msgid "" "Before the technologies of the Internet, this conflation didn't matter all " "that much. The technologies of publishing were expensive; that meant the " "vast majority of publishing was commercial. Commercial entities could bear " "the burden of the law—even the burden of the Byzantine complexity that " "copyright law has become. It was just one more expense of doing business." msgstr "" "Før teknologiene til internettet dukket opp, betød ikke denne begrepsmessige " "sammenblandingen mye. Teknologiene for å publisere var kostbare, som betød " "at det meste av publisering var kommersiell. Kommersielle aktører kunne " "håndtere byrden pålagt av loven—til og med byrden som den bysantiske " "kompleksiteten som opphavsrettsloven har blitt. Det var bare nok en kostnad " "ved å drive forretning." #. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> msgid "Florida, Richard" msgstr "Florida, Richard" #. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> msgid "Rise of the Creative Class, The (Florida)" msgstr "" #. type: Content of: <book><part><partintro><para><footnote><para> msgid "" "In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " "Books, 2002), Richard Florida documents a shift in the nature of labor " "toward a labor of creativity. His work, however, doesn't directly address " "the legal conditions under which that creativity is enabled or stifled. I " "certainly agree with him about the importance and significance of this " "change, but I also believe the conditions under which it will be enabled are " "much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " "type=\"indexterm\" id=\"1\"/>" msgstr "" "I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " "Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " "kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " "vilkår som kreativiteten blir muliggjort eller hindret under. Jeg er helt " "klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " "tror også at vilkårene som disse endringene blir aktivert under er mye " "vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "But with the birth of the Internet, this natural limit to the reach of " #| "the law has disappeared. The law controls not just the creativity of " #| "commercial creators but effectively that of anyone. Although that " #| "expansion would not matter much if copyright law regulated only \"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—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." msgid "" "But with the birth of the Internet, this natural limit to the reach of the " "law has disappeared. The law controls not just the creativity of commercial " "creators but effectively that of anyone. Although that expansion would not " "matter much if copyright law regulated only <quote>copying,</quote> when the " "law regulates as broadly and obscurely as it does, the extension matters a " "lot. The burden of this law now vastly outweighs any original benefit—" "certainly as it affects noncommercial creativity, and increasingly as it " "affects commercial creativity as well. Thus, as we'll see more clearly in " "the chapters below, the law's role is less and less to support creativity, " "and more and more to protect certain industries against competition. Just at " "the time digital technology could unleash an extraordinary range of " "commercial and noncommercial creativity, the law burdens this creativity " "with insanely complex and vague rules and with the threat of obscenely " "severe penalties. We may be seeing, as Richard Florida writes, the " "<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" "\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " "regulation of this creative class." msgstr "" "Men da internettet dukket opp, forsvant denne naturlige begrensningen til " "lovens virkeområde. Loven kontrollerer ikke bare kreativiteten til " "kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " "utvidelsen ikke ville bety stort hvis opphavsrettsloven kun regulerte " "\"kopiering\", så betyr utvidelsen mye når loven regulerer så bredt og " "obskurt som den gjør. Byrden denne loven gir oppveier nå langt fordelene " "den ga da den ble vedtatt—helt klart slik den påvirker ikke-" "kommersiell kreativitet, og i stadig større grad slik den påvirker " "kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " "følger, er lovens rolle mindre og mindre å støtte kreativitet, og mer og mer " "å beskytte enkelte industrier mot konkurranse. Akkurat på tidspunktet da " "digital teknologi kunne sluppet løs en ekstraordinær mengde med kommersiell " "og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " "sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " "straffer. Vi ser kanskje, som Richard Florida skriver, \"Fremveksten av den " "kreative klasse\"<placeholder type=\"footnote\" id=\"0\"/> Dessverre ser vi " "også en ekstraordinær fremvekst av reguleringer av denne kreative klassen." #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "These burdens make no sense in our tradition. We should begin by " #| "understanding that tradition a bit more and by placing in their proper " #| "context the current battles about behavior labeled \"piracy.\"" msgid "" "These burdens make no sense in our tradition. We should begin by " "understanding that tradition a bit more and by placing in their proper " "context the current battles about behavior labeled <quote>piracy.</quote>" msgstr "" "Disse byrdene gir ingen mening i vår tradisjon. Vi bør begynne med å forstå " "den tradisjonen litt mer, og ved å plassere dagens slag om oppførsel med " "merkelappen \"piratvirksomhet\" i sin rette sammenheng." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER ONE: Creators" msgstr "Kapittel en: Skaperne" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "animated cartoons" msgstr "tegnefilmer" #. type: Content of: <book><part><chapter><para> 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 <citetitle>Plane Crazy</" "citetitle>. In November, in New York City's Colony Theater, in the first " "widely distributed cartoon synchronized with sound, <citetitle>Steamboat " "Willie</citetitle> brought to life the character that would become Mickey " "Mouse." msgstr "" "I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai " "dette året, i en stille flopp ved navn <citetitle>Plane Crazy</citetitle>. " "I november, i Colony teateret i New York City, ble den første vidt " "distribuerte tegnefilmen med synkronisert lyd, <citetitle>Steamboat Willy</" "citetitle>, vist frem med figuren som skulle bli til Mikke Mus." #. type: Content of: <book><part><chapter><para> msgid "" "Synchronized sound had been introduced to film a year earlier in the movie " "<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " "the technique and mix sound with cartoons. No one knew whether it would work " "or, if it did work, whether it would win an audience. But when Disney ran a " "test in the summer of 1928, the results were unambiguous. As Disney " "describes that first experiment," msgstr "" "Film med synkronisert lyd hadde blitt introdusert et år tidligere i filmen " "<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til å " "kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " "ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " "for det. Men da Disney gjorde en test sommeren 1928, var resultatet " "entydig. Som Disney beskriver dette første eksperimentet," #. PAGE BREAK 35 #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "A couple of my boys could read music, and one of them could play a mouth " "organ. We put them in a room where they could not see the screen and " "arranged to pipe their sound into the room where our wives and friends were " "going to see the picture." msgstr "" "Et par av guttene mine kunne lese noteark, og en av dem kunne spille " "munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " "gjorde det slik at lyden de spilte ble sendt videre til et rom hvor våre " "koner og venner var plassert for å se på bildet." #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The boys worked from a music and sound-effects score. After several false " "starts, sound and action got off with the gun. The mouth organist played the " "tune, the rest of us in the sound department bammed tin pans and blew slide " "whistles on the beat. The synchronization was pretty close." msgstr "" "Guttene brukte et note- og lydeffekt-ark. Etter noen dårlige oppstarter, " "kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " "melodien, og resten av oss i lydavdelingen slamret på tinnkasseroller og " "blåste på slide-fløyte til rytmen. Synkroniseringen var nesten helt riktig." #. f1 #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " "Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." msgstr "" "Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " "Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The effect on our little audience was nothing less than electric. They " "responded almost instinctively to this union of sound and motion. I thought " "they were kidding me. So they put me in the audience and ran the action " "again. It was terrible, but it was wonderful! And it was something new!" "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Effekten på vårt lille publikum var intet mindre enn elektrisk. De reagerte " "nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " "tullet med meg. Så de puttet meg i publikum og satte igang på nytt. Det " "var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Iwerks, Ub" msgstr "Iwerks, Ub" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Disney's then partner, and one of animation's most extraordinary talents, " #| "Ub Iwerks, put it more strongly: \"I have never been so thrilled in my " #| "life. Nothing since has ever equaled it.\" <placeholder type=\"indexterm" #| "\" id=\"0\"/>" msgid "" "Disney's then partner, and one of animation's most extraordinary talents, Ub " "Iwerks, put it more strongly: <quote>I have never been so thrilled in my " "life. Nothing since has ever equaled it.</quote> <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære " "talenter, Ub Iwerks, uttalte det sterkere: \"Jeg har aldri vært så " "begeistret i hele mitt liv. Ingenting annet har noen sinne vært like bra.\" " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Disney had created something very new, based upon something relatively new. " "Synchronized sound brought life to a form of creativity that had " "rarely—except in Disney's hands—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 laget noe helt nyt, basert på noe relativt nytt. Synkronisert " "lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " "Disneys hender—vært noe annet en fyllstoff for andre filmer. Gjennom " "animasjonens tidligere historie var det Disneys oppfinnelse som satte " "standarden som andre måtte sloss for å oppfylle. Og ganske ofte var Disneys " "store geni, hans gnist av kreativitet, bygget på arbeidet til andre." #. type: Content of: <book><part><chapter><para> msgid "" "This much is familiar. What you might not know is that 1928 also marks " "another important transition. In that year, a comic (as opposed to cartoon) " "genius created his last independently produced silent film. That genius was " "Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." msgstr "" "Dette er kjent stoff. Det du kanskje ikke vet er at 1928 også markerer en " "annen viktig overgang. I samme år laget et komedie-geni (i motsetning til " "tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " "Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." #. type: Content of: <book><part><chapter><para> msgid "" "Keaton was born into a vaudeville family in 1895. In the era of silent film, " "he had mastered using broad physical comedy as a way to spark uncontrollable " "laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " "classic of this form, famous among film buffs for its incredible stunts. " "The film was classic Keaton—wildly popular and among the best of its " "genre." msgstr "" "Keaton ble født inn i en vauderville-familie i 1895. I stumfilm-æraen hadde " "han mestret bruken av bredpenslet fysisk komedie på en måte som tente " "ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" "citetitle>. var en klassiker av denne typen, berømt blant film-elskere for " "sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " "populær og blant de beste i sin sjanger." #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "I am grateful to David Gerstein and his careful history, described at " #| "<ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. According " #| "to Dave Smith of the Disney Archives, Disney paid royalties to use the " #| "music for five songs in <citetitle>Steamboat Willie</citetitle>: " #| "\"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." msgid "" "I am grateful to David Gerstein and his careful history, described at <ulink " "url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave " "Smith of the Disney Archives, Disney paid royalties to use the music for " "five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," "</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" "quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " "<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " "Straw,</quote> was already in the public domain. Letter from David Smith to " "Harry Surden, 10 July 2003, on file with author." msgstr "" "Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, " "beskrevet på <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " "I følge Dave Smith ved the Disney Archives, betalte Disney for å bruke " "musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " "\"Steamboat Bill,\" \"The Simpleton\" (Delille), \"Mischief Makers" "\" (Carbonara), \"Joyful Hurry No. 1\" (Baron), og \"Gawky Rube\" (Lakay). " "En sjette sang, \"The Turkey in the Straw,\" var allerede allemannseie. " "Brev fra David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet " "til forfatteren." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's " #| "cartoon Steamboat Willie. The coincidence of titles is not coincidental. " #| "Steamboat Willie is a direct cartoon parody of Steamboat Bill," #| "<placeholder type=\"footnote\" id=\"0\"/> and both are built upon a " #| "common song as a source. It is not just from the invention of " #| "synchronized sound in <citetitle>The Jazz Singer</citetitle> that we get " #| "<citetitle>Steamboat Willie</citetitle>. It is also from Buster Keaton's " #| "invention of Steamboat Bill, Jr., itself inspired by the song \"Steamboat " #| "Bill,\" that we get Steamboat Willie, and then from Steamboat Willie, " #| "Mickey Mouse." msgid "" "<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " "Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " "Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" "\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " "It is not just from the invention of synchronized sound in <citetitle>The " "Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " "It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " "inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " "Willie, and then from Steamboat Willie, Mickey Mouse." msgstr "" "<citetitle>Steamboat Bill, Jr</citetitle>. kom før Disneys tegnefilm " "Steamboat Willie. Det er ingen tilfeldighet at titlene er så like. " "Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," "<placeholder type=\"footnote\" id=\"0\"/> og begge bygger på en felles sang " "som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " "<citetitle>The Jazz Singer</citetitle> at vi får <citetitle>Steamboat " "Willie</citetitle>. Det er også fra Buster Keatons nyskapning Steamboat " "Bill, Jr., som igjen var inspirert av sangen \"Steamboat Bill\", at vi får " "Steamboat Willie. Og fra Steamboat Willie får vi så Mikke Mus." #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " "that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" "\"http://free-culture.cc/notes/\">link #5</ulink>." msgstr "" "Han var også tilhenger av allmannseiet. Se Chris Sprigman, \"The Mouse that " "Ate the Public Domain,\" Findlaw, 5. mars 2002, fra <ulink url=\"http://free-" "culture.cc/notes/\">link #5</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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—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." msgid "" "This <quote>borrowing</quote> was nothing unique, either for Disney or for " "the industry. Disney was always parroting the feature-length mainstream " "films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " "others. Early cartoons are filled with knockoffs—slight variations on " "winning themes; retellings of ancient stories. The key to success was the " "brilliance of the differences. With Disney, it was sound that gave his " "animation its spark. Later, it was the quality of his work relative to the " "production-line cartoons with which he competed. Yet these additions were " "built upon a base that was borrowed. Disney added to the work of others " "before him, creating something new out of something just barely old." msgstr "" "Denne \"låningen\" var ikke unik, hverken for Disney eller for industrien. " "Disney apet alltid etter full-lengde massemarkedsfilmene rundt ham." "<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " "Tidlige tegnefilmer er stappfulle av etterapninger—små variasjoner " "over suksessfulle temaer, gamle historier fortalt på nytt. Nøkkelen til " "suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " "gnisten til hans animasjoner. Senere var det kvaliteten på hans arbeide " "relativt til de masseproduserte tegnefilmene som han konkurrerte med. " "Likevel var disse bidragene bygget på toppen av fundamentet som var lånt. " "Disney bygget på arbeidet til andre som kom før han, og skapte noe nytt ut " "av noe som bare var litt gammelt." #. type: Content of: <book><part><chapter><para> msgid "" "Sometimes this borrowing was slight. Sometimes it was significant. Think " "about the fairy tales of the Brothers Grimm. If you're as oblivious as I " "was, you're likely to think that these tales are happy, sweet stories, " "appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " "well, for us, grim. It is a rare and perhaps overly ambitious parent who " "would dare to read these bloody, moralistic stories to his or her child, at " "bedtime or anytime." msgstr "" "Noen ganger var låningen begrenset, og noen ganger var den betydelig. Tenkt " "på eventyrene til brødrene Grimm. Hvis du er like ubevisst som jeg var, så " "tror du sannsynlighvis at disse fortellingene er glade, søte historier som " "passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " "for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiøse " "foreldre som ville våge å lese disse blodige moralistiske historiene til " "sine barn, ved leggetid eller hvilken som helst annet tidspunkt." #. PAGE BREAK 37 #. type: Content of: <book><part><chapter><para> msgid "" "Disney took these stories and retold them in a way that carried them into a " "new age. He animated the stories, with both characters and light. Without " "removing the elements of fear and danger altogether, he made funny what was " "dark and injected a genuine emotion of compassion where before there was " "fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " "of Disney work drawing upon the work of others is astonishing when set " "together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" "citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " "<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " "<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" "citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " "<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " "(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" "citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " "<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " "Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" "—not to mention a recent example that we should perhaps quickly " "forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " "cases, Disney (or Disney, Inc.) ripped creativity from the culture around " "him, mixed that creativity with his own extraordinary talent, and then " "burned that mix into the soul of his culture. Rip, mix, and burn." msgstr "" "Disney tok disse historiene og fortalte dem på nytt på en måte som førte dem " "inn i en ny tidsalder. Han ga historiene liv, med både karakterer og lys. " "Uten å fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " "mørkt og satte inn en ekte følelse av medfølelse der det før var frykt. Og " "ikke bare med verkene av brødrene Grimm. Faktisk er katalogen over Disney-" "arbeid som baserer seg på arbeidet til andre ganske forbløffende når den " "blir samlet: <citetitle>Snøhvit</citetitle> (1937), <citetitle>Fantasia</" "citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " "<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " "<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" "citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " "<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " "(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " "<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " "(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " "steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" "—for ikke å nevne et nylig eksempel som vi bør kanskje glemme raskt, " "<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " "Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " "med kreativiteten fra sitt eget ekstraordinære talent, og deretter brent " "denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This is a kind of creativity. It is a creativity that we should remember " #| "and celebrate. There are some who would say that there is no creativity " #| "except this kind. We don't need to go that far to recognize its " #| "importance. We could call this \"Disney creativity,\" though that would " #| "be a bit misleading. It is, more precisely, \"Walt Disney creativity" #| "\"—a form of expression and genius that builds upon the culture " #| "around us and makes it something different." msgid "" "This is a kind of creativity. It is a creativity that we should remember and " "celebrate. There are some who would say that there is no creativity except " "this kind. We don't need to go that far to recognize its importance. We " "could call this <quote>Disney creativity,</quote> though that would be a bit " "misleading. It is, more precisely, <quote>Walt Disney creativity</" "quote>—a form of expression and genius that builds upon the culture " "around us and makes it something different." msgstr "" "Dette er en type kreativitet. Det er en kreativitet som vi bør huske på og " "feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " "denne typen. Vi trenger ikke gå så langt for å anerkjenne dens betydning. " "Vi kan kalle dette \"Disney-kreativitet\", selv om det vil være litt " "misvisende. Det er mer presist \"Walt Disney-kreativitet\"—en " "uttrykksform og genialitet som bygger på kulturen rundt oss og omformer den " "til noe annet." #. f4 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Until 1976, copyright law granted an author the possibility of two terms: " #| "an initial term and a renewal term. I have calculated the \"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>." msgid "" "Until 1976, copyright law granted an author the possibility of two terms: an " "initial term and a renewal term. I have calculated the <quote>average</" "quote> term by determining the weighted average of total registrations for " "any particular year, and the proportion renewing. Thus, if 100 copyrights " "are registered in year 1, and only 15 are renewed, and the renewal term is " "28 years, then the average term is 32.2 years. For the renewal data and " "other relevant data, see the Web site associated with this book, available " "at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." msgstr "" "Inntil 1976 ga opphavsrettsloven en forfatter to mulige verneperioder: en " "initiell periode, og en fornyingsperiode. Jeg har beregnet \"gjennomsnittlig" "\" vernetid ved å finne vektet gjennomsnitt av de totale registreringer for " "et gitt år, og andelen fornyinger. Hvis 100 opphavsretter ble registrert i " "år 1, bare 15 av dem ble fornyet, og fornyingsvernetiden er 28 år, så er " "gjennomsnittlig vernetid 32,2 år. Fornyingsdata og andre relevante data " "ligger på nettsidene tilknyttet denne boka, tilgjengelig fra <ulink url=" "\"http://free-culture.cc/notes/\">link #6</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In 1928, the culture that Disney was free to draw upon was relatively " #| "fresh. The public domain in 1928 was not very old and was therefore quite " #| "vibrant. The average term of copyright was just around thirty years—" #| "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." 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—for that " "minority of creative work that was in fact copyrighted.<placeholder type=" "\"footnote\" id=\"0\"/> That means that for thirty years, on average, the " "authors or copyright holders of a creative work had an <quote>exclusive " "right</quote> to control certain uses of the work. To use this copyrighted " "work in limited ways required the permission of the copyright owner." msgstr "" "I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt " "fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " "levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " "år—for den lille delen av kreative verk som faktisk var " "opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " "i tredve år, i gjennomsnitt, hadde forfattere eller kreative verks " "opphavsrettighetsinnehaver en \"eksklusiv rett\" til a kontrollere bestemte " "typer bruk av verket. For å bruke disse opphavsrettsbeskyttede verkene på " "de begrensede måtene krevde tillatelse fra opphavsrettsinnehaveren." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "At the end of a copyright term, a work passes into the public domain. No " #| "permission is then needed to draw upon or use that work. No permission " #| "and, hence, no lawyers. The public domain is a \"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— whether " #| "connected or not, whether rich or not, whether approved or not—to " #| "use and build upon." msgid "" "At the end of a copyright term, a work passes into the public domain. No " "permission is then needed to draw upon or use that work. No permission and, " "hence, no lawyers. The public domain is a <quote>lawyer-free zone.</quote> " "Thus, most of the content from the nineteenth century was free for Disney to " "use and build upon in 1928. It was free for anyone— whether connected " "or not, whether rich or not, whether approved or not—to use and build " "upon." msgstr "" "Når opphavsrettens vernetid er over, faller et verk i det fri og blir " "allemannseie. Ingen tillatelse trengs da for å bygge på eller bruke dette " "verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " "\"advokat-fri sone\". Det meste av innhold fra det nittende århundre var " "dermed fritt tilgjengelig for Disney å bruke eller bygge på i 1928. Det var " "tilgjengelig for enhver—uansett om de hadde forbindelser eller ikke, " "om de var rik eller ikke, om de var akseptert eller ikke—til å bruke " "og bygge videre på." #. PAGE BREAK 38 #. type: Content of: <book><part><chapter><para> msgid "" "This is the ways things always were—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 slik det alltid har vært—inntil ganske nylig. For " "mesteparten av vår historie, har allemannseiet vært like over horisonten. " "Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " "enn trettito år, som gjorde at det meste av kultur fra en og en halv " "generasjon tidligere var tilgjengelig for enhver å bygge på uten tillatelse " "fra noen. Tilsvarende for i dag ville være at kreative verker fra 1960- og " "1970-tallet nå ville være fritt tilgjengelig for de neste Walt Disney å " "bygge på uten tillatelse. Men i dag er allemannseie presumtivt kun for " "innhold fra før mellomkrigstiden." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "Of course, Walt Disney had no monopoly on <quote>Walt Disney creativity.</" "quote> Nor does America. The norm of free culture has, until recently, and " "except within totalitarian nations, been broadly exploited and quite " "universal." msgstr "" "Walt Disney hadde selvfølgelig ikke monopol på \"Walt Disney-kreativitet\". " "Det har heller ikke USA. Normen med fri kultur har, inntil nylig, og " "unntatt i totalitære nasjoner, vært bredt utnyttet og svært universell." #. type: Content of: <book><part><chapter><para> msgid "" "Consider, for example, a form of creativity that seems strange to many " "Americans but that is inescapable within Japanese culture: <citetitle>manga</" "citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " "percent of publications are comics, and 30 percent of publication revenue " "derives from comics. They are everywhere in Japanese society, at every " "magazine stand, carried by a large proportion of commuters on Japan's " "extraordinary system of public transportation." msgstr "" "Vurder for eksempel en form for kreativitet som synes underlig for mange " "amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" "citetitle>, eller tegneserier. Japanerne er fanatiske når det gjelder " "tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " "av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " "japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " "på en stor andel av pendlere på Japans ekstraordinære system for offentlig " "transport." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Americans tend to look down upon this form of culture. That's an " #| "unattractive characteristic of ours. We're likely to misunderstand much " #| "about manga, because few of us have ever read anything close to the " #| "stories that these \"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." msgid "" "Americans tend to look down upon this form of culture. That's an " "unattractive characteristic of ours. We're likely to misunderstand much " "about manga, because few of us have ever read anything close to the stories " "that these <quote>graphic novels</quote> tell. For the Japanese, manga cover " "every aspect of social life. For us, comics are <quote>men in tights.</" "quote> And anyway, it's not as if the New York subways are filled with " "readers of Joyce or even Hemingway. People of different cultures distract " "themselves in different ways, the Japanese in this interestingly different " "way." msgstr "" "Amerikanere har en tendens til å se ned på denne formen for kultur. Det er " "et lite attraktivt kjennetegn hos oss. Vi misforstår sannsynligvis mye " "rundt manga, på grunn av at få av oss noen gang har lest noe som ligner på " "historiene i disse \"grafiske historiene\" forteller. For en japaner dekker " "manga ethvert aspekt ved det sosiale liv. For oss er tegneserier \"menn i " "strømpebukser\". Og uansett er det ikke slik at T-banen i New York er full " "av folk som leser Joyse eller Hemingway for den saks skyld. Folk i ulike " "kulturer skiller seg ut på forskjellig måter, og japanerne på dette " "interessante viset." #. type: Content of: <book><part><chapter><para> msgid "" "But my purpose here is not to understand manga. It is to describe a variant " "on manga that from a lawyer's perspective is quite odd, but from a Disney " "perspective is quite familiar." msgstr "" "Men mitt formål her er ikke å forstå manga. Det er å beskrive en variant av " "manga som fra en advokats perspektiv er ganske merkelig, men som fra en " "Disneys perspektiv er ganske godt kjent." #. PAGE BREAK 39 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " #| "also comics, but they are a kind of copycat comic. A rich ethic governs " #| "the creation of doujinshi. It is not doujinshi if it is <emphasis>just</" #| "emphasis> a copy; the artist must make a contribution to the art he " #| "copies, by transforming it either subtly or significantly. A doujinshi " #| "comic can thus take a mainstream comic and develop it differently—" #| "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." msgid "" "This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " "also comics, but they are a kind of copycat comic. A rich ethic governs the " "creation of doujinshi. It is not doujinshi if it is <emphasis>just</" "emphasis> a copy; the artist must make a contribution to the art he copies, " "by transforming it either subtly or significantly. A doujinshi comic can " "thus take a mainstream comic and develop it differently—with a " "different story line. Or the comic can keep the character in character but " "change its look slightly. There is no formula for what makes the doujinshi " "sufficiently <quote>different.</quote> But they must be different if they " "are to be considered true doujinshi. Indeed, there are committees that " "review doujinshi for inclusion within shows and reject any copycat comic " "that is merely a copy." msgstr "" "Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er også " "tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " "de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" "emphasis> er en kopi. Kunstneren må gjøre et bidrag til kunsten han " "kopierer ved å omforme det enten subtilt eller betydelig. En doujinshi-" "tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " "annen retning—med en annen historie-linje. Eller tegneserien kan " "beholde figuren som seg selv men endre litt på utseendet. Det er ingen " "bestemt formel for hva som gjør en doujinshi tilstrekkelig \"forskjellig\". " "Men de må være forskjellige hvis de skal anses som ekte doujinshi. Det er " "faktisk komiteer som går igjennom doujinshi for å bli med på messer, og " "avviser etterapninger som bare er en kopi." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These copycat comics are not a tiny part of the manga market. They are " #| "huge. More than 33,000 \"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." msgid "" "These copycat comics are not a tiny part of the manga market. They are huge. " "More than 33,000 <quote>circles</quote> of creators from across Japan " "produce these bits of Walt Disney creativity. More than 450,000 Japanese " "come together twice a year, in the largest public gathering in the country, " "to exchange and sell them. This market exists in parallel to the mainstream " "commercial manga market. In some ways, it obviously competes with that " "market, but there is no sustained effort by those who control the commercial " "manga market to shut the doujinshi market down. It flourishes, despite the " "competition and despite the law." msgstr "" "Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " "er enorme. Mer en 33 000 \"sirkler\" av skapere over hele Japan som " "produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 japanere " "samles to ganger i året, i den største offentlige samlingen i langet, for å " "bytte og selge dem. Dette markedet er parallelt med det kommersielle " "massemarkeds-manga-markedet. På noen måter konkurrerer det åpenbart med det " "markedet, men det er ingen vedvarende innsats fra de som kontrollerer det " "kommersielle manga-markedet for å stenge doujinshi-markedet. Det blomstrer, " "på tross av konkurransen og til tross for loven." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The most puzzling feature of the doujinshi market, for those trained in " #| "the law, at least, is that it is allowed to exist at all. Under Japanese " #| "copyright law, which in this respect (on paper) mirrors American " #| "copyright law, the doujinshi market is an illegal one. Doujinshi are " #| "plainly \"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 <citetitle>Steamboat Bill, Jr</citetitle>. 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." msgid "" "The most puzzling feature of the doujinshi market, for those trained in the " "law, at least, is that it is allowed to exist at all. Under Japanese " "copyright law, which in this respect (on paper) mirrors American copyright " "law, the doujinshi market is an illegal one. Doujinshi are plainly " "<quote>derivative works.</quote> There is no general practice by doujinshi " "artists of securing the permission of the manga creators. Instead, the " "practice is simply to take and modify the creations of others, as Walt " "Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " "Japanese and American law, that <quote>taking</quote> without the permission " "of the original copyright owner is illegal. It is an infringement of the " "original copyright to make a copy or a derivative work without the original " "copyright owner's permission." msgstr "" "Den mest gåtefulle egenskapen med doujinshi-markedet, for de som har " "juridisk trening i hvert fall, er at det overhodet tillates å eksistere. " "Under japansk opphavsrettslov, som i hvert fall på dette området (på " "papiret) speiler USAs opphavsrettslov, er doujinshi-markedet ulovlig. " "Doujinshi er helt klart \"avledede verk\". Det er ingen generell praksis " "hos doujinshi-kunstnere for å sikre seg tillatelse hos manga-skaperne. I " "stedet er praksisen ganske enkelt å ta og endre det andre har laget, slik " "Walt Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For både " "japansk og USAs lov, er å \"ta\" uten tillatelse fra den opprinnelige " "opphavsrettsinnehaver ulovlig. Det er et brudd på opphavsretten til det " "opprinnelige verket å lage en kopi eller et avledet verk uten tillatelse fra " "den opprinnelige rettighetsinnehaveren." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Winick, Judd" msgstr "Winick, Judd" #. f5 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" "citetitle> (New York: Perennial, 2000)." msgstr "" "For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" "citetitle> (New York: Perennial, 2000)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet this illegal market exists and indeed flourishes in Japan, and in the " #| "view of many, it is precisely because it exists that Japanese manga " #| "flourish. As American graphic novelist Judd Winick said to me, \"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—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\"/>" msgid "" "Yet this illegal market exists and indeed flourishes in Japan, and in the " "view of many, it is precisely because it exists that Japanese manga " "flourish. As American graphic novelist Judd Winick said to me, <quote>The " "early days of comics in America are very much like what's going on in Japan " "now. … American comics were born out of copying each other. … " "That's how [the artists] learn to draw—by going into comic books and " "not tracing them, but looking at them and copying them</quote> and building " "from them.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " "etter manges syn er det nettopp fordi det eksisterer at japansk manga " "blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, \"I " "amerikansk tegneseriers første dager var det ganske likt det som foregår i " "Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere " "hverandre. … Det er slik [kunstnerne] lærer å tegne—ved å se i " "tegneseriebøker og ikke følge streken, men ved å se på dem og kopiere dem\" " "og bygge basert på dem.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "American comics now are quite different, Winick explains, in part because " #| "of the legal difficulty of adapting comics the way doujinshi are allowed. " #| "Speaking of Superman, Winick told me, \"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.\"" msgid "" "American comics now are quite different, Winick explains, in part because of " "the legal difficulty of adapting comics the way doujinshi are allowed. " "Speaking of Superman, Winick told me, <quote>there are these rules and you " "have to stick to them.</quote> There are things Superman <quote>cannot</" "quote> do. <quote>As a creator, it's frustrating having to stick to some " "parameters which are fifty years old.</quote>" msgstr "" "Amerikanske tegneserier nå er ganske annerledes, forklarer Winick, delvis på " "grunn av de juridiske problemene med å tilpasse tegneserier slik doujinshi " "får lov til. Med for eksempel Supermann, fortalte Winick meg, \"er det en " "rekke regler, og du må følge dem\". Det er ting som Supermann \"ikke kan\" " "gjøre. \"For en som lager tegneserier er det frustrerende å måtte begrense " "seg til noen parameter som er femti år gamle.\"" #. f6 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why " #| "All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers " #| "Law Review</citetitle> 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.\"" msgid "" "See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " "Why All the Comics My Kid Watches Are Japanese Imports?</quote> " "<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" "here might be a collective economic rationality that would lead manga and " "anime artists to forgo bringing legal actions for infringement. One " "hypothesis is that all manga artists may be better off collectively if they " "set aside their individual self-interest and decide not to press their legal " "rights. This is essentially a prisoner's dilemma solved.</quote>" msgstr "" "Se Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why All " "the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law " "Review</citetitle> 55 (2002): 155, 182. \"det kan være en kollektiv " "økonomisk rasjonalitet som får manga- og anime-kunstnere til ikke å saksøke " "for opphavsrettsbrudd. Én hypotese er at alle manga-kunstnere kan være bedre " "stilt hvis de setter sin individuelle egeninteresse til side og bestemmer " "seg for ikke å forfølge sine juridiske rettigheter. Dette er essensielt en " "løsning på fangens dilemma.\"" #. type: Content of: <book><part><chapter><para> msgid "" "The norm in Japan mitigates this legal difficulty. Some say it is precisely " "the benefit accruing to the Japanese manga market that explains the " "mitigation. Temple University law professor Salil Mehra, for example, " "hypothesizes that the manga market accepts these technical violations " "because they spur the manga market to be more wealthy and productive. " "Everyone would be worse off if doujinshi were banned, so the law does not " "ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " "nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " "forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " "University hypnotiserer for eksempel med at manga-markedet aksepterer disse " "teoretiske bruddene fordi de får mangamarkedet til å bli rikere og mer " "produktivt. Alle ville få det verre hvis doujinshi ble bannlyst, så loven " "bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The problem with this story, however, as Mehra plainly acknowledges, is " #| "that the mechanism producing this laissez faire response is not clear. It " #| "may well be that the market as a whole is better off if doujinshi are " #| "permitted rather than banned, but that doesn't explain why individual " #| "copyright owners don't sue nonetheless. If the law has no general " #| "exception for doujinshi, and indeed in some cases individual manga " #| "artists have sued doujinshi artists, why is there not a more general " #| "pattern of blocking this \"free taking\" by the doujinshi culture?" msgid "" "The problem with this story, however, as Mehra plainly acknowledges, is that " "the mechanism producing this laissez faire response is not clear. It may " "well be that the market as a whole is better off if doujinshi are permitted " "rather than banned, but that doesn't explain why individual copyright owners " "don't sue nonetheless. If the law has no general exception for doujinshi, " "and indeed in some cases individual manga artists have sued doujinshi " "artists, why is there not a more general pattern of blocking this " "<quote>free taking</quote> by the doujinshi culture?" msgstr "" "Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " "er at mekanismen som produserer denne \"hold hendene borte\"-responsen ikke " "er forstått. Det kan godt være at markedet som helhet gjør det bedre hvis " "doujinshi tillates i stedet for å bannlyse den, men det forklarer likevel " "ikke hvorfor individuelle opphavsrettsinnehavere ikke saksøker. Hvis loven " "ikke har et generelt unntak for doujinshi, og det finnes faktisk noen " "tilfeller der individuelle manga-kunstnere har saksøkt doujinshi-kunstnere, " "hvorfor er det ikke et mer generelt mønster for å blokkere denne \"frie " "takingen\" hos doujinshi-kulturen?" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "I spent four wonderful months in Japan, and I asked this question as " #| "often as I could. Perhaps the best account in the end was offered by a " #| "friend from a major Japanese law firm. \"We don't have enough lawyers,\" " #| "he told me one afternoon. There \"just aren't enough resources to " #| "prosecute cases like this.\"" msgid "" "I spent four wonderful months in Japan, and I asked this question as often " "as I could. Perhaps the best account in the end was offered by a friend from " "a major Japanese law firm. <quote>We don't have enough lawyers,</quote> he " "told me one afternoon. There <quote>just aren't enough resources to " "prosecute cases like this.</quote>" msgstr "" "Jeg var fire nydelige måneder i Japan, og jeg stilte dette spørsmål så ofte " "som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " "større japansk advokatfirma. \"Vi har ikke nok advokater\", fortalte han meg " "en ettermiddag. Det er \"bare ikke nok ressurser til å tiltale tilfeller " "som dette\"." #. PAGE BREAK 41 #. type: Content of: <book><part><chapter><para> msgid "" "This is a theme to which we will return: that regulation by law is a " "function of both the words on the books and the costs of making those words " "have effect. For now, focus on the obvious question that is begged: Would " "Japan be better off with more lawyers? Would manga be richer if doujinshi " "artists were regularly prosecuted? Would the Japanese gain something " "important if they could end this practice of uncompensated sharing? Does " "piracy here hurt the victims of the piracy, or does it help them? Would " "lawyers fighting this piracy help their clients or hurt them? Let's pause " "for a moment." msgstr "" "Dette er et tema vi kommer tilbake til: at lovens regulering både er en " "funksjon av ordene i bøkene, og kostnadene med å få disse ordene til å ha " "effekt. Akkurat nå er det endel åpenbare spørsmål som presser seg frem: " "Ville Japan gjøre det bedre med flere advokater? Ville manga være rikere " "hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " "noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " "Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " "Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " "eller skade dem? La oss ta et øyeblikks pause." #. type: Content of: <book><part><chapter><para> msgid "" "If you're like I was a decade ago, or like most people are when they first " "start thinking about these issues, then just about now you should be puzzled " "about something you hadn't thought through before." msgstr "" "Hvis du er som meg et tiår tilbake, eller som folk flest når de først " "begynner å tenke på disse temaene, da bør du omtrent nå være rådvill om noe " "du ikke hadde tenkt igjennom før." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Vaidhyanathan, Siva" msgstr "Vaidhyanathan, Siva" #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "The term <citetitle>intellectual property</citetitle> is of relatively " #| "recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). " #| "See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New " #| "York: Random House, 2001), 293 n. 26. The term accurately describes a set " #| "of \"property\" rights—copyright, patents, trademark, and trade-" #| "secret—but the nature of those rights is very different. " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "The term <citetitle>intellectual property</citetitle> is of relatively " "recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 11 (New York: New York University Press, 2001). See also " "Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: " "Random House, 2001), 293 n. 26. The term accurately describes a set of " "<quote>property</quote> rights—copyright, patents, trademark, and " "trade-secret—but the nature of those rights is very different. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Begrepet <citetitle>immateriell eiendom</citetitle> er av relativ ny " "opprinnelse. Se See Siva Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). Se " "også Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: " "Random House, 2001), 293 n. 26. Begrepet presist beskriver et sett med " "\"eiendoms\"-rettigheter—opphavsretter, patenter, varemerker og " "forretningshemmeligheter—men egenskapene til disse rettighetene er " "svært forskjellige.<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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." msgid "" "We live in a world that celebrates <quote>property.</quote> I am one of " "those celebrants. I believe in the value of property in general, and I also " "believe in the value of that weird form of property that lawyers call " "<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" "> A large, diverse society cannot survive without property; a large, " "diverse, and modern society cannot flourish without intellectual property." msgstr "" "Vi lever i en verden som feirer \"eiendom\". Jeg er en av de som feierer. " "Jeg tror på verdien av eiendom generelt, og jeg tror også på verdien av den " "sære formen for eiendom som advokater kaller \"immateriell eiendom\"." "<placeholder type=\"footnote\" id=\"0\"/> Et stort og variert samfunn kan " "ikke overleve uten eiendom, og et moderne samfunn kan ikke blomstre uten " "immaterielle eierrettigheter." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But it takes just a second's reflection to realize that there is plenty " #| "of value out there that \"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— 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." msgid "" "But it takes just a second's reflection to realize that there is plenty of " "value out there that <quote>property</quote> doesn't capture. I don't mean " "<quote>money can't buy you love,</quote> but rather, value that is plainly " "part of a process of production, including commercial as well as " "noncommercial production. If Disney animators had stolen a set of pencils " "to draw Steamboat Willie, we'd have no hesitation in condemning that taking " "as wrong— even though trivial, even if unnoticed. Yet there was " "nothing wrong, at least under the law of the day, with Disney's taking from " "Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " "taking from Keaton because Disney's use would have been considered " "<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " "because the Grimms' work was in the public domain." msgstr "" "Men det tar bare noen sekunders refleksjon for å innse at det er masse av " "verdi der ute som \"eiendom\" ikke dekker. Jeg mener ikke \"kjærlighet kan " "ikke kjøpes med penger\" men heller, at en verdi som ganske enkelt er del av " "produksjonsprosessen, både for kommersiell og ikke-kommersiell produksjon. " "Hvis Disneys animatører hadde stjålet et sett med blyanter for å tegne " "Steamboat Willie, vi ville ikke nølt med å dømme det som galt—selv om " "det er trivielt og selv om det ikke blir oppdaget. Men det var intet galt, " "i hvert fall slik loven var da, med at Disney tok fra Buster Keaton eller " "fra Grimm-brødrene. Det var intet galt med å ta fra Keaton, fordi Disneys " "bruk ville blitt ansett som \"rimelig\". Det var intet galt med å ta fra " "brødrene Grimm fordi deres verker var allemannseie." #. PAGE BREAK 42 #. type: Content of: <book><part><chapter><para> msgid "" "Thus, even though the things that Disney took—or more generally, the " "things taken by anyone exercising Walt Disney creativity—are valuable, " "our tradition does not treat those takings as wrong. Some things remain free " "for the taking within a free culture, and that freedom is good." msgstr "" "Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " "som blir tatt av enhver som utøver Walt Disney-kreativitet—er " "verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene. " "Noen ting forblir frie til å bli tatt i en fri kultur og denne friheten er " "bra." #. type: Content of: <book><part><chapter><para> msgid "" "The same with the doujinshi culture. If a doujinshi artist broke into a " "publisher's office and ran off with a thousand copies of his latest " "work—or even one copy—without paying, we'd have no hesitation in " "saying the artist was wrong. In addition to having trespassed, he would have " "stolen something of value. The law bans that stealing in whatever form, " "whether large or small." msgstr "" "Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brøt " "seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans " "siste verk—eller bare en kopi—uten å betale, så ville vi uten å " "nøle si at kunstneren har gjort noe galt. I tillegg til å ha trengt seg inn " "på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr stjeling " "i enhver form, uansett hvor stort eller lite som blir tatt." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet there is an obvious reluctance, even among Japanese lawyers, to say " #| "that the copycat comic artists are \"stealing.\" This form of Walt Disney " #| "creativity is seen as fair and right, even if lawyers in particular find " #| "it hard to say why." msgid "" "Yet there is an obvious reluctance, even among Japanese lawyers, to say that " "the copycat comic artists are <quote>stealing.</quote> This form of Walt " "Disney creativity is seen as fair and right, even if lawyers in particular " "find it hard to say why." msgstr "" "Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si " "at etterapende tegneseriekunstnere \"stjeler\". Denne formen for Walt " "Disney-kreativitet anses som rimelig og riktig, selv om spesielt advokater " "synes det er vanskelig å forklare hvorfor." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "It's the same with a thousand examples that appear everywhere once you " #| "begin to look. Scientists build upon the work of other scientists without " #| "asking or paying for the privilege. (\"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 <emphasis>anyone</emphasis> believe Shakespeare would be better " #| "spread within our culture if there were a central Shakespeare rights " #| "clearinghouse that all productions of Shakespeare must appeal to first?) " #| "And Hollywood goes through cycles with a certain kind of movie: five " #| "asteroid films in the late 1990s; two volcano disaster films in 1997." msgid "" "It's the same with a thousand examples that appear everywhere once you begin " "to look. Scientists build upon the work of other scientists without asking " "or paying for the privilege. (<quote>Excuse me, Professor Einstein, but may " "I have permission to use your theory of relativity to show that you were " "wrong about quantum physics?</quote>) Acting companies perform adaptations " "of the works of Shakespeare without securing permission from anyone. (Does " "<emphasis>anyone</emphasis> believe Shakespeare would be better spread " "within our culture if there were a central Shakespeare rights clearinghouse " "that all productions of Shakespeare must appeal to first?) And Hollywood " "goes through cycles with a certain kind of movie: five asteroid films in the " "late 1990s; two volcano disaster films in 1997." msgstr "" "Det er det same med tusen eksempler som dukker opp over alt med en gang en " "begynner å se etter dem. Forskerne bygger på arbeidet til andre forskere " "uten å spørre eller betale for privilegiet. (\"Unnskyld meg, professor " "Einstein, men kan jeg få tillatelse til å bruke din relativitetsteori til å " "vise at du tok feil om kvantefysikk?\") Teatertropper viser frem " "bearbeidelser av verkene til Shakespeare uten å sikre seg noen tillatelser. " "(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vært mer " "spredt i vår kultur om det var et sentralt rettighetsklareringskontor for " "Shakespeare som alle som laget Shakespeare-produksjoner måtte appellere til " "først?) Og Hollywood går igjennom sykluser med en bestemt type filmer: fem " "astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." #. PAGE BREAK 43 #. type: Content of: <book><part><chapter><para> msgid "" "Creators here and everywhere are always and at all times building upon the " "creativity that went before and that surrounds them now. That building is " "always and everywhere at least partially done without permission and without " "compensating the original creator. No society, free or controlled, has ever " "demanded that every use be paid for or that permission for Walt Disney " "creativity must always be sought. Instead, every society has left a certain " "bit of its culture free for the taking—free societies more fully than " "unfree, perhaps, but all societies to some degree." msgstr "" "Skapere her og overalt har alltid og til alle tider bygd på kreativiteten " "som eksisterte før og som omringer dem nå. Denne byggingen er alltid og " "overalt i det minste delvis gjort uten tillatelse og uten å kompensere den " "opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " "gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " "Disney-kreativitet alltid måtte skaffes. Istedet har ethvert samfunn latt " "en bestemt bit av sin kultur være fritt tilgjengelig for alle å ta—" "frie samfunn muligens i større grad enn ufrie, men en viss grad i alle " "samfunn." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The hard question is therefore not <emphasis>whether</emphasis> a culture " #| "is free. All cultures are free to some degree. The hard question instead " #| "is \"<emphasis>How</emphasis> 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?" msgid "" "The hard question is therefore not <emphasis>whether</emphasis> a culture is " "free. All cultures are free to some degree. The hard question instead is " "<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " "how broadly, is the culture free for others to take and build upon? Is that " "freedom limited to party members? To members of the royal family? To the top " "ten corporations on the New York Stock Exchange? Or is that freedom spread " "broadly? To artists generally, whether affiliated with the Met or not? To " "musicians generally, whether white or not? To filmmakers generally, whether " "affiliated with a studio or not?" msgstr "" "Det vanskelige spørsmålet er derfor ikke <emphasis>om</emphasis> en kultur " "er fri. Alle kulturer er frie til en viss grad. Det vanskelige spørsmålet " "er i stedet \"<emphasis>hvor</emphasis> fri er denne kulturen er?\" Hvor mye " "og hvor bredt, er kulturen fritt tilgjengelig for andre å ta, og bygge på? " "Er den friheten begrenset til partimedlemmer? Til medlemmer av " "kongefamilien? Til de ti største selskapene på New York-børsen? Eller er " "at frihet bredt tilgjengelig? Til kunstnere generelt, uansett om de er " "tilknyttet til nasjonalmuseet eller ikke? Til musikere generelt, uansett om " "de er hvite eller ikke? Til filmskapere generelt, uansett om de er " "tilknyttet et studio eller ikke?" #. type: Content of: <book><part><chapter><para> msgid "" "Free cultures are cultures that leave a great deal open for others to build " "upon; unfree, or permission, cultures leave much less. Ours was a free " "culture. It is becoming much less so." msgstr "" "Frie kulturer er kulturer som etterlater mye åpent for andre å bygge på. " "Ufrie, eller tillatelse-kulturer etterlater mye mindre. Vår var en fri " "kultur. Den er på tur til å bli mindre fri." #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER TWO: \"Mere Copyists\"" msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" msgstr "Kapittel to: <quote>Kun etter-apere</quote>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "photography" msgstr "fotografering" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Daguerre, Louis" msgstr "Daguerre, Louis" #. type: Content of: <book><part><chapter><para> #, 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.) " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "In 1839, Louis Daguerre invented the first practical technology for " "producing what we would call <quote>photographs.</quote> Appropriately " "enough, they were called <quote>daguerreotypes.</quote> The process was " "complicated and expensive, and the field was thus limited to professionals " "and a few zealous and wealthy amateurs. (There was even an American Daguerre " "Association that helped regulate the industry, as do all such associations, " "by keeping competition down so as to keep prices up.) <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "I 1839 fant Louis Daguerre opp den første praktiske teknologien for å " "produsere det vi ville kalle \"fotografier\". Rimelig nok ble de kalt " "\"daguerreotyper\". Prosessen var komplisert og kostbar, og feltet var " "dermed begrenset til profesjonelle og noen få ivrige og velstående " "amatører. (Det var til og med en amerikansk Daguerre-forening som hjalp til " "med å regulere industrien, slik alle slike foreninger gjør, ved å holde " "konkurransen ned slik at prisene var høye.) <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Talbot, William" msgstr "Talbot, William" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet despite high prices, the demand for daguerreotypes was strong. This " #| "pushed inventors to find simpler and cheaper ways to make \"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. <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "Yet despite high prices, the demand for daguerreotypes was strong. This " "pushed inventors to find simpler and cheaper ways to make <quote>automatic " "pictures.</quote> William Talbot soon discovered a process for making " "<quote>negatives.</quote> But because the negatives were glass, and had to " "be kept wet, the process still remained expensive and cumbersome. In the " "1870s, dry plates were developed, making it easier to separate the taking of " "a picture from its developing. These were still plates of glass, and thus it " "was still not a process within reach of most amateurs. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Men til tross for høye priser var etterspørselen etter daguerreotyper " "sterk. Dette inspirerte oppfinnere til å finne enklere og billigere måter å " "lage \"automatiske bilder\". William Talbot oppdaget snart en prosess for å " "lage \"negativer\". Men da negativene var av glass, og måtte holdes " "fuktige, forble prosessen kostbar og tung. På 1870-tallet ble tørrplater " "utviklet, noe som gjorde det enklere å skille det å ta et bilde fra å " "fremkalle det. Det var fortsatt plater av glass, og dermed var det fortsatt " "ikke en prosess som var innenfor rekkevidden til de fleste amatører. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Eastman, George" msgstr "Eastman, George" #. PAGE BREAK 45 #. type: Content of: <book><part><chapter><para> msgid "" "The technological change that made mass photography possible didn't happen " "until 1888, and was the creation of a single man. George Eastman, himself an " "amateur photographer, was frustrated by the technology of photographs made " "with plates. In a flash of insight (so to speak), Eastman saw that if the " "film could be made to be flexible, it could be held on a single spindle. " "That roll could then be sent to a developer, driving the costs of " "photography down substantially. By lowering the costs, Eastman expected he " "could dramatically broaden the population of photographers." msgstr "" "Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " "før i 1888, og det var takket være en eneste mann. George Eastman, selv en " "amatørfotograf, var frustrert over den plate-baserte fotografi-teknologien. " "I et lysglimt av innsikt (for å si det slik), forsto Eastman at hvis filmen " "kunne gjøres bøyelig, så kunne den holdes på en enkel rull. Denne rullen " "kunne så sendes til en fremkaller, og senke kostnadene til fotografering " "vesentlig. Ved å redusere kostnadene, forventet Eastman at han dramatisk " "kunne utvide andelen fotografer." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " "Johns Hopkins University Press, 1975), 112." msgstr "" "Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " "Johns Hopkins University Press, 1975), 112." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Kodak Primer, The (Eastman)" msgstr "" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Eastman developed flexible, emulsion-coated paper film and placed rolls " #| "of it in small, simple cameras: the Kodak. The device was marketed on the " #| "basis of its simplicity. \"You press the button and we do the rest." #| "\"<placeholder type=\"footnote\" id=\"0\"/> As he described in " #| "<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" " #| "id=\"1\"/>" msgid "" "Eastman developed flexible, emulsion-coated paper film and placed rolls of " "it in small, simple cameras: the Kodak. The device was marketed on the basis " "of its simplicity. <quote>You press the button and we do the rest.</" "quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " "<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" id=" "\"1\"/>" msgstr "" "Eastman utviklet bøyelig, emulsjons-belagt papirfilm og plasserte ruller med " "dette i små, enkle kameraer: Kodaken. Enheten ble markedsfør med grunnlag " "dens enkelhet. \"Du trykker på knappen og vi fikser resten.\"<placeholder " "type=\"footnote\" id=\"0\"/> Som han beskrev det i <citetitle>The Kodak " "Primer</citetitle>: <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Coe, Brian" msgstr "Coe, Brian" #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: " "Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: " "Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The principle of the Kodak system is the separation of the work that any " "person whomsoever can do in making a photograph, from the work that only an " "expert can do. … 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 "" "Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " "utføre når en tar fotografier, fra arbeidet som kun en ekspert kan gjøre. " "… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " "intelligens til å peke en boks i riktig retning og trykke på en knapp, med " "et instrument som helt fjernet fra praksisen med å fotografere " "nødvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " "kunnskap om kunstarten. Det kan tas i bruk uten forutgående studier, uten " "et mørkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Jenkins, 177." msgstr "Jenkins, 177." #. f4 #. type: Content of: <book><part><chapter><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><part><chapter><para> msgid "" "For $25, anyone could make pictures. The camera came preloaded with film, " "and when it had been used, the camera was returned to an Eastman factory, " "where the film was developed. Over time, of course, the cost of the camera " "and the ease with which it could be used both improved. Roll film thus " "became the basis for the explosive growth of popular photography. Eastman's " "camera first went on sale in 1888; one year later, Kodak was printing more " "than six thousand negatives a day. From 1888 through 1909, while industrial " "production was rising by 4.7 percent, photographic equipment and material " "sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " "Eastman Kodak's sales during the same period experienced an average annual " "increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "For $25 kunne alle ta bilder. Det var allerede film i kameraet, og når det " "var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " "fremkalt. Etter hvert, naturligvis, ble både kostnaden til kameraet og hvor " "enkelt et var å bruke forbedret. Film på rull ble dermed grunnlaget for en " "eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " "for salg i 1888, og et år senere trykket Kodak mer enn seks tusen negativer " "om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " "prosent, økte salget av fotografisk utstyr og materiale med 11 prosent." "<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " "periode opplevde en årlig vekst på over 17 prosent.<placeholder type=" "\"footnote\" id=\"1\"/>" #. f5 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Coe, 58." msgstr "Coe, 58." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The real significance of Eastman's invention, however, was not economic. " #| "It was social. Professional photography gave individuals a glimpse of " #| "places they would never otherwise see. Amateur photography gave them the " #| "ability to record their own lives in a way they had never been able to do " #| "before. As author Brian Coe notes, \"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\"/>" msgid "" "The real significance of Eastman's invention, however, was not economic. It " "was social. Professional photography gave individuals a glimpse of places " "they would never otherwise see. Amateur photography gave them the ability to " "record their own lives in a way they had never been able to do before. As " "author Brian Coe notes, <quote>For the first time the snapshot album " "provided the man on the street with a permanent record of his family and its " "activities. … For the first time in history there exists an authentic " "visual record of the appearance and activities of the common man made " "without [literary] interpretation or bias.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " "økonomisk. Den var sosial. Profesjonell fotografering ga individer et " "glimt av steder de ellers aldri ville se. Amatørfotografering ga dem " "muligheten til å arkivere deres liv på en måte som de aldri hadde vært i " "stand til tidligere. Som forfatter Brian Coe skriver, \"For første gang " "tilbød fotoalbumet mannen i gata et permanent arkiv over hans familie og " "dens aktiviteter. … For første gang i historien fantes det en " "autentisk visuell oppføring av utseende og aktivitet til vanlige mennesker " "laget uten [skrivefør] tolkning eller forutinntatthet.\"<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In this way, the Kodak camera and film were technologies of expression. " #| "The pencil or paintbrush was also a technology of expression, of course. " #| "But it took years of training before they could be deployed by amateurs " #| "in any useful or effective way. With the Kodak, expression was possible " #| "much sooner and more simply. The barrier to expression was lowered. Snobs " #| "would sneer at its \"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." msgid "" "In this way, the Kodak camera and film were technologies of expression. The " "pencil or paintbrush was also a technology of expression, of course. But it " "took years of training before they could be deployed by amateurs in any " "useful or effective way. With the Kodak, expression was possible much sooner " "and more simply. The barrier to expression was lowered. Snobs would sneer at " "its <quote>quality</quote>; professionals would discount it as irrelevant. " "But watch a child study how best to frame a picture and you get a sense of " "the experience of creativity that the Kodak enabled. Democratic tools gave " "ordinary people a way to express themselves more easily than any tools could " "have before." msgstr "" "På denne måten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " "malepenselen var selvfølgelig også en uttrykksteknologi. Men det tok årevis " "med trening før de kunne bli brukt nyttig og effektiv av amatører. Med " "Kodaken var uttrykk mulig mye raskere og enklere. Barrièren for å uttrykke " "seg var senket. Snobber ville fnyse over \"kvaliteten\", profesjonelle " "ville avvise den som irrelevant. Men se et barn studere hvordan best velge " "bildemotiv og du får følelsen av hva slags kreativitetserfaring som Kodaken " "muliggjorde. Demokratiske verktøy ga vanlige folk en måte å uttrykke dem " "selv på enklere enn noe annet verktøy kunne ha gjort før." #. f6 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " "<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " "<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " "123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " "<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." msgstr "" "For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " "mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " "<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " "123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " "<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." #. type: Content of: <book><part><chapter><para> msgid "" "What was required for this technology to flourish? Obviously, Eastman's " "genius was an important part. But also important was the legal environment " "within which Eastman's invention grew. For early in the history of " "photography, there was a series of judicial decisions that could well have " "changed the course of photography substantially. Courts were asked whether " "the photographer, amateur or professional, required permission before he " "could capture and print whatever image he wanted. Their answer was no." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " "var åpenbart en viktig del. Men den juridiske miljøet som Eastmans " "oppfinnelse vokste i var også viktig. For tidlig i historien til " "fotografering, var det en rekke av rettsavgjørelser som godt kunne ha endret " "kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " "amatør eller profesjonell, måtte ha ha tillatelse før han kunne fange og " "trykke hvilket som helst bilde han ønsket. Svaret var nei.<placeholder type=" "\"footnote\" id=\"0\"/>" #. PAGE BREAK 47 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The arguments in favor of requiring permission will sound surprisingly " #| "familiar. The photographer was \"taking\" something from the person or " #| "building whose photograph he shot—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." msgid "" "The arguments in favor of requiring permission will sound surprisingly " "familiar. The photographer was <quote>taking</quote> something from the " "person or building whose photograph he shot—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 "" "Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent " "ut. Fotografen \"tok\" noe fra personen eller bygningen som ble " "fotografert—røvet til seg noe av verdi. Noen trodde til og med at han " "tok målets sjel. På samme måte som Disney ikke var fri til å ta blyantene " "som hans animatører brukte til å tegne Mikke, så skulle heller ikke disse " "fotografene være fri til å ta bilder som de fant verdi i." #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Warren, Samuel D." msgstr "Warren, Samuel D." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" " #| "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder " #| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Samuel D. Warren og Louis D. Brandeis, \"The Right to Privacy,\" " "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "On the other side was an argument that should be familiar, as well. Sure, " "there may be something of value being used. But citizens should have the " "right to capture at least those images that stand in public view. (Louis " "Brandeis, who would become a Supreme Court Justice, thought the rule should " "be different for images from private spaces.<placeholder type=\"footnote\" " "id=\"0\"/>) It may be that this means that the photographer gets something " "for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " "Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " "to capture an image without compensating the source." msgstr "" "På den andre siden var et argument som også bør bør være kjent. Joda, det " "var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til å " "fange i hvert fall de bildene som var tatt av offentlig område. (Louis " "Brandeis, som senere ble høyesterettsjustitiarus, mente regelen skulle være " "annerledes for bilder tatt av private områder.<placeholder type=\"footnote\" " "id=\"0\"/>) Det kan være at dette betyr at fotografen får noe for " "ingenting. På samme måte som Disney kunne hente inspirasjon fra " "<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brødrene, så burde " "fotografene stå fritt til å fange et bilde uten å kompensere kilden." #. f8 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and " #| "Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " #| "\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) " #| "398–407; <citetitle>White</citetitle> v. <citetitle>Samsung " #| "Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " #| "cert. denied, 508 U.S. 951 (1993)." msgid "" "See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " "<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " "L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" "citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " "<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " "(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." msgstr "" "Se Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and " "Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " "\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) " "398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " "Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " "sert. nektet, 508 U.S. 951 (1993)." #. type: Content of: <book><part><chapter><para> msgid "" "Fortunately for Mr. Eastman, and for photography in general, these early " "decisions went in favor of the pirates. In general, no permission would be " "required before an image could be captured and shared with others. Instead, " "permission was presumed. Freedom was the default. (The law would eventually " "craft an exception for famous people: commercial photographers who snap " "pictures of famous people for commercial purposes have more restrictions " "than the rest of us. But in the ordinary case, the image can be captured " "without clearing the rights to do the capturing.<placeholder type=\"footnote" "\" id=\"0\"/>)" msgstr "" "Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " "tidligere avgjørelsene i favør av piratene. Generelt ble det ikke nødvendig " "å sikre seg tillatelse før et bilde kunne tas og deles med andre. I stedet " "var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " "ga etter en stund et unntak for berømte personer: kommersielle fotografer " "som tok bilder av berømte personer for kommersielle formål har flere " "begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " "fanges uten å klarere rettighetene for a fange det.<placeholder type=" "\"footnote\" id=\"0\"/>)" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "We can only speculate about how photography would have developed had the " #| "law gone the other way. If the presumption had been against the " #| "photographer, then the photographer would have had to demonstrate " #| "permission. Perhaps Eastman Kodak would have had to demonstrate " #| "permission, too, before it developed the film upon which images were " #| "captured. After all, if permission were not granted, then Eastman Kodak " #| "would be benefiting from the \"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." msgid "" "We can only speculate about how photography would have developed had the law " "gone the other way. If the presumption had been against the photographer, " "then the photographer would have had to demonstrate permission. Perhaps " "Eastman Kodak would have had to demonstrate permission, too, before it " "developed the film upon which images were captured. After all, if permission " "were not granted, then Eastman Kodak would be benefiting from the " "<quote>theft</quote> committed by the photographer. Just as Napster " "benefited from the copyright infringements committed by Napster users, Kodak " "would be benefiting from the <quote>image-right</quote> infringement of its " "photographers. We could imagine the law then requiring that some form of " "permission be demonstrated before a company developed pictures. We could " "imagine a system developing to demonstrate that permission." msgstr "" "Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " "hadde slått ut den andre veien. Hvis den hadde vært mot fotografen, da " "ville fotografen måttet dokumentere at tillatelse var på plass. Kanskje " "Eastman Kodak også måtte ha dokumentert at tillatelse var gitt, før de " "utviklet filmen som bildene ble fanget på. Tross alt, hvis tillatelse ikke " "var gitt, da ville Eastman Kodak ha nytt fordeler fra \"tyveriet\" begått av " "fotografer. På samme måte som Napster nøt fordeler fra opphavsrettsbrudd " "utført av Napster-brukere, så ville Kodak nytt fordeler fra \"bilde-" "rettighets\"-brudd til deres fotografer. Vi kan forestille oss at loven da " "krevede at en form for tillatelse ble vist frem før et selskap fremkalte " "bildene. Vi kan forestille oss et system bli utviklet for å legge frem " "slike tillatelser." #. PAGE BREAK 48 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But though we could imagine this system of permission, it would be very " #| "hard to see how photography could have flourished as it did if the " #| "requirement for permission had been built into the rules that govern it. " #| "Photography would have existed. It would have grown in importance over " #| "time. Professionals would have continued to use the technology as they " #| "did—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." 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—" "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 <quote>Just Think!</quote> in place of the " "name of a school. But there's little that's <quote>just</quote> cerebral in " "the projects that these busses enable. These buses are filled with " "technologies that teach kids to tinker with film. Not the film of Eastman. " "Not even the film of your VCR. Rather the <quote>film</quote> of digital " "cameras. Just Think! is a project that enables kids to make films, as a way " "to understand and critique the filmed culture that they find all around " "them. Each year, these busses travel to more than thirty schools and enable " "three hundred to five hundred children to learn something about media by " "doing something with media. By doing, they think. By tinkering, they learn." msgstr "" "Men selv om vi kan tenke oss dette godkjenningssystemet, så vil det være " "svært vanskelig å se hvordan fotografering skulle ha blomstret slik det " "gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " "Fotografering ville eksistert. Det ville ha økt sin betydning over tid. " "Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde—" "siden profesjonelle enklere kunne håndtert byrdene pålagt dem av " "godkjenningssystemet. Men spredningen av fotografering til vanlige folk " "villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " "ville uten tvil aldri vært realisert en slik vekst i demokratisk " "uttrykksteknologi. Hvis du kjører gjennom området Presidio i San Francisco, " "kan det hende du ser to gusjegule skolebusser overmalt med fargefulle og " "iøynefallende bilder, og logoen \"Just Think!\" i stedet for navnet på en " "skole. Men det er lite som er \"bare\" mentalt i prosjektene som disse " "bussene muliggjør. Disse bussene er fylt med teknologi som lærer unger å " "fikle med film. Ikke filmen til Eastman. Ikke en gang filmen i din " "videospiller. I stedet er det snakk om \"filmen\" til digitale kamera. " "Just Think! er et prosjekt som gjør det mulig for unger å lage filmer, som " "en måte å forstå og kritisere den filmede kulturen som de finner over alt " "rundt seg. Hvert år besøker disse bussene mer enn tredve skoler og gir " "mellom tre hundre og fire hundre barn muligheten til å lære noe om media ved " "å gjøre noe med media. Ved å gjøre, så tenker de. Ved å fikle, så lærer de." #. f9 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " "Software You Need to Create Digital Multimedia Presentations,</quote> " "cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #7</ulink>." msgstr "" "H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software " "You Need to Create Digital Multimedia Presentations,\" cadalyst, februar " "2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #7</" "ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These buses are not cheap, but the technology they carry is increasingly " #| "so. The cost of a high-quality digital video system has fallen " #| "dramatically. As one analyst puts it, \"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.\"" msgid "" "These buses are not cheap, but the technology they carry is increasingly so. " "The cost of a high-quality digital video system has fallen dramatically. As " "one analyst puts it, <quote>Five years ago, a good real-time digital video " "editing system cost $25,000. Today you can get professional quality for $595." "</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " "with technology that would have cost hundreds of thousands just ten years " "ago. And it is now feasible to imagine not just buses like this, but " "classrooms across the country where kids are learning more and more of " "something teachers call <quote>media literacy.</quote>" msgstr "" "Disse bussene er ikke billige, men teknologien de har med seg blir billigere " "og billigere. Kostnaden til et høykvalitets digitalt videosystem har falt " "dramatisk. Som en analytiker omtalte det, \"for fem år siden kostet et godt " "sanntids redigerinssystem for digital video $25 000. I dag kan du få " "profesjonell kvalitet for $595.\"<placeholder type=\"footnote\" id=\"0\"/> " "Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis av " "dollar for bare ti år siden. Og det er nå mulig å forestille seg ikke bare " "slike busser, men klasserom rundt om i landet hvor unger kan lære mer og mer " "av det lærerne kaller \"medie-skriveføre\" eller \"mediekompetanse\"." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Yanofsky, Dave" msgstr "Yanofsky, Dave" #. type: Content of: <book><part><chapter><para> #, 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.\" <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " "Just Think!, puts it, <quote>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.</quote> <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "\"Media-skriveføre,\" eller \"mediekompetanse\" som administrerende direktør " "Dave Yanofsky i Just Think!, sier det, \"er evnen til … å forstå, " "analysere og dekonstruere mediebilder. Dets mål er å gjøre [unger] i stand " "til å forstå hvordan mediene fungerer, hvordan de er konstruert, hvordan de " "blir levert, og hvordan folk bruker dem\". <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This may seem like an odd way to think about <quote>literacy.</quote> For " "most people, literacy is about reading and writing. Faulkner and Hemingway " "and noticing split infinitives are the things that <quote>literate</quote> " "people know about." msgstr "" "Dette kan virke som en litt rar måte å tenke på \"skrivefør\". For de fleste " "handler skrivefør å kunne lese og skrive. \"Skriveføre folk kjenner ting " "som Faulkner, Hemingway og å kjenne igjen delte infinitiver." #. f10 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " #| "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on " #| "Family and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, " #| "B6." msgid "" "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " "Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " "1997, B6." msgstr "" "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family " "and TV Study,\" <citetitle>Denver Post</citetitle>, 25. mai 1997, B6." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Maybe. But in a world where children see on average 390 hours of " #| "television commercials per year, or between 20,000 and 45,000 commercials " #| "generally,<placeholder type=\"footnote\" id=\"0\"/> it is increasingly " #| "important to understand the \"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." msgid "" "Maybe. But in a world where children see on average 390 hours of television " "commercials per year, or between 20,000 and 45,000 commercials generally," "<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to " "understand the <quote>grammar</quote> of media. For just as there is a " "grammar for the written word, so, too, is there one for media. And just as " "kids learn how to write by writing lots of terrible prose, kids learn how to " "write media by constructing lots of (at least at first) terrible media." msgstr "" "Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" "reklaager i året, eller generelt mellom 20 000 og 45 000 reklameinnslag," "<placeholder type=\"footnote\" id=\"0\"/> så er det mer og mer viktig å " "forstå \"gramatikken\" til media. For på samme måte som det er en gramatikk " "for det skrevne ord, så er det også en for media. Og akkurat slik som unger " "lærer å skrive ved å skrive masse grusom prosa, så lærer unger å skrive " "media ved å konstruere masse (i hvert fall i begynnelsen) grusom media." #. type: Content of: <book><part><chapter><para> msgid "" "A growing field of academics and activists sees this form of literacy as " "crucial to the next generation of culture. For though anyone who has written " "understands how difficult writing is—how difficult it is to sequence " "the story, to keep a reader's attention, to craft language to be " "understandable—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 " "skriveføre som avgjørende for den neste generasjonen av kultur. For selv om " "de som har skrevet forstår hvor vanskelig det er å skrive—hvor " "vanskelig det er å bestemme rekkefølge i historien, å holde på " "oppmerksomheten hos leseren, å forme språket slik at det er forståelig—" "så har få av oss en reell følelse av hvor vanskelig medier er. Eller mer " "fundamentalt, de færreste av av oss har en følelse for hvordan media " "fungerer, hvordan det holder et publikum eller leder leseren gjennom " "historien, hvordan det utløser følelser eller bygger opp spenningen." #. type: Content of: <book><part><chapter><para> msgid "" "It took filmmaking a generation before it could do these things well. But " "even then, the knowledge was in the filming, not in writing about the film. " "The skill came from experiencing the making of a film, not from reading a " "book about it. One learns to write by writing and then reflecting upon what " "one has written. One learns to write with images by making them and then " "reflecting upon what one has created." msgstr "" "Det tok filmkusten en generasjon før den kunne gjøre disse tingene bra. Men " "selv da, så var kunnskapen i filmingen, ikke i å skrive om filmen. " "Ferdigheten kom fra erfaring med å lage en film, ikke fra å lese en bok om " "den. En lærer å skrive ved å skrive, og deretter reflektere over det en har " "skrevet. En lærer å skrive med bilder ved å lage dem, og deretter " "reflektere over det en har laget." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Crichton, Michael" msgstr "Crichton, Michael" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Barish, Stephanie" msgstr "Barish, Stephanie" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Daley, Elizabeth" msgstr "Daley, Elizabeth" #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" msgstr "" "Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" #. f12 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Scott Steinberg, \"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>." msgid "" "See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " "4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." msgstr "" "Se Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4. november " "2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #8</" "ulink>; \"Timeline,\" 22. november 2000, tilgjengelig fra <ulink url=" "\"http://free-culture.cc/notes/\">link #9</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This grammar has changed as media has changed. When it was just film, as " #| "Elizabeth Daley, executive director of the University of Southern " #| "California's Annenberg Center for Communication and dean of the USC " #| "School of Cinema-Television, explained to me, the grammar was about \"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\"/>" msgid "" "This grammar has changed as media has changed. When it was just film, as " "Elizabeth Daley, executive director of the University of Southern " "California's Annenberg Center for Communication and dean of the USC School " "of Cinema-Television, explained to me, the grammar was about <quote>the " "placement of objects, color, … rhythm, pacing, and texture.</" "quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " "interactive space where a story is <quote>played</quote> as well as " "experienced, that grammar changes. The simple control of narrative is lost, " "and so other techniques are necessary. Author Michael Crichton had mastered " "the narrative of science fiction. But when he tried to design a computer " "game based on one of his works, it was a new craft he had to learn. How to " "lead people through a game without their feeling they have been led was not " "obvious, even to a wildly successful author.<placeholder type=\"footnote\" " "id=\"1\"/>" msgstr "" "Denne gramatikken har endret seg etter hvert som media har endret seg. Da " "det kun var film, som Elizabeth Daley, administrerende direktør ved " "Universitetet i Sør-Califorias Anneberg-senter for kommunkasjon og rektor " "ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " "\"plasseringen av objekter, farger, … rytme, skritt og tekstur\"." "<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som datamaskiner " "åpner opp et interaktivt rom hvor en historie blir \"spillt\" i tillegg til " "opplevd, endrer gramatikken seg. Den enkle kontrollen til forstellerstemmen " "er forsvunnet, og dermed er andre teknikker nødvendig. Forfatter Michael " "Crichton hadde mestret fortellerstemmen til science fiction. Men da han " "forsøkte å lage et dataspill basert på et av sine verk, så var det et nytt " "håndverk han måtte lære. Det var ikke åpenbart hvordan en leder folk " "gjennom et spill uten at de far følelsen av å ha blitt ledet, selv for en " "enormt vellykket forfatter.<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "computer games" msgstr "dataspill" #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This skill is precisely the craft a filmmaker learns. As Daley describes, " "<quote>people are very surprised about how they are led through a film. [I]t " "is perfectly constructed to keep you from seeing it, so you have no idea. If " "a filmmaker succeeds you do not know how you were led.</quote> If you know " "you were led through a film, the film has failed." msgstr "" "Akkurat denne ferdigheten er håndverket en lærer til de som lager filmer. " "Som Daley skriver, \"folk er svært overrasket over hvordan de blir ledet " "gjennom en film. Den er perfekt konstruert for å hindre deg fra å se det, " "så du aner det ikke. Hvis en som lager filmer lykkes så vet du ikke at du " "har vært ledet.\" Hvis du vet at du ble ledet igjennom en film, så har " "filmen feilet." #. type: Content of: <book><part><chapter><para> msgid "" "Yet the push for an expanded literacy—one that goes beyond text to " "include audio and visual elements—is not about making better film " "directors. The aim is not to improve the profession of filmmaking at all. " "Instead, as Daley explained," msgstr "" "Likevel er innsatsen for å utvide skriveføren—til en som går ut over " "tekst til å ta med lyd og visuelle elementer—handler ikke om å lage " "bedre filmregisører. Målet er ikke å forbedre filmyrket i det hele tatt. I " "stedet, som Daley forklarer," #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "From my perspective, probably the most important digital divide is not " "access to a box. It's the ability to be empowered with the language that " "that box works in. Otherwise only a very few people can write with this " "language, and all the rest of us are reduced to being read-only." msgstr "" "Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " "har tilgang til en boks eller ikke. Det er evnen til å ha kontroll over " "språket som boksen bruker. I motsatt fall er det bare noen få som kan " "skrive i dette språket, og alle oss andre er redusert til å ikke kunne " "skrive." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"Read-only.\" Passive recipients of culture produced elsewhere. Couch " #| "potatoes. Consumers. This is the world of media from the twentieth " #| "century." msgid "" "<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " "Couch potatoes. Consumers. This is the world of media from the twentieth " "century." msgstr "" "\"ikke kunne skrive.\" Passive mottakerne av kultur produsert andre steder. " "Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende århundre." #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" #. f31 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "Ibid." msgstr "ibid." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The twenty-first century could be different. This is the crucial point: " #| "It could be both read and write. Or at least reading and better " #| "understanding the craft of writing. Or best, reading and understanding " #| "the tools that enable the writing to lead or mislead. The aim of any " #| "literacy, and this literacy in particular, is to \"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\"/>" msgid "" "The twenty-first century could be different. This is the crucial point: It " "could be both read and write. Or at least reading and better understanding " "the craft of writing. Or best, reading and understanding the tools that " "enable the writing to lead or mislead. The aim of any literacy, and this " "literacy in particular, is to <quote>empower people to choose the " "appropriate language for what they need to create or express.</" "quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " "<quote>to communicate in the language of the twenty-first century.</" "quote><placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "Det tjueførste århundret kan bli annerledes. Dette er et kritisk punkt: Det " "kan bli både lesing og skriving. Eller i det minste lesing og bedre " "forståelse for håndverket å skrive. Eller det beste, lesing og forstå " "verktøyene som gir skriving mulighet til å veilede eller villede. Målet med " "enhver skriveførhet, og denne skriveførheten spesielt, er å \"gi folket " "myndighet til å velge det språket som passer for det de trenger å lage eller " "uttrykke\".<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " "mulighet \"til å kommunisere i språket til det tjueførste århundret\"." "<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "As with any language, this language comes more easily to some than to " "others. It doesn't necessarily come more easily to those who excel in " "written language. Daley and Stephanie Barish, director of the Institute for " "Multimedia Literacy at the Annenberg Center, describe one particularly " "poignant example of a project they ran in a high school. The high school " "was a very poor inner-city Los Angeles school. In all the traditional " "measures of success, this school was a failure. But Daley and Barish ran a " "program that gave kids an opportunity to use film to express meaning about " "something the students know something about—gun violence." msgstr "" "Som det alle andre språk, læres dette språket lettere for noen enn for " "andre. Det kommer ikke nødvendigvis lettere for de som gjør det godt " "skriftlig. Daley og Stephanie Barish, direktør for Institutt for Multimedia-" "skriveføre ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " "et prosjekt de gjennomførte i en videregående skole. Den videregående " "skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " "alle tradisjonelle måleenheter for suksess var denne skolen en fiasko. Men " "Daley og Barish gjennomførte et program som ga ungene en mulighet til å " "bruke film til å uttrykke sine meninger om noe som studentene visste noe " "om—våpen-relatert vold." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The class was held on Friday afternoons, and it created a relatively new " #| "problem for the school. While the challenge in most classes was getting " #| "the kids to come, the challenge in this class was keeping them away. The " #| "\"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—learning how to express themselves." msgid "" "The class was held on Friday afternoons, and it created a relatively new " "problem for the school. While the challenge in most classes was getting the " "kids to come, the challenge in this class was keeping them away. The " "<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " "said Barish. They were working harder than in any other class to do what " "education should be about—learning how to express themselves." msgstr "" "Klassen møttes fredag ettermiddag, og skapte et relativt nytt problem for " "skolen. Mens utfordringen i de fleste klasser var å få ungene til å dukke " "opp, var utfordringen for denne klassen å holde dem unna. \"Ungene dukket " "opp 06:00, og dro igjen 05:00 på natta\", sa Barish. De jobbet hardere enn i " "noen annen klasse for å gjøre det utdanning burde handle om—å lære " "hvordan de skulle uttrykke seg." #. type: Content of: <book><part><chapter><para> #, 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—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 <emphasis>these</emphasis> ideas can be expressed well. The " #| "power of this message depended upon its connection to this form of " #| "expression." msgid "" "Using whatever <quote>free web stuff they could find,</quote> and relatively " "simple tools to enable the kids to mix <quote>image, sound, and text,</" "quote> Barish said this class produced a series of projects that showed " "something about gun violence that few would otherwise understand. This was " "an issue close to the lives of these students. The project <quote>gave them " "a tool and empowered them to be able to both understand it and talk about it," "</quote> Barish explained. That tool succeeded in creating expression—" "far more successfully and powerfully than could have been created using only " "text. <quote>If you had said to these students, `you have to do it in text,' " "they would've just thrown their hands up and gone and done something else,</" "quote> Barish described, in part, no doubt, because expressing themselves in " "text is not something these students can do well. Yet neither is text a form " "in which <emphasis>these</emphasis> ideas can be expressed well. The power " "of this message depended upon its connection to this form of expression." msgstr "" "Ved å bruke hva som helst av \"fritt tilgjengelig web-stoff de kunne finne" "\", og relativt enkle verktøy som gjorde det mulig for ungene å blande " "\"bilde, lyd og tekst\", sa Barish at denne klassen produserte en serie av " "prosjekter som viste noe om våpen-basert vold som få ellers ville forstå. " "Dette var et tema veldig nært livene til disse studentene. Prosjektet \"ga " "dem et verktøy og bemyndiget dem slik at de både ble i stand til å forstå " "det og snakke om det\", forklarer Barish. Dette verktøyet lyktes med å " "skape uttrykk—mye mer vellykket og kraffylt enn noe som hadde blitt " "laget ved å kun bruke tekst. \"Hvis du hadde sagt til disse studentene at " "'du må gjøre dette i tekstform', så hadde de bare kastet hendene i været og " "gått og gjort noe annet\", forklarer Barish. Delvis, uten tvil, fordi å " "uttrykke seg selv i tekstform ikke er noe disse studentene gjør godt. Heller " "ikke er tekstform en form som kan uttrykke <emphasis>disse</emphasis> idéene " "godt. Kraften i denne meldingen avhenger av dens forbindelse med denne for " "for uttrykk." #. PAGE BREAK 52 #. type: Content of: <book><part><chapter><para> #, 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—and " #| "increasingly, not the most powerful part—of constructing meaning. " #| "As Daley explained in the most moving part of our interview," msgid "" "<quote>But isn't education about teaching kids to write?</quote> I asked. In " "part, of course, it is. But why are we teaching kids to write? Education, " "Daley explained, is about giving students a way of <quote>constructing " "meaning.</quote> To say that that means just writing is like saying teaching " "writing is only about teaching kids how to spell. Text is one part—and " "increasingly, not the most powerful part—of constructing meaning. As " "Daley explained in the most moving part of our interview," msgstr "" "\"Men handler ikke utdanning om å lære unger å skrive?\" spurte jeg. Jo " "delvis, naturligvis. Men hvorfor lærer vi unger å skrive? Utdanning, " "forklarer Daley, handler om å gi studentene en måte å \"konstruere mening" "\". Å si at det kun betyr skriving er som å si at å lære bort skriving kun " "handler om å lære ungene å stave. Tekstforming er bare en del—og i " "større grad ikke den kraftigste delen—for å konstruere mening. Som " "Daley forklarte i den mest rørende delen av vårt intervju," #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "What you want is to give these students ways of constructing meaning. If " #| "all you give them is text, they're not going to do it. Because they " #| "can't. You know, you've got Johnny who can look at a video, he can play a " #| "video game, he can do graffiti all over your walls, he can take your car " #| "apart, and he can do all sorts of other things. He just can't read your " #| "text. So Johnny comes to school and you say, \"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.…" msgid "" "What you want is to give these students ways of constructing meaning. If all " "you give them is text, they're not going to do it. Because they can't. You " "know, you've got Johnny who can look at a video, he can play a video game, " "he can do graffiti all over your walls, he can take your car apart, and he " "can do all sorts of other things. He just can't read your text. So Johnny " "comes to school and you say, <quote>Johnny, you're illiterate. Nothing you " "can do matters.</quote> Well, Johnny then has two choices: He can dismiss " "you or he [can] dismiss himself. If his ego is healthy at all, he's going to " "dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " "that you can do, let's talk about this issue. Play for me music that you " "think reflects that, or show me images that you think reflect that, or draw " "for me something that reflects that.</quote> Not by giving a kid a video " "camera and … saying, <quote>Let's go have fun with the video camera " "and make a little movie.</quote> But instead, really help you take these " "elements that you understand, that are your language, and construct meaning " "about the topic.…" msgstr "" "Det du ønsker er å gi disse studentene en måte å konstruere mening. Hvis alt " "du gir dem er tekst, så kommer de ikke til å gjøre det. Fordi de kan ikke. " "Du vet, du har Johnny som kan se på en video, han kan spille på et TV-spill, " "han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " "din, og han kan gjøre alle mulige andre ting. Men han kan ikke lese teksten " "din. Så Jonny kommer på skolen og du sier \"Johnny, du er analfabet. " "Ingenting du gjør betyr noe\". Vel, da har Johnny to valg: Han kan avvise " "deg eller han kan avvise seg selv. Hvis han har et sunt ego så vil han " "avvise deg. Men hvis du i stedet sier, \"Well, med alle disse tingene som " "du kan gjøre, la oss snakke om dette temaet. Spill musikk til meg som du " "mener reflekterer over temaet, eller vis meg bilder som du mener reflekterer " "over temaet, eller tegn noe til meg som reflektere temaet\". Ikke ved å gi " "en unge et videokamera og … si \"La oss dra å ha det morsomt med " "videokameraet og lage en liten film\". Men istedet, virkelig hjelpe deg å ta " "disse elementene som du forstår, som er ditt språk, og konstruer mening om " "temaet.…" #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "That empowers enormously. And then what happens, of course, is " #| "eventually, as it has happened in all these classes, they bump up against " #| "the fact, \"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." msgid "" "That empowers enormously. And then what happens, of course, is eventually, " "as it has happened in all these classes, they bump up against the fact, " "<quote>I need to explain this and I really need to write something.</quote> " "And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " "6, 7, 8 times, till they got it right." msgstr "" "Dette bemyndiger enormt. Og det som skjer til slutt, selvfølgelig, som det " "har skjedd i alle disse klassene, er at de stopper opp når de treffer " "faktumet \"jeg trenger å forklare dette, og da trenger jeg virkelig å skrive " "noe\". Og som en av lærerne fortalte Stephanie, de vil skrive om avsnittet " "5, 6, 7, 8 ganger, helt til det blir riktig." #. PAGE BREAK 53 #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "Because they needed to. There was a reason for doing it. They needed to " #| "say something, as opposed to just jumping through your hoops. They " #| "actually needed to use a language that they didn't speak very well. But " #| "they had come to understand that they had a lot of power with this " #| "language.\"" 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 trengte det. Det var en grunn til å gjøre det. De trengte å si " "noe, i motsetning til å kun danse etter din pipe. De trengte faktisk å " "bruke det språket de ikke håndterte veldig bra. Men de hadde begynt å " "forstå at de hadde mye gjennomslagskraft med dette språket.\"" #. type: Content of: <book><part><chapter><para> 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 "" "Da to fly krasjet inn i World Trade Center, og et annet inn i Pentagon, og " "et fjerde inn i et jorde i Pennsylvania, snudde alle medier verden rundt seg " "til denne nyheten. Ethvert moment for omtreng hver eneste dag den uka, og " "ukene som fulgte gjenfortalte TV spesielt, men media generelt, historien om " "disse hendelsene som vi nettopp hadde vært vitne til. Genialiteten i denne " "forferdelige terrorhandlingen var at det forsinkede andre-angrepet var " "perfekt tidsatt for å sikre at hele verden ville være der for å se på." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These retellings had an increasingly familiar feel. There was music " #| "scored for the intermissions, and fancy graphics that flashed across the " #| "screen. There was a formula to interviews. There was \"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." msgid "" "These retellings had an increasingly familiar feel. There was music scored " "for the intermissions, and fancy graphics that flashed across the screen. " "There was a formula to interviews. There was <quote>balance,</quote> and " "seriousness. This was news choreographed in the way we have increasingly " "come to expect it, <quote>news as entertainment,</quote> even if the " "entertainment is tragedy." msgstr "" "Disse gjenfortellingene ga en økende familiær følelse. Det var musikk " "spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " "over skjermen. Det var en formel for intervjuer. Det var \"balanse\" og " "seriøsitet. Dette var nyheter koreaografert slik vi i stadig større grad " "forventer det, \"nyheter som underholdning\", selv om underholdningen er en " "tragedie." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "ABC" msgstr "ABC" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "CBS" msgstr "CBS" #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>Cyber Rights</citetitle>, around a news event that had " #| "captured the attention of the world. There was ABC and CBS, but there was " #| "also the Internet." msgid "" "But in addition to this produced news about the <quote>tragedy of September " "11,</quote> those of us tied to the Internet came to see a very different " "production as well. The Internet was filled with accounts of the same " "events. Yet these Internet accounts had a very different flavor. Some people " "constructed photo pages that captured images from around the world and " "presented them as slide shows with text. Some offered open letters. There " "were sound recordings. There was anger and frustration. There were attempts " "to provide context. There was, in short, an extraordinary worldwide barn " "raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " "Rights</citetitle>, around a news event that had captured the attention of " "the world. There was ABC and CBS, but there was also the Internet." msgstr "" "Men i tillegg til disse produserte nyhetene om \"tragedien 11. september\", " "kunne de av oss som er knyttet til internettet i tillegg se en svært " "annerledes produksjon. Internettet er fullt av fortellinger om de samme " "hendelsene. Men disse internet-fortellingene hadde en veldig annerledes " "smak. Noen folk konstruerte foto-sider som fanget bilder fra hele verden og " "presenterte dem som lysbildepresentasjoner med tekst. Noen tilbød åpne " "brev. Det var lydopptak. Det var sinne og frustrasjon. Det var forsøk på " "å tilby en sammenheng. Det var, kort og godt, en ekstraordinær " "verdensomspennende låvebygging, slik Mike Godwin bruker begrepet i hans bok " "<citetitle>Cyber Rights</citetitle>, rundt en nyhetshendelse som hadde " "fanget oppmerksomheten til hele verden. Det var ABC og CBS, men det var " "også internettet." #. PAGE BREAK 54 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "I don't mean simply to praise the Internet—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." msgid "" "I don't mean simply to praise the Internet—though I do think the " "people who supported this form of speech should be praised. I mean instead " "to point to a significance in this form of speech. For like a Kodak, the " "Internet enables people to capture images. And like in a movie by a student " "on the <quote>Just Think!</quote> bus, the visual images could be mixed with " "sound or text." msgstr "" "Det er ikke så enkelt som at jeg ønsker å lovprise internettet—selv om " "jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg " "ønsker i stedet å peke på viktigheten av denne formen for tale. For på " "samme måte som en Kodak, gjør internettet folk i stand til å fange bilder. " "Og på samme måte som med en film laget av en av studentene på \"Just Think!" "\"-bussen, kan visuelle bilder bli blandet med lyd og tekst." #. type: Content of: <book><part><chapter><para> msgid "" "But unlike any technology for simply capturing images, the Internet allows " "these creations to be shared with an extraordinary number of people, " "practically instantaneously. This is something new in our tradition—" "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 en hvilken som helst teknologi for å enkelt fange " "bilder, tillater internettet at en nesten umiddelbart deler disse " "kreasjonene med et ekstraordinært antall menesker. Dette er noe nytt i vår " "tradisjon—ikke bare kan kultur fanges inn mekanisk, og åpenbart heller " "ikke at hendelser blir kommentert kritisk, men at denne blandingen av " "bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." #. type: Content of: <book><part><chapter><para> msgid "" "September 11 was not an aberration. It was a beginning. Around the same " "time, a form of communication that has grown dramatically was just beginning " "to come into public consciousness: the Web-log, or blog. The blog is a kind " "of public diary, and within some cultures, such as in Japan, it functions " "very much like a diary. In those cultures, it records private facts in a " "public way—it's a kind of electronic <citetitle>Jerry Springer</" "citetitle>, available anywhere in the world." msgstr "" "11. september var ikke et avvik. Det var en start. Omtrent på samme tid, " "begynte en form for kommunkasjon som hadde vokst dramatisk å komme inn i " "offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " "dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " "dagbok. I disse kulturene registrerer den private fakta på en offentlig " "måte—det er en slags elektronisk <citetitle>Jerry Springer</" "citetitle>, tilgjengelig overalt i verden." #. type: Content of: <book><part><chapter><para> msgid "" "But in the United States, blogs have taken on a very different character. " "There are some who use the space simply to talk about their private life. " "But there are many who use the space to engage in public discourse. " "Discussing matters of public import, criticizing others who are mistaken in " "their views, criticizing politicians about the decisions they make, offering " "solutions to problems we all see: blogs create the sense of a virtual public " "meeting, but one in which we don't all hope to be there at the same time and " "in which conversations are not necessarily linked. The best of the blog " "entries are relatively short; they point directly to words used by others, " "criticizing with or adding to them. They are arguably the most important " "form of unchoreographed public discourse that we have." msgstr "" "Men i USA har blogger inntatt en svært annerledes karakter. Det er noen som " "bruker denne plassen til å snakke om sitt private liv. Men det er mange som " "bruker denne plassen til å delta i offentlig debatt. Diskuterer saker med " "offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " "politigere for avgjørelser de tar, tilbyr løsninger på problemer vi alle " "ser. Blogger skaper en følelse av et virtuelt offentlig møte, men et hvor " "vi ikke alle håper å være tilstede på samme tid og hvor konversasjonene ikke " "nødvendigvis er koblet sammen. De beste av bloggoppføringene er relativt " "korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " "til dem. Det kan argumenteres for at de er den viktigste form for " "ukoreografert offentlig debatt som vi har." #. PAGE BREAK 55 #. type: Content of: <book><part><chapter><para> msgid "" "That's a strong statement. Yet it says as much about our democracy as it " "does about blogs. This is the part of America that is most difficult for " "those of us who love America to accept: Our democracy has atrophied. Of " "course we have elections, and most of the time the courts allow those " "elections to count. A relatively small number of people vote in those " "elections. The cycle of these elections has become totally professionalized " "and routinized. Most of us think this is democracy." msgstr "" "Dette er en sterk uttalelse. Likevel sier den like mye om vårt demokrati " "som den sier om blogger. Dette er delen av USA som det er mest vanskelig " "for oss som elsker USA å akseptere: vårt demokrati har svunnet hen. Vi har " "naturligvis valg, og mesteparten av tiden tillater domstolene at disse " "valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " "Syklusen med disse valgene har blitt totalt profesjonalisert og " "rutinepreget. De fleste av oss tenker på dette som demokrati." #. f15 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" "citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " "16." msgstr "" "Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" "citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " "16." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But democracy has never just been about elections. Democracy means rule " #| "by the people, but rule means something more than mere elections. In our " #| "tradition, it also means control through reasoned discourse. This was " #| "the idea that captured the imagination of Alexis de Tocqueville, the " #| "nineteenth-century French lawyer who wrote the most important account of " #| "early \"Democracy in America.\" It wasn't popular elections that " #| "fascinated him—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\"/>" msgid "" "But democracy has never just been about elections. Democracy means rule by " "the people, but rule means something more than mere elections. In our " "tradition, it also means control through reasoned discourse. This was the " "idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" "century French lawyer who wrote the most important account of early " "<quote>Democracy in America.</quote> It wasn't popular elections that " "fascinated him—it was the jury, an institution that gave ordinary " "people the right to choose life or death for other citizens. And most " "fascinating for him was that the jury didn't just vote about the outcome " "they would impose. They deliberated. Members argued about the <quote>right</" "quote> result; they tried to persuade each other of the <quote>right</quote> " "result, and in criminal cases at least, they had to agree upon a unanimous " "result for the process to come to an end.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" "Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " "styrer, og å styre betyr noe mer enn kun valg. I vår tradisjon betyr det " "også kontroll gjennom gjennomtenkt meningsbrytning. Dette var idéen som " "fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" "advokaten som skrev den viktigste historien om det tidlige \"demokratiet i " "Amerika\". Det var ikke allmenn stemmerett som fascinerte han—det var " "juryen, en institusjon som ga vanlige folk retten til å velge liv eller død " "før andre borgere. Og det som fascinerte han mest var at juryen ikke bare " "stemte over hvilket resultat de ville legge frem. De diskuterte. " "Medlemmene argumenterte om hva som var \"riktig\" resultat, de forsøkte å " "overbevise hverandre om \"riktig\"resultat, og i hvert fall i kriminalsaker " "måtte de bli enige om et enstemming resultat for at prosessen skulle " "avsluttes.<placeholder type=\"footnote\" id=\"0\"/>" #. f16 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" " #| "<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." msgid "" "Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " "<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." msgstr "" "Bruce Ackerman og James Fishkin, \"Deliberation Day,\" <citetitle>Journal of " "Political Philosophy</citetitle> 10 (2) (2002): 129." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet even this institution flags in American life today. And in its place, " #| "there is no systematic effort to enable citizen deliberation. Some are " #| "pushing to create just such an institution.<placeholder type=\"footnote\" " #| "id=\"0\"/> And in some towns in New England, something close to " #| "deliberation remains. But for most of us for most of the time, there is " #| "no time or place for \"democratic deliberation\" to occur." msgid "" "Yet even this institution flags in American life today. And in its place, " "there is no systematic effort to enable citizen deliberation. Some are " "pushing to create just such an institution.<placeholder type=\"footnote\" id=" "\"0\"/> And in some towns in New England, something close to deliberation " "remains. But for most of us for most of the time, there is no time or place " "for <quote>democratic deliberation</quote> to occur." msgstr "" "Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " "ingen systematisk innsats for å muliggjøre borger-diskusjon. Noen gjør en " "innsats for å lage en slik institusjon.<placeholder type=\"footnote\" id=" "\"0\"/> Og i noen landsbyer i New England er det noe i nærheten av diskusjon " "igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " "sted for å gjennomføre \"demokratisk diskusjon\"." #. f17 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " "University Press, 2001), 65–80, 175, 182, 183, 192." msgstr "" "Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " "University Press, 2001), 65–80, 175, 182, 183, 192." #. type: Content of: <book><part><chapter><para> msgid "" "More bizarrely, there is generally not even permission for it to occur. We, " "the most powerful democracy in the world, have developed a strong norm " "against talking about politics. It's fine to talk about politics with people " "you agree with. But it is rude to argue about politics with people you " "disagree with. Political discourse becomes isolated, and isolated discourse " "becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " "our friends want to hear, and hear very little beyond what our friends say." msgstr "" "Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " "skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " "mot å diskutere politikk. Det er greit å diskutere politikk med folk du er " "enig med, men det er uhøflig å diskutere politikk med folk du er uenig med. " "Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." "<placeholder type=\"footnote\" id=\"0\"/> Vi sier det våre venner vil høre, " "og hører veldig lite utenom hva våre venner sier." #. PAGE BREAK 56 #. type: Content of: <book><part><chapter><para> msgid "" "Enter the blog. The blog's very architecture solves one part of this " "problem. People post when they want to post, and people read when they want " "to read. The most difficult time is synchronous time. Technologies that " "enable asynchronous communication, such as e-mail, increase the opportunity " "for communication. Blogs allow for public discourse without the public ever " "needing to gather in a single public place." msgstr "" "Så kommer bloggen. Selve bloggens arkitektur løser en del av dette " "problemet. Folk publiserer det de ønsker å publisere, og folk leser det de " "ønsker å lese. Det vanskeligste tiden er synkron tid. Teknologier som " "muliggjør asynkron kommunasjons, slik som epost, øker muligheten for " "kommunikasjon. Blogger gjør det mulig med offentlig debatt uten at folket " "noen gang trenger å samle seg på et enkelt offentlig sted." #. type: Content of: <book><part><chapter><para> msgid "" "But beyond architecture, blogs also have solved the problem of norms. " "There's no norm (yet) in blog space not to talk about politics. Indeed, the " "space is filled with political speech, on both the right and the left. Some " "of the most popular sites are conservative or libertarian, but there are " "many of all political stripes. And even blogs that are not political cover " "political issues when the occasion merits." msgstr "" "Men i tillegg til arkitektur, har blogger også løst problemet med normer. " "Det er (ennå) ingen norm i blogg-sfæren om å ikke snakke om politikk. " "Sfæren er faktisk fylt med politiske innlegg, både på høyre- og " "venstresiden. Noen av de mest populære stedene er konservative eller " "libertarianske, men det er mange av alle politiske farger. Til og med " "blogger som ikke er politiske dekker politiske temaer når anledningen krever " "det." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Dean, Howard" msgstr "Dean, Howard" #. type: Content of: <book><part><chapter><para> msgid "" "The significance of these blogs is tiny now, though not so tiny. The name " "Howard Dean may well have faded from the 2004 presidential race but for " "blogs. Yet even if the number of readers is small, the reading is having an " "effect. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Betydningene av disse bloggene er liten nå, men ikke ubetydelig. Navnet " "Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " "fra hos noen få blogger. Men selv om antallet lesere er lavt, så har det å " "lese dem en effekt. <placeholder type=\"indexterm\" id=\"0\"/>" #. f18 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New " #| "York Times, 16 January 2003, G5." msgid "" "Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" "quote> New York Times, 16 January 2003, G5." msgstr "" "Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New " "York Times, 16. januar 2003, G5." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Lott, Trent" msgstr "Lott, Trent" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "One direct effect is on stories that had a different life cycle in the " #| "mainstream media. The Trent Lott affair is an example. When Lott " #| "\"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\"/> <placeholder " #| "type=\"indexterm\" id=\"1\"/>" msgid "" "One direct effect is on stories that had a different life cycle in the " "mainstream media. The Trent Lott affair is an example. When Lott " "<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " "praising Thurmond's segregationist policies, he calculated correctly that " "this story would disappear from the mainstream press within forty-eight " "hours. It did. But he didn't calculate its life cycle in blog space. The " "bloggers kept researching the story. Over time, more and more instances of " "the same <quote>misspeaking</quote> emerged. Finally, the story broke back " "into the mainstream press. In the end, Lott was forced to resign as senate " "majority leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" "En direkte effekt er på historier som hadde en annerledes livssyklus i de " "store mediene. Trend Lott-affæren er et eksempel. Da Logg \"sa feil\" på " "en fest for senator Storm Thurmond, og essensielt lovpriste " "segregeringspolitikken til Thurmond, regnet han ganske riktig med at " "historien ville forsvinne fra de store mediene i løpet av førtiåtte timer. " "Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfæren. " "Bloggerne fortsatte å undersøke historien. Etter hvert dukket flere og " "flere tilfeller av tilsvarende \"feiluttalelser\" opp. Så dukket historien " "opp igjen hos de store mediene. Lott ble til slutt tvinget til å trekke seg " "som leder for senatets flertall.<placeholder type=\"footnote\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "This different cycle is possible because the same commercial pressures don't " "exist with blogs as with other ventures. Television and newspapers are " "commercial entities. They must work to keep attention. If they lose " "readers, they lose revenue. Like sharks, they must move on." msgstr "" "Denne annerledes syklusen er mulig på grunn av at et tilsvarende kommersielt " "press ikke eksisterer hos blogger slik det gjør hos andre kanaler. " "Televisjon og aviser er kommersielle aktører. De må arbeide for å holde på " "oppmerksomheten. Hvis de mister lesere, så mister de inntekter. Som haier, " "må de bevege seg videre." #. type: Content of: <book><part><chapter><para> msgid "" "But bloggers don't have a similar constraint. They can obsess, they can " "focus, they can get serious. If a particular blogger writes a particularly " "interesting story, more and more people link to that story. And as the " "number of links to a particular story increases, it rises in the ranks of " "stories. People read what is popular; what is popular has been selected by a " "very democratic process of peer-generated rankings." msgstr "" "Men bloggere har ikke tilsvarende begresninger. De kan bli opphengt, de kan " "fokusere, de kan bli seriøse. Hvis en bestemt blogger skriver en spesielt " "interessant historie, så vil flere og flere folk lenke til den historien. " "Og etter hvert som antalet lenker til en bestemt historie øker, så stiger " "den i rangeringen for historier. Folk leser det som er populært, og hva som " "er populært har blitt valgt gjennom en svært demokratisk prosess av " "likemanns-generert rangering. " #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Winer, Dave" msgstr "Winer, Dave" #. PAGE BREAK 57 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "There's a second way, as well, in which blogs have a different cycle from " #| "the mainstream press. As Dave Winer, one of the fathers of this movement " #| "and a software author for many decades, told me, another difference is " #| "the absence of a financial \"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.\"" msgid "" "There's a second way, as well, in which blogs have a different cycle from " "the mainstream press. As Dave Winer, one of the fathers of this movement and " "a software author for many decades, told me, another difference is the " "absence of a financial <quote>conflict of interest.</quote> <quote>I think " "you have to take the conflict of interest</quote> out of journalism, Winer " "told me. <quote>An amateur journalist simply doesn't have a conflict of " "interest, or the conflict of interest is so easily disclosed that you know " "you can sort of get it out of the way.</quote>" msgstr "" "Det er også en annen måte, hvor blogger har en annen syklus enn de store " "mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " "programvareutvikler i mange tiår fortalte meg, er en annen forskjell " "fraværet av finansiell \"interessekonflikt\". \"Jeg tror du må ta " "interessekonflikten\" ut av journalismen, fortalte Winer meg. \"En " "amatørjournalist har ganske enkelt ikke interessekonflikt, eller " "interessekonflikten er så enkelt å avsløre at du liksom vet du kan rydde den " "av veien.\"" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "CNN" msgstr "CNN" #. f19 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Telephone interview with David Winer, 16 April 2003." msgstr "Telefonintervju med David Winer, 16. april 2003." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These conflicts become more important as media becomes more concentrated " #| "(more on this below). A concentrated media can hide more from the public " #| "than an unconcentrated media can—as CNN admitted it did after the " #| "Iraq war because it was afraid of the consequences to its own employees." #| "<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " #| "coherent account. (In the middle of the Iraq war, I read a post on the " #| "Internet from someone who was at that time listening to a satellite " #| "uplink with a reporter in Iraq. The New York headquarters was telling the " #| "reporter over and over that her account of the war was too bleak: She " #| "needed to offer a more optimistic story. When she told New York that " #| "wasn't warranted, they told her that <emphasis>they</emphasis> were " #| "writing \"the story.\")" 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—as CNN admitted it did after the Iraq " "war because it was afraid of the consequences to its own employees." "<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " "coherent account. (In the middle of the Iraq war, I read a post on the " "Internet from someone who was at that time listening to a satellite uplink " "with a reporter in Iraq. The New York headquarters was telling the reporter " "over and over that her account of the war was too bleak: She needed to offer " "a more optimistic story. When she told New York that wasn't warranted, they " "told her that <emphasis>they</emphasis> were writing <quote>the story.</" "quote>)" msgstr "" "Disse konfliktene blir mer viktig etter hvert som mediene blir mer " "konsentert (mer om dette under). Konsenterte medier kan skjule mer fra " "offentligheten enn ikke-konsenterte medier kan—slik CNN innrømte at de " "gjorde etter Iraq-krigen fordi de var rett for konsekvensene for sine egne " "ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger også å " "opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " "jeg en melding på Internet fra noen som på det tidspunktet lyttet på " "satellitt-forbindelsen til en reporter i Iraq. New York-hovedkvarteret ba " "reporteren gang på gang at hennes rapport om krigen var for trist: Hun måtte " "tilby en mer optimistisk historie. Når hun fortalte New York at det ikke var " "grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " "skrev \"historien\".)" #. f20 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of " #| "Information Online,\" <citetitle>New York Times</citetitle>, 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>." msgid "" "John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " "Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " "February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " "but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." msgstr "" "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information " "Online,\" <citetitle>New York Times</citetitle>, 2 februar 2003, A28; Staci " "D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online " "Journalism Review, 2. februar 2003, tilgjengelig fra <ulink url=\"http://" "free-culture.cc/notes/\">link #10</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Blog space gives amateurs a way to enter the debate—\"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\"—with all the benefits, and costs, that might " #| "entail." msgid "" "Blog space gives amateurs a way to enter the debate—<quote>amateur</" "quote> not in the sense of inexperienced, but in the sense of an Olympic " "athlete, meaning not paid by anyone to give their reports. It allows for a " "much broader range of input into a story, as reporting on the Columbia " "disaster revealed, when hundreds from across the southwest United States " "turned to the Internet to retell what they had seen.<placeholder type=" "\"footnote\" id=\"0\"/> And it drives readers to read across the range of " "accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " "Winer says, are <quote>communicating directly with our constituency, and the " "middle man is out of it</quote>—with all the benefits, and costs, that " "might entail." msgstr "" "Blogg-sfæren gir amatører en måte å bli med i debatten—\"amatør\" ikke " "i betydningen uerfaren, men i betydningen til en Olympisk atlet, det vil si " "ikke betalt av noen for å komme med deres rapport. Det tillater en mye " "bredere rekke av innspill til en historie, slik rapporteringen Columbia-" "katastrofen avdekket, når hundrevis fra hele sørvest-USA vendte seg til " "internettet for å gjenfortelle hva de hadde sett.<placeholder type=\"footnote" "\" id=\"0\"/> Og det får lesere til å lese på tvers av en rekke fortellinger " "og \"triangulere\", som Winer formulerer det, sannheten. Blogger, sier " "Winer, \"kommunserer direkte med vår velgermasse, og mellommannen er fjernet" "\"— med alle de fordeler og ulemper det kan føre med seg." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " #| "<citetitle>New York Times</citetitle>, 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 <citetitle>Houston Chronicle</" #| "citetitle> reporter, was fired for keeping a personal Web log, published " #| "under a pseudonym, that dealt with some of the issues and people he was " #| "covering.\") <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> " "<citetitle>New York Times</citetitle>, 29 September 2003, C4. (<quote>Not " "all news organizations have been as accepting of employees who blog. Kevin " "Sites, a CNN correspondent in Iraq who started a blog about his reporting of " "the war on March 9, stopped posting 12 days later at his bosses' request. " "Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> " "reporter, was fired for keeping a personal Web log, published under a " "pseudonym, that dealt with some of the issues and people he was covering.</" "quote>) <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " "<citetitle>New York Times</citetitle>, 29. september 2003, C4. (\"Ikke alle " "nyhetsorganisasjoner har hatt like stor aksept for ansatte som blogger. " "Kevin Sites, en CNN-korrespondent i Irak som startet en blogg om sin " "rapportering av krigen 9. mars, stoppet å publisere 12 dager senere på " "forespørsel fra sine sjefer. I fjor fikk Steve Olafson, en " "<citetitle>Houston Chronicle</citetitle>-reporter, sparken for å ha hatt en " "personlig web-logg, publisert under pseudonym, som handlet om noen av " "temaene og folkene som han dekket\") <placeholder type=\"indexterm\" id=" "\"0\"/>" #. PAGE BREAK 58 #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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—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.\"" msgid "" "Winer is optimistic about the future of journalism infected with blogs. " "<quote>It's going to become an essential skill,</quote> Winer predicts, for " "public figures and increasingly for private figures as well. It's not clear " "that <quote>journalism</quote> is happy about this—some journalists " "have been told to curtail their blogging.<placeholder type=\"footnote\" id=" "\"0\"/> But it is clear that we are still in transition. <quote>A lot of " "what we are doing now is warm-up exercises,</quote> Winer told me. There is " "a lot that must mature before this space has its mature effect. And as the " "inclusion of content in this space is the least infringing use of the " "Internet (meaning infringing on copyright), Winer said, <quote>we will be " "the last thing that gets shut down.</quote>" msgstr "" "Winer er optimistisk når det gjelder en journalistfremtid infisert av " "blogger. \"Det kommer til å bli en nødvendig ferdighet\", spår Winer, for " "offentlige aktører og også i større grad for private aktører. Det er ikke " "klart at \"journalismen\" er glad for dette—noen journalister har " "blitt bedt om å kutte ut sin blogging.<placeholder type=\"footnote\" id=" "\"0\"/> Men det er klart at vi fortsatt er i en overgangsfase. \"Mye av det " "vi gjør nå er oppvarmingsøvelser\", fortalte Winer meg. Det er mye som må " "modne før dette området har sin modne effekt. Og etter som inkludering av " "innhold i dette området er det området med minst opphavsrettsbrudd på " "internettet, sa Wiener at \"vi vil være den siste tingen som blir skutt ned" "\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This speech affects democracy. Winer thinks that happens because <quote>you " "don't have to work for somebody who controls, [for] a gatekeeper.</quote> " "That is true. But it affects democracy in another way as well. As more and " "more citizens express what they think, and defend it in writing, that will " "change the way people understand public issues. It is easy to be wrong and " "misguided in your head. It is harder when the product of your mind can be " "criticized by others. Of course, it is a rare human who admits that he has " "been persuaded that he is wrong. But it is even rarer for a human to ignore " "when he has been proven wrong. The writing of ideas, arguments, and " "criticism improves democracy. Today there are probably a couple of million " "blogs where such writing happens. When there are ten million, there will be " "something extraordinary to report." msgstr "" "Slik tale påvirker demokratiet. Winer mener dette skjer fordi \"du trenger " "ikke jobber for noen som kontrollerer, [for] en portvokter\". Det er sant. " "Men det påvirker demokratiet også på en annen måte. Etter hvert som flere og " "flere borgere uttrykker hva de mener, og forsvarer det skriftlig, så vil det " "endre hvordan folk forstår offentlige temaer. Det er enkelt å ha feil og " "være på villspor i hodet ditt. Det er vanskeligere når resultatet fra dine " "tanker kan bli kritisert av andre. Det er selvfølgelig et sjeldent menneske " "som innrømmer at han ble overtalt til å innse at han tok feil. Men det er " "mer sjeldent for et menneske å ignorere at noen har bevist at han tok feil. " "Å skrive ned idéer, argumenter og kritikk forbedrer demokratiet. I dag er " "det antagelig et par millioner blogger der det skrives på denne måten. Når " "det er ti milloner, så vil det være noe ekstraordært å rapportere." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Brown, John Seely" msgstr "Brown, John Seely" #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "John Seely Brown is the chief scientist of the Xerox Corporation. His work, " "as his Web site describes it, is <quote>human learning and … the " "creation of knowledge ecologies for creating … innovation.</quote>" msgstr "" "John Seely Brown er sjefsforsker ved Xerox Corporation. Hans arbeid, i " "følge hans eget nettsted, er \"menneskelig læring og … å skape " "kunnskapsøkologier for å skape … innovasjon\"." #. type: Content of: <book><part><chapter><para> msgid "" "Brown thus looks at these technologies of digital creativity a bit " "differently from the perspectives I've sketched so far. I'm sure he would be " "excited about any technology that might improve democracy. But his real " "excitement comes from how these technologies affect learning." msgstr "" "Brown ser dermed på disse teknologiene for digital kreativitet litt " "annerledes enn fra perspektivene jeg har skissert opp så langt. Jeg er " "sikker på at han blir begeistret for enhver teknologi som kan forbedre " "demokratiet. Men det han virkelig blir begeistret over er hvordan disse " "teknologiene påvirker læring." #. PAGE BREAK 59 #. type: Content of: <book><part><chapter><para> #, 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—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." msgid "" "As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" "quote> he explains, that tinkering was done <quote>on motorcycle engines, " "lawnmower engines, automobiles, radios, and so on.</quote> But digital " "technologies enable a different kind of tinkering—with abstract ideas " "though in concrete form. The kids at Just Think! not only think about how a " "commercial portrays a politician; using digital technology, they can take " "the commercial apart and manipulate it, tinker with it to see how it does " "what it does. Digital technologies launch a kind of bricolage, or " "<quote>free collage,</quote> as Brown calls it. Many get to add to or " "transform the tinkering of many others." msgstr "" "Brown tror vi lærer med å fikle. Da \"mange av oss vokste opp\", forklarer " "han, ble fiklingen gjort \"pa motorsykkelmotorer, gressklippermotorer, " "biler, radioer og så videre\". Men digitale teknologier muliggjør en annen " "type fikling—med abstrakte idéer i sin konkrete form. Ungene i Just " "Think! tenker ikke bare på hvordan et reklameinnslag fremstiller en " "politiker. Ved å bruke digital teknologi kan de ta reklameinnslaget fra " "hverandre og manipulerer det, fikle med det, og se hvordan det blir gjort. " "Digitale teknologier setter igang en slags *bricolage* eller \"fritt " "tilgjengelig sammenstilling\", som Brown kaller det. Mange får mulighet til " "å legge til på eller endre på fiklingen til mange andre." #. type: Content of: <book><part><chapter><para> msgid "" "The best large-scale example of this kind of tinkering so far is free " "software or open-source software (FS/OSS). FS/OSS is software whose source " "code is shared. Anyone can download the technology that makes a FS/OSS " "program run. And anyone eager to learn how a particular bit of FS/OSS " "technology works can tinker with the code." msgstr "" "Det beste eksemplet i større skala så langt på denne typen fikling er fri " "programvare og åpen kildekode (FS/OSS). FS/OSS er programvare der " "kildekoden deles ut. Alle kan laste ned teknologien som får et FS/OSS-" "program til å fungere. Og enhver som har lyst til å lære hvordan en bestemt " "bit av FS/OSS-teknologi fungerer kan fikle med koden." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "This opportunity creates a <quote>completely new kind of learning platform,</" "quote> as Brown describes. <quote>As soon as you start doing that, you " "… unleash a free collage on the community, so that other people can " "start looking at your code, tinkering with it, trying it out, seeing if they " "can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " "source becomes a major apprenticeship platform.</quote>" msgstr "" "Denne muligheten gir en \"helt ny type læringsplattform\", i følge Brown. " "\"Så snart du begynner å gjøre dette, så … slipper du løs en fritt " "tilgjengelig sammenstilling til fellesskapet, slik at andre folk kan begynne " "å se på koden din, fikle med den, teste den, seom de kan forbedre den\". Og " "hver innsats er et slags læretid. \"Åpen kildekode blir en stor " "lærlingeplatform.\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "In this process, <quote>the concrete things you tinker with are abstract. " "They are code.</quote> Kids are <quote>shifting to the ability to tinker in " "the abstract, and this tinkering is no longer an isolated activity that " "you're doing in your garage. You are tinkering with a community platform. " "… You are tinkering with other people's stuff. The more you tinker " "the more you improve.</quote> The more you improve, the more you learn." msgstr "" "I denne prossesen, \"er de konkrete tingene du fikler med abstrakte. De er " "kildekode\". Unger \"endres til å få evnen til å fikle med det abstrakte, " "og denne fiklingen er ikke lenger en isolert aktivitet som du gjør i " "garasjen din. Du fikler med en fellesskapsplatform. … Du fikler med " "andre folks greier. Og jo mer du fikler, jo mer forbedrer du.\" Jo mer du " "forbedrer, jo mer lærer du." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This same thing happens with content, too. And it happens in the same " #| "collaborative way when that content is part of the Web. As Brown puts it, " #| "\"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.\"" msgid "" "This same thing happens with content, too. And it happens in the same " "collaborative way when that content is part of the Web. As Brown puts it, " "<quote>the Web [is] the first medium that truly honors multiple forms of " "intelligence.</quote> Earlier technologies, such as the typewriter or word " "processors, helped amplify text. But the Web amplifies much more than text. " "<quote>The Web … 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.</quote>" msgstr "" "Denne sammen tingen skjer også med innhold. Og det skjer på samme " "samarbeidende måte når dette innholdet er del av nettet. Som Brown " "formulerer det, \"nettet er det første medium som virkelig tar hensyn til " "flere former for intelligens\". Tidligere teknologier, slik som " "skrivemaskin eller tekstbehandling, hjelper med å fremme tekst. Men nettet " "fremmer mye mer enn tekst. \"Nettet … si hvis du er musikalsk, hvis " "du er kunstnerisk, hvis du er visuell, hvis du er interessert i film …" "da er det en masse du kan gå igang med på dette mediet. Det kan fremme og " "ta hensyn til alle disse formene for intelligens.\"" #. PAGE BREAK 60 #. type: Content of: <book><part><chapter><para> msgid "" "Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " "Think! teach: that this tinkering with culture teaches as well as creates. " "It develops talents differently, and it builds a different kind of " "recognition." msgstr "" "Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lærer " "bort: at denne fiklingen med kultur lærer såvel som den skaper. Den utvikler " "talenter litt anderledes, og den bygger en annen type gjenkjenning." #. type: Content of: <book><part><chapter><para> msgid "" "Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " "we'll see through the course of this book, that freedom is increasingly " "highly contested. While there's no doubt that your father had the right to " "tinker with the car engine, there's great doubt that your child will have " "the right to tinker with the images she finds all around. The law and, " "increasingly, technology interfere with a freedom that technology, and " "curiosity, would otherwise ensure." msgstr "" "Likevel er friheten til å fikle med disse objektene ikke garantert. Faktisk, " "som vi vil se i løpet av denne boken, er den friheten i stadig større grad " "omstridt. Mens det ikke er noe tvil om at din far hadde rett til å fikle " "med bilmotoren, så er det stor tvil om dine barn vil ha retten til å fikle " "med bilder som hun finner over alt. Loven, og teknologi i stadig større " "grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." #. f22 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See, for example, Edward Felten and Andrew Appel, \"Technological Access " #| "Control Interferes with Noninfringing Scholarship,\" " #| "<citetitle>Communications of the Association for Computer Machinery</" #| "citetitle> 43 (2000): 9." msgid "" "See, for example, Edward Felten and Andrew Appel, <quote>Technological " "Access Control Interferes with Noninfringing Scholarship,</quote> " "<citetitle>Communications of the Association for Computer Machinery</" "citetitle> 43 (2000): 9." msgstr "" "Se for eksempel, Edward Felten og Andrew Appel, \"Technological Access " "Control Interferes with Noninfringing Scholarship,\" " "<citetitle>Communications of the Association for Computer Machinery</" "citetitle> 43 (2000): 9." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These restrictions have become the focus of researchers and scholars. " #| "Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " #| "xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has " #| "developed a powerful argument in favor of the \"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." msgid "" "These restrictions have become the focus of researchers and scholars. " "Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " "xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " "powerful argument in favor of the <quote>right to tinker</quote> as it " "applies to computer science and to knowledge in general.<placeholder type=" "\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " "fundamental. It is about the learning that kids can do, or can't do, because " "of the law." msgstr "" "Disse begresningene har blitt fokusen for forskere og akademikere. Professor " "Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" "\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " "argument til fordel for \"retten til å fikle\" slik det gjøres i informatikk " "og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/> Men " "bekymringen til Brown er tidligere, og mer fundamentalt. Det handler om hva " "slags læring unger kan få, eller ikke kan få, på grunn av loven." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "<quote>This is where education in the twenty-first century is going,</quote> " "Brown explains. We need to <quote>understand how kids who grow up digital " "think and want to learn.</quote>" msgstr "" "\"Dette er dit utviklingen av utdanning i det tjueførste århundret er på vei" "\", forklarer Brown. Vi må \"forstå hvordan unger som vokser opp digitalt " "tenker og ønsker å lære\"." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "<quote>Yet,</quote> as Brown continued, and as the balance of this book will " "evince, <quote>we are building a legal system that completely suppresses the " "natural tendencies of today's digital kids. … We're building an " "architecture that unleashes 60 percent of the brain [and] a legal system " "that closes down that part of the brain.</quote>" msgstr "" "\"Likevel\", fortsatte Brown, og som balansen i denne boken vil føre bevis " "for, \"bygger vi et juridisk system som fullstendig undertrykker den " "naturlige tendensen i dagens digitale unger. … We bygger en " "arkitektur som frigjør 60 prosent av hjernen [og] et juridisk system som " "stenger ned den delen av hjernen\"." #. type: Content of: <book><part><chapter><para> msgid "" "We're building a technology that takes the magic of Kodak, mixes moving " "images and sound, and adds a space for commentary and an opportunity to " "spread that creativity everywhere. But we're building the law to close down " "that technology." msgstr "" "Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " "bilder og lyd, og legger inn plass for kommentarer og en mulighet til å spre " "denne kreativiteten over alt. Men vi bygger loven for å stenge ned denne " "teknologien." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in " #| "chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " #| "quipped to me in a rare moment of despondence." msgid "" "<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " "in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " "quipped to me in a rare moment of despondence." msgstr "" "\"Ikke måten å drive en kultur på\", sa Brewster Kahle, som vi møtte i " "kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " "kommenterte til meg i et sjeldent øyeblikk av nedstemthet." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER THREE: Catalogs" msgstr "Kapittel tre: Kataloger" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "RPI" msgstr "RPI" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Rensselaer Polytechnic Institute (RPI)" msgstr "Rensselaer Polytechnic Institute (RPI)" #. type: Content of: <book><part><chapter><para> 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 "" "Høsten 2001, ble Jesse Jordan fra Oceanside, New York, innrullert som " "førsteårsstudent ved Rensselaer Polytechnic Institute, i Troy, New York. " "Hans studieprogram ved RPI var informasjonsteknologi. Selv om han ikke var " "en programmerer, bestemte Jesse seg i oktober å begynne å fikle med en " "søkemotorteknologi som var tilgjengelig på RPI-nettverket." #. type: Content of: <book><part><chapter><para> msgid "" "RPI is one of America's foremost technological research institutions. It " "offers degrees in fields ranging from architecture and engineering to " "information sciences. More than 65 percent of its five thousand " "undergraduates finished in the top 10 percent of their high school class. " "The school is thus a perfect mix of talent and experience to imagine and " "then build, a generation for the network age." msgstr "" "RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " "tilbyr grader innen områder som går fra arkitektur og ingeniørfag til " "informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " "laveregradsstudentene fullførte blant de 10 prosent beste i deres klasse på " "videregående. Skolen er dermed en perfekt blanding av talent og erfaring " "for å se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." #. type: Content of: <book><part><chapter><para> msgid "" "RPI's computer network links students, faculty, and administration to one " "another. It also links RPI to the Internet. Not everything available on the " "RPI network is available on the Internet. But the network is designed to " "enable students to get access to the Internet, as well as more intimate " "access to other members of the RPI community." msgstr "" "RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " "Det kobler også RPI til internettet. Ikke alt som er tilgjengelig på RPI-" "nettet er tilgjengelig på internettet. Men nettverket er utformet for å gi " "alle studentene mulighet til å bruke internettet, i tillegg til mer direkte " "tilgang til andre medlemmer i RPI-fellesskapet." #. PAGE BREAK 62 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Search engines are a measure of a network's intimacy. Google brought the " #| "Internet much closer to all of us by fantastically improving the quality " #| "of search on the network. Specialty search engines can do this even " #| "better. The idea of \"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." msgid "" "Search engines are a measure of a network's intimacy. Google brought the " "Internet much closer to all of us by fantastically improving the quality of " "search on the network. Specialty search engines can do this even better. The " "idea of <quote>intranet</quote> search engines, search engines that search " "within the network of a particular institution, is to provide users of that " "institution with better access to material from that institution. " "Businesses do this all the time, enabling employees to have access to " "material that people outside the business can't get. Universities do it as " "well." msgstr "" "Søkemotorer er et mål pa hvor nært et nettverk oppleves å være. Google " "brakte internettet mye nærmere oss alle ved en utrolig forbedring av " "kvaliteten på søk i nettverket. Spesialiserte søkemotorer kan gjøre dette " "enda bedre. Ideen med \"intranett\"-søkemotorer, søkemotorer som kun søker " "internt i nettverket til en bestemt institusjon, er å tilby brukerne i denne " "institusjonen bedre tilgang til materiale fra denne institusjonen. Bedrifter " "gjør dette hele tiden, ved å gi ansatte mulighet til å få tak i materiale " "som folk på utsiden av bedriften ikke kan få tak i. Universitetet gjør også " "dette." #. type: Content of: <book><part><chapter><para> msgid "" "These engines are enabled by the network technology itself. Microsoft, for " "example, has a network file system that makes it very easy for search " "engines tuned to that network to query the system for information about the " "publicly (within that network) available content. Jesse's search engine was " "built to take advantage of this technology. It used Microsoft's network file " "system to build an index of all the files available within the RPI network." msgstr "" "Disse motorene blir muliggjort av netverksteknologien selv. For eksempel " "har Microsoft et nettverksfilsystem som gjør det veldig enkelt for " "søkemotorer tilpasset det nettverket å spørre systemet etter informasjon om " "det offentlig (innen nettverket) tilgjengelige innholdet. Søkemotoren til " "Jesse var bygget for å dra nytte av denne teknologien. Den brukte " "Microsofts nettverksfilsystem for å bygge en indeks over alle filene " "tilgjengelig inne i RPI-nettverket." #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's wasn't the first search engine built for the RPI network. Indeed, " "his engine was a simple modification of engines that others had built. His " "single most important improvement over those engines was to fix a bug within " "the Microsoft file-sharing system that could cause a user's computer to " "crash. With the engines that existed before, if you tried to access a file " "through a Windows browser that was on a computer that was off-line, your " "computer could crash. Jesse modified the system a bit to fix that problem, " "by adding a button that a user could click to see if the machine holding the " "file was still on-line." msgstr "" "Jesse sin var ikke den første søkemotoren bygget for RPI-nettverket. Hans " "motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " "viktigste enkeltforbedring i forhold til disse motorene var å fikse en feil " "i Microsofts fildelings-system som fikk en brukers datamaskin til å krasje. " "Med motorene som hadde eksistert tidligere, hvis du forsøkte å koble deg ved " "hjelp av Windows-utforskeren til en fil som var på en datamaskin som ikke " "var på nett, så ville din datamaskin krasje. Jesse endret systemet litt for " "å fikse det problemet, ved å legge til en knapp som en bruker kunne klikke " "på for å se om maskinen som hadde filen fortsatt var på nett." #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's engine went on-line in late October. Over the following six months, " "he continued to tweak it to improve its functionality. By March, the system " "was functioning quite well. Jesse had more than one million files in his " "directory, including every type of content that might be on users' computers." msgstr "" "Motoren til Jesse kom pa nett i slutten av oktober. I løpet av de følgende " "seks månedene fortsatte han å justere den for å forbedre dens " "funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " "en million filer i sin katalog, inkludert alle mulige typer innhold som " "fantes på brukernes datamaskiner." #. PAGE BREAK 63 #. type: Content of: <book><part><chapter><para> msgid "" "Thus the index his search engine produced included pictures, which students " "could use to put on their own Web sites; copies of notes or research; copies " "of information pamphlets; movie clips that students might have created; " "university brochures—basically anything that users of the RPI network " "made available in a public folder of their computer." msgstr "" "Dermed inneholdt indeksen som hans søkemotor produserte bilder, som " "studentene kunne bruke til å legge inn på sine egne nettsider, kopier av " "notater og forskning, kopier av informasjonshefter, filmklipp som studentene " "kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " "brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe på sine " "datamaskiner." #. type: Content of: <book><part><chapter><para> msgid "" "But the index also included music files. In fact, one quarter of the files " "that Jesse's search engine listed were music files. But that means, of " "course, that three quarters were not, and—so that this point is " "absolutely clear—Jesse did nothing to induce people to put music files " "in their public folders. He did nothing to target the search engine to these " "files. He was a kid tinkering with a Google-like technology at a university " "where he was studying information science, and hence, tinkering was the aim. " "Unlike Google, or Microsoft, for that matter, he made no money from this " "tinkering; he was not connected to any business that would make any money " "from this experiment. He was a kid tinkering with technology in an " "environment where tinkering with technology was precisely what he was " "supposed to do." msgstr "" "Men indeksen inneholdt også musikkfiler. Faktisk var en fjerdedel av filene " "som Jesses søkemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " "tre fjerdedeler ikke var det, og—slik at dette poenget er helt " "klart—Jesse gjorde ingenting for å få folk til å plassere musikkfiler " "i deres fellesmapper. Han gjorde ingenting for å sikte søkemotoren mot " "disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " "ved et universitet der han studerte informasjonsvitenskap, og dermed var " "fiklingen målet. I motsetning til Google, eller Microsoft for den saks " "skyld, tjente han ingen penger på denne fiklingen. Han var ikke knyttet til " "noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " "ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " "var nøyaktig hva han var ment å gjøre." #. type: Content of: <book><part><chapter><para> msgid "" "On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " "dean informed Jesse that the Recording Industry Association of America, the " "RIAA, would be filing a lawsuit against him and three other students whom he " "didn't even know, two of them at other universities. A few hours later, " "Jesse was served with papers from the suit. As he read these papers and " "watched the news reports about them, he was increasingly astonished." msgstr "" "Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " "RPI. Lederen fortalte Jesse at Foreningen for innspillingsindustri i USA, " "RIAA, wille levere inn et søksmål mot han og tre andre studenter som han " "ikke en gang kjente, to av dem på andre undersiteter. Noen få timer senere " "ble Jesse forkynt søksmålet og fikk overlevert dokumentene. Mens han leste " "disse dokumentene og så på nyhetsrapportene om den, ble han stadig mer " "forbauset." #. type: Content of: <book><part><chapter><para> #, 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\"—" #| "again, a <emphasis>search engine</emphasis>, which Jesse had not himself " #| "built, using the Windows filesharing system, which Jesse had not himself " #| "built, to enable members of the RPI community to get access to content, " #| "which Jesse had not himself created or posted, and the vast majority of " #| "which had nothing to do with music." msgid "" "<quote>It was absurd,</quote> he told me. <quote>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</" "quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " "not himself built, using the Windows filesharing system, which Jesse had not " "himself built, to enable members of the RPI community to get access to " "content, which Jesse had not himself created or posted, and the vast " "majority of which had nothing to do with music." msgstr "" "\"Det var absurd\", fortalte han meg. \"Jeg mener at jeg ikke gjorde noe " "galt. … Jeg mener det ikke er noe galt med søkemotoren som jeg kjørte " "eller … hva jeg hadde gjort med den. Jeg mener, jeg hadde ikke " "endret den på noen måte som fremmet eller forbedret arbeidet til pirater. " "Jeg endret kun søkemotoren slik at den ble enklere å bruke\"—igjen, en " "<emphasis>søkemotor</emphasis>, som Jesse ikke hadde bygd selv, som brukte " "fildelingssystemet til Windows, som Jesse ikke hadde bygd selv, for å gjøre " "det mulig for medlemmer av RPI-fellesskapet å få tilgang til innhold, som " "Jesse ikke hadde laget eller gjort tilgjengelig, og der det store flertall " "av dette ikke hadde noe å gjøre med musikk." #. PAGE BREAK 64 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But the RIAA branded Jesse a pirate. They claimed he operated a network " #| "and had therefore \"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." msgid "" "But the RIAA branded Jesse a pirate. They claimed he operated a network and " "had therefore <quote>willfully</quote> violated copyright laws. They " "demanded that he pay them the damages for his wrong. For cases of " "<quote>willful infringement,</quote> the Copyright Act specifies something " "lawyers call <quote>statutory damages.</quote> These damages permit a " "copyright owner to claim $150,000 per infringement. As the RIAA alleged more " "than one hundred specific copyright infringements, they therefore demanded " "that Jesse pay them at least $15,000,000." msgstr "" "Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " "dermed \"med vilje\" hadde brutt opphavsrettslovene. De krevde at han " "betalte dem skadeerstatning for det han hadde gjort galt. I saker med " "\"krenkelser med vilje\", spesifiserer opphavsrettsloven noe som advokater " "kaller \"lovbestemte skader\". Disse skadene tillater en " "opphavsrettighetseier å kreve $150 000 per krenkelse. Etter som RIAA " "påsto det var mer enn et hundre spesifikke opphavsrettskrenkelser, krevde de " "dermed at Jesse betalte dem minst $15 000 000." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " #| "Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group " #| "LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." msgid "" "Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " "Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." msgstr "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</" "citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Similar lawsuits were brought against three other students: one other " #| "student at RPI, one at Michigan Technical University, and one at " #| "Princeton. Their situations were similar to Jesse's. Though each case was " #| "different in detail, the bottom line in each was exactly the same: huge " #| "demands for \"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 <emphasis>billion</" #| "emphasis>—six times the <emphasis>total</emphasis> profit of the " #| "film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" msgid "" "Similar lawsuits were brought against three other students: one other " "student at RPI, one at Michigan Technical University, and one at Princeton. " "Their situations were similar to Jesse's. Though each case was different in " "detail, the bottom line in each was exactly the same: huge demands for " "<quote>damages</quote> that the RIAA claimed it was entitled to. If you " "added up the claims, these four lawsuits were asking courts in the United " "States to award the plaintiffs close to $100 <emphasis>billion</" "emphasis>—six times the <emphasis>total</emphasis> profit of the film " "industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Lignende søksmål ble gjort mot tre andre studenter: en annen student ved " "RPI, en ved Michegan Technical University og en ved Princeton. Deres " "situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " "detaljer, var hovedpoenget nøyaktig det samme: store krav om \"erstatning\" " "som RIAA påsto de hadde rett på. Hvis du summerte opp disse kravene, ba " "disse fire søksmålene domstolene i USA å tildele saksøkerne nesten $100 " "<emphasis>milliarder</emphasis>—seks ganger det <emphasis>totale</" "emphasis> overskuddet til filmindustrien i 2001.<placeholder type=\"footnote" "\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Jesse called his parents. They were supportive but a bit frightened. An " "uncle was a lawyer. He began negotiations with the RIAA. They demanded to " "know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " "other employment. They demanded $12,000 to dismiss the case." msgstr "" "Jesse kontaktet sine foreldre. De støttet ham, men var litt skremt. En " "onkel var advokat. Han startet forhandlinger med RIAA. De krevde å få vite " "hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " "sommerjobber og annet arbeid. De krevde 12 000 for å trekke saken." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The RIAA wanted Jesse to admit to doing something wrong. He refused. They " #| "wanted him to agree to an injunction that would essentially make it " #| "impossible for him to work in many fields of technology for the rest of " #| "his life. He refused. They made him understand that this process of being " #| "sued was not going to be pleasant. (As Jesse's father recounted to me, " #| "the chief lawyer on the case, Matt Oppenheimer, told Jesse, \"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." msgid "" "The RIAA wanted Jesse to admit to doing something wrong. He refused. They " "wanted him to agree to an injunction that would essentially make it " "impossible for him to work in many fields of technology for the rest of his " "life. He refused. They made him understand that this process of being sued " "was not going to be pleasant. (As Jesse's father recounted to me, the chief " "lawyer on the case, Matt Oppenheimer, told Jesse, <quote>You don't want to " "pay another visit to a dentist like me.</quote>) And throughout, the RIAA " "insisted it would not settle the case until it took every penny Jesse had " "saved." msgstr "" "RIAA ville at Jesse skulle innrømme at han hadde gjort noe galt. Han " "nektet. De ville ha han til å godta en kjennelse som i praksis ville gjøre " "det umulig for han å arbeide i mange områder innen teknologi for resten av " "hans liv. Han nektet. De fikk han til å forstå at denne prosessen med å " "bli saksøkt ikke kom til å bli hyggelig. (Som faren til Jesse refererte til " "meg, fortalte sjefsadvokaten på saken, Matt Oppenheimer, \"Du ønsker ikke et " "tannlegebesøk hos meg flere ganger\") Og gjennom det hele insisterte RIAA at " "de ikke ville inngå forlik før de hadde tatt hver eneste øre som Jesse hadde " "spart opp." #. PAGE BREAK 65 #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's family was outraged at these claims. They wanted to fight. But " "Jesse's uncle worked to educate the family about the nature of the American " "legal system. Jesse could fight the RIAA. He might even win. But the cost of " "fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " "he won, he would not recover that money. If he won, he would have a piece of " "paper saying he had won, and a piece of paper saying he and his family were " "bankrupt." msgstr "" "Familien til Jessie ble opprørt over disse påstandene. De ønsket å kjempe. " "Men onkelen til Jessie gjorde en innsats for å lære familien om hvordan det " "amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " "kunne til og med vinne. Men kostnaden med å loss mot et søksmål som dette, " "ble Jesse fortalt, ville være minst $250 000. Hvis han vant ville han " "ikke få tilbake noen av de pengene. Hvis han vant, så ville han ha en bit " "papir som sa at han vant, og en bit papir som sa at han og hans familie var " "konkurs." #. type: Content of: <book><part><chapter><para> msgid "" "So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " "$12,000 and a settlement." msgstr "" "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><part><chapter><para><footnote><para> msgid "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musicians and Singers). See also National Endowment for " "the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." msgstr "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musikere og Sangere). Se også National Endowment for " "the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" " #| "<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." msgid "" "Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" "quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." msgstr "" "Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" " "<citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." #. type: Content of: <book><part><chapter><para> msgid "" "The recording industry insists this is a matter of law and morality. Let's " "put the law aside for a moment and think about the morality. Where is the " "morality in a lawsuit like this? What is the virtue in scapegoatism? The " "RIAA is an extraordinarily powerful lobby. The president of the RIAA is " "reported to make more than $1 million a year. Artists, on the other hand, " "are not well paid. The average recording artist makes $45,900.<placeholder " "type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " "and direct policy. So where is the morality in taking money from a student " "for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "Innspillingsindustrien insisterer at dette er et spørsmål om lov og moral. " "La oss legge loven til side for et øyeblikk og tenke på moralen. Hvor er " "moralen i et søksmål som dette? Hva er dyden i å skape offerlam. RIAA er " "en spesielt mektig lobby. Presidenten i RIAA tjener i følge rapporter mer " "enn $1 million i året. Artister, på den andre siden, får ikke godt betalt. " "Den gjennomsnittelige innspillingsartist tjener $45 900.<placeholder " "type=\"footnote\" id=\"0\"/> Det er utallige måter som RIAA kan bruke for å " "påvirke og styre politikken. Så hva er det moralske i å ta penger fra en " "student for å drive en søkemotor?<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " "case against him was then dismissed. And with this, this kid who had " "tinkered a computer into a $15 million lawsuit became an activist:" msgstr "" "23. juni overførte Jesse alle sine oppsparte midler til advokaten som jobbet " "for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " "fiklet med en datamaskin og blitt saksøkt for 15 millioner dollar en " "aktivist:" #. type: Content of: <book><part><chapter><blockquote><para> 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 [tidligere]. Jeg mente egentlig aldri å " "være en aktivist. … [men] jeg har blitt skjøvet inn i dette. Jeg " "forutså over hodet ikke noe slik som dette, men jeg tror det er bare helt " "absurd det RIAA har gjort." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Jesse's parents betray a certain pride in their reluctant activist. As " #| "his father told me, Jesse \"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.\"" msgid "" "Jesse's parents betray a certain pride in their reluctant activist. As his " "father told me, Jesse <quote>considers himself very conservative, and so do " "I. … 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.</quote>" msgstr "" "Foreldrene til Jesse avslører en viss stolthet over deres motvillige " "aktivist. Som hans far fortalte meg, Jesse \"anser seg selv for å være " "konservativ, og det samme gjør jeg. … Han er ingen treklemmer. " "… Jeg synes det er sært at de ville lage bråk med ham. Men han " "ønsker å la folk vite at de sender feil budskap. Og han ønsker å korrigere " "rullebladet.\"" #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER FOUR: \"Pirates\"" msgid "CHAPTER FOUR: <quote>Pirates</quote>" msgstr "Kapittel fire: <quote>Pirater</quote>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "If \"piracy\" means using the creative property of others without their " #| "permission—if \"if value, then right\" is true—then the " #| "history of the content industry is a history of piracy. Every important " #| "sector of \"big media\" today—film, records, radio, and cable " #| "TV—was born of a kind of piracy so defined. The consistent story is " #| "how last generation's pirates join this generation's country club—" #| "until now." msgid "" "If <quote>piracy</quote> means using the creative property of others without " "their permission—if <quote>if value, then right</quote> is true—" "then the history of the content industry is a history of piracy. Every " "important sector of <quote>big media</quote> today—film, records, " "radio, and cable TV—was born of a kind of piracy so defined. The " "consistent story is how last generation's pirates join this generation's " "country club—until now." msgstr "" "Hvis \"piratvirksomhet\" betyr å bruke den kreative eiendommen til andre " "uten deres tillatelse—hvis \"hvis verdi, så rettighet\" er sant—" "da er historien om innholdsindustrien en historie om piratvirksomhet. Hver " "eneste viktige sektor av \"store medier\" i dag—film, plater, radio og " "kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " "konsekvente fortellingen er at forrige generasjon pirater blir del av denne " "generasjonens borgerskap—inntil nå." #. type: Content of: <book><part><chapter><section><title> msgid "Film" msgstr "Film" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "I am grateful to Peter DiMauro for pointing me to this extraordinary " #| "history. See also Siva Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 87–93, which details Edison's \"adventures" #| "\" with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "I am grateful to Peter DiMauro for pointing me to this extraordinary " "history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 87–93, which details Edison's <quote>adventures</quote> " "with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg er takknemlig til Peter DiMauro for å ha pekt meg i retning av denne " "ekstraordinære historien. Se også Siva Vaidhyanathan, <citetitle>Copyrights " "and Copywrongs</citetitle>, 87–93, som forteller detaljer om Edisons " "\"eventyr\" med opphavsrett og patent. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. PAGE BREAK 67 #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "The film industry of Hollywood was built by fleeing pirates.<placeholder " #| "type=\"footnote\" id=\"0\"/> Creators and directors migrated from the " #| "East Coast to California in the early twentieth century in part to escape " #| "controls that patents granted the inventor of filmmaking, Thomas Edison. " #| "These controls were exercised through a monopoly \"trust,\" the Motion " #| "Pictures Patents Company, and were based on Thomas Edison's creative " #| "property—patents. Edison formed the MPPC to exercise the rights " #| "this creative property gave him, and the MPPC was serious about the " #| "control it demanded." msgid "" "The film industry of Hollywood was built by fleeing pirates.<placeholder " "type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East " "Coast to California in the early twentieth century in part to escape " "controls that patents granted the inventor of filmmaking, Thomas Edison. " "These controls were exercised through a monopoly <quote>trust,</quote> the " "Motion Pictures Patents Company, and were based on Thomas Edison's creative " "property—patents. Edison formed the MPPC to exercise the rights this " "creative property gave him, and the MPPC was serious about the control it " "demanded." msgstr "" "Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" "\"footnote\" id=\"0\"/> Skapere og regisører migrerte fra østkysten til " "California tidlig i det tjuende århundret delvis for å slippe unna " "kontrollene som patenter ga oppfinneren av det å lage filmer, Thomas " "Edison. Disse kontrollene be utøvet gjennom et monopol-\"kartell\", The " "Motion Pictures Patents company, og var basert på Tomhas Edisons kreative " "eierrettigheter—patenter. Edison stiftet MPPC for å utøve rettighetene " "som disse kreative eierrettighetene ga ham, og MPPC var seriøst med " "kontrollen de krevde." #. type: Content of: <book><part><chapter><section><para> msgid "As one commentator tells one part of the story," msgstr "Som en kommentaror forteller en del av historien," #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "A January 1909 deadline was set for all companies to comply with the " "license. By February, unlicensed outlaws, who referred to themselves as " "independents protested the trust and carried on business without submitting " "to the Edison monopoly. In the summer of 1909 the independent movement was " "in full-swing, with producers and theater owners using illegal equipment and " "imported film stock to create their own underground market." msgstr "" "En tidsfrist ble satt til januar 1909 for alle selskaper å komme i samsvar " "med lisensen. Når februar kom, protesterte de ulisensierte fredløse, som " "refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " "forretningsvirksomhet uten å bøye seg for Edisons monopol. Sommeren 1909 " "var bevegelsen med uavhenginge i full sving, med produsenter og kinoeiere " "som brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget " "undergrunnsmarked." #. f2 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> msgid "" "J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " "Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " "expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " "Picture Patents Company vs. the Independent Outlaws,</quote> available at " "<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " "discussion of the economic motive behind both these limits and the limits " "imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " "to the Broadcast Flag: Mechanisms of Consent and Refusal and the " "Propertization of Copyright</quote> (September 2002), University of Chicago " "Law School, James M. Olin Program in Law and Economics, Working Paper No. " "159." msgstr "" #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "Fox, William" msgstr "Fox, William" #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "General Film Company" msgstr "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Picker, Randal C." msgstr "Picker, Randal C." #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "With the country experiencing a tremendous expansion in the number of " "nickelodeons, the Patents Company reacted to the independent movement by " "forming a strong-arm subsidiary known as the General Film Company to block " "the entry of non-licensed independents. With coercive tactics that have " "become legendary, General Film confiscated unlicensed equipment, " "discontinued product supply to theaters which showed unlicensed films, and " "effectively monopolized distribution with the acquisition of all U.S. film " "exchanges, except for the one owned by the independent William Fox who " "defied the Trust even after his license was revoked.<placeholder type=" "\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/>" msgstr "" #. f3 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</" #| "citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link " #| "#12</ulink>." msgid "" "Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " "Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" "\">link #12</ulink>." msgstr "" "Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</" "citetitle>, arkivert på <ulink url=\"http://free-culture.cc/notes/\">link " "#12</ulink>." #. type: Content of: <book><part><chapter><section><para> msgid "" "The Napsters of those days, the <quote>independents,</quote> were companies " "like Fox. And no less than today, these independents were vigorously " "resisted. <quote>Shooting was disrupted by machinery stolen, and " "`accidents' resulting in loss of negatives, equipment, buildings and " "sometimes life and limb frequently occurred.</quote><placeholder type=" "\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " "California was remote enough from Edison's reach that filmmakers there could " "pirate his inventions without fear of the law. And the leaders of Hollywood " "filmmaking, Fox most prominently, did just that." msgstr "" #. PAGE BREAK 68 #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "Of course, California grew quickly, and the effective enforcement of " #| "federal law eventually spread west. But because patents grant the patent " #| "holder a truly \"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." msgid "" "Of course, California grew quickly, and the effective enforcement of federal " "law eventually spread west. But because patents grant the patent holder a " "truly <quote>limited</quote> monopoly (just seventeen years at that time), " "by the time enough federal marshals appeared, the patents had expired. A new " "industry had been born, in part from the piracy of Edison's creative " "property." msgstr "" "California vokste naturligvis raskt, og effektiv håndhevelse av føderale " "lover spredte seg til slutt vestover. Men fordi patenter tildeler " "patentinnehaveren et i sannhet \"begrenset\" monopol (kun sytten år på den " "tiden), så patentene var utgått før nok føderale lovmenn dukket opp. En ny " "industri var født, delvis fra piratvirksomhet mot Edison's kreative " "rettigheter." #. type: Content of: <book><part><chapter><section><title> msgid "Recorded Music" msgstr "Innspilt musikk" #. type: Content of: <book><part><chapter><section><para> msgid "" "The record industry was born of another kind of piracy, though to see how " "requires a bit of detail about the way the law regulates music." msgstr "" "Plateindustrien ble født av en annen type piratvirksomhet, dog for å forstå " "hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " "musikk." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Fourneaux, Henri" msgstr "Fourneaux, Henri" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Russel, Phil" msgstr "Russel, Phil" #. type: Content of: <book><part><chapter><section><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 <quote>Happy " "Mose,</quote> the law said I would have to pay for the right to get a copy " "of the musical score, and I would also have to pay for the right to perform " "it publicly." msgstr "" "på 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><part><chapter><section><para><indexterm><primary> msgid "Beatles" msgstr "Beatles" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " "phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " "enough that I would have to buy any copy of the musical score that I " "performed in making this recording. And it was clear enough that I would " "have to pay for any public performance of the work I was recording. But it " "wasn't totally clear that I would have to pay for a <quote>public " "performance</quote> if I recorded the song in my own house (even today, you " "don't owe the Beatles anything if you sing their songs in the shower), or if " "I recorded the song from memory (copies in your brain are not—" "yet— 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." #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> msgid "Kittredge, Alfred" msgstr "Kittredge, Alfred" #. type: Content of: <book><part><chapter><section><para> msgid "" "The composers (and publishers) were none too happy about this capacity to " "pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " "å røve. Som Senator Alfred Kittredge fra Sør-Dakota formulerte det," "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" "citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." "J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "endre og 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><part><chapter><section><blockquote><para> msgid "" "Imagine the injustice of the thing. A composer writes a song or an opera. A " "publisher buys at great expense the rights to the same and copyrights it. " "Along come the phonographic companies and companies who cut music rolls and " "deliberately steal the work of the brain of the composer and publisher " "without any regard for [their] rights.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" "Forestill dere denne urettferdigheten. En komponist skriver en sang eller " "en opera. En utgiver kjøper til et høy sum rettighetene til denne, og " "registrerer opphavsretten til den. Så kommer de fonografiske selskapene og " "selskapene som skjærer musikk-ruller og med vitende og vilje stjeler " "arbeidet som kommer fra hjernet til komponisten og utgiveren uten å bry seg " "om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" #. f5 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " "Nathan Burkan, attorney for the Music Publishers Association)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " "Nathan Burkan, advokat for the Music Publishers Association)." #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " "Nathan Burkan, attorney for the Music Publishers Association)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " "Nathan Burkan, advokat for the Music Publishers Association)." #. f7 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " "John Philip Sousa, composer)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " "John Philip Sousa, komponist)." #. type: Content of: <book><part><chapter><section><para> msgid "" "The innovators who developed the technology to record other people's works " "were <quote>sponging upon the toil, the work, the talent, and genius of " "American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " "<quote>music publishing industry</quote> was thereby <quote>at the complete " "mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " "As John Philip Sousa put it, in as direct a way as possible, <quote>When " "they make money out of my pieces, I want a share of it.</quote><placeholder " "type=\"footnote\" id=\"2\"/>" msgstr "" #. f8 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 283–84 " "(statement of Albert Walker, representative of the Auto-Music Perforating " "Company of New York)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 283–84 " "(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " "Company of New York)." #. f9 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "American Graphophone Company" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "These arguments have familiar echoes in the wars of our day. So, too, do the " "arguments on the other side. The innovators who developed the player piano " "argued that <quote>it is perfectly demonstrable that the introduction of " "automatic music players has not deprived any composer of anything he had " "before their introduction.</quote> Rather, the machines increased the sales " "of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " "innovators argued, the job of Congress was <quote>to consider first the " "interest of [the public], whom they represent, and whose servants they are.</" "quote> <quote>All talk about `theft,'</quote> the general counsel of the " "American Graphophone Company wrote, <quote>is the merest claptrap, for there " "exists no property in ideas musical, literary or artistic, except as defined " "by statute.</quote><placeholder type=\"footnote\" id=\"1\"/> <placeholder " "type=\"indexterm\" id=\"2\"/>" msgstr "" #. PAGE BREAK 70 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The law soon resolved this battle in favor of the composer <emphasis>and</" "emphasis> the recording artist. Congress amended the law to make sure that " "composers would be paid for the <quote>mechanical reproductions</quote> of " "their music. But rather than simply granting the composer complete control " "over the right to make mechanical reproductions, Congress gave recording " "artists a right to record the music, at a price set by Congress, once the " "composer allowed it to be recorded once. This is the part of copyright law " "that makes cover songs possible. Once a composer authorizes a recording of " "his song, others are free to record the same song, so long as they pay the " "original composer a fee set by the law." msgstr "" "loven 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "American law ordinarily calls this a <quote>compulsory license,</quote> but " "I will refer to it as a <quote>statutory license.</quote> A statutory " "license is a license whose key terms are set by law. After Congress's " "amendment of the Copyright Act in 1909, record companies were free to " "distribute copies of recordings so long as they paid the composer (or " "copyright holder) the fee set by the statute." msgstr "" "amerikansk lov 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><section><section><para><indexterm><primary> msgid "Grisham, John" msgstr "Grisham, John" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=" "\"0\"/>" 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><part><chapter><section><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 " "<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " "Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " "Reprints, 1976)." msgstr "" "Copyright 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><part><chapter><section><para> msgid "" "But the law governing recordings gives recording artists less. And thus, in " "effect, the law <emphasis>subsidizes</emphasis> the recording industry " "through a kind of piracy—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\"/> <placeholder " "type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><blockquote><para> msgid "" "the record producers argued vigorously that the compulsory license system " "must be retained. They asserted that the record industry is a half-billion-" "dollar business of great economic importance in the United States and " "throughout the world; records today are the principal means of disseminating " "music, and this creates special problems, since performers need unhampered " "access to musical material on nondiscriminatory terms. Historically, the " "record producers pointed out, there were no recording rights before 1909 and " "the 1909 statute adopted the compulsory license as a deliberate anti-" "monopoly condition on the grant of these rights. They argue that the result " "has been an outpouring of recorded music, with the public being given lower " "prices, improved quality, and a greater choice.<placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Radio" msgstr "Radio" #. type: Content of: <book><part><chapter><section><para> msgid "Radio was also born of piracy." msgstr "Radio kom også fra piratvirksomhet." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Hand, Learned" msgstr "Hand, Learned" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " "the beginning, record companies printed <quote>Not Licensed for Radio " "Broadcast</quote> and other messages purporting to restrict the ability to " "play a record on a radio station. Judge Learned Hand rejected the argument " "that a warning attached to a record might restrict the rights of the radio " "station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " "<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " "Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " "Consent and Refusal and the Propertization of Copyright,</quote> " "<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" msgstr "" "se 17, 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><part><chapter><section><para> msgid "" "When a radio station plays a record on the air, that constitutes a " "<quote>public performance</quote> of the composer's work.<placeholder type=" "\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " "copyright holder) an exclusive right to public performances of his work. " "The radio station thus owes the composer money for that performance." msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Lovett, Lyle" msgstr "Lovett, Lyle" #. PAGE BREAK 72 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But when the radio station plays a record, it is not only performing a copy " "of the <emphasis>composer's</emphasis> work. The radio station is also " "performing a copy of the <emphasis>recording artist's</emphasis> work. It's " "one thing to have <quote>Happy Birthday</quote> sung on the radio by the " "local children's choir; it's quite another to have it sung by the Rolling " "Stones or Lyle Lovett. The recording artist is adding to the value of the " "composition performed on the radio station. And if the law were perfectly " "consistent, the radio station would have to pay the recording artist for his " "work, just as it pays the composer of the music for his work. <placeholder " "type=\"indexterm\" id=\"0\"/>" msgstr "" "men når 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><part><chapter><section><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><part><chapter><para><indexterm><primary> msgid "Madonna" msgstr "Madonna" #. type: Content of: <book><part><chapter><section><para> msgid "" "This difference can be huge. Imagine you compose a piece of music. Imagine " "it is your first. You own the exclusive right to authorize public " "performances of that music. So if Madonna wants to sing your song in public, " "she has to get your permission." msgstr "" "Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " "musikk. Se for deg at det er ditt første stykke. Du eier de eksklusive " "rettighetene til å godkjenne offentlig fremføring av den musikken. Så hvis " "Madonna ønsker å synge din sang offentlig, må hun få din tillatelse." #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "Imagine she does sing your song, and imagine she likes it a lot. She then " #| "decides to make a recording of your song, and it becomes a top hit. Under " #| "our law, every time a radio station plays your song, you get some money. " #| "But Madonna gets nothing, save the indirect effect on the sale of her " #| "CDs. The public performance of her recording is not a \"protected\" " #| "right. The radio station thus gets to <emphasis>pirate</emphasis> the " #| "value of Madonna's work without paying her anything." msgid "" "Imagine she does sing your song, and imagine she likes it a lot. She then " "decides to make a recording of your song, and it becomes a top hit. Under " "our law, every time a radio station plays your song, you get some money. But " "Madonna gets nothing, save the indirect effect on the sale of her CDs. The " "public performance of her recording is not a <quote>protected</quote> right. " "The radio station thus gets to <emphasis>pirate</emphasis> the value of " "Madonna's work without paying her anything." msgstr "" "Tenkt deg videre at hun syner din sang, og at hun liker den veldig godt. " "Hun bestemmer seg deretter for å spille inn sangen din, og den blir en " "populær hitlåt. Med vår lov vil du få litt penger hver gang en radiostasjon " "spiller din sang. Men Madonna får ingenting, fortsett fra de indirekte " "effektene fra salg av hennes CD-er. Den offentlige fremføringen av hennes " "innspilling er ikke en \"beskyttet\" rettighet. Radiostasjonen får dermed " "<emphasis>røve</emphasis> verdien av Madonnas arbeid uten å betale henne " "noen ting." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Cable TV" msgstr "Kabel-TV" #. type: Content of: <book><part><chapter><section><para> msgid "Cable TV was also born of a kind of piracy." msgstr "Kabel-TV kom også fra en form for piratvirksomhet." #. PAGE BREAK 73 #. type: Content of: <book><part><chapter><section><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— 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><part><chapter><section><indexterm><primary> msgid "Anello, Douglas" msgstr "Anello, Douglas" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Burdick, Quentin" msgstr "Burdick, Quentin" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Hyde, Rosel H." msgstr "Hyde, Rosel H." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—CATV: Hearing on S. 1006 Before the " "Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " "on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " "Hyde, chairman of the Federal Communications Commission). <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Copyright 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><para> msgid "" "Broadcasters and copyright owners were quick to attack this theft. Rosel " "Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " "and potentially destructive competition.</quote><placeholder type=\"footnote" "\" id=\"0\"/> There may have been a <quote>public interest</quote> in " "spreading the reach of cable TV, but as Douglas Anello, general counsel to " "the National Association of Broadcasters, asked Senator Quentin Burdick " "during testimony, <quote>Does public interest dictate that you use somebody " "else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " "broadcaster put it," msgstr "" #. f15 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><blockquote><para> msgid "" "The extraordinary thing about the CATV business is that it is the only " "business I know of where the product that is being sold is not paid for." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "Again, the demand of the copyright holders seemed reasonable enough:" msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" #. f16 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><blockquote><para> msgid "" "All we are asking for is a very simple thing, that people who now take our " "property for nothing pay for it. We are trying to stop piracy and I don't " "think there is any lesser word to describe it. I think there are harsher " "words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Alt vi ber om er en veldig enkel ting, at folk som tar vår eiendom gratis " "betaler for den. Vi forsøker å stoppe piratvirksomhet og jeg kan ikke tenke " "på et svakere ord for å beskrive det. Jeg tror det er sterkere ord som " "ville passe.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Heston, Charlton" msgstr "Heston, Charlton" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " "president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Copyright Law Revision—CATV, 209 (vitnemål fra Charlton Heston, " "president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| 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\"/>" msgid "" "These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " "Charlton Heston said, who were <quote>depriving actors of compensation.</" "quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Disse var \"gratispassasjerer\", sa presidenten Charlton Heston i Screen " "Actor's Guild, som \"tok lønna fra skuespillerne\"<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "But again, there was another side to the debate. As Assistant Attorney " "General Edwin Zimmerman put it," msgstr "" "Men igjen, det er en annen side i debatten. Som assisterende justisminister " "Edwin Zimmerman sa det," #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "Zimmerman, Edwin" msgstr "Zimmerman, Edwin" #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> msgid "" "Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " "acting assistant attorney general). <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " "fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "Our point here is that unlike the problem of whether you have any copyright " "protection at all, the problem here is whether copyright holders who are " "already compensated, who already have a monopoly, should be permitted to " "extend that monopoly. … The question here is how much compensation " "they should have and how far back they should carry their right to " "compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "Copyright owners took the cable companies to court. Twice the Supreme Court " "held that the cable companies owed the copyright owners nothing." msgstr "" "Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to " "ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." #. type: Content of: <book><part><chapter><section><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 <quote>pirated.</" "quote> In the end, Congress resolved this question in the same way that it " "resolved the question about record players and player pianos. Yes, cable " "companies would have to pay for the content that they broadcast; but the " "price they would have to pay was not set by the copyright owner. The price " "was set by law, so that the broadcasters couldn't exercise veto power over " "the emerging technologies of cable. Cable companies thus built their empire " "in part upon a <quote>piracy</quote> of the value created by broadcasters' " "content." msgstr "" "Det 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><part><chapter><section><para><footnote><para> msgid "" "See, for example, National Music Publisher's Association, <citetitle>The " "Engine of Free Expression: Copyright on the Internet—The Myth of Free " "Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " "someone else's creative work without permission or compensation—has " "grown with the Internet.</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "These separate stories sing a common theme. If <quote>piracy</quote> means " "using value from someone else's creative property without permission from " "that creator—as it is increasingly described today<placeholder type=" "\"footnote\" id=\"0\"/> — then <emphasis>every</emphasis> industry " "affected by copyright today is the product and beneficiary of a certain kind " "of piracy. Film, records, radio, cable TV. … The list is long and " "could well be expanded. Every generation welcomes the pirates from the last. " "Every generation—until now." msgstr "" #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER FIVE: \"Piracy\"" msgid "CHAPTER FIVE: <quote>Piracy</quote>" msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "But as well as copy-shop piracy, there is another kind of <quote>taking</" "quote> that is more directly related to the Internet. That taking, too, " "seems wrong to many, and it is wrong much of the time. Before we paint this " "taking <quote>piracy,</quote> however, we should understand its nature a bit " "more. For the harm of this taking is significantly more ambiguous than " "outright copying, and the law should account for that ambiguity, as it has " "so often done in the past." msgstr "" "men 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><part><chapter><section><title> #, mtrans, fuzzy msgid "Piracy I" msgstr "piratkopiering jeg" #. f1 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See IFPI (International Federation of the Phonographic Industry), " "<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " "July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " "#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," "</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "All across the world, but especially in Asia and Eastern Europe, there are " "businesses that do nothing but take others people's copyrighted content, " "copy it, and sell it—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><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 <beginpage pagenum=" "\"77\"/> 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." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "agricultural patents" msgstr "" #. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> msgid "Drahos, Peter" msgstr "Drahos, Peter" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Peter Drahos with John Braithwaite, Information Feudalism: " "<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " "Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " "Property Rights (TRIPS) agreement obligates member nations to create " "administrative and enforcement mechanisms for intellectual property rights, " "a costly proposition for developing countries. Additionally, patent rights " "may lead to higher prices for staple industries such as agriculture. Critics " "of TRIPS question the disparity between burdens imposed upon developing " "countries and benefits conferred to industrialized nations. TRIPS does " "permit governments to use patents for public, noncommercial uses without " "first obtaining the patent holder's permission. Developing nations may be " "able to use this to gain the benefits of foreign patents at lower prices. " "This is a promising strategy for developing nations within the TRIPS " "framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" "se peter drahos 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><part><chapter><section><para> msgid "" "If a country is to be treated as a sovereign, however, then its laws are its " "laws regardless of their source. The international law under which these " "nations live gives them some opportunities to escape the burden of " "intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " "view, more developing nations should take advantage of that opportunity, but " "when they don't, then their laws should be respected. And under the laws of " "these nations, this piracy is wrong." msgstr "" #. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> msgid "Liebowitz, Stan" msgstr "Liebowitz, Stan" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "For an analysis of the economic impact of copying technology, see Stan " "Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " "Amacom, 2002), 144–90. <quote>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.</quote> Ibid., 149. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> msgid "" "Alternatively, we could try to excuse this piracy by noting that in any " "case, it does no harm to the industry. The Chinese who get access to " "American CDs at 50 cents a copy are not people who would have bought those " "American CDs at $15 a copy. So no one really has any less money than they " "otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " "Barnes & Noble and take a book off of the shelf without paying; why " "should it be any different with on-line music?</quote> The difference is, of " "course, that when you take a book from Barnes & 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 & 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 & 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This argument is still very weak. However, although copyright is a property " "right of a very special sort, it <emphasis>is</emphasis> a property right. " "Like all property rights, the copyright gives the owner the right to decide " "the terms under which content is shared. If the copyright owner doesn't want " "to sell, she doesn't have to. There are exceptions: important statutory " "licenses that apply to copyrighted content regardless of the wish of the " "copyright owner. Those licenses give people the right to <quote>take</quote> " "copyrighted content whether or not the copyright owner wants to sell. But " "where the law does not give people the right to take content, it is wrong to " "take that content even if the wrong does no harm. If we have a property " "system, and that system is properly balanced to the technology of a time, " "then it is wrong to take property without the permission of a property " "owner. That is exactly what <quote>property</quote> means." msgstr "" "Dette 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><section><section><para><indexterm><primary> msgid "GNU/Linux operating system" msgstr "GNU/Linux-operativsystemet" #. type: Content of: <book><chapter><section><section><para><indexterm><primary> msgid "Linux operating system" msgstr "Linux-operativsystemet" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Microsoft" msgstr "Microsoft" #. type: Content of: <book><part><chapter><section><para><indexterm><secondary> msgid "Windows operating system of" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Windows" msgstr "Windows" #. type: Content of: <book><part><chapter><section><para> msgid "" "Finally, we could try to excuse this piracy with the argument that the " "piracy actually helps the copyright owner. When the Chinese <quote>steal</" "quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " "loses the value of the software that was taken. But it gains users who are " "used to life in the Microsoft world. Over time, as the nation grows more " "wealthy, more and more people will buy software rather than steal it. And " "hence over time, because that buying will benefit Microsoft, Microsoft " "benefits from the piracy. If instead of pirating Microsoft Windows, the " "Chinese used the free GNU/Linux operating system, then these Chinese users " "would not eventually be buying Microsoft. Without piracy, then, Microsoft " "would lose. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " "<placeholder type=\"indexterm\" id=\"3\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Internet Explorer" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Netscape" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "Still, the argument is not terribly persuasive. We don't give the alcoholic " "a defense when he steals his first beer, merely because that will make it " "more likely that he will buy the next three. Instead, we ordinarily allow " "businesses to decide for themselves when it is best to give their product " "away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " "give its product away, as it did, for example, with Internet Explorer to " "fight Netscape. A property right means giving the property owner the right " "to say who gets access to what—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. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" msgstr "" #. PAGE BREAK 79 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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 <quote>piracy</quote> " "is. Or at least, not all <quote>piracy</quote> is wrong if that term is " "understood in the way it is increasingly used today. Many kinds of " "<quote>piracy</quote> are useful and productive, to produce either new " "content or new ways of doing business. Neither our tradition nor any " "tradition has ever banned all <quote>piracy</quote> in that sense of the " "term." msgstr "" "men som 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> #, mtrans, fuzzy msgid "Piracy II" msgstr "piratkopiering ii" #. f4 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777)." msgstr "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777)." #. PAGE BREAK 80 #. type: Content of: <book><part><chapter><section><para> msgid "" "The key to the <quote>piracy</quote> that the law aims to quash is a use " "that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" "\"footnote\" id=\"0\"/> This means we must determine whether and how much " "p2p sharing harms before we know how strongly the law should seek to either " "prevent it or find an alternative to assure the author of his profit." msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Christensen, Clayton M." msgstr "Christensen, Clayton M." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " "Revolutionary National Bestseller That Changed the Way We Do Business</" "citetitle> (New York: HarperBusiness, 2000). Professor Christensen examines " "why companies that give rise to and dominate a product area are frequently " "unable to come up with the most creative, paradigm-shifting uses for their " "own products. This job usually falls to outside innovators, who reassemble " "existing technology in inventive ways. For a discussion of Christensen's " "ideas, see Lawrence Lessig, <citetitle>Future</citetitle>, 89–92, " "139. <placeholder type=\"indexterm\" id=\"0\"/>" 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 idéer, kan du se lawrence lessig, fremtidige, 8992, 139." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Fanning, Shawn" msgstr "Fanning, Shawn" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" "quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " "A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" "citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " "Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" "citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " "<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " "<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" "citetitle>, 26 July 2002, 18." msgstr "" "se carolyn lochhead, \"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><part><chapter><section><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— " "or your 20,000 best friends." msgstr "" #. f7 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " "Distribution</citetitle> (September 2002), reporting that 28 percent of " "Americans aged twelve and older have downloaded music off of the Internet " "and 30 percent have listened to digital music files stored on their " "computers." msgstr "" "se ipsos-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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " "<citetitle>New York Times</citetitle>, 6 June 2003, A1." msgstr "" "Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york " "times, 6. juni 2003 a1." #. type: Content of: <book><part><chapter><section><para> msgid "" "According to a number of estimates, a huge proportion of Americans have " "tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " "estimated that 60 million Americans had downloaded music—28 percent of " "Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " "by the NPD group quoted in <citetitle>The New York Times</citetitle> " "estimated that 43 million citizens used file-sharing networks to exchange " "content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " "majority of these are not kids. Whatever the actual figure, a massive " "quantity of content is being <quote>taken</quote> on these networks. The " "ease and inexpensiveness of file-sharing networks have inspired millions to " "enjoy music in a way that they hadn't before." msgstr "" #. type: Content of: <book><part><chapter><section><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—a bit more carefully than the polarized " "voices around this debate usually do—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><part><chapter><section><para> msgid "" "File sharers share different kinds of content. We can divide these different " "kinds into four types." msgstr "" "Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " "fire typer." #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " "range and mix of content that was available.) For content not sold, this is " "still technically a violation of copyright, though because the copyright " "owner is not selling the content anymore, the economic harm is zero—" "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><part><chapter><section><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><part><chapter><section><para> msgid "How do these different types of sharing balance out?" msgstr "Hvordan balanserer disse ulike delingstypene?" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " "148–49. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " "148–49. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "Let's start with some simple but important points. From the perspective of " "the law, only type D sharing is clearly legal. From the perspective of " "economics, only type A sharing is clearly harmful.<placeholder type=" "\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " "Type C sharing is illegal, yet good for society (since more exposure to " "music is good) and harmless to the artist (since the work is not otherwise " "available). So how sharing matters on balance is a hard question to " "answer—and certainly much more difficult than the current rhetoric " "around the issue suggests." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" "quote> 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the " "Music Industry's Business Model Crisis</citetitle> (2003), 3. This report " "describes the music industry's effort to stigmatize the budding practice of " "cassette taping in the 1970s, including an advertising campaign featuring a " "cassette-shape skull and the caption <quote>Home taping is killing music.</" "quote> At the time digital audio tape became a threat, the Office of " "Technical Assessment conducted a survey of consumer behavior. In 1988, 40 " "percent of consumers older than ten had taped music to a cassette format. U." "S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " "Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " "D.C.: U.S. Government Printing Office, October 1989), 145–56." 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><part><chapter><section><para> msgid "" "While the numbers do suggest that sharing is harmful, how harmful is harder " "to reckon. It has long been the recording industry's practice to blame " "technology for any drop in sales. The history of cassette recording is a " "good example. As a study by Cap Gemini Ernst & Young put it, " "<quote>Rather than exploiting this new, popular technology, the labels " "fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " "claimed that every album taped was an album unsold, and when record sales " "fell by 11.4 percent in 1981, the industry claimed that its point was " "proved. Technology was the problem, and banning or regulating technology was " "the answer." msgstr "" #. f11 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4." #. type: Content of: <book><part><chapter><section><para> msgid "" "Yet soon thereafter, and before Congress was given an opportunity to enact " "regulation, MTV was launched, and the industry had a record turnaround. " "<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " "… was not the fault of the tapers—who did not [stop after MTV " "came into being]—but had to a large extent resulted from stagnation in " "musical innovation at the major labels.</quote><placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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—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—the question is not simply " "whether type A sharing is harmful. The question is also <emphasis>how</" "emphasis> harmful type A sharing is, and how beneficial the other types of " "sharing are." msgstr "" "men 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><part><chapter><section><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 " "<quote>net harm</quote> to the industry as a whole is the amount by which " "type A sharing exceeds type B. If the record companies sold more records " "through sampling than they lost through substitution, then sharing networks " "would actually benefit music companies on balance. They would therefore have " "little <emphasis>static</emphasis> reason to resist them." msgstr "" "Vi 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><part><chapter><section><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><part><chapter><section><para><footnote><para> msgid "" "See Recording Industry Association of America, <citetitle>2002 Yearend " "Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #15</ulink>. A later report indicates even greater losses. See " "Recording Industry Association of America, <citetitle>Some Facts About Music " "Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " "shipments of recorded music have fallen by 26 percent from 1.16 billion " "units in to 860 million units in 2002 in the United States (based on units " "shipped). In terms of sales, revenues are down 14 percent, from $14.6 " "billion in to $12.6 billion last year (based on U.S. dollar value of " "shipments). The music industry worldwide has gone from a $39 billion " "industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " "dollar value of shipments).</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Black, Jane" msgstr "Black, Jane" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| 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>. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " "13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13. februar " "2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " "#17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " "million to 803 million units; revenues fell 6.7 percent.<placeholder type=" "\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " "RIAA blames Internet piracy for the trend, though there are many other " "causes that could account for this drop. SoundScan, for example, reports a " "more than 20 percent drop in the number of CDs released since 1999. That no " "doubt accounts for some of the decrease in sales. Rising prices could " "account for at least some of the loss. <quote>From 1999 to 2001, the average " "price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " "type=\"footnote\" id=\"1\"/> Competition from other forms of media could " "also account for some of the decline. As Jane Black of " "<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " "<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " "get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" "\" id=\"2\"/>" msgstr "" #. PAGE BREAK 84 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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, <quote>What's the difference between downloading a " "song and stealing a CD?</quote>—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—if every use of Kazaa <quote>rob[bed] the author of " "[his] profit</quote>—then the industry would have suffered a 100 " "percent drop in sales last year, not a 7 percent drop. If 2.6 times the " "number of CDs sold were downloaded for free, and yet sales revenue dropped " "by just 6.7 percent, then there is a huge difference between " "<quote>downloading a song and stealing a CD.</quote>" msgstr "" "Det er for mange 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "These are the harms—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><part><chapter><section><para><footnote><para> msgid "" "By one estimate, 75 percent of the music released by the major labels is no " "longer in print. See Online Entertainment and Copyright Law—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><part><chapter><section><para> msgid "" "One benefit is type C sharing—making available content that is " "technically still under copyright but is no longer commercially available. " "This is not a small category of content. There are millions of tracks that " "are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" "> And while it's conceivable that some of this content is not available " "because the artist producing the content doesn't want it to be made " "available, the vast majority of it is unavailable solely because the " "publisher or the distributor has decided it no longer makes economic sense " "<emphasis>to the company</emphasis> to make it available." msgstr "" #. f16 #. type: Content of: <book><part><chapter><section><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, <citetitle>The " "Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), " "available at <ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. " "Used records accounted for $260 million in sales in 2002. See National " "Association of Recording Merchandisers, <quote>2002 Annual Survey Results,</" "quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #20</" "ulink>." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "In real space—long before the Internet—the market had a simple " "response to this problem: used book and record stores. There are thousands " "of used book and used record stores in America today.<placeholder type=" "\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " "content they buy. And under American copyright law, when they buy and sell " "this content, <emphasis>even if the content is still under copyright</" "emphasis>, the copyright owner doesn't get a dime. Used book and record " "stores are commercial entities; their owners make money from the content " "they sell; but as with cable companies before statutory licensing, they " "don't have to pay the copyright owner for the content they sell." msgstr "" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Bernstein, Leonard" msgstr "Bernstein, Leonard" #. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " "difference would matter economically if the owner of the copyright were " "selling the record in competition to my sharing. But we're talking about the " "class of content that is not currently commercially available. The Internet " "is making it available, through cooperative sharing, without competing with " "the market." msgstr "" "type c deling, 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Finally, and perhaps most importantly, file-sharing networks enable type D " "sharing to occur—the sharing of content that copyright owners want to " "have shared or for which there is no continuing copyright. This sharing " "clearly benefits authors and society. Science fiction author Cory Doctorow, " "for example, released his first novel, <citetitle>Down and Out in the Magic " "Kingdom</citetitle>, both free on-line and in bookstores on the same day. " "His (and his publisher's) thinking was that the on-line distribution would " "be a great advertisement for the <quote>real</quote> book. People would read " "part on-line, and then decide whether they liked the book or not. If they " "liked it, they would be more likely to buy it. Doctorow's content is type D " "content. If sharing networks enable his work to be spread, then both he and " "society are better off. (Actually, much better off: It is a great book!)" msgstr "" "til 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The point throughout is this: While the recording industry understandably " "says, <quote>This is how much we've lost,</quote> we must also ask, " "<quote>How much has society gained from p2p sharing? What are the " "efficiencies? What is the content that otherwise would be unavailable?</" "quote>" msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "For unlike the piracy I described in the first section of this chapter, much " "of the <quote>piracy</quote> that file sharing enables is plainly legal and " "good. And like the piracy I described in chapter <xref xrefstyle=\"select: " "labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " "new way of spreading content caused by changes in the technology of " "distribution. Thus, consistent with the tradition that gave us Hollywood, " "radio, the recording industry, and cable TV, the question we should be " "asking about file sharing is how best to preserve its benefits while " "minimizing (to the extent possible) the wrongful harm it causes artists. The " "question is one of balance. The law should seek that balance, and that " "balance will be found only with time." msgstr "" "for 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><part><chapter><section><para> #, fuzzy #| msgid "" #| "\"But isn't the war just a war against illegal sharing? Isn't the target " #| "just what you call type A sharing?\"" msgid "" "<quote>But isn't the war just a war against illegal sharing? Isn't the " "target just what you call type A sharing?</quote>" msgstr "" "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><part><chapter><section><para><footnote><para> msgid "" "See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " "(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " "account of the litigation and its toll on Napster, see Joseph Menn, " "<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" "citetitle> (New York: Crown Business, 2003), 269–82." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "You would think. And we should hope. But so far, it is not. The effect of " "the war purportedly on type A sharing alone has been felt far beyond that " "one class of sharing. That much is obvious from the Napster case itself. " "When Napster told the district court that it had developed a technology to " "block the transfer of 99.4 percent of identified infringing material, the " "district court told counsel for Napster 99.4 percent was not good enough. " "Napster had to push the infringements <quote>down to zero.</" "quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "So, as we've seen, when <quote>mechanical reproduction</quote> threatened " "the interests of composers, Congress balanced the rights of composers " "against the interests of the recording industry. It granted rights to " "composers, but also to the recording artists: Composers were to be paid, but " "at a price set by Congress. But when radio started broadcasting the " "recordings made by these recording artists, and they complained to Congress " "that their <quote>creative property</quote> was not being respected (since " "the radio station did not have to pay them for the creativity it broadcast), " "Congress rejected their claim. An indirect benefit was enough." msgstr "" "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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This compromise, like the compromise affecting records and player pianos, " "served two important goals—indeed, the two central goals of any " "copyright legislation. First, the law assured that new innovators would have " "the freedom to develop new ways to deliver content. Second, the law assured " "that copyright holders would be paid for the content that was distributed. " "One fear was that if Congress simply required cable TV to pay copyright " "holders whatever they demanded for their content, then copyright holders " "associated with broadcasters would use their power to stifle this new " "technology, cable. But if Congress had permitted cable to use broadcasters' " "content for free, then it would have unfairly subsidized cable. Thus " "Congress chose a path that would assure <emphasis>compensation</emphasis> " "without giving the past (broadcasters) control over the future (cable)." msgstr "" "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><part><chapter><section><indexterm><primary> msgid "Betamax" msgstr "Betamax" #. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " "be used to record copyrighted movies and shows. Sony was therefore " "benefiting from the copyright infringement of its customers. It should " "therefore, Disney and Universal claimed, be partially liable for that " "infringement." msgstr "" "samme år 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><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " "was clear that there were many television shows that did not grant anyone " "permission to copy. Indeed, if anyone had asked, no doubt the majority of " "shows would not have authorized copying. And in the face of this obvious " "preference, Sony could have designed its system to minimize the opportunity " "for copyright infringement. It did not, and for that, Disney and Universal " "wanted to hold it responsible for the architecture it chose." msgstr "" "Det 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " "of America</citetitle>, 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><part><chapter><section><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><part><chapter><section><para> msgid "" "MPAA president Jack Valenti became the studios' most vocal champion. Valenti " "called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " "30, 40 million of these VCRs in the land, we will be invaded by millions of " "`tapeworms,' eating away at the very heart and essence of the most precious " "asset the copyright owner has, his copyright.</quote><placeholder type=" "\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " "sophisticated marketing and creative judgment,</quote> he told Congress, " "<quote>to understand the devastation on the after-theater marketplace caused " "by the hundreds of millions of tapings that will adversely impact on the " "future of the creative community in this country. It is simply a question of " "basic economics and plain common sense.</quote><placeholder type=\"footnote" "\" id=\"1\"/> Indeed, as surveys would later show, percent of VCR owners had " "movie libraries of ten videos or more<placeholder type=\"footnote\" id=\"2\"/" "> — a use the Court would later hold was not <quote>fair.</quote> By " "<quote>allowing VCR owners to copy freely by the means of an exemption from " "copyright infringementwithout creating a mechanism to compensate " "copyrightowners,</quote> Valenti testified, Congress would <quote>take from " "the owners the very essence of their property: the exclusive right to " "control who may use their work, that is, who may copy it and thereby profit " "from its reproduction.</quote><placeholder type=\"footnote\" id=\"3\"/>" msgstr "" #. f22 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " "of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." msgstr "" "<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " "Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Kozinski, Alex" msgstr "Kozinski, Alex" #. type: Content of: <book><part><chapter><section><para> msgid "" "It took eight years for this case to be resolved by the Supreme Court. In " "the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " "its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " "refers to it as the <quote>Hollywood Circuit</quote>—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—which Jack Valenti had called <quote>the Boston Strangler " "of the American film industry</quote> (worse yet, it was a " "<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" "—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. PAGE BREAK 90 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><blockquote><para><footnote><para> msgid "" "<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." msgstr "" "<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "Sound policy, as well as history, supports our consistent deference to " "Congress when major technological innovations alter the market for " "copyrighted materials. Congress has the constitutional authority and the " "institutional ability to accommodate fully the varied permutations of " "competing interests that are inevitably implicated by such new technology." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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 " "<quote>taking</quote> 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><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "CASE" msgstr "Tilfelle" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> #, fuzzy #| msgid "WHOSE VALUE WAS \"PIRATED\"" msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" msgstr "Hvems verdi ble \"røvet\"" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "RESPONSE OF THE COURTS" msgstr "Responsen til domstolene" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "RESPONSE OF CONGRESS" msgstr "Responsen til Kongressen" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Recordings" msgstr "Innspillinger" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Composers" msgstr "Komponister" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "No protection" msgstr "Ingen beskyttelse" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> #, mtrans, fuzzy msgid "Statutory license" msgstr "lovbestemte lisens" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Recording artists" msgstr "Innspillingsartister" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "N/A" msgstr "" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Nothing" msgstr "Ingenting" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Broadcasters" msgstr "Kringkastere" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> #, mtrans, fuzzy msgid "VCR" msgstr "Videoopptakere" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Film creators" msgstr "Filmskapere" #. type: Content of: <book><part><chapter><section><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 " "<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " "4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not " "eliminate the opportunity for free riding in the sense I've described. See " "Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " "Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " "Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " "id=\"0\"/>" 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><part><chapter><section><para> msgid "" "In each case throughout our history, a new technology changed the way " "content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " "case, throughout our history, that change meant that someone got a " "<quote>free ride</quote> on someone else's work." msgstr "" #. PAGE BREAK 91 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In <emphasis>none</emphasis> of these cases did either the courts or " "Congress eliminate all free riding. In <emphasis>none</emphasis> of these " "cases did the courts or Congress insist that the law should assure that the " "copyright holder get all the value that his copyright created. In every " "case, the copyright owners complained of <quote>piracy.</quote> In every " "case, Congress acted to recognize some of the legitimacy in the behavior of " "the <quote>pirates.</quote> In each case, Congress allowed some new " "technology to benefit from content made before. It balanced the interests at " "stake." msgstr "" "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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, (1984)." #. type: Content of: <book><part><chapter><section><para> msgid "" "We could answer yes to each of these questions, but our tradition has " "answered no. In our tradition, as the Supreme Court has stated, copyright " "<quote>has never accorded the copyright owner complete control over all " "possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " "Instead, the particular uses that the law regulates have been defined by " "balancing the good that comes from granting an exclusive right against the " "burdens such an exclusive right creates. And this balancing has historically " "been done <emphasis>after</emphasis> a technology has matured, or settled " "into the mix of technologies that facilitate the distribution of content." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " "become a tool to entrench one particular way in which artists (or more " "accurately, distributors) get paid. As I describe in some detail in the last " "chapter of this book, we should be securing income to artists while we allow " "the market to secure the most efficient way to promote and distribute " "content. This will require changes in the law, at least in the interim. " "These changes should be designed to balance the protection of the law " "against the strong public interest that innovation continue." msgstr "" "Vi 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " "Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " "September 2003, C3." msgstr "" "John schwartz, \"nye økonomien: angrepet på node-til-node-programvare " "reflekterer forbi innsats,\" new york times, 22 september 2003, c3." #. type: Content of: <book><part><chapter><section><para> msgid "" "This is especially true when a new technology enables a vastly superior mode " "of distribution. And this p2p has done. P2p technologies can be ideally " "efficient in moving content across a widely diverse network. Left to " "develop, they could make the network vastly more efficient. Yet these " "<quote>potential public benefits,</quote> as John Schwartz writes in " "<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " "P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/> Yet when anyone " "begins to talk about <quote>balance,</quote> the copyright warriors raise a " "different argument. <quote>All this hand waving about balance and incentives," "</quote> they say, <quote>misses a fundamental point. Our content,</quote> " "the warriors insist, <quote>is our <emphasis>property</emphasis>. Why should " "we wait for Congress to `rebalance' our property rights? Do you have to wait " "before calling the police when your car has been stolen? And why should " "Congress deliberate at all about the merits of this theft? Do we ask whether " "the car thief had a good use for the car before we arrest him?</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And " #| "it should be protected just as any other property is protected.\"" msgid "" "<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " "<quote>And it should be protected just as any other property is protected.</" "quote>" msgstr "" "\"Det er <emphasis>vår eiendom</emphasis>,\" insisterer krigerne. \"og den " "bør være beskyttet på samme måte som all annen eiendom er beskyttet.\"" #. type: Content of: <book><part><title> msgid "<quote>PROPERTY</quote>" msgstr "" #. PAGE BREAK 94 #. type: Content of: <book><part><partintro><para> 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 "" "Opphavsretts-krigerne har rett: Opphavsretten er en type eiendom. Den kan " "eies og selges, og loven beskytter mot at den blir stjålet. Vanligvis, kan " "opphavsrettseieren be om hvilken som helst pris som han ønsker. Markeder " "bestemmer tilbud og etterspørsel som i hvert tilfelle bestemmer prisen hun " "kan få." #. type: Content of: <book><part><partintro><para> #, 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 <emphasis>idea</emphasis> you had to put a picnic table " #| "in the backyard—by, for example, going to Sears, buying a table, " #| "and putting it in my backyard? What is the thing I am taking then?" msgid "" "But in ordinary language, to call a copyright a <quote>property</quote> " "right is a bit misleading, for the property of copyright is an odd kind of " "property. Indeed, the very idea of property in any idea or any expression " "is very odd. I understand what I am taking when I take the picnic table you " "put in your backyard. I am taking a thing, the picnic table, and after I " "take it, you don't have it. But what am I taking when I take the good " "<emphasis>idea</emphasis> you had to put a picnic table in the " "backyard—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 er det å kalle opphavsrett for en \"eiendoms\"-rett litt " "misvisende, for eindommen i opphavsretten er en merkelig type eiendom. " "Selve ideen om eienrettigheter til en ide eller et uttrykk er nemlig veldig " "merkelig. Jeg forstår hva jeg tar når jeg tar en picnic-bord som du " "plasserte i din bakhage. Jeg tar en ting, picnic-bokrdet, og etter at jeg " "tar det har ikke du det. Men hva tar jeg når jeg tar den gode " "<emphasis>ideen</emphasis> som du hadde om å plassere picnic-bordet i " "bakhagen—ved å for eksempel dra til butikken Sears, kjøpe et bord, og " "plassere det i min egen bakhage? Hva er tingen jeg tar da?" #. f1 #. type: Content of: <book><part><partintro><para><footnote><para> msgid "" "Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " "<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " "Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." msgstr "" "Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " "<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " "Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." #. type: Content of: <book><part><partintro><para> msgid "" "The point is not just about the thingness of picnic tables versus ideas, " "though that's an important difference. The point instead is that in the " "ordinary case—indeed, in practically every case except for a narrow " "range of exceptions—ideas released to the world are free. I don't take " "anything from you when I copy the way you dress—though I might seem " "weird if I did it every day, and especially weird if you are a woman. " "Instead, as Thomas Jefferson said (and as is especially true when I copy the " "way someone else dresses), <quote>He who receives an idea from me, receives " "instruction himself without lessening mine; as he who lights his taper at " "mine, receives light without darkening me.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><partintro><para> msgid "" "The exceptions to free use are ideas and expressions within the reach of the " "law of patent and copyright, and a few other domains that I won't discuss " "here. Here the law says you can't take my idea or expression without my " "permission: The law turns the intangible into property." msgstr "" "Unntakene til fri bruk er ideer og uttrykk innenfor dekningsområdet til " "loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil " "diskutere her. Her sier loven at du ikke kan ta min ide eller uttrykk uten " "min tilatelse: Loven gjør det flyktige til eiendom. " #. f2 #. type: Content of: <book><part><partintro><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, " "<quote>What Is Property? Putting the Pieces Back Together,</quote> " "<citetitle>Arizona Law Review</citetitle> 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><part><partintro><para> msgid "" "But how, and to what extent, and in what form—the details, in other " "words—matter. To get a good sense of how this practice of turning the " "intangible into property emerged, we need to place this <quote>property</" "quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><partintro><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 <quote>copyright material " "is property</quote> in context. Where did the idea come from? What are its " "limits? How does it function in practice? After these stories, the " "significance of this true statement—<quote>copyright material is " "property</quote>— 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 idéen om " "\"copyright-beskyttet materiale er egenskapen\" i sammenheng. hvor gikk " "idéen 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><part><chapter><title> msgid "CHAPTER SIX: Founders" msgstr "Kapittel seks: Grunnleggerne" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Henry V" msgstr "Henry V" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in " #| "1595. The play was first published in 1597. It was the eleventh major " #| "play that Shakespeare had written. He would continue to write plays " #| "through 1613, and the plays that he wrote have continued to define Anglo-" #| "American culture ever since. So deeply have the works of a sixteenth-" #| "century writer seeped into our culture that we often don't even recognize " #| "their source. I once overheard someone commenting on Kenneth Branagh's " #| "adaptation of Henry V: \"I liked it, but Shakespeare is so full of " #| "clichés.\"" msgid "" "William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. " "The play was first published in 1597. It was the eleventh major play that " "Shakespeare had written. He would continue to write plays through 1613, and " "the plays that he wrote have continued to define Anglo-American culture ever " "since. So deeply have the works of a sixteenth-century writer seeped into " "our culture that we often don't even recognize their source. I once " "overheard someone commenting on Kenneth Branagh's adaptation of Henry V: " "<quote>I liked it, but Shakespeare is so full of clichés.</quote>" msgstr "" "William Shakespeare skrev <citetitle>Romeo og Julie</citetitle> i 1595. " "Skuespillet ble først utgitt i 1597. Det var det ellevte store skuespillet " "Shakespeare hadde skrevet. Han fortsatte å skrive skuespill helt til 1613, " "og stykkene han skrevhar fortsatt å definere angloamerikansk kultur siden. " "Så dypt har verkene av en 1500-talls forfatter sunket inn i vår kultur at vi " "ofte ikke engang kjenner kilden. Jeg overhørte en gang noen som kommentere " "Kenneth Branaghs utgave av Henry V: \"Jeg likte det, men Shakespeare er så " "full av klisjeer.\"" #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, 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 " #| "<citetitle>Romeo and Juliet</citetitle>, he published an astonishing " #| "array of works that still remain at the heart of the English canon, " #| "including collected works of Shakespeare, Ben Jonson, John Milton, and " #| "John Dryden. See Keith Walker, \"Jacob Tonson, Bookseller,\" " #| "<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." msgid "" "Jacob Tonson is typically remembered for his associations with prominent " "eighteenth-century literary figures, especially John Dryden, and for his " "handsome <quote>definitive editions</quote> of classic works. In addition to " "<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array " "of works that still remain at the heart of the English canon, including " "collected works of Shakespeare, Ben Jonson, John Milton, and John Dryden. " "See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " "<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." msgstr "" "Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære " "storheter, spesielt John Dryden, og for hans kjekke\"ferdige versjoner\" av " "klassiske verk. I tillegg til <citetitle>Romeo og Julie</citetitle>, utga " "han en utrolig rekke liste av verk som ennå er hjertet av den engelske " "kanon, inkludert de samlede verk av Shakespeare, Ben Jonson, John Milton, og " "John Dryden. Se Keith Walker: \"Jacob Tonson, Bookseller,\" " "<citetitle>American Scholar</citetitle> 61:3 (1992): 424-31." #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." msgstr "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." #. PAGE BREAK 97 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> " #| "was written, the \"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." msgid "" "In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " "written, the <quote>copy-right</quote> for the work was still thought by " "many to be the exclusive right of a single London publisher, Jacob Tonson." "<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " "small group of publishers called the Conger<placeholder type=\"footnote\" id=" "\"1\"/> who controlled bookselling in England during the eighteenth century. " "The Conger claimed a perpetual right to control the <quote>copy</quote> of " "books that they had acquired from authors. That perpetual right meant that " "no one else could publish copies of a book to which they held the " "copyright. Prices of the classics were thus kept high; competition to " "produce better or cheaper editions was eliminated." msgstr "" "I 1774, nesten 180 år etter at <citetitle>Romeo og Julie</citetitle> ble " "skrevet, mente mange at \"opphavsretten\" kun tilhørte én eneste utgiver i " "London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> Tonson var " "den mest fremstående av en liten gruppe utgivere kalt \"the Conger" "\"<placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte boksalget i " "England gjennom hele 1700-tallet. The Conger hevdet at de hadde en " "evigvarende rett over \"kopier\" av bøker de hadde fått av forfatterne. " "Denne evigvarende retten innebar at ingen andre kunne publisere kopier av " "disse bøkene. Slik ble prisen på klassiske bøker holdt oppe; alle " "konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " #| "\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " "<quote>copyright law.</quote> See Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette " "en \"opphavsrettslov.\" Se Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Now, there's something puzzling about the year 1774 to anyone who knows a " #| "little about copyright law. The better-known year in the history of " #| "copyright is 1710, the year that the British Parliament adopted the first " #| "\"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, <citetitle>Romeo and Juliet</" #| "citetitle> should have been free in 1731. So why was there any issue " #| "about it still being under Tonson's control in 1774?" msgid "" "Now, there's something puzzling about the year 1774 to anyone who knows a " "little about copyright law. The better-known year in the history of " "copyright is 1710, the year that the British Parliament adopted the first " "<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " "that all published works would get a copyright term of fourteen years, " "renewable once if the author was alive, and that all works already published " "by 1710 would get a single term of twenty-one additional years.<placeholder " "type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" "citetitle> should have been free in 1731. So why was there any issue about " "it still being under Tonson's control in 1774?" msgstr "" "Men altså, det er noe spennende med året 1774 for alle som vet litt om " "opphavsretts-lovgivning. Det mest kjente året for opphavsrett er 1710, da " "det britiske parlamentet vedtok den første loven. Denne loven er kjent som " "\"Statute of Anne\" og sa at alle publiserte verk skulle være beskyttet i " "fjorten år, en periode som kunne fornyes én gang dersom forfatteren ennå " "levde, og at alle verk publisert i eller før 1710 skulle ha en ekstraperiode " "på 22 tillegsår.<placeholder type=\"footnote\" id=\"0\"/> På grunn av denne " "loven, så skulle <citetitle>Rome og Julie</citetitle> ha falt i det fri i " "1731. Hvordan kunne da Tonson fortsatt ha kontroll over verket i 1774?" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Licensing Act (1662)" msgstr "" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The reason is that the English hadn't yet agreed on what a \"copyright\" " #| "was—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. <placeholder type=" #| "\"indexterm\" id=\"0\"/>" msgid "" "The reason is that the English hadn't yet agreed on what a <quote>copyright</" "quote> was—indeed, no one had. At the time the English passed the " "Statute of Anne, there was no other legislation governing copyrights. The " "last law regulating publishers, the Licensing Act of 1662, had expired in " "1695. That law gave publishers a monopoly over publishing, as a way to make " "it easier for the Crown to control what was published. But after it " "expired, there was no positive law that said that the publishers, or " "<quote>Stationers,</quote> had an exclusive right to print books. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva " "opphavsrett innebar -- faktisk hadde ingen i verden det. På den tiden da " "engelskmennene vedtok \"Statute of Anne\", var det ingen annen lovgivning om " "opphavsrett. Den siste loven som regulerte utgivere var lisensieringsloven " "av 1662, utløpt i 1695. At loven ga utgiverne monopol over publiseringen, " "noe som gjorde det enklere for kronen å kontrollere hva ble publisert. Men " "etter at det har utløpt, var det ingen positiv lov som sa at utgiverne hadde " "en eksklusiv rett til å trykke bøker. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "There was no <emphasis>positive</emphasis> law, but that didn't mean that " #| "there was no law. The Anglo-American legal tradition looks to both the " #| "words of legislatures and the words of judges to know the rules that are " #| "to govern how people are to behave. We call the words from legislatures " #| "\"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." msgid "" "There was no <emphasis>positive</emphasis> law, but that didn't mean that " "there was no law. The Anglo-American legal tradition looks to both the words " "of legislatures and the words of judges to know the rules that are to govern " "how people are to behave. We call the words from legislatures " "<quote>positive law.</quote> We call the words from judges <quote>common law." "</quote> The common law sets the background against which legislatures " "legislate; the legislature, ordinarily, can trump that background only if it " "passes a law to displace it. And so the real question after the licensing " "statutes had expired was whether the common law protected a copyright, " "independent of any positive law." msgstr "" "At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " "det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser både " "til lover skapt av politikere (det lovgivende statsorgen)og til lover " "(prejudikater) skapt av domstolene for å bestemme hvordan folket skal leve. " "Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " "dommerne sedvanerett.\"Common law\" angir bakgrunnen for de lovgivendes " "lovgivning; retten til lovgiving, 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><part><chapter><para> #, 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." msgid "" "This question was important to the publishers, or <quote>booksellers,</" "quote> as they were called, because there was growing competition from " "foreign publishers. The Scottish, in particular, were increasingly " "publishing and exporting books to England. That competition reduced the " "profits of the Conger, which reacted by demanding that Parliament pass a law " "to again give them exclusive control over publishing. That demand ultimately " "resulted in the Statute of Anne." msgstr "" "Dette spørsmålet var viktig for utgiverne eller \"bokselgere,\" som de ble " "kalt, fordi det var økende konkurranse fra utenlandske utgivere, Særlig fra " "Skottland hvor publiseringen og eksporten av bøker til England hadde økt " "veldig. Denne konkurransen reduserte fortjenesten til \"The Conger\", som " "derfor krevde at parlamentet igjen skulle vedta en lov for å gi dem " "eksklusiv kontroll over publisering. Dette kravet resulterte i \"Statute of " "Anne\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "The Statute of Anne granted the author or <quote>proprietor</quote> of a " "book an exclusive right to print that book. In an important limitation, " "however, and to the horror of the booksellers, the law gave the bookseller " "that right for a limited term. At the end of that term, the copyright " "<quote>expired,</quote> and the work would then be free and could be " "published by anyone. Or so the legislature is thought to have believed." msgstr "" "\"Statute of Anne\" ga forfatteren eller \"eieren\" av en bok en eksklusiv " "rett til å publisere denne boken. Men det var, til bokhandernes forferdelse " "en viktig begrensning, nemlig hvor lenge denne retten skulle vare. Etter " "dette gikk trykkeretten bort og verket falt i det fri og kunne trykkes av " "hvem som helst. Det var ihvertfall det lovgiverne hadde tenkt." #. type: Content of: <book><part><chapter><para> msgid "" "Now, the thing to puzzle about for a moment is this: Why would Parliament " "limit the exclusive right? Not why would they limit it to the particular " "limit they set, but why would they limit the right <emphasis>at all?</" "emphasis>" msgstr "" "Men nå det mest interessante med dette: Hvorfor ville parlamentet begrense " "trykkeretten? Sprøsmålet er ikke hvorfor de bestemte seg for denne perioden, " "men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "For the booksellers, and the authors whom they represented, had a very " #| "strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " #| "That play was written by Shakespeare. It was his genius that brought it " #| "into the world. He didn't take anybody's property when he created this " #| "play (that's a controversial claim, but never mind), and by his creating " #| "this play, he didn't make it any harder for others to craft a play. So " #| "why is it that the law would ever allow someone else to come along and " #| "take Shakespeare's play without his, or his estate's, permission? What " #| "reason is there to allow someone else to \"steal\" Shakespeare's work?" msgid "" "For the booksellers, and the authors whom they represented, had a very " "strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " "That play was written by Shakespeare. It was his genius that brought it into " "the world. He didn't take anybody's property when he created this play " "(that's a controversial claim, but never mind), and by his creating this " "play, he didn't make it any harder for others to craft a play. So why is it " "that the law would ever allow someone else to come along and take " "Shakespeare's play without his, or his estate's, permission? What reason is " "there to allow someone else to <quote>steal</quote> Shakespeare's work?" msgstr "" "Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " "krav. Ta <citetitle>romeo og Julie</citetitle> som et eksempel: Skuespillet " "ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " "verden. Han krenket ikke noens rett da han skrev dette verket (det er en " "kontroversiell påstanden, men det er urelevant), og med sin egen rett skapte " "han verket, han gjorde det ikke noe vanskeligere for andre til å lage " "skuespill. Så hvorfor skulle loven tillate at noen annen kunne komme og ta " "Shakespeares verkuten hans, eller hans arvingers, tillatelse? Hvilke grunner " "finnes for å tillate at noen \"stjeler\" Shakespeares verk?" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The answer comes in two parts. We first need to see something special " #| "about the notion of \"copyright\" that existed at the time of the Statute " #| "of Anne. Second, we have to see something important about \"booksellers.\"" msgid "" "The answer comes in two parts. We first need to see something special about " "the notion of <quote>copyright</quote> that existed at the time of the " "Statute of Anne. Second, we have to see something important about " "<quote>booksellers.</quote>" msgstr "" "Svaret er todel. Først må vi se på noe spesielt med oppfatningen av " "opphavsrett som fantes på tidspunktet da \"Statute of Anne\" ble vedtatt. " "Deretter må vi se på noe spesielt med bokhandlerne." #. PAGE BREAK 99 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "First, about copyright. In the last three hundred years, we have come to " #| "apply the concept of \"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 <emphasis>used</emphasis>. Today the right includes a large " #| "collection of restrictions on the freedom of others: It grants the author " #| "the exclusive right to copy, the exclusive right to distribute, the " #| "exclusive right to perform, and so on." msgid "" "First, about copyright. In the last three hundred years, we have come to " "apply the concept of <quote>copyright</quote> ever more broadly. But in " "1710, it wasn't so much a concept as it was a very particular right. The " "copyright was born as a very specific set of restrictions: It forbade others " "from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " "to use a particular machine to replicate a particular work. It did not go " "beyond that very narrow right. It did not control any more generally how a " "work could be <emphasis>used</emphasis>. Today the right includes a large " "collection of restrictions on the freedom of others: It grants the author " "the exclusive right to copy, the exclusive right to distribute, the " "exclusive right to perform, and so on." msgstr "" "Først om opphavsretten. I de siste tre hundre år har vi kommet til å bruke " "begrepet \"copyright\" i stadig videre forstand. Men i 1710 var det ikke så " "mye et konsept som det var en bestemt rett. Opphavsretten ble født som et " "svært spesifikt sett med begrensninger: den forbød andre å reprodusere en " "bok. I 1710 var \"kopi-rett\" en rett til å bruke en bestemt maskin til å " "replikere en bestemt arbeid. Den gikk ikke utover dette svært smale " "formålet. Den kontrollerte ikke mer generelt hvordan et verk kunne " "<emphasis>brukes</emphasis>. Idag inkluderer retten en stor samling av " "restriksjoner på andres frihet: den gir forfatteren eksklusiv rett til å " "kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å fremføre, og " "så videre." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "So, for example, even if the copyright to Shakespeare's works were " #| "perpetual, all that would have meant under the original meaning of the " #| "term was that no one could reprint Shakespeare's work without the " #| "permission of the Shakespeare estate. It would not have controlled " #| "anything, for example, about how the work could be performed, whether the " #| "work could be translated, or whether Kenneth Branagh would be allowed to " #| "make his films. The \"copy-right\" was only an exclusive right to " #| "print—no less, of course, but also no more." msgid "" "So, for example, even if the copyright to Shakespeare's works were " "perpetual, all that would have meant under the original meaning of the term " "was that no one could reprint Shakespeare's work without the permission of " "the Shakespeare estate. It would not have controlled anything, for example, " "about how the work could be performed, whether the work could be translated, " "or whether Kenneth Branagh would be allowed to make his films. The " "<quote>copy-right</quote> was only an exclusive right to print—no " "less, of course, but also no more." msgstr "" "Så selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " "betydde det under den opprinnelige betydningen av begrepet at ingen kunne " "trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " "ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " "fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt " "lov til å lage filmer. \"Kopi-retten\" var bare en eksklusiv rett til å " "trykke--ikke noe mindre, selvfølgelig, men heller ikke mer." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Henry VIII, King of England" msgstr "Henry VIII, Konge av England" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Even that limited right was viewed with skepticism by the British. They " #| "had had a long and ugly experience with \"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—" #| "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." msgid "" "Even that limited right was viewed with skepticism by the British. They had " "had a long and ugly experience with <quote>exclusive rights,</quote> " "especially <quote>exclusive rights</quote> granted by the Crown. The English " "had fought a civil war in part about the Crown's practice of handing out " "monopolies—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 dnne begrensede retten ble møtt med skepsis av britene. De hadde hatt " "en lang og stygg erfaring med \"eksklusive rettigheter,\" spesielt \"enerett" "\" gitt av kronen. Engelskmennene hadde utkjempet en borgerkrig delvis mot " "kronens praksis med å dele ut monopoler--spesielt monopoler for verk som " "allerede eksisterte. Kong Henrik VIII hadde gitt patent til å trykke Bibelen " "og monopol til Darcy for å lage spillkort. Det engelske parlamentet begynte " "å kjempe tilbake mot denne makten hos kronen. I 1656 ble \"Statute of " "Monopolis\" vedtatt for å begrense monopolene på patenter for nye " "oppfinnelser. Og i 1710 var parlamentet ivrig etter å håndtere det voksende " "monopolet på publisering." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " "naturally viewed as a right that should be limited. (However convincing the " "claim that <quote>it's my property, and I should have it forever,</quote> " "try sounding convincing when uttering, <quote>It's my monopoly, and I should " "have it forever.</quote>) The state would protect the exclusive right, but " "only so long as it benefited society. The British saw the harms from " "specialinterest favors; they passed a law to stop them." msgstr "" "Dermed ble \"kopi-retten\", når den sees på som en monopolrett, en rettighet " "som bør være begrenset. (Uansett hvor overbevisende påstanden om at \"det er " "min eiendom, og jeg skal ha for alltid,\" prøv hvor overbevisende det er når " "men sier \"det er mitt monopol, og jeg skal ha det for alltid.\") Staten " "ville beskytte eneretten, men bare så lenge det gavnet samfunnet. Britene så " "skadene særinteresserte kunne skape; de vedtok en lov for å stoppe dem." #. f4 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " "Property</citetitle> (New York: J. Messner, Inc., 1937), 31." msgstr "" "Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " "Property</citetitle> (New York: J. Messner, Inc., 1937), 31." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Second, about booksellers. It wasn't just that the copyright was a " #| "monopoly. It was also that it was a monopoly held by the booksellers. " #| "Booksellers sound quaint and harmless to us. They were not viewed as " #| "harmless in seventeenth-century England. Members of the Conger were " #| "increasingly seen as monopolists of the worst kind—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\"/>" 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—tools of the Crown's repression, selling " "the liberty of England to guarantee themselves a monopoly profit. The " "attacks against these monopolists were harsh: Milton described them as " "<quote>old patentees and monopolizers in the trade of book-selling</quote>; " "they were <quote>men who do not therefore labour in an honest profession to " "which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " "Det var også et monopol holdt av bokhandlerne. En bokhandler høres greie og " "ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " "Medlemmene i \"the Conger\" ble av en voksende mengde sett på som " "monopolister av verste sort - et verktøy for kronens undertrykkelse, de " "solgte Englands frihet mot å være garantert en monopolskinntekt. Men " "monopolistene ble kvast kritisert: Milton beskrev dem som \"gamle " "patentholdere og monopolister i bokhandlerkunsten\"; de var \"menn som " "derfor ikke hadde et ærlig arbeide hvor utdanning er nødvendig." "\"<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Many believed the power the booksellers exercised over the spread of " "knowledge was harming that spread, just at the time the Enlightenment was " "teaching the importance of education and knowledge spread generally. The " "idea that knowledge should be free was a hallmark of the time, and these " "powerful commercial interests were interfering with that idea." msgstr "" "Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap, " "var til skade for selve spredningen, men på dette tidspunktet viste " "Opplysningen viktigheten av utdannelse og kunnskap for alle. idéen om at " "kunnskap burde være gratis er et kjennetegn for tiden, og disse kraftige " "kommersielle interesser forstyrret denne idéen." #. type: Content of: <book><part><chapter><para> msgid "" "To balance this power, Parliament decided to increase competition among " "booksellers, and the simplest way to do that was to spread the wealth of " "valuable books. Parliament therefore limited the term of copyrights, and " "thereby guaranteed that valuable books would become open to any publisher to " "publish after a limited time. Thus the setting of the term for existing " "works to just twenty-one years was a compromise to fight the power of the " "booksellers. The limitation on terms was an indirect way to assure " "competition among publishers, and thus the construction and spread of " "culture." msgstr "" "For å balansere denne makten, besluttet Parlamentet å øke konkurransen blant " "bokhandlerne, og den enkleste måten å gjøre det på, var å spre mengden av " "verdifulle bøker. Parlamentet begrenset derfor begrepet om opphavsrett, og " "garantert slik at verdifulle bøker ville bli frie for alle utgiver å " "publisere etter en begrenset periode. Slik ble det å gi eksisterende verk en " "periode på tjueen år et kompromiss for å bekjempe bokhandlernes makt. " "Begrensninger med dato var en indirekte måte å skape konkurranse mellom " "utgivere, og slik en skapelse og spredning av kultur." #. type: Content of: <book><part><chapter><para> msgid "" "When 1731 (1710 + 21) came along, however, the booksellers were getting " "anxious. They saw the consequences of more competition, and like every " "competitor, they didn't like them. At first booksellers simply ignored the " "Statute of Anne, continuing to insist on the perpetual right to control " "publication. But in 1735 and 1737, they tried to persuade Parliament to " "extend their terms. Twenty-one years was not enough, they said; they needed " "more time." msgstr "" "Når 1731 (1710+21) kom, ble bokhandlerne engstelige. De så konsekvensene av " "mer konkurranse, og som alle konkurrenter, likte de det ikke. Først " "ignorerte bokhandlere ganske enkelt \"Statute of Anne\", og fortsatte å " "kreve en evigvarende rett til å kontrollere publiseringen. Men i 1735 og " "1737 de prøvde å tvinge Parlamentet til å utvide periodene. Tjueen år var " "ikke nok, sa de; de trengte mer tid." #. type: Content of: <book><part><chapter><para> msgid "" "Parliament rejected their requests. As one pamphleteer put it, in words that " "echo today," msgstr "" "Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennå " "idag," #. f5 #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "A Letter to a Member of Parliament concerning the Bill now depending in the " "House of Commons, for making more effectual an Act in the Eighth Year of the " "Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " "Vesting the Copies of Printed Books in the Authors or Purchasers of such " "Copies, during the Times therein mentioned (London, 1735), in Brief Amici " "Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " "<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." msgstr "" #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "I see no Reason for granting a further Term now, which will not hold as well " "for granting it again and again, as often as the Old ones Expire; so that " "should this Bill pass, it will in Effect be establishing a perpetual " "Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " "great Cramp to Trade, a Discouragement to Learning, no Benefit to the " "Authors, but a general Tax on the Publick; and all this only to increase the " "private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Jeg ser ingen grunn til å gi en utvidet perioden nå som ikke ville kunne gi " "utvidelser om igjen og om igjen, så fort de gamle utgår; så dersom dette " "lovforslaget blir vedtatt, vil effekten være: at et evig monopol blir skapt, " "et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " "forfatterne, men en stor avgift for folket; og alt dette kun for å øke " "bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Having failed in Parliament, the publishers turned to the courts in a " #| "series of cases. Their argument was simple and direct: The Statute of " #| "Anne gave authors certain protections through positive law, but those " #| "protections were not intended as replacements for the common law. " #| "Instead, they were intended simply to supplement the common law. Under " #| "common law, it was already wrong to take another person's creative " #| "\"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." msgid "" "Having failed in Parliament, the publishers turned to the courts in a series " "of cases. Their argument was simple and direct: The Statute of Anne gave " "authors certain protections through positive law, but those protections were " "not intended as replacements for the common law. Instead, they were " "intended simply to supplement the common law. Under common law, it was " "already wrong to take another person's creative <quote>property</quote> and " "use it without his permission. The Statute of Anne, the booksellers argued, " "didn't change that. Therefore, just because the protections of the Statute " "of Anne expired, that didn't mean the protections of the common law expired: " "Under the common law they had the right to ban the publication of a book, " "even if its Statute of Anne copyright had expired. This, they argued, was " "the only way to protect authors." msgstr "" "Etter å ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " "saker. Deres argument var enkelt og direkte: \"Statute of Anne\" ga " "forfatterne en viss beskyttelse gjennom positiv loven, men denne " "beskyttelsenvar ikke ment som en erstatning for felles lov. Istedet var de " "ment å supplere felles lov. Ifølge sedvanerett var det galt å ta en annen " "persons kreative eiendom og bruke den uten hans tillatelse. \"Statute of Anne" "\", hevdet bokhandlere, endret ikke dette faktum. Derfor betydde ikke det at " "beskyttelsen gitt av \"Statute of Anne\" utløp, at beskyttelsen fra " "sedvaneretten utløp: Ifølge sedvaneretten hadde de rett til å fordømme " "publiseringen av en bok, selv følgelig om \"Statute of Anne\" sa at de var " "falt i det fri. Dette, mente de, var den eneste måten å beskytte forfatterne." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " #| "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " #| "wonderfully compelling account, see Vaidhyanathan, 37–48. " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use,</quote> " "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " "wonderfully compelling account, see Vaidhyanathan, 37–48. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " "fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This was a clever argument, and one that had the support of some of the " #| "leading jurists of the day. It also displayed extraordinary chutzpah. " #| "Until then, as law professor Raymond Patterson has put it, \"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." msgid "" "This was a clever argument, and one that had the support of some of the " "leading jurists of the day. It also displayed extraordinary chutzpah. Until " "then, as law professor Raymond Patterson has put it, <quote>The publishers " "… had as much concern for authors as a cattle rancher has for cattle." "</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " "squat for the rights of the author. His concern was the monopoly profit " "that the author's work gave." msgstr "" "Dette var et godt argument, og hadde støtte fra flere av den tidens ledende " "jurister. Det viste også en ekstraordinær chutzpah. Inntail da, som " "jusprofessor Raymond Pattetson har sagt, \"var utgiverne … like " "bekymret for forfatterne som en gjeter for sine lam.\"<placeholder type=" "\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om forfatternes " "rettigheter. Deres bekymring var den monopolske inntekten forfatterens verk " "ga." #. f7 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For a compelling account, see David Saunders, <citetitle>Authorship and " "Copyright</citetitle> (London: Routledge, 1992), 62–69." msgstr "" "For a compelling account, see David Saunders, <citetitle>Authorship and " "Copyright</citetitle> (London: Routledge, 1992), 62–69." #. type: Content of: <book><part><chapter><para> msgid "" "The booksellers' argument was not accepted without a fight. The hero of " "this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " "type=\"footnote\" id=\"0\"/>" msgstr "" "Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " "kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><indexterm><primary> msgid "Rose, Mark" msgstr "Rose, Mark" #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " "University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " "University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" #. f9 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Ibid., 93." msgstr "Ibid., 93." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Boswell, James" msgstr "Boswell, James" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Erskine, Andrew" msgstr "Erskine, Andrew" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Donaldson was an outsider to the London Conger. He began his career in " #| "Edinburgh in 1750. The focus of his business was inexpensive reprints " #| "\"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\"/> <placeholder type=\"indexterm" #| "\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" msgid "" "Donaldson was an outsider to the London Conger. He began his career in " "Edinburgh in 1750. The focus of his business was inexpensive reprints " "<quote>of standard works whose copyright term had expired,</quote> at least " "under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " "Donaldson's publishing house prospered and became <quote>something of a " "center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " "Mark Rose writes, was <quote>the young James Boswell who, together with his " "friend Andrew Erskine, published an anthology of contemporary Scottish poems " "with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/>" msgstr "" "Donaldson var en fremmed for Londons \"the Conger\". Han startet in karriere " "i Edinburgh i 1750. Hans forretningsidé var billige kopier av standardverk " "falt i det fri, ihvertfall fri ifølge \"Statute of Anne\".<placeholder type=" "\"footnote\" id=\"0\"/> Donaldsons forlag vokste og ble \"et sentrum for " "litterære skotter.\" \"Blant dem,\" skriver professor Mark Rose, var \"den " "unge James Boswell som, sammen med sin venn Andrew Erskine, publiserte en " "hel antologi av skotsk samtidspoesi sammen med Donaldson.\"<placeholder type=" "\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " "<placeholder type=\"indexterm\" id=\"3\"/>" #. f10 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle>, 167 (quoting Borwell)." msgstr "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle>, 167 (quoting Borwell)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "When the London booksellers tried to shut down Donaldson's shop in " #| "Scotland, he responded by moving his shop to London, where he sold " #| "inexpensive editions \"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." msgid "" "When the London booksellers tried to shut down Donaldson's shop in Scotland, " "he responded by moving his shop to London, where he sold inexpensive " "editions <quote>of the most popular English books, in defiance of the " "supposed common law right of Literary Property.</quote><placeholder type=" "\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " "percent, and he rested his right to compete upon the ground that, under the " "Statute of Anne, the works he was selling had passed out of protection." msgstr "" "Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så " "flyttet han butikken til London. Her solgte han billige utgaver av \"de mest " "populære, engelske bøker, i kamp mot sedvanerettens rett til litterær " "eiendom.\" <placeholder type=\"footnote\" id=\"0\"/> Bøkene hans var mellom " "30% og 50% billigere enn \"the Conger\"s, og han baserte sin rett til denne " "konkurransen på at bøkene, takket være \"Statute of Anne\", var falt i det " "fri." #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>Millar</citetitle> v. " #| "<citetitle>Taylor</citetitle>." msgid "" "The London booksellers quickly brought suit to block <quote>piracy</quote> " "like Donaldson's. A number of actions were successful against the " "<quote>pirates,</quote> the most important early victory being " "<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." msgstr "" "Londons bokselgere begynte straks å slå ned mot \"pirater\" som Donaldson. " "Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen " "mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</citetitle>." #. f11 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " #| "Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law " #| "Review</citetitle> 29 (1983): 1152." msgid "" "Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " "Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " "Review</citetitle> 29 (1983): 1152." msgstr "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " "Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</" "citetitle> 29 (1983): 1152." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Millar was a bookseller who in 1729 had purchased the rights to James " #| "Thomson's poem \"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\"/>" msgid "" "Millar was a bookseller who in 1729 had purchased the rights to James " "Thomson's poem <quote>The Seasons.</quote> Millar complied with the " "requirements of the Statute of Anne, and therefore received the full " "protection of the statute. After the term of copyright ended, Robert Taylor " "began printing a competing volume. Millar sued, claiming a perpetual common " "law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" "Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James " "Thomsons dikt \"The Seasons\". Millar hadde da full beskyttelse gjennom " "\"Statute of Anne\", men etter at denne beskyttelsen var uløpt, begynte " "Robert Taylor å trykke et konkurrerende bind. Millar gikk til sak, og hevdet " "han hadde en evig rett gjennom sedvaneretten, uansett hva \"Statute of Anne" "\" sa.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Astonishingly to modern lawyers, one of the greatest judges in English " #| "history, Lord Mansfield, agreed with the booksellers. Whatever protection " #| "the Statute of Anne gave booksellers, it did not, he held, extinguish any " #| "common law right. The question was whether the common law would protect " #| "the author against subsequent \"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." msgid "" "Astonishingly to modern lawyers, one of the greatest judges in English " "history, Lord Mansfield, agreed with the booksellers. Whatever protection " "the Statute of Anne gave booksellers, it did not, he held, extinguish any " "common law right. The question was whether the common law would protect the " "author against subsequent <quote>pirates.</quote> Mansfield's answer was " "yes: The common law would bar Taylor from reprinting Thomson's poem without " "Millar's permission. That common law rule thus effectively gave the " "booksellers a perpetual right to control the publication of any book " "assigned to them." msgstr "" "Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av " "de største dommere i engelsk historie, Lord Mansfield, enig med " "bokhandlerne. Uansett hvilken beskyttelse \"Statute of Anne\" gav " "bokhandlerne, så sa han at den ikke fortrengte noe fra sedvaneretten. " "Spørsmålet var hvorvidt sedvaneretten beskyttet forfatterne mot pirater. " "Mansfield svar var ja: Sedvaneretten nektet Taylor å reprodusere Thomsons " "dikt uten Millars tillatelse. Slik gav sedvaneretten bokselgerne en evig " "publiseringsrett til bøker solgt til dem." #. PAGE BREAK 103 #. type: Content of: <book><part><chapter><para> msgid "" "Considered as a matter of abstract justice—reasoning as if justice " "were just a matter of logical deduction from first principles—" "Mansfield's conclusion might make some sense. But what it ignored was the " "larger issue that Parliament had struggled with in 1710: How best to limit " "the monopoly power of publishers? Parliament's strategy was to offer a term " "for existing works that was long enough to buy peace in 1710, but short " "enough to assure that culture would pass into competition within a " "reasonable period of time. Within twenty-one years, Parliament believed, " "Britain would mature from the controlled culture that the Crown coveted to " "the free culture that we inherited." msgstr "" "Ser man på det som et spørsmål innen abstrakt jus - dersom man resonnere som " "om rettferdighet bare var logisk deduksjon fra de første bud - kunne " "Mansfields konklusjon gitt mening. Men den overså det Parlamentet hadde " "kjempet for i 1710: Hvordan man på best mulig vis kunne innskrenke " "utgivernes monopolmakt. Parlamentets strategi hadde vært å kjøpe fred " "gjennom å tilby en beskyttelsesperiode også for eksisterende verk, men " "perioden måtte være så kort at kulturen ble utsatt for konkurranse innen " "rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " "kronen, inn i en fri og åpen kultur." #. type: Content of: <book><part><chapter><para> msgid "" "The fight to defend the limits of the Statute of Anne was not to end there, " "however, and it is here that Donaldson enters the mix." msgstr "" "Kampen for å forsvare \"Statute of Anne\"s begrensninger sluttet uansett " "ikke der, for nå kommer Donaldson." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Beckett, Thomas" msgstr "Beckett, Thomas" #. f12 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Ibid., 1156." msgstr "Ibid., 1156." #. type: Content of: <book><part><chapter><para> msgid "" "Millar died soon after his victory, so his case was not appealed. His estate " "sold Thomson's poems to a syndicate of printers that included Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " "unauthorized edition of Thomson's works. Beckett, on the strength of the " "decision in <citetitle>Millar</citetitle>, got an injunction against " "Donaldson. Donaldson appealed the case to the House of Lords, which " "functioned much like our own Supreme Court. In February of 1774, that body " "had the chance to interpret the meaning of Parliament's limits from sixty " "years before." msgstr "" "Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over " "Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " "utgave av Thomsons verk. Etter avgjørelsen i <citetitle>Millar</citetitle>-" "saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " "Overhuset, som da fungerte som en slags høyesterett. I februar 1774 hadde " "dette organet muligheten til å tolke Parlamentets mening med utøpsdatoen fra " "seksti år før." #. type: Content of: <book><part><chapter><para> msgid "" "As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " "<citetitle>Beckett</citetitle> drew an enormous amount of attention " "throughout Britain. Donaldson's lawyers argued that whatever rights may have " "existed under the common law, the Statute of Anne terminated those rights. " "After passage of the Statute of Anne, the only legal protection for an " "exclusive right to control publication came from that statute. Thus, they " "argued, after the term specified in the Statute of Anne expired, works that " "had been protected by the statute were no longer protected." msgstr "" "Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" "citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " "advokater mente at selv om det før fantes en del rettigheter i " "sedvaneretten, så var disse fortrengt av \"Statute of Anne\". Etter at " "\"Statute of Anne\" var blitt vedtatt, skulle den eneste lovlige beskyttelse " "for trykkerett kom derfra. Og derfor, mente de, i tråd med vilkårene i " "\"Statute of Anne\", falle i det fri så fort beskyttelsesperioden var over." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The House of Lords was an odd institution. Legal questions were presented " #| "to the House and voted upon first by the \"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." msgid "" "The House of Lords was an odd institution. Legal questions were presented to " "the House and voted upon first by the <quote>law lords,</quote> members of " "special legal distinction who functioned much like the Justices in our " "Supreme Court. Then, after the law lords voted, the House of Lords generally " "voted." msgstr "" "Overhuset var en merkelig institusjon. Juridiske spørsmål ble presentert for " "huset, og ble først stemt over av \"juslorder\", medlemmer av enspesiell " "rettslig gruppe som fungerte nesten slik som justiariusene i vår " "Høyesterett. Deretter, etter at \"juslordene\" hadde stemt, stemte resten av " "Overhuset." #. PAGE BREAK 104 #. type: Content of: <book><part><chapter><para> msgid "" "The reports about the law lords' votes are mixed. On some counts, it looks " "as if perpetual copyright prevailed. But there is no ambiguity about how the " "House of Lords voted as whole. By a two-to-one majority (22 to 11) they " "voted to reject the idea of perpetual copyrights. Whatever one's " "understanding of the common law, now a copyright was fixed for a limited " "time, after which the work protected by copyright passed into the public " "domain." msgstr "" "Rapportene om juslordene stemmer er uenige. På enkelte punkter ser det ut " "som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " "hvordan resten av Overhuset stemte. Med en majoritet på to mot en (22 mot " "11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " "hadde tolket sedvaneretten, var nå kopiretten begrenset til en periode, og " "etter denne ville verket falle i det fri." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Bacon, Francis" msgstr "Bacon, Francis" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Bunyan, John" msgstr "Bunyan, John" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Johnson, Samuel" msgstr "Johnson, Samuel" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Milton, John" msgstr "Milton, John" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Shakespeare, William" msgstr "Shakespeare, William" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"The public domain.\" Before the case of <citetitle>Donaldson</" #| "citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of " #| "a public domain in England. Before 1774, there was a strong argument that " #| "common law copyrights were perpetual. After 1774, the public domain was " #| "born. For the first time in Anglo-American history, the legal control " #| "over creative works expired, and the greatest works in English " #| "history—including those of Shakespeare, Bacon, Milton, Johnson, and " #| "Bunyan—were free of legal restraint. <placeholder type=\"indexterm" #| "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder " #| "type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " #| "<placeholder type=\"indexterm\" id=\"4\"/>" msgid "" "<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" "citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " "public domain in England. Before 1774, there was a strong argument that " "common law copyrights were perpetual. After 1774, the public domain was " "born. For the first time in Anglo-American history, the legal control over " "creative works expired, and the greatest works in English history—" "including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" "were free of legal restraint. <placeholder type=\"indexterm\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " "id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" "\"indexterm\" id=\"4\"/>" msgstr "" "\"Å falle i det fri\". Før rettssaken <citetitle>Donaldson</citetitle> mot " "<citetitle>Beckett</citetitle> var det ingen klar oppfatning om hva å falle " "i det fri innebar. Før 1774 var det jo en allmenn oppfatning om at " "kopiretten var evigvarende. Men etter 1774 ble Public Domain født.For første " "gang i angloamerikansk historie var den lovlige beskyttelsen av et verk " "utgått, og de største verk i engelsk historie - inkludert Shakespeare, " "Bacon, Milton, Johnson og Bunyan - var frie. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " "<placeholder type=\"indexterm\" id=\"4\"/>" #. f13 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Rose, 97." msgstr "Rose, 97." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "It is hard for us to imagine, but this decision by the House of Lords " #| "fueled an extraordinarily popular and political reaction. In Scotland, " #| "where most of the \"pirate publishers\" did their work, people celebrated " #| "the decision in the streets. As the <citetitle>Edinburgh Advertiser</" #| "citetitle> 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\"/>" msgid "" "It is hard for us to imagine, but this decision by the House of Lords fueled " "an extraordinarily popular and political reaction. In Scotland, where most " "of the <quote>pirate publishers</quote> did their work, people celebrated " "the decision in the streets. As the <citetitle>Edinburgh Advertiser</" "citetitle> reported, <quote>No private cause has so much engrossed the " "attention of the public, and none has been tried before the House of Lords " "in the decision of which so many individuals were interested.</quote> " "<quote>Great rejoicing in Edinburgh upon victory over literary property: " "bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte " "opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste " "piratugiverne hadde holdt til, ble avgjørelsen feiret i gatene. Som " "<citetitle>Edinburgh Advertiser</citetitle> skrev \"Ingen privatsak har noen " "gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt prøvet i " "Overhuset har interessert så mange enkeltmennesker.\" \"Stor glede i " "Edinburgh etter seieren over litterær eiendom: bål og *illuminations*." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "In London, however, at least among publishers, the reaction was equally " "strong in the opposite direction. The <citetitle>Morning Chronicle</" "citetitle> reported:" msgstr "" "I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " "motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" #. type: Content of: <book><part><chapter><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 "" "Gjennom denne avgjørelsen … er verdier til nesten 200 000 pund, som " "er blitt ærlig kjøpt gjennom allment salg, og som i går var eiendom, er nå " "redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " "har solgt hus og eiendom for å kjøpe kopirettigheter, er med ett ruinerte, " "og mange som gjennom mange år har opparbeidet kompetanse for å brødfø " "familien, sitter nå uten en shilling til sine.<placeholder type=\"footnote\" " "id=\"0\"/>" #. PAGE BREAK 105 #. type: Content of: <book><part><chapter><para> #, 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 <emphasis>free</" #| "emphasis>. Not in the sense that copyrights would not be respected, for " #| "of course, for a limited time after a work was published, the bookseller " #| "had an exclusive right to control the publication of that book. And not " #| "in the sense that books could be stolen, for even after a copyright " #| "expired, you still had to buy the book from someone. But <emphasis>free</" #| "emphasis> in the sense that the culture and its growth would no longer be " #| "controlled by a small group of publishers. As every free market does, " #| "this free market of free culture would grow as the consumers and " #| "producers chose. English culture would develop as the many English " #| "readers chose to let it develop— chose in the books they bought and " #| "wrote; chose in the memes they repeated and endorsed. Chose in a " #| "<emphasis>competitive context</emphasis>, not a context in which the " #| "choices about what culture is available to people and how they get access " #| "to it are made by the few despite the wishes of the many." msgid "" "<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " "exaggeration to say that the change was profound. The decision of the House " "of Lords meant that the booksellers could no longer control how culture in " "England would grow and develop. Culture in England was thereafter " "<emphasis>free</emphasis>. Not in the sense that copyrights would not be " "respected, for of course, for a limited time after a work was published, the " "bookseller had an exclusive right to control the publication of that book. " "And not in the sense that books could be stolen, for even after a copyright " "expired, you still had to buy the book from someone. But <emphasis>free</" "emphasis> in the sense that the culture and its growth would no longer be " "controlled by a small group of publishers. As every free market does, this " "free market of free culture would grow as the consumers and producers chose. " "English culture would develop as the many English readers chose to let it " "develop— chose in the books they bought and wrote; chose in the memes " "they repeated and endorsed. Chose in a <emphasis>competitive context</" "emphasis>, not a context in which the choices about what culture is " "available to people and how they get access to it are made by the few " "despite the wishes of the many." msgstr "" "Ruinert er en overdrivelse. Men det er ingen overdrivelse å si at endringen " "var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen " "kontrollere hvordan kulturen i England ville vokse og utvikle seg. Kulturen " "i England var etter dette <emphasis>fri</emphasis>. Ikke i den betydning at " "kopiretten ble ignorert, for utgiverne hadde i en begrenset periode rett " "over trykkingen. Og heller ikke i den betydningen at bøker kunne stjeles, " "for selv etter at boken var falt i det fri, så måtte den kjøpes. Men " "<emphasis>fri</emphasis> i betydningen at kulturen og dens vekst ikke lenger " "var kontrollert av en liten gruppe utgivere. Som alle frie markeder, ville " "dette markedet vokse og utvikle seg etter tilbud og etterspørsel. Den " "engelske kulturen ble nå formet slik flertallet Englands lesere ville at det " "skulle formes - gjennom valget av hva de kjøpte og skrev, gjennom valget av " "*memes* de gjentok og beundret. Valg i en <emphasis>konkurrerende " "sammenheng</emphasis>, ikke der hvor valgene var om hvilken kultur som " "skulle være tilgjengelig for folket og hvor deres tilgang til den ble styrt " "av noen få, på tros av flertallets ønsker." #. type: Content of: <book><part><chapter><para> msgid "" "At least, this was the rule in a world where the Parliament is antimonopoly, " "resistant to the protectionist pleas of publishers. In a world where the " "Parliament is more pliant, free culture would be less protected." msgstr "" "Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " "holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett å " "påvirke, vil den frie kultur være mindre beskyttet." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER SEVEN: Recorders" msgstr "Kapittel sju: Innspillerne" #. type: Content of: <book><part><chapter><para> 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 Else er en filmskaper. Han er mest kjent for sine dokumentarer og har på " "ypperlig vis klart å spre sin kunst. Han er også en lærer, som meg selv, og " "jeg misunner den lojaliteten og beundringen hans studenter har for ham. (Ved " "et uhell møtte jeg to av hans studenter i et middagsselskap og han var deres " "Gud.)" #. type: Content of: <book><part><chapter><para> msgid "" "Else worked on a documentary that I was involved in. At a break, he told me " "a story about the freedom to create with film in America today." msgstr "" "Else arbeidet med en dokumentarfilm hvor også jeg var involvert. I en pause " "så fortalte han meg om hvordan det kunne være å skape film i dagens Amerika." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "San Francisco Opera" msgstr "San Francisco Opera" #. type: Content of: <book><part><chapter><para> msgid "" "In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " "focus was stagehands at the San Francisco Opera. Stagehands are a " "particularly funny and colorful element of an opera. During a show, they " "hang out below the stage in the grips' lounge and in the lighting loft. They " "make a perfect contrast to the art on the stage. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var på " "*stagehands* på San Francisco Opera. Stagehands er spesielt morsomt og " "fargerikt innslag i en opera. I løpet av forestillingen oppholder de seg " "blant publikum og på lysloftet. De er en perfekt kontrast til kunsten på " "scenen.<placeholder type=\"indexterm\" id=\"0\"/>" #. PAGE BREAK 107 #. type: Content of: <book><part><chapter><para> msgid "" "During one of the performances, Else was shooting some stagehands playing " "checkers. In one corner of the room was a television set. Playing on the " "television set, while the stagehands played checkers and the opera company " "played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " "this touch of cartoon helped capture the flavor of what was special about " "the scene." msgstr "" "Under en forestilling, filmet Else noen stagehands som spilte *checkers*. I " "et hjørne av rommet stod det et fjernsynsapparat. På fjernsynet, mens " "forestillingen pågikk og operakompaniet spilte Wagner, gikk <citetitle>The " "Simpsons</citetitle>. Slik Else så det, så hjalp dette tegnefilm-innslaget " "med å fange det spesielle med scenen." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Years later, when he finally got funding to complete the film, Else " #| "attempted to clear the rights for those few seconds of <citetitle>The " #| "Simpsons</citetitle>. For of course, those few seconds are copyrighted; " #| "and of course, to use copyrighted material you need the permission of the " #| "copyright owner, unless \"fair use\" or some other privilege applies." msgid "" "Years later, when he finally got funding to complete the film, Else " "attempted to clear the rights for those few seconds of <citetitle>The " "Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " "of course, to use copyrighted material you need the permission of the " "copyright owner, unless <quote>fair use</quote> or some other privilege " "applies." msgstr "" "Så noen år senere, da han endelig hadde fått ordnet den siste " "finansieringen, ville Else skaffe rettigheter til å bruke disse få sekundene " "med <citetitle>The Simpson</citetitle>. For disse få sekundene var selvsagt " "beskyttet av opphavsretten, og for å bruke beskyttet materiale må man ha " "tillatelse fra eieren, dersom det ikke er \"rimelig bruk\" eller det " "foreligger spesielle avtaler." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Gracie Films" msgstr "Gracie Films" #. type: Content of: <book><part><chapter><para> msgid "" "Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " "to get permission. Groening approved the shot. The shot was a four-and-a-" "halfsecond image on a tiny television set in the corner of the room. How " "could it hurt? Groening was happy to have it in the film, but he told Else " "to contact Gracie Films, the company that produces the program. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " "for å få tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " "fire og et halvt sekund på et lite fjernsyn, bakerst i et hjørne av rommet. " "Hvordan kunne det skade? Groening var glad for å få ha det med i filmen, men " "han ba Else om å kontakte Gracie Films, firmaet som produserer programmet." "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Gracie Films was okay with it, too, but they, like Groening, wanted to be " "careful. So they told Else to contact Fox, Gracie's parent company. Else " "called Fox and told them about the clip in the corner of the one room shot " "of the film. Matt Groening had already given permission, Else said. He was " "just confirming the permission with Fox. <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Gracie Films sa også at det var greit, men de, slik som Groening, ønsket å " "være forsiktige, og ba Else om å kontakte Fox, konsernet som eide Gracie. Og " "Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " "hjørnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " "sin tillatelse, sa Else. Han ville bare få det avklart med Fox.<placeholder " "type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Then, as Else told me, \"two things happened. First we discovered " #| "… that Matt Groening doesn't own his own creation—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 " #| "<citetitle>Simpsons</citetitle> which was in the corner of the shot.\"" msgid "" "Then, as Else told me, <quote>two things happened. First we discovered " "… that Matt Groening doesn't own his own creation—or at least " "that someone [at Fox] believes he doesn't own his own creation.</quote> And " "second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " "use this four-point-five seconds of … entirely unsolicited " "<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" msgstr "" "Deretter, fortalte Else: \"skjedde to ting. Først oppdaget vi … at " "Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos Fox] " "trodde at han ikke eide sitt eget verk.\" Som det andre krevde Fox \"ti " "tusen dollar i lisensavgift for disse fire og et halvt sekundene med " "… fullstendig tilfeldig <citetitle>Simpson</citetitle> som var i et " "hjørne i ett opptak.\"" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Else was certain there was a mistake. He worked his way up to someone he " #| "thought was a vice president for licensing, Rebecca Herrera. He " #| "explained to her, \"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." msgid "" "Else was certain there was a mistake. He worked his way up to someone he " "thought was a vice president for licensing, Rebecca Herrera. He explained " "to her, <quote>There must be some mistake here. … We're asking for " "your educational rate on this.</quote> That was the educational rate, " "Herrera told Else. A day or so later, Else called again to confirm what he " "had been told." msgstr "" "Ellers var sikker på at det var en feil. Han fikk tak i noen som han trodde " "var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " "\"det må være en feil her … Vi ber deg om en utdanningssats på dette." "\" Og de hadde fått utdanningssats, fortalte Herrera. Kort tid etter ringte " "Else igjen for å få dette bekreftet." #. PAGE BREAK 108 #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>The Simpsons</citetitle> in the corner of a shot in a " #| "documentary film about Wagner's Ring Cycle. And then, astonishingly, " #| "Herrera told Else, \"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.\"" msgid "" "<quote>I wanted to make sure I had my facts straight,</quote> he told me. " "<quote>Yes, you have your facts straight,</quote> she said. It would cost " "$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " "of a shot in a documentary film about Wagner's Ring Cycle. And then, " "astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " "over to our attorneys.</quote> As an assistant to Herrera told Else later " "on, <quote>They don't give a shit. They just want the money.</quote>" msgstr "" "\"Jeg måtte være sikker på at jeg hadde riktige opplysninger foran meg,\" sa " "han. \"Ja, du har riktige opplysninger,\" sa hun. Det ville koste $10 000 å " "bruke dette lille klippet av <citetitle>The Simpson</citetitle>, plassert " "bakerst i et hjørne i en scene i en dokumentar om Wagners Ring Cycle. Som om " "det ikke var nok, forbløffet Herrera Else med å si \"Og om du siterer meg, " "vil du høre fra våre advokater.\" En av Herreras assistenter fortalte Else " "at \"De bryr seg ikke i det heletatt. Alt de vil ha er pengene.\"" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Day After Trinity, The" msgstr "" #. type: Content of: <book><part><chapter><para> msgid "" "Else didn't have the money to buy the right to replay what was playing on " "the television backstage at the San Francisco Opera. To reproduce this " "reality was beyond the documentary filmmaker's budget. At the very last " "minute before the film was to be released, Else digitally replaced the shot " "with a clip from another film that he had worked on, <citetitle>The Day " "After Trinity</citetitle>, from ten years before. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Men Else hadde ikke penger til å kjøpe lisens for klippet. Så å gjenskape " "denne delen av virkeligheten, lå langt utenfor hans budsjett. Like før " "dokumentaren skulle slippes, redigerte Else inn et annet klipp på " "fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " "Trinity</citetitle> fra ti år tidligere. <placeholder type=\"indexterm\" id=" "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "There's no doubt that someone, whether Matt Groening or Fox, owns the " "copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " "property. To use that copyrighted material thus sometimes requires the " "permission of the copyright owner. If the use that Else wanted to make of " "the <citetitle>Simpsons</citetitle> copyright were one of the uses " "restricted by the law, then he would need to get the permission of the " "copyright owner before he could use the work in that way. And in a free " "market, it is the owner of the copyright who gets to set the price for any " "use that the law says the owner gets to control." msgstr "" "Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " "rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " "eiendom. For å bruke beskyttet mteriale, kreves det ofte at men får " "tillatelse fra eieren eller eierne. Dersom Else ønsket å bruke " "<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " "beskyttelse, så må han innhente tillatelse fra eieren før han kan bruke det. " "Og i et fritt markes er det eieren som bestemmer hvor mye han/hun vil ta for " "hvilken som helst bruk (hvor loven krever tillatelse fra eier)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "For example, \"public performance\" is a use of <citetitle>The Simpsons</" #| "citetitle> that the copyright owner gets to control. If you take a " #| "selection of favorite episodes, rent a movie theater, and charge for " #| "tickets to come see \"My Favorite <citetitle>Simpsons</citetitle>,\" then " #| "you need to get permission from the copyright owner. And the copyright " #| "owner (rightly, in my view) can charge whatever she wants—$10 or " #| "$1,000,000. That's her right, as set by the law." msgid "" "For example, <quote>public performance</quote> is a use of <citetitle>The " "Simpsons</citetitle> that the copyright owner gets to control. If you take a " "selection of favorite episodes, rent a movie theater, and charge for tickets " "to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " "you need to get permission from the copyright owner. And the copyright owner " "(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " "That's her right, as set by the law." msgstr "" "For eksempel \"offentlig fremvisning\"* av <citetitle>The Simpson</" "citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " "velger ut dine favorittepisoder, leier en kinosal og selger billetter til " "\"Mine <citetitle>Simpson</citetitle>-favoritter\", så må du ha tillatelse " "fra rettighetsinnhaveren (eieren). Og eieren kan (med rette, slik jeg ser " "det) kreve hvor mye han vil; $10ellr $1 000 000. Det er hans rett ifølge " "loven." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, 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 " #| "<citetitle>Eldred</citetitle>\" (draft on file with author), University " #| "of Chicago Law School, 5 August 2003." msgid "" "For an excellent argument that such use is <quote>fair use,</quote> but that " "lawyers don't permit recognition that it is <quote>fair use,</quote> see " "Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " "Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " "with author), University of Chicago Law School, 5 August 2003." msgstr "" "Ønsker du å lese en flott redegjørelse om hvordan dette er \"fair use\", og " "hvordan advokatene ikke anerkjenner det, så les Richard A. Posner og William " "F. Patry, \"Fair Use and Statutory Reform in the Wake of <citetitle>Eldred</" "citetitle> \" (utkast arkivert hos forfatteren), University of Chicago Law " "School, 5. august 2003." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But when lawyers hear this story about Jon Else and Fox, their first " #| "thought is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's " #| "use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" #| "citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" #| "citetitle>—and fair use does not require the permission of anyone." msgid "" "But when lawyers hear this story about Jon Else and Fox, their first thought " "is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " "use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" "citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" "citetitle>—and fair use does not require the permission of anyone." msgstr "" "Men når jurister hører denne historien om Jon Else og Fox, så er deres " "første tanke \"rimelig bruk\".<placeholder type=\"footnote\" id=\"0\"/> " "Elses bruk av 4,5 sekunder med et indirekte klipp av en <citetitle>Simpsons</" "citetitle>-episode er et klart eksempel på \"rimelig bruk\" av " "<citetitle>The Simpsons</citetitle>— og \"rimelig bruk\" krever ingen " "tillatelse fra noen." #. PAGE BREAK 109 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "So I asked Else why he didn't just rely upon \"fair use.\" Here's his " #| "reply:" msgid "" "So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " "his reply:" msgstr "" "Så jeg spurte Else om hvorfor han ikke bare stolte på \"fair use\". Og her " "er hans svar:" #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in " #| "the gulf between what lawyers find irrelevant in some abstract sense, and " #| "what is crushingly relevant in practice to those of us actually trying to " #| "make and broadcast documentaries. I never had any doubt that it was " #| "\"clearly fair use\" in an absolute legal sense. But I couldn't rely on " #| "the concept in any concrete way. Here's why:" msgid "" "The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " "gulf between what lawyers find irrelevant in some abstract sense, and what " "is crushingly relevant in practice to those of us actually trying to make " "and broadcast documentaries. I never had any doubt that it was " "<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " "rely on the concept in any concrete way. Here's why:" msgstr "" "<citetitle>Simpsons</citetitle>-fiaskoen lærte meg om hvor stor avstand det " "var mellom det jurister finner urelevant på en abstrakt måte, og hva som er " "knusende relevant på en konkret måte for oss som prøver å lage og kringkaste " "dokumentarer. Jeg tvilte aldri på at dette helt klart var \"rimelig bruk\", " "men jeg kunne ikke stole på konseptet på noen konkret måte. Og dette er " "grunnen:" #. 1. #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> #, fuzzy #| msgid "" #| "Before our films can be broadcast, the network requires that we buy " #| "Errors and Omissions insurance. The carriers require a detailed \"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." msgid "" "Before our films can be broadcast, the network requires that we buy Errors " "and Omissions insurance. The carriers require a detailed <quote>visual cue " "sheet</quote> listing the source and licensing status of each shot in the " "film. They take a dim view of <quote>fair use,</quote> and a claim of " "<quote>fair use</quote> can grind the application process to a halt." msgstr "" "Før våre filmer kan kringkastes, krever nettverket at vi kjøper en \"Errors " "and Omissions\"-forsikring. Den krever en detailjert \"visual cue sheet\" " "med alle kilder og lisens-status på alle scener i filmen. De har et smalt " "syn på \"fair use\", og å påstå at noe er nettopp det kan forsinke, og i " "verste fall stoppe, prosessen." #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para><indexterm><primary> msgid "Lucas, George" msgstr "Lucas, George" #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> msgid "" "I probably never should have asked Matt Groening in the first place. But I " "knew (at least from folklore) that Fox had a history of tracking down and " "stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " "Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " "usage. So I decided to play by the book, thinking that we would be granted " "free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " "a documentary producer working to exhaustion on a shoestring, the last thing " "I wanted was to risk legal trouble, even nuisance legal trouble, and even to " "defend a principle. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " "(ihvertfall fra rykter) at Fox tidligere hadde brukt å jakte på og stoppe " "ulisensiert bruk av <citetitle>The Simpsons</citetitle>, på samme måte som " "George Lucas var veldig ivrig på å forfølge bruken av <citetitle>Star Wars</" "citetitle>. Så jeg bestemte meg for å følge boka, og trodde at vi kulle få " "til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " "<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende på " "randen av utryddelse, var det siste jeg ønsket en juridisk strid, selv for å " "forsvare et prinsipp." #. 3. #. PAGE BREAK 110 #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> #, fuzzy #| msgid "" #| "I did, in fact, speak with one of your colleagues at Stanford Law School " #| "… 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." 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 <quote>depose and litigate you to within an inch of your life,</quote> " "regardless of the merits of my claim. He made clear that it would boil down " "to who had the bigger legal department and the deeper pockets, me or them." msgstr "" "Jeg snakket faktisk med en av dine kolleger på Stanford Law School … " "som bekreftet at dette var rimelig bruk. Han bekreftet også at Fox ville " "\"depose and litigate you to within an inch of your life\", uavhengig av " "sannheten i mine krav. Han gjorde det klart at alt ville koke ned til hvem " "som hadde flest jurister og dypest lommer, jeg eller dem." #. 4. #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> msgid "" "The question of fair use usually comes up at the end of the project, when we " "are up against a release deadline and out of money." msgstr "" "Spørsmålet om \"fair use\" dukker om regel opp helt mot slutten av " "prosjektet, når vi nærmer oss siste frist og er tomme for penger." #. type: Content of: <book><part><chapter><para> msgid "" "In theory, fair use means you need no permission. The theory therefore " "supports free culture and insulates against a permission culture. But in " "practice, fair use functions very differently. The fuzzy lines of the law, " "tied to the extraordinary liability if lines are crossed, means that the " "effective fair use for many types of creators is slight. The law has the " "right aim; practice has defeated the aim." msgstr "" "I teorien betyr \"fair use\" at du ikke trenger tillatelse. Teorien støtter " "derfor den frie kultur og arbeider mot tillatelseskulturen. Men i praksis " "fungerer \"fair use\" helt annerledes. Men de uklare linjene i lovverket, " "samt de fryktelige konsekvensene dersom man tar feil, gjør at mange " "kunstnere ikke stoler på \"fair use\". Loven har en svært god hensikt, men " "praksisen har ikke fulgt opp." #. type: Content of: <book><part><chapter><para> msgid "" "This practice shows just how far the law has come from its eighteenth-" "century roots. The law was born as a shield to protect publishers' profits " "against the unfair competition of a pirate. It has matured into a sword that " "interferes with any use, transformative or not." msgstr "" "Dette eksempelet viser hvor langt denne loven har kommet fra sine " "syttenhundretalls røtter. Loven som skulle beskytte utgiverne mot " "urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned på " "_all_ bruk, transformativ* eller ikke." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER EIGHT: Transformers" msgstr "Kapittel åtte: Omformere" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Allen, Paul" msgstr "Allen, Paul" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Alben, Alex" msgstr "Alben, Alex" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Alben had a special interest in new technology. He was intrigued by the " "emerging market for CD-ROM technology—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. idéen var å presentere alt arbeidet av eastwood, med klipp fra " "hans filmer og intervjuer med tallene viktig til sin karriere." #. type: Content of: <book><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Then Alben and his team decided to include actual film clips. <quote>Our " "goal was that we were going to have a clip from every one of Eastwood's " "films,</quote> Alben told me. It was here that the problem arose. <quote>No " "one had ever really done this before,</quote> Alben explained. <quote>No one " "had ever tried to do this in the context of an artistic look at an actor's " "career.</quote>" msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " "<quote>Well, what will it take?</quote>" msgstr "" "Alben brakt idéen til michael slade, ceo i starwave. Slade som ble spurt, " "\"Vel, hva vil det ta?\"" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "artists" msgstr "artister" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> msgid "publicity rights on images of" msgstr "" #. type: Content of: <book><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Technically, the rights that Alben had to clear were mainly those of " "publicity—rights an artist has to control the commercial exploitation " "of his image. But these rights, too, burden <quote>Rip, Mix, Burn</quote> " "creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" "\"0\"/>" 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. <placeholder " "type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Alben replied, <quote>Well, we're going to have to clear rights from " "everyone who appears in these films, and the music and everything else that " "we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " "it.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><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 idé 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><part><chapter><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><part><chapter><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—of course we were " "going to use the <quote>Make my day</quote> clip from <citetitle>Dirty " "Harry</citetitle>. But you then need to get the guy on the ground who's " "wiggling under the gun and you need to get his permission. And then you " "have to decide what you are going to pay him." msgstr "" "så vi 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><part><chapter><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—some of them were " "hard to identify because in Eastwood movies you can't tell who's the guy " "crashing through the glass—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><part><chapter><para> #, mtrans, fuzzy msgid "" "Some actors were glad to help—Donald Sutherland, for example, followed " "up himself to be sure that the rights had been cleared. Others were " "dumbfounded at their good fortune. Alben would ask, <quote>Hey, can I pay " "you $600 or maybe if you were in two films, you know, $1,200?</quote> And " "they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" "quote> And some of course were a bit difficult (estranged ex-wives, in " "particular). But eventually, Alben and his team had cleared the rights to " "this retrospective CD-ROM on Clint Eastwood's career." msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "It was one <emphasis>year</emphasis> later—<quote>and even then we " "weren't sure whether we were totally in the clear.</quote>" msgstr "" "Det var ett år senere, \"og selv da vi var ikke sikker på om vi var helt i " "klartekst.\"" #. type: Content of: <book><part><chapter><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><part><chapter><blockquote><para> #, mtrans, fuzzy msgid "" "Everyone thought it would be too hard. Everyone just threw up their hands " "and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " "music, there's the screenplay, there's the director, there's the actors.</" "quote> But we just broke it down. We just put it into its constituent parts " "and said, <quote>Okay, there's this many actors, this many directors, " "… this many musicians,</quote> 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><part><chapter><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." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Drucker, Peter" msgstr "Drucker, Peter" #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "U.S. Department of Commerce Office of Acquisition Management, " "<citetitle>Seven Steps to Performance-Based Services Acquisition</" "citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " "#22</ulink>." msgstr "" #. type: Content of: <book><part><chapter><para> msgid "" "But I pressed Alben about how weird it seems that it would have to take a " "year's work simply to clear rights. No doubt Alben had done this " "efficiently, but as Peter Drucker has famously quipped, <quote>There is " "nothing so useless as doing efficiently that which should not be done at all." "</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " "Alben, that this is the way a new work has to be made?" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "For, as he acknowledged, <quote>very few … have the time and " "resources, and the will to do this,</quote> and thus, very few such works " "would ever be made. Does it make sense, I asked him, from the standpoint of " "what anybody really thought they were ever giving rights for originally, " "that you would have to go clear rights for these kinds of clips?" msgstr "" "for, som han 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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Or at least, is this <emphasis>how</emphasis> the artist should be " "compensated? Would it make sense, I asked, for there to be some kind of " "statutory license that someone could pay and be free to make derivative use " "of clips like this? Did it really make sense that a follow-on creator would " "have to track down every artist, actor, director, musician, and get explicit " "permission from each? Wouldn't a lot more be created if the legal part of " "the creative process could be made to be more clean?" msgstr "" "eller 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><part><chapter><blockquote><para> #, mtrans, fuzzy msgid "" "Absolutely. I think that if there were some fair-licensing mechanism—" "where you weren't subject to hold-ups and you weren't subject to estranged " "former spouses—you'd see a lot more of this work, because it wouldn't " "be so daunting to try to put together a retrospective of someone's career " "and meaningfully illustrate it with lots of media from that person's career. " "You'd build in a cost as the producer of one of these things. You'd build in " "a cost of paying X dollars to the talent that performed. But it would be a " "known cost. That's the thing that trips everybody up and makes this kind of " "product hard to get off the ground. If you knew I have a hundred minutes of " "film in this product and it's going to cost me X, then you build your budget " "around it, and you can get investments and everything else that you need to " "produce it. But if you say, <quote>Oh, I want a hundred minutes of something " "and I have no idea what it's going to cost me, and a certain number of " "people are going to hold me up for money,</quote> then it becomes difficult " "to put one of these things together." msgstr "" "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><part><chapter><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, " "<quote>Does this still make sense?</quote>" 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 idéen 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><part><chapter><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><part><chapter><para> msgid "" "The video was a brilliant collage of film from every period in the twentieth " "century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " "episode. The execution was perfect, down to the sixty-minute stopwatch. The " "judges loved every minute of it." msgstr "" "Videoen var en glimrende sammenstilling av filmer fra hver periode i det " "tjuende århundret, rammet inn rundt idéen om en episode i TV-serien " "<citetitle>60 Minutes</citetitle>. Utførelsen var perfekt, ned til seksti " "minutter stoppeklokken. Dommerne elsket enhver minutt av den." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Nimmer, David" msgstr "Nimmer, David" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "When the lights came up, I looked over to my copanelist, David Nimmer, " #| "perhaps the leading copyright scholar and practitioner in the nation. He " #| "had an astonished look on his face, as he peered across the room of over " #| "250 well-entertained judges. Taking an ominous tone, he began his talk " #| "with a question: \"Do you know how many federal laws were just violated " #| "in this room?\"" msgid "" "When the lights came up, I looked over to my copanelist, David Nimmer, " "perhaps the leading copyright scholar and practitioner in the nation. He had " "an astonished look on his face, as he peered across the room of over 250 " "well-entertained judges. Taking an ominous tone, he began his talk with a " "question: <quote>Do you know how many federal laws were just violated in " "this room?</quote>" msgstr "" "Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer, " "kanskje den ledende opphavsrettakademiker og utøver i nasjonen. Han hadde en " "forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " "250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " "tale med et spørsmål: \"Vet dere hvor mange føderale lover som nettopp brutt " "i dette rommet?\"" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Boies, David" msgstr "Boies, David" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "We live in a <quote>cut and paste</quote> culture enabled by technology. " "Anyone building a presentation knows the extraordinary freedom that the cut " "and paste architecture of the Internet created—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." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Camp Chaos" msgstr "" #. type: Content of: <book><part><chapter><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><para> #, mtrans, fuzzy msgid "" "All of these creations are technically illegal. Even if the creators wanted " "to be <quote>legal,</quote> the cost of complying with the law is impossibly " "high. Therefore, for the law-abiding sorts, a wealth of creativity is never " "made. And for that part that is made, if it doesn't follow the clearance " "rules, it doesn't get released." msgstr "" "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><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " "the system could simply make it easy for follow-on creators to compensate " "artists without requiring an army of lawyers to come along: a rule, for " "example, that says <quote>the royalty owed the copyright owner of an " "unregistered work for the derivative reuse of his work will be a flat 1 " "percent of net revenues, to be held in escrow for the copyright owner.</" "quote> Under this rule, the copyright owner could benefit from some royalty, " "but he would not have the benefit of a full property right (meaning the " "right to name his own price) unless he registers the work." msgstr "" "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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "In February 2003, DreamWorks studios announced an agreement with Mike Myers, " "the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin " "Powers. According to the announcement, Myers and Dream-Works would work " "together to form a <quote>unique filmmaking pact.</quote> Under the " "agreement, DreamWorks <quote>will acquire the rights to existing motion " "picture hits and classics, write new storylines and—with the use of " "stateof-the-art digital technology—insert Myers and other actors into " "the film, thereby creating an entirely new piece of entertainment.</quote>" 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><part><chapter><para> #, mtrans, fuzzy msgid "" "The announcement called this <quote>film sampling.</quote> As Myers " "explained, <quote>Film Sampling is an exciting way to put an original spin " "on existing films and allow audiences to see old movies in a new light. Rap " "artists have been doing this for years with music and now we are able to " "take that same concept and apply it to film.</quote> Steven Spielberg is " "quoted as saying, <quote>If anyone can create a way to bring old films to " "new audiences, it is Mike.</quote>" msgstr "" "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><part><chapter><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—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><part><chapter><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 <quote>fair use.</" "quote> Much of <quote>sampling</quote> should be considered <quote>fair use." "</quote> But few would rely upon so weak a doctrine to create. That leads to " "the second reason that the privilege is reserved for the few: The costs of " "negotiating the legal rights for the creative reuse of content are " "astronomically high. These costs mirror the costs with fair use: You either " "pay a lawyer to defend your fair use rights or pay a lawyer to track down " "permissions so you don't have to rely upon fair use rights. Either way, the " "creative process is a process of paying lawyers—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><part><chapter><title> msgid "CHAPTER NINE: Collectors" msgstr "Kapittel ni: Samlere" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "In April 1996, millions of <quote>bots</quote>—computer codes designed " "to <quote>spider,</quote> or automatically search the Internet and copy " "content—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\"—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><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " "page, and see all of its copies going back to 1996, as well as when those " "pages changed." msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "This is the thing about the Internet that Orwell would have appreciated. In " "the dystopia described in <citetitle>1984</citetitle>, old newspapers were " "constantly updated to assure that the current view of the world, approved of " "by the government, was not contradicted by previous news reports." msgstr "" "Dette er 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><part><chapter><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><part><chapter><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—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><part><chapter><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, <quote>Combat Operations in Iraq Have Ended.</quote> That was later " "changed, without notice, to <quote>Major Combat Operations in Iraq Have " "Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." msgstr "" "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><part><chapter><para> msgid "" "Until the Way Back Machine, at least. With the Way Back Machine, and the " "Internet Archive underlying it, you can see what the Internet was. You have " "the power to see what you remember. More importantly, perhaps, you also have " "the power to find what you don't remember and what others might prefer you " "forget.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><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—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><part><chapter><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 <emphasis>all</emphasis> forget history. The " "key is whether we have a way to go back to rediscover what we forget. More " "directly, the key is whether an objective past can keep us honest. Libraries " "help do that, by collecting content and keeping it, for schoolchildren, for " "researchers, for grandma. A free society presumes this knowedge." msgstr "" "Det 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><part><chapter><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—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><part><chapter><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><part><chapter><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 <quote>two hundred and thirty terabytes " "of material</quote>—and was <quote>ten times larger than the Library " "of Congress.</quote> And this was just the first of the archives that Kahle " "set out to build. In addition to the Internet Archive, Kahle has been " "constructing the Television Archive. Television, it turns out, is even more " "ephemeral than the Internet. While much of twentieth-century culture was " "constructed through television, only a tiny proportion of that culture is " "available for anyone to see today. Three hours of news are recorded each " "evening by Vanderbilt University—thanks to a specific exemption in the " "copyright law. That content is indexed, and is available to scholars for a " "very low fee. <quote>But other than that, [television] is almost unavailable," "</quote> Kahle told me. <quote>If you were Barbara Walters you could get " "access to [the archives], but if you are just a graduate student?</quote> As " "Kahle put it," msgstr "" "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," #. type: Content of: <book><part><chapter><blockquote><indexterm><primary> msgid "Quayle, Dan" msgstr "Quayle, Dan" #. PAGE BREAK 122 #. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> 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><part><chapter><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><part><chapter><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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " "the Library of Congress,</quote> <citetitle>Film Library Quarterly</" "citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " "Won't Wait: A History of Film Preservation in the United States</citetitle> " "( Jefferson, N.C.: McFarland & 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 & Co, 1992), 36." #. type: Content of: <book><part><chapter><para> msgid "" "These rules applied to film as well. But in 1915, the Library of Congress " "made an exception for film. Film could be copyrighted so long as such " "deposits were made. But the filmmaker was then allowed to borrow back the " "deposits—for an unlimited time at no cost. In 1915 alone, there were " "more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " "the copyrights to films expire, there is no copy held by any library. The " "copy exists—if it exists at all—in the library archive of the " "film company.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "The same is generally true about television. Television broadcasts were " "originally not copyrighted—there was no way to capture the broadcasts, " "so there was no fear of <quote>theft.</quote> But as technology enabled " "capturing, broadcasters relied increasingly upon the law. The law required " "they make a copy of each broadcast for the work to be <quote>copyrighted.</" "quote> But those copies were simply kept by the broadcasters. No library had " "any right to them; the government didn't demand them. The content of this " "part of American culture is practically invisible to anyone who would look." msgstr "" "det samme 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><part><chapter><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><part><chapter><para><indexterm><primary> msgid "Movie Archive" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "Kahle had the same idea with film. Working with Rick Prelinger, whose " "archive of film includes close to 45,000 <quote>ephemeral films</quote> " "(meaning films other than Hollywood movies, films that were never " "copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " "digitize 1,300 films in this archive and post those films on the Internet to " "be downloaded for free. Prelinger's is a for-profit company. It sells copies " "of these films as stock footage. What he has discovered is that after he " "made a significant chunk available for free, his stock footage sales went up " "dramatically. People could easily find the material they wanted to use. Some " "downloaded that material and made films on their own. Others purchased " "copies to enable other films to be made. Either way, the archive enabled " "access to this important part of our culture. Want to see a copy of the " "<quote>Duck and Cover</quote> film that instructed children how to save " "themselves in the middle of nuclear attack? Go to archive.org, and you can " "download the film in a few minutes—for free. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><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><part><chapter><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—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><part><chapter><para> #, mtrans, fuzzy msgid "" "For here is an idea that we should more clearly recognize. Every bit of " "creative property goes through different <quote>lives.</quote> In its first " "life, if the creator is lucky, the content is sold. In such cases the " "commercial market is successful for the creator. The vast majority of " "creative property doesn't enjoy such success, but some clearly does. For " "that content, commercial life is extremely important. Without this " "commercial market, there would be, many argue, much less creativity." msgstr "" "Her er en idé som vi 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><part><chapter><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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord, " "Bar Owner Starts a New Chapter by Adopting Business,</quote> " "<citetitle>Chicago Tribune</citetitle>, 5 September 1997, at Metro Lake 1L. " "Of books published between 1927 and 1946, only 2.2 percent were in print in " "2002. R. Anthony Reese, <quote>The First Sale Doctrine in the Era of Digital " "Networks,</quote> <citetitle>Boston College Law Review</citetitle> 44 " "(2003): 593 n. 51." msgstr "" "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><part><chapter><para> msgid "" "The same has always been true about books. A book goes out of print very " "quickly (the average today is after about a year<placeholder type=\"footnote" "\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " "without the copyright owner getting anything and stored in libraries, where " "many get to read the book, also for free. Used book stores and libraries are " "thus the second life of a book. That second life is extremely important to " "the spread and stability of culture." msgstr "" #. type: Content of: <book><part><chapter><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—" "television, movies, music, radio, the Internet—there is no guarantee " "of a second life. For these sorts of culture, it is as if we've replaced " "libraries with Barnes & 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 " "& 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><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><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. <emphasis>When</emphasis> the commercial " "life of creative property ends, I don't know. But it does. And whenever it " "does, Kahle and his archive hint at a world where this knowledge, and " "culture, remains perpetually available. Some will draw upon it to understand " "it; some to criticize it. Some will use it, as Walt Disney did, to re-create " "the past for the future. These technologies promise something that had " "become unimaginable for much of our past—a future <emphasis>for</" "emphasis> our past. The technology of digital arts could make the dream of " "the Library of Alexandria real again." msgstr "" "Kahle er ikke den eneste 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><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" "quote> might seem, the <quote>content</quote> that is collected in these " "digital spaces is also someone's <quote>property.</quote> And the law of " "property restricts the freedoms that Kahle and others would exercise." msgstr "" "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 idéen 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><part><chapter><title> #, fuzzy #| msgid "CHAPTER TEN: \"Property\"" msgid "CHAPTER TEN: <quote>Property</quote>" msgstr "Kapittel ti: <quote>Eiendom</quote>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Johnson, Lyndon" msgstr "Johnson, Lyndon" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Kennedy, John F." msgstr "Kennedy, John F." #. type: Content of: <book><part><chapter><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—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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" 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><part><chapter><para><indexterm><primary> msgid "Disney, Inc." msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Sony Pictures Entertainment" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "MGM" msgstr "MGM" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Paramount Pictures" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Twentieth Century Fox" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Universal Pictures" msgstr "" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Warner Brothers" msgstr "" #. type: Content of: <book><part><chapter><para> #, 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. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> <placeholder type=" "\"indexterm\" id=\"5\"/> <placeholder type=\"indexterm\" id=\"6\"/>" 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><part><chapter><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—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><part><chapter><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 " "<quote>creative property.</quote>" 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><part><chapter><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><part><chapter><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><part><chapter><blockquote><para> msgid "" "No matter the lengthy arguments made, no matter the charges and the counter-" "charges, no matter the tumult and the shouting, reasonable men and women " "will keep returning to the fundamental issue, the central theme which " "animates this entire debate: <emphasis>Creative property owners must be " "accorded the same rights and protection resident in all other property " "owners in the nation</emphasis>. That is the issue. That is the question. " "And that is the rostrum on which this entire hearing and the debates to " "follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 129 #. type: Content of: <book><part><chapter><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 " "<quote>central theme</quote> to which <quote>reasonable men and women</" "quote> will return is this: <quote>Creative property owners must be accorded " "the same rights and protections resident in all other property owners in the " "nation.</quote> There are no second-class citizens, Valenti might have " "continued. There should be no second-class property owners." msgstr "" "strategien for denne 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><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " "claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " "perhaps the nation's foremost extremist when it comes to the nature and " "scope of <quote>creative property.</quote> His views have <emphasis>no</" "emphasis> reasonable connection to our actual legal tradition, even if the " "subtle pull of his Texan charm has slowly redefined that tradition, at least " "in Washington." msgstr "" "denne påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt " "med slike klarhet som å gjøre idéen 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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " "bundle of rights that are sometimes associated with a particular object. " "Thus, my <quote>property right</quote> to my car gives me the right to " "exclusive use, but not the right to drive at 150 miles an hour. For the best " "effort to connect the ordinary meaning of <quote>property</quote> to " "<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " "and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " "26–27." 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><part><chapter><para> msgid "" "While <quote>creative property</quote> is certainly <quote>property</quote> " "in a nerdy and precise sense that lawyers are trained to understand," "<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " "should it be, that <quote>creative property owners</quote> have been " "<quote>accorded the same rights and protection resident in all other " "property owners.</quote> Indeed, if creative property owners were given the " "same rights as all other property owners, that would effect a radical, and " "radically undesirable, change in our tradition." msgstr "" #. type: Content of: <book><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "The framers of our Constitution loved <quote>property.</quote> Indeed, so " "strongly did they love property that they built into the Constitution an " "important requirement. If the government takes your property—if it " "condemns your house, or acquires a slice of land from your farm—it is " "required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " "you <quote>just compensation</quote> for that taking. The Constitution thus " "guarantees that property is, in a certain sense, sacred. It cannot " "<emphasis>ever</emphasis> be taken from the property owner unless the " "government pays for the privilege." msgstr "" "forfatterne 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><part><chapter><para> #, mtrans, fuzzy msgid "" "Yet the very same Constitution speaks very differently about what Valenti " "calls <quote>creative property.</quote> In the clause granting Congress the " "power to create <quote>creative property,</quote> the Constitution " "<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " "Congress take back the rights that it has granted and set the " "<quote>creative property</quote> free to the public domain. Yet when " "Congress does this, when the expiration of a copyright term <quote>takes</" "quote> your copyright and turns it over to the public domain, Congress does " "not have any obligation to pay <quote>just compensation</quote> for this " "<quote>taking.</quote> Instead, the same Constitution that requires " "compensation for your land requires that you lose your <quote>creative " "property</quote> right without any compensation at all." msgstr "" "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><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Instead, my argument is that because Jefferson did it, we should at least " "try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " "property types that they were, reject the claim that creative property be " "given the same rights as all other property? Why did they require that for " "creative property there must be a public domain?" msgstr "" "i stedet, 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><part><chapter><para> #, mtrans, fuzzy msgid "" "To answer this question, we need to get some perspective on the history of " "these <quote>creative property</quote> rights, and the control that they " "enabled. Once we see clearly how differently these rights have been " "defined, we will be in a better position to ask the question that should be " "at the core of this war: Not <emphasis>whether</emphasis> creative property " "should be protected, but how. Not <emphasis>whether</emphasis> we will " "enforce the rights the law gives to creative-property owners, but what the " "particular mix of rights ought to be. Not <emphasis>whether</emphasis> " "artists should be paid, but whether institutions designed to assure that " "artists get paid need also control how culture develops." msgstr "" "for 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><part><chapter><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 <citetitle>Code and Other Laws of " "Cyberspace</citetitle>, I used a simple model to capture this more general " "perspective. For any particular right or regulation, this model asks how " "four different modalities of regulation interact to support or weaken the " "right or regulation. I represented it with this diagram:" msgstr "" "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><part><chapter><figure><title> msgid "" "How four different modalities of regulation interact to support or weaken " "the right or regulation." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1331.png\"></graphic>" msgstr "<graphic fileref=\"images/1331.png\"></graphic>" #. type: Content of: <book><part><chapter><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— either " "constrained or, alternatively, enabled. Law is the most obvious constraint " "(to lawyers, at least). It constrains by threatening punishments after the " "fact if the rules set in advance are violated. So if, for example, you " "willfully infringe Madonna's copyright by copying a song from her latest CD " "and posting it on the Web, you can be punished with a $150,000 fine. The " "fine is an ex post punishment for violating an ex ante rule. It is imposed " "by the state. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "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><part><chapter><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><part><chapter><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—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><part><chapter><para> #, mtrans, fuzzy msgid "" "Finally, and for the moment, perhaps, most mysteriously, " "<quote>architecture</quote>—the physical world as one finds it—" "is a constraint on behavior. A fallen bridge might constrain your ability " "to get across a river. Railroad tracks might constrain the ability of a " "community to integrate its social life. As with the market, architecture " "does not effect its constraint through ex post punishments. Instead, also as " "with the market, architecture effects its constraint through simultaneous " "conditions. These conditions are imposed not by courts enforcing contracts, " "or by police punishing theft, but by nature, by <quote>architecture.</quote> " "If a 500-pound boulder blocks your way, it is the law of gravity that " "enforces this constraint. If a $500 airplane ticket stands between you and a " "flight to New York, it is the market that enforces this constraint." msgstr "" "til 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><part><chapter><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><part><chapter><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><part><chapter><indexterm><primary> msgid "driving speed, constraints on" msgstr "kjørehastighet, begrensninger på" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "So, for example, consider the <quote>freedom</quote> to drive a car at a " "high speed. That freedom is in part restricted by laws: speed limits that " "say how fast you can drive in particular places at particular times. It is " "in part restricted by architecture: speed bumps, for example, slow most " "rational drivers; governors in buses, as another example, set the maximum " "rate at which the driver can drive. The freedom is in part restricted by the " "market: Fuel efficiency drops as speed increases, thus the price of gasoline " "indirectly constrains speed. And finally, the norms of a community may or " "may not constrain the freedom to speed. Drive at 50 mph by a school in your " "own neighborhood and you're likely to be punished by the neighbors. The same " "norm wouldn't be as effective in a different town, or at night." msgstr "" "så, 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><part><chapter><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, <citetitle>Code: And Other Laws of " "Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " "Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " "Studies</citetitle>, June 1998." 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><part><chapter><para> msgid "" "The final point about this simple model should also be fairly clear: While " "these four modalities are analytically independent, law has a special role " "in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " "other words, sometimes operates to increase or decrease the constraint of a " "particular modality. Thus, the law might be used to increase taxes on " "gasoline, so as to increase the incentives to drive more slowly. The law " "might be used to mandate more speed bumps, so as to increase the difficulty " "of driving rapidly. The law might be used to fund ads that stigmatize " "reckless driving. Or the law might be used to require that other laws be " "more strict—a federal requirement that states decrease the speed " "limit, for example—so as to decrease the attractiveness of fast " "driving." msgstr "" #. type: Content of: <book><part><chapter><figure><title> msgid "Law has a special role in affecting the three." msgstr "" #. type: Content of: <book><part><chapter><figure> msgid "<graphic fileref=\"images/1361.png\"></graphic>" msgstr "<graphic fileref=\"images/1361.png\"></graphic>" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Americans with Disabilities Act (1990)" msgstr "" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Commons, John R." msgstr "Commons, John R." #. type: Content of: <book><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Some people object to this way of talking about <quote>liberty.</quote> They " "object because their focus when considering the constraints that exist at " "any particular moment are constraints imposed exclusively by the government. " "For instance, if a storm destroys a bridge, these people think it is " "meaningless to say that one's liberty has been restrained. A bridge has " "washed out, and it's harder to get from one place to another. To talk about " "this as a loss of freedom, they say, is to confuse the stuff of politics " "with the vagaries of ordinary life. I don't mean to deny the value in this " "narrower view, which depends upon the context of the inquiry. I do, however, " "mean to argue against any insistence that this narrower view is the only " "proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " "from a long tradition of political thought with a broader focus than the " "narrow question of what the government did when. John Stuart Mill defended " "freedom of speech, for example, from the tyranny of narrow minds, not from " "the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" "citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " "famously defended the economic freedom of labor from constraints imposed by " "the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " "Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " "Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " "Disabilities Act increases the liberty of people with physical disabilities " "by changing the architecture of certain public places, thereby making access " "to those places easier; 42 <citetitle>United States Code</citetitle>, " "section 12101 (2000). Each of these interventions to change existing " "conditions changes the liberty of a particular group. The effect of those " "interventions should be accounted for in order to understand the effective " "liberty that each of these groups might face. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" 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><part><chapter><para> msgid "" "These constraints can thus change, and they can be changed. To understand " "the effective protection of liberty or protection of property at any " "particular moment, we must track these changes over time. A restriction " "imposed by one modality might be erased by another. A freedom enabled by one " "modality might be displaced by another.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><title> msgid "Why Hollywood Is Right" msgstr "Hvorfor Hollywood har rett" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><figure><title> msgid "effective state of anarchy after the Internet." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1381.png\"></graphic>" msgstr "<graphic fileref=\"images/1381.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Neither this analysis nor the conclusions that follow are new to the " "warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " "Department (one heavily influenced by the copyright warriors) in 1995, this " "mix of regulatory modalities had already been identified and the strategy to " "respond already mapped. In response to the changes the Internet had " "effected, the White Paper argued (1) Congress should strengthen intellectual " "property law, (2) businesses should adopt innovative marketing techniques, " "(3) technologists should push to develop code to protect copyrighted " "material, and (4) educators should educate kids to better protect copyright." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This mixed strategy is just what copyright needed—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><part><chapter><section><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 " "<quote>architecture of revenue.</quote>" 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.\"" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "railroad industry" msgstr "jernbaneindustri" #. f5 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" "quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" "free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " "Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " "Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "But just because a particular interest asks for government support, it " "doesn't follow that support should be granted. And just because technology " "has weakened a particular way of doing business, it doesn't follow that the " "government should intervene to support that old way of doing business. " "Kodak, for example, has lost perhaps as much as 20 percent of their " "traditional film market to the emerging technologies of digital cameras." "<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " "should ban digital cameras just to support Kodak? Highways have weakened the " "freight business for railroads. Does anyone think we should ban trucks from " "roads <emphasis>for the purpose of</emphasis> protecting the railroads? " "Closer to the subject of this book, remote channel changers have weakened " "the <quote>stickiness</quote> of television advertising (if a boring " "commercial comes on the TV, the remote makes it easy to surf ), and it may " "well be that this change has weakened the television advertising market. But " "does anyone believe we should regulate remotes to reinforce commercial " "television? (Maybe by limiting them to function only once a second, or to " "switch to only ten channels within an hour?)" msgstr "" #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " "1994), 170–71." msgstr "" "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Gates, Bill" msgstr "Gates, Bill" #. type: Content of: <book><part><chapter><section><para> msgid "" "The obvious answer to these obviously rhetorical questions is no. In a free " "society, with a free market, supported by free enterprise and free trade, " "the government's role is not to support one way of doing business against " "others. Its role is not to pick winners and protect them against loss. If " "the government did this generally, then we would never have any progress. As " "Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " "patents, <quote>established companies have an interest in excluding future " "competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " "to a startup, established companies also have the means. (Think RCA and FM " "radio.) A world in which competitors with new ideas must fight not only the " "market but also the government is a world in which competitors with new " "ideas will not succeed. It is a world of stasis and increasingly " "concentrated stagnation. It is the Soviet Union under Brezhnev. " "<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In the context of laws regulating speech—which include, obviously, " "copyright law—that duty is even stronger. When the industry " "complaining about changing technologies is asking Congress to respond in a " "way that burdens speech and creativity, policy makers should be especially " "wary of the request. It is always a bad deal for the government to get into " "the business of regulating speech markets. The risks and dangers of that " "game are precisely why our framers created the First Amendment to our " "Constitution: <quote>Congress shall make no law … abridging the " "freedom of speech.</quote> So when Congress is being asked to pass laws that " "would <quote>abridge</quote> the freedom of speech, it should ask— " "carefully—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><part><chapter><section><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 <quote>justified.</" "quote> My argument is about their effect. For before we get to the question " "of justification, a hard question that depends a great deal upon your " "values, we should first ask whether we understand the effect of the changes " "the content industry wants." msgstr "" "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><part><chapter><section><para> msgid "Here's the metaphor that will capture the argument to follow." msgstr "Her kommer metaforen som vil forklare argumentet." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "DDT" msgstr "DDT" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Müller, Paul Hermann" msgstr "Müller, Paul Hermann" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Carson, Rachel" msgstr "Carson, Rachel" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Silent Sprint (Carson)" msgstr "" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " "which argued that DDT, whatever its primary benefits, was also having " "unintended environmental consequences. Birds were losing the ability to " "reproduce. Whole chains of the ecology were being destroyed. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" 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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "See, for example, James Boyle, \"A Politics of Intellectual Property: " #| "Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> " #| "47 (1997): 87." msgid "" "See, for example, James Boyle, <quote>A Politics of Intellectual Property: " "Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" "citetitle> 47 (1997): 87." msgstr "" "Se for eksempel James Boyle, \"A Politics of Intellectual Property: " "Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 " "(1997): 87." #. PAGE BREAK 141 #. type: Content of: <book><part><chapter><section><para> msgid "" "It is to this image precisely that Duke University law professor James Boyle " "appeals when he argues that we need an <quote>environmentalism</quote> for " "culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " "want to develop in the balance of this chapter, is not that the aims of " "copyright are flawed. Or that authors should not be paid for their work. Or " "that music should be given away <quote>for free.</quote> The point is that " "some of the ways in which we might protect authors will have unintended " "consequences for the cultural environment, much like DDT had for the natural " "environment. And just as criticism of DDT is not an endorsement of malaria " "or an attack on farmers, so, too, is criticism of one particular set of " "regulations protecting copyright not an endorsement of anarchy or an attack " "on authors. It is an environment of creativity that we seek, and we should " "be aware of our actions' effects on the environment." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> msgid "Beginnings" msgstr "Opphav" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "America copied English copyright law. Actually, we copied and improved " "English copyright law. Our Constitution makes the purpose of <quote>creative " "property</quote> rights clear; its express limitations reinforce the English " "aim to avoid overly powerful publishers." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The power to establish <quote>creative property</quote> rights is granted to " "Congress in a way that, for our Constitution, at least, is very odd. Article " "I, section 8, clause 8 of our Constitution states that:" msgstr "" "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><part><chapter><section><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 " "<quote>Progress Clause,</quote> for notice what this clause does not say. It " "does not say Congress has the power to grant <quote>creative property rights." "</quote> It says that Congress has the power <emphasis>to promote progress</" "emphasis>. The grant of power is its purpose, and its purpose is a public " "one, not the purpose of enriching publishers, nor even primarily the purpose " "of rewarding authors." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The Progress Clause expressly limits the term of copyrights. As we saw in " "chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " "English limited the term of copyright so as to assure that a few would not " "exercise disproportionate control over culture by exercising " "disproportionate control over publishing. We can assume the framers followed " "the English for a similar purpose. Indeed, unlike the English, the framers " "reinforced that objective, by requiring that copyrights extend <quote>to " "Authors</quote> only." msgstr "" "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><part><chapter><section><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—including the Senate, whose members were at the time selected " "by the states, and an electoral college, also selected by the states, to " "select the president. In each case, a <emphasis>structure</emphasis> built " "checks and balances into the constitutional frame, structured to prevent " "otherwise inevitable concentrations of power." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "I doubt the framers would recognize the regulation we call <quote>copyright</" "quote> today. The scope of that regulation is far beyond anything they ever " "considered. To begin to understand what they did, we need to put our " "<quote>copyright</quote> in context: We need to see how it has changed in " "the 210 years since they first struck its design." msgstr "" "Jeg 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><part><chapter><section><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><part><chapter><section><para> msgid "We will end here:" msgstr "Vi kommer til å ende opp her:" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid ""Copyright" today." msgid "<quote>Copyright</quote> today." msgstr ""Opphavsrett" i dag." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1442.png\"></graphic>" msgstr "<graphic fileref=\"images/1442.png\"></graphic>" #. PAGE BREAK 144 #. type: Content of: <book><part><chapter><section><para> msgid "Let me explain how." msgstr "La meg forklare hvordan." #. type: Content of: <book><part><chapter><section><title> msgid "Law: Duration" msgstr "Loven: Varighet" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Crosskey, William W." msgstr "Crosskey, William W." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "William W. Crosskey, <citetitle>Politics and the Constitution in the History " "of the United States</citetitle> (London: Cambridge University Press, 1953), " "vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " "supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " "or were supposed by some to have, under the Common Law</emphasis></quote> " "(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William W. Crosskey, politikk og Grunnloven i historien av USA (London: " "Cambridge University Press, 1953), vol. 1, 485–86: \"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><part><chapter><section><para> msgid "" "When the first Congress enacted laws to protect creative property, it faced " "the same uncertainty about the status of creative property that the English " "had confronted in 1774. Many states had passed laws protecting creative " "property, and some believed that these laws simply supplemented common law " "rights that already protected creative authorship.<placeholder type=" "\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " "domain in the United States in 1790. If copyrights were protected by the " "common law, then there was no simple way to know whether a work published in " "the United States was controlled or free. Just as in England, this lingering " "uncertainty would make it hard for publishers to rely upon a public domain " "to reprint and distribute works." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><footnote><para> msgid "" "Although 13,000 titles were published in the United States from 1790 to " "1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " "History of Book Publishing in the United States</citetitle>, vol. 1, " "<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " "York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " "twelve were copyrighted under the 1790 act; William J. Maher, " "<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " "1790 in Historical Context</citetitle>, 7–10 (2002), available at " "<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><part><chapter><section><para> msgid "" "While there were many works created in the United States in the first ten " "years of the Republic, only 5 percent of the works were actually registered " "under the federal copyright regime. Of all the work created in the United " "States both before 1790 and from 1790 through 1800, 95 percent immediately " "passed into the public domain; the balance would pass into the pubic domain " "within twenty-eight years at most, and more likely within fourteen years." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "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 allemannseie (public domain). " "Resten ble allemannseie etter maksimalt 20 år, og som oftest etter 14 år." "<placeholder type=\"footnote\" id=\"0\"/>" #. PAGE BREAK 145 #. type: Content of: <book><part><chapter><section><para> msgid "" "This system of renewal was a crucial part of the American system of " "copyright. It assured that the maximum terms of copyright would be granted " "only for works where they were wanted. After the initial term of fourteen " "years, if it wasn't worth it to an author to renew his copyright, then it " "wasn't worth it to society to insist on the copyright, either." msgstr "" "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><part><chapter><section><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, " "<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " "Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " "618. For a more recent and comprehensive analysis, see William M. Landes and " "Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " "<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " "498–501, and accompanying figures." 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><part><chapter><section><para> msgid "" "Fourteen years may not seem long to us, but for the vast majority of " "copyright owners at that time, it was long enough: Only a small minority of " "them renewed their copyright after fourteen years; the balance allowed their " "work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. f11 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "See Ringer, ch. 9, n. 2." msgstr "Se Ringer, kap. 9, n. 2." #. type: Content of: <book><part><chapter><section><para> msgid "" "Even today, this structure would make sense. Most creative work has an " "actual commercial life of just a couple of years. Most books fall out of " "print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " "happens, the used books are traded free of copyright regulation. Thus the " "books are no longer <emphasis>effectively</emphasis> controlled by " "copyright. The only practical commercial use of the books at that time is to " "sell the books as used books; that use—because it does not involve " "publication—is effectively free." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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—the maximum " "term. For <quote>natural</quote> authors, that term was life plus fifty " "years. For corporations, the term was seventy-five years. Then, in 1992, " "Congress abandoned the renewal requirement for all works created before " "1978. All works still under copyright would be accorded the maximum term " "then available. After the Sonny Bono Act, that term was ninety-five years." msgstr "" "USA 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><part><chapter><section><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 " "<quote>limited,</quote> 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><part><chapter><section><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, " "<quote>Indefinitely Renewable Copyright,</quote> 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><part><chapter><section><para> msgid "" "The effect of these changes on the average duration of copyright is " "dramatic. In 1973, more than 85 percent of copyright owners failed to renew " "their copyright. That meant that the average term of copyright in 1973 was " "just 32.2 years. Because of the elimination of the renewal requirement, the " "average term of copyright is now the maximum term. In thirty years, then, " "the average term has tripled, from 32.2 years to 95 years.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><title> msgid "Law: Scope" msgstr "Loven: Virkeområde" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The <quote>scope</quote> of a copyright is the range of rights granted by " "the law. The scope of American copyright has changed dramatically. Those " "changes are not necessarily bad. But we should understand the extent of the " "changes if we're to keep this debate in context." msgstr "" "\"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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In 1790, that scope was very narrow. Copyright covered only <quote>maps, " "charts, and books.</quote> That means it didn't cover, for example, music or " "architecture. More significantly, the right granted by a copyright gave the " "author the exclusive right to <quote>publish</quote> copyrighted works. That " "means someone else violated the copyright only if he republished the work " "without the copyright owner's permission. Finally, the right granted by a " "copyright was an exclusive right to that particular book. The right did not " "extend to what lawyers call <quote>derivative works.</quote> It would not, " "therefore, interfere with the right of someone other than the author to " "translate a copyrighted book, or to adapt the story to a different form " "(such as a drama based on a published book)." msgstr "" "i 1790 var 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><part><chapter><section><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 " "<quote>publish</quote> the work, but also the exclusive right of control " "over any <quote>copies</quote> of that work. And most significant for our " "purposes here, the right gives the copyright owner control over not only his " "or her particular work, but also any <quote>derivative work</quote> that " "might grow out of the original work. In this way, the right covers more " "creative work, protects the creative work more broadly, and protects works " "that are based in a significant way on the initial creative work." msgstr "" "Dette, 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><part><chapter><section><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 © or the word " "<emphasis>copyright</emphasis>. And for most of the history of American " "copyright law, there was a requirement that works be deposited with the " "government before a copyright could be secured." msgstr "" "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><part><chapter><section><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—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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "All of these <quote>formalities</quote> were abolished in the American " "system when we decided to follow European copyright law. There is no " "requirement that you register a work to get a copyright; the copyright now " "is automatic; the copyright exists whether or not you mark your work with a " "©; 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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " "Creation of American Literature,</quote> 29 <citetitle>New York University " "Journal of International Law and Politics</citetitle> 255 (1997), and James " "Gilraeth, ed., Federal Copyright Records, 1790–1800 (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><part><chapter><section><para> msgid "" "If, in 1790, you wrote a book and you were one of the 5 percent who actually " "copyrighted that book, then the copyright law protected you against another " "publisher's taking your book and republishing it without your permission. " "The aim of the act was to regulate publishers so as to prevent that kind of " "unfair competition. In 1790, there were 174 publishers in the United States." "<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " "regulation of a tiny proportion of a tiny part of the creative market in the " "United States—publishers." msgstr "" #. PAGE BREAK 149 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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, <emphasis>every</emphasis> creative act " "that's reduced to a tangible form—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><part><chapter><section><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><part><chapter><section><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 <quote>derivative " "rights.</quote> If you write a book, no one can make a movie out of your " "book without permission. No one can translate it without permission. " "CliffsNotes can't make an abridgment unless permission is granted. All of " "these derivative uses of your original work are controlled by the copyright " "holder. The copyright, in other words, is now not just an exclusive right to " "your writings, but an exclusive right to your writings and a large " "proportion of the writings inspired by them." msgstr "" "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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" #| "citetitle>, July/August 2003, available at <ulink url=\"http://free-" #| "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" #| "\"0\"/>" msgid "" "Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " "Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" "citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://free-" "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "In preventing that joke, the law created an astonishing power within a free " "culture—at least, it's astonishing when you understand that the law " "applies not just to the commercial publisher but to anyone with a computer. " "I understand the wrong in duplicating and selling someone else's work. But " "whatever <emphasis>that</emphasis> wrong is, transforming someone else's " "work is a different wrong. Some view transformation as no wrong at all—" "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 "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Rubenfeld, Jeb" msgstr "Rubenfeld, Jeb" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, 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 <quote>copies</quote> and derivative works. " "See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " "Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " "(2002): 1–60 (see especially pp. 53–59). <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> msgid "" "Yet copyright law treats these two different wrongs in the same way. I can " "go to court and get an injunction against your pirating my book. I can go to " "court and get an injunction against your transformative use of my book." "<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " "creative work are treated the same." msgstr "" #. type: Content of: <book><part><chapter><section><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 " "<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " "toys and be the one to trade on the value that Disney originally created?" msgstr "" "Dette kan 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><part><chapter><section><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><part><chapter><section><title> msgid "Law and Architecture: Reach" msgstr "Lov og arkitektur: Rekkevidde" #. f16 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "This is a simplification of the law, but not much of one. The law certainly " "regulates more than <quote>copies</quote>—a public performance of a " "copyrighted song, for example, is regulated even though performance per se " "doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " "106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " "17 <citetitle>United States Code</citetitle>, section 112(a). But the " "presumption under the existing law (which regulates <quote>copies;</quote> " "17 <citetitle>United States Code</citetitle>, section 102) is that if there " "is a copy, there is a right." msgstr "" "Dette er 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><part><chapter><section><para> msgid "" "Whereas originally the law regulated only publishers, the change in " "copyright's scope means that the law today regulates publishers, users, and " "authors. It regulates them because all three are capable of making copies, " "and the core of the regulation of copyright law is copies.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 151 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "<quote>Copies.</quote> That certainly sounds like the obvious thing for " "<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " "argument at the start of this chapter, that <quote>creative property</quote> " "deserves the <quote>same rights</quote> as all other property, it is the " "<emphasis>obvious</emphasis> that we need to be most careful about. For " "while it may be obvious that in the world before the Internet, copies were " "the obvious trigger for copyright law, upon reflection, it should be obvious " "that in the world with the Internet, copies should <emphasis>not</emphasis> " "be the trigger for copyright law. More precisely, they should not " "<emphasis>always</emphasis> be the trigger for copyright law." msgstr "" "\"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><part><chapter><section><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><part><chapter><section><para> msgid "" "This is perhaps the central claim of this book, so let me take this very " "slowly so that the point is not easily missed. My claim is that the Internet " "should at least force us to rethink the conditions under which the law of " "copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " "because it is clear that the current reach of copyright was never " "contemplated, much less chosen, by the legislators who enacted copyright law." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><figure><title> msgid "All potential uses of a book." msgstr "Alle potensielle bruk av en bok." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1521.png\"></graphic>" msgstr "<graphic fileref=\"images/1521.png\"></graphic>" #. PAGE BREAK 152 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Think about a book in real space, and imagine this circle to represent all " "its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " "by copyright law, because the uses don't create a copy. If you read a book, " "that act is not regulated by copyright law. If you give someone the book, " "that act is not regulated by copyright law. If you resell a book, that act " "is not regulated (copyright law expressly states that after the first sale " "of a book, the copyright owner can impose no further conditions on the " "disposition of the book). If you sleep on the book or use it to hold up a " "lamp or let your puppy chew it up, those acts are not regulated by copyright " "law, because those acts do not make a copy." msgstr "" "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><part><chapter><section><figure><title> msgid "Examples of unregulated uses of a book." msgstr "Eksempler på uregulert bruk av en bok." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1531.png\"></graphic>" msgstr "<graphic fileref=\"images/1531.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, fuzzy #| msgid "" #| "Finally, there is a tiny sliver of otherwise regulated copying uses that " #| "remain unregulated because the law considers these \"fair uses.\"" msgid "" "Finally, there is a tiny sliver of otherwise regulated copying uses that " "remain unregulated because the law considers these <quote>fair uses.</quote>" msgstr "" "Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " "forblir uregluert på grunn av at loven anser dette som \"rimelig bruk\"." #. type: Content of: <book><part><chapter><section><figure><title> msgid "" "Republishing stands at the core of this circle of possible uses of a " "copyrighted work." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1541.png\"></graphic>" msgstr "<graphic fileref=\"images/1541.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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 <quote>fair uses</quote> 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><part><chapter><section><figure><title> #, fuzzy #| msgid "Unregulated copying considered "fair uses."" msgid "Unregulated copying considered <quote>fair uses.</quote>" msgstr "Uregulert kopiering anses som "rimelig bruk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1542.png\"></graphic>" msgstr "<graphic fileref=\"images/1542.png\"></graphic>" #. type: Content of: <book><part><chapter><section><figure><title> msgid "" "Uses that before were presumptively unregulated are now presumptively " "regulated." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1551.png\"></graphic>" msgstr "<graphic fileref=\"images/1551.png\"></graphic>" #. PAGE BREAK 154 #. type: Content of: <book><part><chapter><section><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 <quote>fair</quote> 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "I don't mean <quote>nature</quote> in the sense that it couldn't be " "different, but rather that its present instantiation entails a copy. Optical " "networks need not make copies of content they transmit, and a digital " "network could be designed to delete anything it copies so that the same " "number of copies remain." msgstr "" "Jeg 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><part><chapter><section><para> msgid "" "Enter the Internet—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—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><part><chapter><section><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 <emphasis>copyright</emphasis>-related argument that the copyright " "owner could make to control that use of her book. Copyright law would have " "nothing to say about whether you read the book once, ten times, or every " "night before you went to bed. None of those instances of use—" "reading— 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><part><chapter><section><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 <emphasis>copyright law</emphasis> would aid the " "copyright owner in exercising this degree of control, because of the " "accidental feature of copyright law that triggers its application upon there " "being a copy. Now if you read the book ten times and the license says you " "may read it only five times, then whenever you read the book (or any portion " "of it) beyond the fifth time, you are making a copy of the book contrary to " "the copyright owner's wish." msgstr "" "men 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><part><chapter><section><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><part><chapter><section><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 idéen 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><part><chapter><section><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 <emphasis>any</" "emphasis> transformation you make of creative work using a machine. " "<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " "crimes. Tinkering with a story and releasing it to others exposes the " "tinkerer to at least a requirement of justification. However troubling the " "expansion with respect to copying a particular work, it is extraordinarily " "troubling with respect to transformative uses of creative work." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Third, this shift from category 1 to category 2 puts an extraordinary burden " "on category 3 (<quote>fair use</quote>) that fair use never before had to " "bear. If a copyright owner now tried to control how many times I could read " "a book on-line, the natural response would be to argue that this is a " "violation of my fair use rights. But there has never been any litigation " "about whether I have a fair use right to read, because before the Internet, " "reading did not trigger the application of copyright law and hence the need " "for a fair use defense. The right to read was effectively protected before " "because reading was not regulated." msgstr "" "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><part><chapter><section><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—never even addressing the earlier question about the expansion in " "effective regulation. A thin protection grounded in fair use makes sense " "when the vast majority of uses are <emphasis>unregulated</emphasis>. But " "when everything becomes presumptively regulated, then the protections of " "fair use are not enough." msgstr "" "dette 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The case of Video Pipeline is a good example. Video Pipeline was in the " "business of making <quote>trailer</quote> advertisements for movies " "available to video stores. The video stores displayed the trailers as a way " "to sell videos. Video Pipeline got the trailers from the film distributors, " "put the trailers on tape, and sold the tapes to the retail stores." msgstr "" "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><part><chapter><section><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 <quote>selling by sampling</quote> technique by " "giving on-line stores the same ability to enable <quote>browsing.</quote> " "Just as in a bookstore you can read a few pages of a book before you buy the " "book, so, too, you would be able to sample a bit from the movie on-line " "before you bought it." msgstr "" "selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte å " "tenke på Internett som en måte å distribuere disse forhåndsvisninger. idéen " "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><part><chapter><section><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—he had built a business on distributing this " "content as a way to help sell Disney films; he had customers who depended " "upon his delivering this content. Disney would agree to talk only if Video " "Pipeline stopped the distribution immediately. Video Pipeline thought it " "was within their <quote>fair use</quote> rights to distribute the clips as " "they had. So they filed a lawsuit to ask the court to declare that these " "rights were in fact their rights." msgstr "" "i 1998 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Disney countersued—for $100 million in damages. Those damages were " "predicated upon a claim that Video Pipeline had <quote>willfully infringed</" "quote> on Disney's copyright. When a court makes a finding of willful " "infringement, it can award damages not on the basis of the actual harm to " "the copyright owner, but on the basis of an amount set in the statute. " "Because Video Pipeline had distributed seven hundred clips of Disney movies " "to enable video stores to sell copies of those movies, Disney was now suing " "Video Pipeline for $100 million." msgstr "" "Disney 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><part><chapter><section><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><part><chapter><section><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 " "<quote>first-sale doctrine</quote> would free the seller to use the video as " "he wished, including showing portions of it in order to engender sales of " "the entire movie video. But with the Internet, it becomes possible for " "Disney to centralize control over access to this content. Because each use " "of the Internet produces a copy, use on the Internet becomes subject to the " "copyright owner's control. The technology expands the scope of effective " "control, because the technology builds a copy into every transaction." msgstr "" "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><part><chapter><section><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 & 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 & 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 & 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 & 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><part><chapter><section><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><part><chapter><section><title> msgid "Architecture and Law: Force" msgstr "Arkitektur og lov: Makt" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Casablanca" msgstr "Casablanca" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Marx Brothers" msgstr "" #. f19 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " #| "Contemporary Problems</citetitle> 44 (1981): 172–73." msgid "" "See David Lange, <quote>Recognizing the Public Domain,</quote> " "<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." msgstr "" "Se David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " "Contemporary Problems</citetitle> 44 (1981): 172–73." #. type: Content of: <book><part><chapter><section><para> msgid "" "There's a famous story about a battle between the Marx Brothers and Warner " "Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" "citetitle>. Warner Brothers objected. They wrote a nasty letter to the " "Marxes, warning them that there would be serious legal consequences if they " "went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx " "Brothers) og Warner Brothers. Marx-brødrene planla å lage en parodi av " "<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " "ufint brev til Marx-brødrene og advarte dem om at det ville få seriøse " "juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Ibid. Se også Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "This led the Marx Brothers to respond in kind. They warned Warner " #| "Brothers that the Marx Brothers \"were brothers long before you were." #| "\"<placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " #| "owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " #| "insisted on trying to control <citetitle>Casablanca</citetitle>, then the " #| "Marx Brothers would insist on control over <citetitle>brothers</" #| "citetitle>." msgid "" "This led the Marx Brothers to respond in kind. They warned Warner Brothers " "that the Marx Brothers <quote>were brothers long before you were.</" "quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " "owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " "insisted on trying to control <citetitle>Casablanca</citetitle>, then the " "Marx Brothers would insist on control over <citetitle>brothers</citetitle>." msgstr "" "Dette fikk Marx-brødrene til å svare tilbake med samme mynt. De advarte " "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"." "<placeholder type=\"footnote\" id=\"0\"/> Marx-brødrene eide derfor ordet " "<citetitle>Brothers</citetitle>, og hvis Warner Brothers insisterte på å " "forsøke å kontrollere <citetitle>Casablanca</citetitle>, så ville Marx-" "brødrene insistere på kontroll over <citetitle>Brothers</citetitle>." #. type: Content of: <book><part><chapter><section><para> msgid "" "An absurd and hollow threat, of course, because Warner Brothers, like the " "Marx Brothers, knew that no court would ever enforce such a silly claim. " "This extremism was irrelevant to the real freedoms anyone (including Warner " "Brothers) enjoyed." msgstr "" "Det var en absurd og hul trussel, selvfølgelig, fordi Warner Brothers, på " "samme måte som Marx-brødrene, visste at ingen domstol noensinne ville " "håndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " "friheter som alle (inkludert Warner Brothers) nøt godt av." #. type: Content of: <book><part><chapter><section><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, er det derimot ingen kontroll mot dum regler, fordi på " "Internett, i økende grad, blir regler ikke håndhevet 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><part><chapter><section><indexterm><primary> msgid "Adobe eBook Reader" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "Consider the life of my Adobe eBook Reader." msgstr "La oss se på livet til min Adobe eBook Reader." #. type: Content of: <book><part><chapter><section><para> msgid "" "An e-book is a book delivered in electronic form. An Adobe eBook is not a " "book that Adobe has published; Adobe simply produces the software that " "publishers use to deliver e-books. It provides the technology, and the " "publisher delivers the content by using the technology." msgstr "" "En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " "som Adobe har publisert. Adobe produserer kun programvaren som utgivere " "bruker å levere e-bøker. Den bidrar med teknologien, og utgiveren leverer " "innholdet ved hjelp av teknologien." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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: " "<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " "Some of them reproduce content that is not in the public domain: My own book " "<citetitle>The Future of Ideas</citetitle> is not yet within the public " "domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " "my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " "cover, and then a button at the bottom called Permissions." msgstr "" "som du 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 idéer 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><part><chapter><section><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><part><chapter><section><figure> msgid "<graphic fileref=\"images/1611.png\"></graphic>" msgstr "<graphic fileref=\"images/1611.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><figure> msgid "<graphic fileref=\"images/1612.png\"></graphic>" msgstr "<graphic fileref=\"images/1612.png\"></graphic>" #. PAGE BREAK 161 #. type: Content of: <book><part><chapter><section><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 <citetitle>Middlemarch</citetitle> 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><part><chapter><section><para><indexterm><primary> msgid "Aristotle" msgstr "Aristoteles" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "<citetitle>Politics</citetitle>, (Aristotle)" msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" #. type: Content of: <book><part><chapter><section><para> msgid "" "Here's the e-book for another work in the public domain (including the " "translation): Aristotle's <citetitle>Politics</citetitle>. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " "Aristoteles <citetitle>Politikk</citetitle> <placeholder type=\"indexterm\" " "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid "E-book of Aristotle;s "Politics"" msgid "E-book of Aristotle;s <quote>Politics</quote>" msgstr "E-bok av Aristoteles <quote>Politikk</quote>" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1621.png\"></graphic>" msgstr "<graphic fileref=\"images/1621.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1622.png\"></graphic>" msgstr "<graphic fileref=\"images/1622.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Finally (and most embarrassingly), here are the permissions for the original " "e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" msgstr "" "Endelig (og mest embarrassingly), her er du tillatelsene for den " "opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "List of the permissions for <quote>The Future of Ideas</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1631.png\"></graphic>" msgstr "<graphic fileref=\"images/1631.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> msgid "No copying, no printing, and don't you dare try to listen to this book!" msgstr "" "Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne boken!" #. f21 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> msgid "" "Now, the Adobe eBook Reader calls these controls <quote>permissions</" "quote>— 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—up to the limits of the copyright law. But for work not " "under copyright, there is no such copyright power.<placeholder type=" "\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " "says I have the permission to copy only ten text selections into the memory " "every ten days, what that really means is that the eBook Reader has enabled " "the publisher to control how I use the book on my computer, far beyond the " "control that the law would enable." msgstr "" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The control comes instead from the code—from the technology within " "which the e-book <quote>lives.</quote> Though the e-book says that these are " "permissions, they are not the sort of <quote>permissions</quote> that most " "of us deal with. When a teenager gets <quote>permission</quote> to stay out " "till midnight, she knows (unless she's Cinderella) that she can stay out " "till 2 A.M., but will suffer a punishment if she's caught. But when the " "Adobe eBook Reader says I have the permission to make ten copies of the text " "into the computer's memory, that means that after I've made ten copies, the " "computer will not make any more. The same with the printing restrictions: " "After ten pages, the eBook Reader will not print any more pages. It's the " "same with the silly restriction that says that you can't use the Read Aloud " "button to read my book aloud—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." #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "These are <emphasis>controls</emphasis>, not permissions. Imagine a world " "where the Marx Brothers sold word processing software that, when you tried " "to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " "the sentence. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This is the future of copyright law: not so much copyright <emphasis>law</" "emphasis> as copyright <emphasis>code</emphasis>. The controls over access " "to content will not be controls that are ratified by courts; the controls " "over access to content will be controls that are coded by programmers. And " "whereas the controls that are built into the law are always to be checked by " "a judge, the controls that are built into the technology have no similar " "built-in check." msgstr "" "Dette er fremtiden 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Alice's Adventures in Wonderland (Carroll)" msgstr "" #. type: Content of: <book><part><chapter><section><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 <citetitle>Alice's Adventures in Wonderland</" "citetitle>. This wonderful book is in the public domain. Yet when you " "clicked on Permissions for that book, you got the following report: " "<placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "" "List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1641.png\"></graphic>" msgstr "<graphic fileref=\"images/1641.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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 <quote>permissions</" "quote> indicated, not allowed to <quote>read aloud</quote>!" 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><indexterm><primary> msgid "Aibo robotic dog" msgstr "Aibo robothund" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "robotic dog" msgstr "robothund" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Sony" msgstr "Sony" #. type: Content of: <book><part><chapter><section><indexterm><secondary> msgid "Aibo robotic dog produced by" msgstr "Aibo robothund produsert av" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " "learns tricks, cuddles, and follows you around. It eats only electricity and " "that doesn't leave that much of a mess (at least in your house)." msgstr "" "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)." #. type: Content of: <book><part><chapter><section><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 <beginpage pagenum=" "\"165\"/> 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "<quote>Teach</quote> here has a special meaning. Aibos are just cute " "computers. You teach a computer how to do something by programming it " "differently. So to say that aibopet.com was giving information about how to " "teach the dog to do new tricks is just to say that aibopet.com was giving " "information to users of the Aibo pet about how to hack their computer " "<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." msgstr "" "\"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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "If you're not a programmer or don't know many programmers, the word " "<citetitle>hack</citetitle> has a particularly unfriendly connotation. " "Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " "worse. But to programmers, or coders, as I call them, <citetitle>hack</" "citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " "means code that enables the program to do something it wasn't originally " "intended or enabled to do. If you buy a new printer for an old computer, you " "might find the old computer doesn't run, or <quote>drive,</quote> the " "printer. If you discovered that, you'd later be happy to discover a hack on " "the Net by someone who has written a driver to enable the computer to drive " "the printer you just bought." msgstr "" "Hvis du ikke er 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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, <emphasis>What possible problem could " "there be with teaching a robot dog to dance?</emphasis>" 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Let's put the dog to sleep for a minute, and turn to a pony show— 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." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Electronic Frontier Foundation" msgstr "Elektronisk forpost-stiftelsen (EFF)" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" "quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " "<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," "</quote> <citetitle>American Prospect</citetitle>, January 2002; " "<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " "<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " "December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " "Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " "<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " "Frontier Foundation, <quote>Frequently Asked Questions about " "<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " "Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" "\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "But Felten's bravery was really tested in April 2001.<placeholder type=" "\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " "to be submitted at conference. The paper was intended to describe the " "weakness in an encryption system being developed by the Secure Digital Music " "Initiative as a technique to control the distribution of music." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>this music cannot " "be copied,</quote> and have a computer respect that command. The technology " "was to be part of a <quote>trusted system</quote> of control that would get " "content owners to trust the system of the Internet much more." msgstr "" "sdmi-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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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 idéer kritisert." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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 (<quote>DMCA</quote>)." 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><part><chapter><section><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><part><chapter><section><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— technologies " "to control the replication and distribution of copyrighted material. They " "were designed as <emphasis>code</emphasis> to modify the original " "<emphasis>code</emphasis> of the Internet, to reestablish some protection " "for copyright owners." msgstr "" "dmca 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><part><chapter><section><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, " "<emphasis>legal code</emphasis> intended to buttress <emphasis>software " "code</emphasis> which itself was intended to support the <emphasis>legal " "code of copyright</emphasis>." msgstr "" "dmca 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> msgid "Rogers, Fred" msgstr "Rogers, Fred" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Conrad, Paul" msgstr "Conrad, Paul" #. type: Content of: <book><part><chapter><section><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 " "<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " "in that case that he wanted people to feel free to tape Mr. Rogers' " "Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "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." #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal " "City Studios, Inc</citetitle>., 464 U.S. 417, 455 fn. 27 (1984). Rogers " "never changed his view about the VCR. See James Lardner, <citetitle>Fast " "Forward: Hollywood, the Japanese, and the Onslaught of the VCR</citetitle> " "(New York: W. W. Norton, 1987), 270–71. <placeholder type=\"indexterm" "\" id=\"0\"/>" 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><part><chapter><section><blockquote><para> msgid "" "Some public stations, as well as commercial stations, program the " "<quote>Neighborhood</quote> at hours when some children cannot use it. I " "think that it's a real service to families to be able to record such " "programs and show them at appropriate times. I have always felt that with " "the advent of all of this new technology that allows people to tape the " "<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " "<quote>Neighborhood</quote> because that's what I produce, that they then " "become much more active in the programming of their family's television " "life. Very frankly, I am opposed to people being programmed by others. My " "whole approach in broadcasting has always been <quote>You are an important " "person just the way you are. You can make healthy decisions.</quote> Maybe " "I'm going on too long, but I just feel that anything that allows a person to " "be more active in the control of his or her life, in a healthy way, is " "important.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 170 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Dette førte conrad å trekke tegneserie nedenfor, som vi kan vedta å dmca." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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—a bad end. Or they can be used to enable the use of " "particular copyrighted materials in ways that would be considered fair " "use—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><part><chapter><section><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><part><chapter><section><figure><title> msgid "VCR/handgun cartoon." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1711.png\"></graphic>" msgstr "<graphic fileref=\"images/1711.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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: <emphasis>No one ever died from copyright " "circumvention</emphasis>. Yet the law bans circumvention technologies " "absolutely, despite the potential that they might do some good, but permits " "guns, despite the obvious and tragic harm they do. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " "controls built into the technology of copy and access protection become " "rules the violation of which is also a violation of the law. In this way, " "the code extends the law—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—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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " "Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " "<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " "(1997): 651." msgstr "" "for en tidlig og 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><part><chapter><section><para> msgid "" "For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " "club. You gathered every month to share trivia, and maybe to enact a kind of " "fan fiction about the show. One person would play Spock, another, Captain " "Kirk. The characters would begin with a plot from a real story, then simply " "continue it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> msgid "Market: Concentration" msgstr "Marked: Konsentrasjon" #. PAGE BREAK 173 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "So copyright's duration has increased dramatically—tripled in the past " "thirty years. And copyright's scope has increased as well—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para> msgid "" "These changes are of two sorts: the scope of concentration, and its nature." msgstr "" "Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." #. f25 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " "Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." msgstr "" "lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette å " "skyve,\" new york times, 23 desember 2002." #. f27 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " "<citetitle>Charleston Gazette</citetitle>, 31 May 2003." msgstr "" "Molly ivins, \"media konsolidering må stoppes,\" charleston gazette, 31 kan " "2003." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "BMG" msgstr "BMG" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "EMI" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "McCain, John" msgstr "McCain, John" #. type: Content of: <book><part><chapter><secti

# Copyright (C) 2012 Free Software Foundation, Inc. # This file is distributed under the same license as the PACKAGE package. # # Translators: # Petter Reinholdtsen , 2012. # Anders Hagen Jarmund , 2012. msgid "" msgstr "" "Project-Id-Version: Free Culture by Lawrence Lessig\n" "POT-Creation-Date: 2012-08-10 12:50+0300\n" "PO-Revision-Date: 2012-07-13 21:50+0200\n" "Last-Translator: Petter Reinholdtsen \n" "Language-Team: Norwegian Bokmål \n" "Language: nb\n" "MIME-Version: 1.0\n" "Content-Type: text/plain; charset=UTF-8\n" "Content-Transfer-Encoding: 8bit\n" "X-Generator: Lokalize 1.0\n" "Plural-Forms: nplurals=2; plural=n != 1;\n" #. type: Content of the copy entity msgid "©" msgstr "©" #. type: Attribute 'lang' of: msgid "en" msgstr "no" #. type: Content of: msgid "Free Culture" msgstr "Fri kultur" #. type: Content of: <book><bookinfo> msgid "<abbrev>\"freeculture\"</abbrev>" msgstr "<abbrev>\"frikultur\"</abbrev>" #. type: Content of: <book><dedication><para> msgid "" "HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN CULTURE AND CONTROL " "CREATIVITY" msgstr "" "Hvordan store medieaktører bruker teknologi og loven til å låse ned kulturen " "og kontrollere kreativiteten" #. type: Content of: <book><bookinfo> msgid "<pubdate>2004-03-25</pubdate>" msgstr "" #. type: Content of: <book><bookinfo><releaseinfo> 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><subjectset><subject><subjectterm> msgid "Intellectual property—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Mass media—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Technological innovations—United States." msgstr "" #. type: Content of: <book><bookinfo><subjectset><subject><subjectterm> msgid "Art—United States." msgstr "" #. type: Content of: <book><bookinfo><publisher><address> #, no-wrap msgid "<city>New York</city>" msgstr "" #. type: Content of: <book><bookinfo> msgid "" "<publisher> <publishername>The Penguin Press</publishername> <placeholder " "type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> " "<holder>Lawrence Lessig</holder> </copyright>" msgstr "" #. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject> msgid "" "<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " "width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " "fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" "\"/> </imageobject>" msgstr "" "<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" " "width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata " "fileref=\"images/cc.svg\" contentdepth=\"3em\" width=\"100%\" align=\"center" "\"/> </imageobject>" #. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase> msgid "Creative Commons, Some rights reserved" msgstr "Creative Commons, noen rettigheter reservert" #. type: Content of: <book><bookinfo><legalnotice><para> msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" msgstr "<placeholder type=\"inlinemediaobject\" id=\"0\"/>" #. type: Content of: <book><bookinfo><legalnotice><para> msgid "" "This version of <citetitle>Free Culture</citetitle> 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>" msgstr "" "Denne versjonen av <citetitle>Fri Kultur</citetitle> er lisensiert 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>" #. type: Content of: <book><bookinfo><abstract><title> msgid "ABOUT THE AUTHOR" msgstr "Om forfatteren" #. type: Content of: <book><bookinfo><abstract><para> #, fuzzy #| msgid "" #| "LAWRENCE LESSIG (<ulink url=\"http://www.lessig.org\">http://www.lessig." #| "org</ulink>), professor of law and a 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." 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 <quote>e.biz 25," "</quote> and named one of Scientific American's <quote>50 visionaries.</" "quote> A graduate of the University of Pennsylvania, Cambridge University, " "and Yale Law School, Lessig clerked for Judge Richard Posner of the U.S. " "Seventh Circuit Court of Appeals." msgstr "" "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 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, " "assisterte Lessig dommer Richard Posner ved U.S. Seventh Circuit Court of " "Appeals." # # # #. testing different ways to tag the cover page #. <imageobject remap="s" role="front"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. <imageobject remap="xs" role="front-small"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. <imageobject remap="cs" role="thumbnail"> #. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" /> #. </imageobject> #. type: Content of: <book><bookinfo><mediaobject> msgid "" "<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/" "cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>" msgstr "" #. LCCN from #. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page #. #. type: Content of: <book><bookinfo> msgid "" " <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid class=\"isbn" "\">1-59420-006-8</biblioid> <biblioid class=\"libraryofcongress" "\">2003063276</biblioid>" msgstr "" #. type: Content of: <book><dedication><para> msgid "You can buy a copy of this book by clicking on one of the links below:" msgstr "" "Du kan kjøpe et eksemplar av denne boken ved å klikke på en av lenkene " "nedenfor:" #. type: Content of: <book><dedication><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><dedication><itemizedlist><listitem><para> msgid "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" msgstr "<ulink url=\"http://www.barnesandnoble.com/\">B&N</ulink>" #. type: Content of: <book><dedication><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><dedication><para> msgid "ALSO BY LAWRENCE LESSIG" msgstr "Andre bøker av Lawrence Lessig" #. type: Content of: <book><dedication><para> msgid "The Future of Ideas: The Fate of the Commons in a Connected World" msgstr "The Future of Ideas: The Fate of the Commons in a Connected World" #. type: Content of: <book><dedication><para> msgid "Code: And Other Laws of Cyberspace" msgstr "Code: And Other Laws of Cyberspace" #. type: Content of: <book><dedication><para> msgid "THE PENGUIN PRESS, NEW YORK" msgstr "The Penguin Press, New York" #. type: Content of: <book><dedication><para> msgid "FREE CULTURE" msgstr "Fri Kultur" #. type: Content of: <book><dedication><para> msgid "LAWRENCE LESSIG" msgstr "Lawrence Lessig" #. type: Content of: <book><colophon><para> msgid "" "THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " "New York, New York" msgstr "" #. type: Content of: <book><colophon><para> msgid "Copyright © Lawrence Lessig. All rights reserved." msgstr "" "Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert." #. type: Content of: <book><colophon><para> msgid "" "Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</" "quote> <citetitle>The New York Times</citetitle>, January 16, 2003. " "Copyright © 2003 by The New York Times Co. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "Cartoon in <xref linkend=\"fig-1711\"/> by Paul Conrad, copyright Tribune " "Media Services, Inc. All rights reserved. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "Diagram in <xref linkend=\"fig-1761\"/> courtesy of the office of FCC " "Commissioner, Michael J. Copps." msgstr "" #. type: Content of: <book><colophon><para> msgid "Library of Congress Cataloging-in-Publication Data" msgstr "" #. type: Content of: <book><colophon><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><colophon><para> msgid "p. cm." msgstr "" #. type: Content of: <book><colophon><para> msgid "Includes index." msgstr "" #. type: Content of: <book><colophon><para> msgid "ISBN 1-59420-006-8 (hardcover)" msgstr "" #. type: Content of: <book><colophon><para> msgid "" "1. Intellectual property—United States. 2. Mass media—United " "States." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "3. Technological innovations—United States. 4. Art—United " "States. I. Title." msgstr "" #. type: Content of: <book><colophon><para> msgid "KF2979.L47" msgstr "" #. type: Content of: <book><colophon><para> msgid "343.7309'9—dc22" msgstr "" #. type: Content of: <book><colophon><para> msgid "This book is printed on acid-free paper." msgstr "" #. type: Content of: <book><colophon><para> msgid "Printed in the United States of America" msgstr "" #. type: Content of: <book><colophon><para> msgid "1 3 5 7 9 10 8 6 4" msgstr "" #. type: Content of: <book><colophon><para> msgid "Designed by Marysarah Quinn" msgstr "" #. type: Content of: <book><colophon><para> msgid "&translationblock;" msgstr "" "Oversatt til bokmål av Petter Reinholdtsen og Anders Hagen Jarmund. " "Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" "petterreinholdtsen/free-culture-lessig\">tilgjengelig fra github</ulink>. " "Rapporter feil med oversettelsen via github." #. type: Content of: <book><colophon><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." msgstr "" #. type: Content of: <book><colophon><para> msgid "" "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><dedication><para> msgid "" "To Eric Eldred—whose work first drew me to this cause, and for whom it " "continues still." msgstr "" "Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for " "hvem saken fortsetter." #. type: Content of: <book><lot><title> msgid "List of figures" msgstr "Figurliste" #. type: Content of: <book><preface><title> msgid "PREFACE" msgstr "Forord" #. type: Content of: <book><preface><indexterm><primary> msgid "Pogue, David" msgstr "Pogue, David" #. type: Content of: <book><preface><para> msgid "" "At the end of his review of my first book, <citetitle>Code: And Other Laws " "of Cyberspace</citetitle>, David Pogue, a brilliant writer and author of " "countless technical and computer-related texts, wrote this:" msgstr "" "David Pogue, en glimrende skribent og forfatter av utallige tekniske " "datarelaterte tekster, skrev dette på slutten av hans gjennomgang av min " "første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:" #. type: Content of: <book><preface><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York " #| "Times</citetitle>, 30 January 2000." msgid "" "David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New " "York Times</citetitle>, 30 January 2000." msgstr "" "David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</" "citetitle>, 30. januar 2000" #. type: Content of: <book><preface><blockquote><para> msgid "" "Unlike actual law, Internet software has no capacity to punish. It doesn't " "affect people who aren't online (and only a tiny minority of the world " "population is). And if you don't like the Internet's system, you can always " "flip off the modem.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "I motsetning til faktiske lover, så har ikke internett-programvare " "kapasiteten til å straffe. Den påvirker ikke folk som ikke er online (og " "kun en veldig liten minoritet av verdens befolkning er online). Og hvis du " "ikke liker systemet på internett, så kan du alltid slå av modemet." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "Pogue was skeptical of the core argument of the book—that software, " #| "or \"code,\" functioned as a kind of law—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 <emphasis>that</emphasis> space wouldn't \"affect\" us anymore." msgid "" "Pogue was skeptical of the core argument of the book—that software, or " "<quote>code,</quote> functioned as a kind of law—and his review " "suggested the happy thought that if life in cyberspace got bad, we could " "always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a " "switch and be back home. Turn off the modem, unplug the computer, and any " "troubles that exist in <emphasis>that</emphasis> space wouldn't " "<quote>affect</quote> us anymore." msgstr "" "Pogue var skeptisk til argumentet som er kjernen av boken — at " "programvaren, eller \"koden\", fungerte som en slags lov — og foreslo " "i sin anmeldelse den lykkelig tanken at hvis livet i cyberspace gikk dårlig, " "så kan vi alltid som med en trylleformel slå over en bryter og komme hjem " "igjen. Slå av modemet, koble fra datamaskinen, og eventuelle problemer som " "finnes <emphasis>den</emphasis> virkeligheten ville ikke \"påvirke\" oss mer." #. PAGE BREAK 12 #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "Pogue might have been right in 1999—I'm skeptical, but maybe. But " #| "even if he was right then, the point is not right now: <citetitle>Free " #| "Culture</citetitle> is about the troubles the Internet causes even after " #| "the modem is turned off. It is an argument about how the battles that now " #| "rage regarding life on-line have fundamentally affected \"people who " #| "aren't online.\" There is no switch that will insulate us from the " #| "Internet's effect." msgid "" "Pogue might have been right in 1999—I'm skeptical, but maybe. But " "even if he was right then, the point is not right now: <citetitle>Free " "Culture</citetitle> is about the troubles the Internet causes even after the " "modem is turned off. It is an argument about how the battles that now rage " "regarding life on-line have fundamentally affected <quote>people who aren't " "online.</quote> There is no switch that will insulate us from the Internet's " "effect." msgstr "" "Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " "Men selv om han hadde rett da, så er ikke argumentet gyldig nå. " "<citetitle>Fri Kultur</citetitle> er om problemene internett forårsaker selv " "etter at modemet er slått av. Den er et argument om hvordan slagene som nå " "brer om seg i livet on-line har fundamentalt påvirket \"folk som er ikke " "pålogget.\" Det finnes ingen bryter som kan isolere oss fra internettets " "effekt." #. type: Content of: <book><preface><para> msgid "" "But unlike <citetitle>Code</citetitle>, the argument here is not much about " "the Internet itself. It is instead about the consequence of the Internet to " "a part of our tradition that is much more fundamental, and, as hard as this " "is for a geek-wanna-be to admit, much more important." msgstr "" "Men i motsetning til i boken <citetitle>Code</citetitle>, 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><preface><para><footnote><para> msgid "" "Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " "(Joshua Gay, ed. 2002)." msgstr "" "Richard M. Stallman, <citetitle>Fri programvare, Frie samfunn</citetitle> 57 " "(Joshua Gay, red. 2002)." #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "That tradition is the way our culture gets made. As I explain in the " #| "pages that follow, we come from a tradition of \"free culture\"—not " #| "\"free\" as in \"free beer\" (to borrow a phrase from the founder of the " #| "free software 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 <emphasis>as free as possible</emphasis> from the " #| "control of the past. A free culture is not a culture without property, " #| "just as a free market is not a market in which everything is free. The " #| "opposite of a free culture is a \"permission culture\"—a culture in " #| "which creators get to create only with the permission of the powerful, or " #| "of creators from the past." msgid "" "That tradition is the way our culture gets made. As I explain in the pages " "that follow, we come from a tradition of <quote>free culture</quote>—" "not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase " "from the founder of the free software movement<placeholder type=\"footnote\" " "id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> " "<quote>free markets,</quote> <quote>free trade,</quote> <quote>free " "enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</" "quote> A free culture supports and protects creators and innovators. It does " "this directly by granting intellectual property rights. But it does so " "indirectly by limiting the reach of those rights, to guarantee that follow-" "on creators and innovators remain <emphasis>as free as possible</emphasis> " "from the control of the past. A free culture is not a culture without " "property, just as a free market is not a market in which everything is free. " "The opposite of a free culture is a <quote>permission culture</quote>—" "a culture in which creators get to create only with the permission of the " "powerful, or of creators from the past." msgstr "" "Den tradisjonen er måten vår kultur blir laget på. Som jeg vil forklare i " "sidene som følger, kommer vi fra en tradisjon av \"fri kultur\"—ikke " "\"fri\" som i \"fri bar\" (for å låne et uttrykk fra stifteren av fri " "programvarebevegelsen<placeholder type=\"footnote\" id=\"0\"/>), men \"fri\" " "som i \"talefrihet\", \"fritt marked\", \"frihandel\", \"fri konkurranse\", " "\"fri vilje\" og \"frie valg\". En fri kultur støtter og beskytter skapere " "og oppfinnere. Dette gjør den direkte ved å tildele immaterielle " "rettigheter. Men det gjør den indirekte ved å begrense rekkevidden for " "disse rettighetene, for å garantere at neste generasjon skapere og " "oppfinnere forblir <emphasis>så fri som mulig</emphasis> fra kontroll fra " "fortiden. En fri kultur er ikke en kultur uten eierskap, like lite som et " "fritt marked er et marked der alt er gratis. Det motsatte av fri kultur er " "\"tillatelseskultur\"—en kultur der skapere kun kan skape med " "tillatelse fra de mektige, eller fra skaperne fra fortiden." #. type: Content of: <book><preface><para> #, 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." msgid "" "If we understood this change, I believe we would resist it. Not <quote>we</" "quote> on the Left or <quote>you</quote> on the Right, but we who have no " "stake in the particular industries of culture that defined the twentieth " "century. Whether you are on the Left or the Right, if you are in this sense " "disinterested, then the story I tell here will trouble you. For the changes " "I describe affect values that both sides of our political culture deem " "fundamental." msgstr "" "Hvis vi forsto denne endringen, så tror jeg vi ville stå imot den. Ikke \"vi" "\" på venstresiden eller \"dere\" på høyresiden, men vi som ikke har " "investert i den spesifikke kulturindustrien som har definert det tjuende " "århundre. Enten du er på venstre eller høyresiden, hvis du i denne forstand " "ikke har interesser, 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><indexterm><primary> msgid "CodePink Women in Peace" msgstr "" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Safire, William" msgstr "Safire, William" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "We saw a glimpse of this bipartisan outrage in the early summer of 2003. " #| "As the FCC considered changes in media ownership rules that would relax " #| "limits on media concentration, an extraordinary coalition generated more " #| "than 700,000 letters to the FCC opposing the change. As William Safire " #| "described marching \"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, <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "We saw a glimpse of this bipartisan outrage in the early summer of 2003. As " "the FCC considered changes in media ownership rules that would relax limits " "on media concentration, an extraordinary coalition generated more than " "700,000 letters to the FCC opposing the change. As William Safire described " "marching <quote>uncomfortably alongside CodePink Women for Peace and the " "National Rifle Association, between liberal Olympia Snowe and conservative " "Ted Stevens,</quote> he formulated perhaps most simply just what was at " "stake: the concentration of power. And as he asked, <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Vi så et glimt av dette tverrpolitiske raseri på forsommeren i 2003. Da FCC " "vurderte endringer i reglene for medieeierskap som ville slakke på " "begrensningene rundt mediekonsentrasjon, sendte en ekstraordinær koalisjon " "mer enn 700 000 brev til FCC for å motsette seg endringen. Mens William " "Safire beskrev å marsjere \"ubehagelig sammen med CodePink Women for Peace " "and the National Rifle Association, mellom liberale Olympia Snowe og " "konservative Ted Stevens\", formulerte han kanskje det enkleste uttrykket " "for hva som var på spill: konsentrasjonen av makt. Så spurte han: " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><preface><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" #| "citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York " "Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" "citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><preface><blockquote><para> msgid "" "Does that sound unconservative? Not to me. The concentration of power—" "political, corporate, media, cultural—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 "" "Høres dette ikke-konservativt ut? Ikke for meg. Denne konsentrasjonen av " "makt—politisk, selskapsmessig, pressemessig, kulturelt—bør være " "bannlyst av konservative. Spredningen av makt gjennom lokal kontroll, og " "derigjennom oppmuntre til individuell deltagelse, er essensen i føderalismen " "og det største uttrykk for demokrati.<placeholder type=\"footnote\" id=\"0\"/" ">" #. type: Content of: <book><preface><para> #, fuzzy #| msgid "" #| "This idea is an element of the argument of <citetitle>Free Culture</" #| "citetitle>, though my focus is not just on the concentration of power " #| "produced by concentrations in ownership, but more importantly, if because " #| "less visibly, on the concentration of power produced by a radical change " #| "in the effective scope of the law. The law is changing; that change is " #| "altering the way our culture gets made; that change should worry " #| "you—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 <citetitle>Free Software, Free Society</" #| "citetitle>, I realize that all of the theoretical insights I develop here " #| "are insights Stallman described decades ago. One could thus well argue " #| "that this work is \"merely\" derivative." msgid "" "This idea is an element of the argument of <citetitle>Free Culture</" "citetitle>, though my focus is not just on the concentration of power " "produced by concentrations in ownership, but more importantly, if because " "less visibly, on the concentration of power produced by a radical change in " "the effective scope of the law. The law is changing; that change is altering " "the way our culture gets made; that change should worry you—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 <citetitle>Free Software, Free Society</citetitle>, I realize that all of " "the theoretical insights I develop here are insights Stallman described " "decades ago. One could thus well argue that this work is <quote>merely</" "quote> derivative." msgstr "" "Denne idéen er et element i argumentet til <citetitle>Fri Kultur</" "citetitle>, selv om min fokus ikke bare er på konsentrasjonen av makt som " "følger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " "synlig, på konsentrasjonen av makt som er resultat av en radikal endring i " "det effektive virkeområdet til loven. Loven er i endring, og endringen " "forandrer på hvordan vår kultur blir skapt. Den endringen bør bekymre " "deg—Uansett om du bryr deg om internett eller ikke, og uansett om du " "er til venstre for Safires eller til høyre. Inspirasjonen til tittelen og " "mye av argumentet i denne boken kommer fra arbeidet til Richard Stallman og " "Free Software Foundation. Faktisk, da jeg leste Stallmans egne tekster på " "nytt, spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " "innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " "som Stallman beskrev for tiår siden. Man kan dermed godt argumentere for at " "dette verket kun er et avledet verk." #. PAGE BREAK 14 #. type: Content of: <book><preface><para> msgid "" "I accept that criticism, if indeed it is a criticism. The work of a lawyer " "is always derivative, and I mean to do nothing more in this book than to " "remind a culture about a tradition that has always been its own. Like " "Stallman, I defend that tradition on the basis of values. Like Stallman, I " "believe those are the values of freedom. And like Stallman, I believe those " "are values of our past that will need to be defended in our future. A free " "culture has been our past, but it will only be our future if we change the " "path we are on right now. Like Stallman's arguments for free software, an " "argument for free culture stumbles on a confusion that is hard to avoid, and " "even harder to understand. A free culture is not a culture without property; " "it is not a culture in which artists don't get paid. A culture without " "property, or in which creators can't get paid, is anarchy, not freedom. " "Anarchy is not what I advance here." msgstr "" "Jeg godtar kritikken, hvis det faktisk er kritikk. Arbeidet til en advokat " "er alltid avledede verker, og jeg mener ikke å gjøre noe mer i denne boken " "enn å minne en kultur om en tradisjon som alltid har vært deres egen. Som " "Stallman forsvarer jeg denne tradisjonen på grunnlag av verdier. Som " "Stallman tror jeg dette er verdiene til frihet. Og som Stallman, tror jeg " "dette er verdier fra vår fortid som må forsvares i vår fremtid. En fri " "kultur har vært vår fortid, men vil bare være vår fremtid hvis vi endrer " "retningen vi følger akkurat nå. På samme måte som Stallmans argumenter for " "fri programvare, treffer argumenter for en fri kultur på forvirring som er " "vanskelig å unngå, og enda vanskeligere å forstå. En fri kultur er ikke en " "kultur uten eierskap. Det er ikke en kultur der kunstnere ikke får betalt. " "En kultur uten eierskap eller en der skaperne ikke kan få betalt, er anarki, " "ikke frihet. Anarki er ikke hva jeg fremmer her." #. type: Content of: <book><preface><para> msgid "" "Instead, the free culture that I defend in this book is a balance between " "anarchy and control. A free culture, like a free market, is filled with " "property. It is filled with rules of property and contract that get enforced " "by the state. But just as a free market is perverted if its property becomes " "feudal, so too can a free culture be queered by extremism in the property " "rights that define it. That is what I fear about our culture today. It is " "against that extremism that this book is written." msgstr "" "I stedet er den frie kulturen som jeg forsvarer i denne boken en balanse " "mellom anarki og kontroll. En fri kultur, i likhet med et fritt marked, er " "fylt med eierskap. Den er fylt med regler for eierskap og kontrakter som " "blir håndhevet av staten. Men på samme måte som det frie markedet blir " "pervertert hvis dets eierskap blir føydalt, så kan en fri kultur bli ødelagt " "av ekstremisme i eierskapsrettighetene som definerer den. Det er dette jeg " "frykter om vår kultur i dag. Det er som motpol til denne ekstremismen at " "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 fartøy tyngre " "enn luft kunne fly. Øyeblikket var elektrisk, og dens betydning ble alment " "forstått. Nesten umiddelbart, eksploderte interessen 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> msgid "" "St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " "Hackensack, N.J.: Rothman Reprints, 1969), 18." msgstr "" "St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " "Hackensack, N.J.: Rothman Reprints, 1969), 18." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "At the time the Wright brothers invented the airplane, American law held " #| "that a property owner presumptively owned not just the surface of his " #| "land, but all the land below, down to the center of the earth, and all " #| "the space above, to \"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?" msgid "" "At the time the Wright brothers invented the airplane, American law held " "that a property owner presumptively owned not just the surface of his land, " "but all the land below, down to the center of the earth, and all the space " "above, to <quote>an indefinite extent, upwards.</quote><placeholder type=" "\"footnote\" id=\"0\"/> For many years, scholars had puzzled about how best " "to interpret the idea that rights in land ran to the heavens. Did that mean " "that you owned the stars? Could you prosecute geese for their willful and " "regular trespass?" msgstr "" "Da Wright-brødrene fant opp flymaskinen, hevdet loven i USA at en grunneier " "ble antatt å eie ikke bare overflaten på området sitt, men også alt landet " "under bakken, helt ned til senterpunktet i jorda, og alt volumet over " "bakken, \"i ubestemt grad, oppover\".<placeholder type=\"footnote\" id=\"0\"/" "> I mange år undret lærde over hvordan en best skulle tolke idéen om at " "eiendomsretten gikk helt til himmelen. Betød dette at du eide stjernene? " "Kunne en dømme gjess for at de regelmessig og med vilje tok seg inn på annen " "manns eiendom?" #. type: Content of: <book><chapter><para> msgid "" "Then came airplanes, and for the first time, this principle of American " "law—deep within the foundations of our tradition, and acknowledged by " "the most important legal thinkers of our past—mattered. If my land " "reaches to the heavens, what happens when United flies over my field? Do I " "have the right to banish it from my property? Am I allowed to enter into an " "exclusive license with Delta Airlines? Could we set up an auction to decide " "how much these rights are worth?" msgstr "" "Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i " "USA—dypt nede i grunnlaget for vår tradisjon og akseptert av de " "viktigste juridiske tenkerne i vår fortid—en betydning. Hvis min " "eiendom rekker til himmelen, hva skjer når United flyr over mitt område? " "Har jeg rett til å nekte dem å bruke min eiendom? Har jeg mulighet til å " "inngå en eksklusiv avtale med Delta Airlines? Kan vi gjennomføre en auksjon " "for å finne ut hvor mye disse rettighetene er verdt?" #. type: Content of: <book><chapter><indexterm><primary> msgid "Causby, Thomas Lee" msgstr "Causby, Thomas Lee" #. type: Content of: <book><chapter><indexterm><primary> msgid "Causby, Tinie" msgstr "Causby, Tinie" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "In 1945, these questions became a federal case. When North Carolina " #| "farmers Thomas Lee and Tinie Causby started losing chickens because of " #| "low-flying military aircraft (the terrified chickens apparently flew into " #| "the barn walls and died), the Causbys filed a lawsuit saying that the " #| "government was trespassing on their land. The airplanes, of course, never " #| "touched the surface of the Causbys' land. But if, as Blackstone, Kent, " #| "and Coke had said, their land reached to \"an indefinite extent, upwards," #| "\" then the government was trespassing on their property, and the Causbys " #| "wanted it to stop." msgid "" "In 1945, these questions became a federal case. When North Carolina farmers " "Thomas Lee and Tinie Causby started losing chickens because of low-flying " "military aircraft (the terrified chickens apparently flew into the barn " "walls and died), the Causbys filed a lawsuit saying that the government was " "trespassing on their land. The airplanes, of course, never touched the " "surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had " "said, their land reached to <quote>an indefinite extent, upwards,</quote> " "then the government was trespassing on their property, and the Causbys " "wanted it to stop." msgstr "" "I 1945 ble disse spørsmålene en føderal sak. Da bøndene Thomas Lee og Tinie " "Causby i Nord Carolina begynte å miste kyllinger på grunn av lavtflygende " "militære fly (vettskremte kyllinger fløy tilsynelatende i låveveggene og " "døde), saksøkte Causbyene regjeringen for å trenge seg inn på deres eiendom. " "Flyene rørte selvfølgelig aldri overflaten på Causbys' eiendom. Men hvis det " "stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom strakk seg " "\"i ubestemt grad, oppover,\" så hadde regjeringen trengt seg inn på deres " "eiendom, og Causbys ønsket å sette en stopper for dette." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "The Supreme Court agreed to hear the Causbys' case. Congress had declared " #| "the airways public, but if one's property really extended to the heavens, " #| "then Congress's declaration could well have been an unconstitutional " #| "\"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," msgid "" "The Supreme Court agreed to hear the Causbys' case. Congress had declared " "the airways public, but if one's property really extended to the heavens, " "then Congress's declaration could well have been an unconstitutional " "<quote>taking</quote> of property without compensation. The Court " "acknowledged that <quote>it is ancient doctrine that common law ownership of " "the land extended to the periphery of the universe.</quote> But Justice " "Douglas had no patience for ancient doctrine. In a single paragraph, " "hundreds of years of property law were erased. As he wrote for the Court," msgstr "" "Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at " "luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig " "rakk til himmelen, da kunne muligens kongressens vedtak ha vært i strid med " "grunnlovens forbud mot å \"ta\" eiendom uten kompensasjon. Retten erkjente " "at \"det er gammel doktrine etter sedvane at en eiendom rakk til utkanten av " "universet.\", men dommer Douglas hadde ikke tålmodighet for forhistoriske " "doktriner. I et enkelt avsnitt, ble hundrevis av år med " "eiendomslovgivningen strøket. Som han skrev på vegne av retten," #. type: Content of: <book><chapter><blockquote><para><footnote><para> #, fuzzy #| msgid "" #| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find " #| "that there could be a \"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," #| "\" <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " #| "also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " #| "Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" " #| "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that " "there could be a <quote>taking</quote> if the government's use of its land " "effectively destroyed the value of the Causbys' land. This example was " "suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) " "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</" "quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See " "also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: " "Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være " "å \"ta\" hvis regjeringens bruk av sitt land reelt sett hadde ødelagt " "verdien av eiendomen til Causby. Dette eksemplet ble foreslått for meg i " "Keith Aokis flotte stykke, \"(intellectual) Property and Sovereignty: Notes " "Toward a cultural Geography of Authorship\", <citetitle>Stanford Law Review</" "citetitle> 48 (1996): 1293, 1333. Se også Paul Goldstein, <citetitle>Real " "Property</citetitle> (Mineola, N.Y.: Foundation Press (1984)), " "1112–13. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" #. type: Content of: <book><chapter><blockquote><para> msgid "" "[The] doctrine has no place in the modern world. The air is a public " "highway, as Congress has declared. Were that not true, every " "transcontinental flight would subject the operator to countless trespass " "suits. Common sense revolts at the idea. To recognize such private claims to " "the airspace would clog these highways, seriously interfere with their " "control and development in the public interest, and transfer into private " "ownership that to which only the public has a just claim.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "[Denne] doktrinen har ingen plass i den moderne verden. Luften er en " "offentlig motorvei, slik kongressen har erklært. Hvis det ikke var " "tilfelle, ville hver eneste transkontinentale flyrute utsette operatørene " "for utallige søksmål om inntrenging på annen manns eiendom. Idéen er i " "strid med sunn fornuft. Å anerkjenne slike private krav til luftrommet " "ville blokkere disse motorveiene, seriøst forstyrre muligheten til kontroll " "og utvikling av dem i fellesskapets interesse og overføre til privat " "eierskap det som kun fellesskapet har et rimelig krav til.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "\"Common sense revolts at the idea.\"" msgid "<quote>Common sense revolts at the idea.</quote>" msgstr "\"Idéen er i strid med sunn fornuft.\"" #. PAGE BREAK 18 #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "This is how the law usually works. Not often this abruptly or " #| "impatiently, but eventually, this is how it works. It was Douglas's style " #| "not to dither. Other justices would have blathered on for pages to reach " #| "the conclusion that Douglas holds in a single line: \"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." msgid "" "This is how the law usually works. Not often this abruptly or impatiently, " "but eventually, this is how it works. It was Douglas's style not to dither. " "Other justices would have blathered on for pages to reach the conclusion " "that Douglas holds in a single line: <quote>Common sense revolts at the idea." "</quote> But whether it takes pages or a few words, it is the special genius " "of a common law system, as ours is, that the law adjusts to the technologies " "of the time. And as it adjusts, it changes. Ideas that were as solid as rock " "in one age crumble in another." msgstr "" "Det er hvordan loven vanligvis fungerer. Ikke ofte like brått eller " "utålmodig, men til slutt er dette hvordan loven fungerer. Det var ikke " "stilen til Douglas å utbrodere. Andre dommere ville ha skrevet mange flere " "sider før de nådde sin konklusjon, men for Douglas holdt det med en enkel " "linje: \"Idéen er i strid med sunn fornuft.\". Men uansett om det tar flere " "sider eller kun noen få ord, så er det en genial egenskap med et " "rettspraksis-system, slik som vårt er, at loven tilpasser seg til aktuelle " "teknologiene. Og mens den tilpasser seg, så endres den. Idéer som var " "solide som fjell i en tidsalder knuses i en annen." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "Or at least, this is how things happen when there's no one powerful on " #| "the other side of the change. The Causbys were just farmers. And though " #| "there were no doubt many like them who were upset by the growing traffic " #| "in the air (though one hopes not many chickens flew themselves into " #| "walls), the Causbys of the world would find it very hard to unite and " #| "stop the idea, and the technology, that the Wright brothers had birthed. " #| "The Wright brothers spat airplanes into the technological meme pool; the " #| "idea then spread like a virus in a chicken coop; farmers like the Causbys " #| "found themselves surrounded by \"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—the power of \"common sense\"—would prevail. " #| "Their \"private interest\" would not be allowed to defeat an obvious " #| "public gain." msgid "" "Or at least, this is how things happen when there's no one powerful on the " "other side of the change. The Causbys were just farmers. And though there " "were no doubt many like them who were upset by the growing traffic in the " "air (though one hopes not many chickens flew themselves into walls), the " "Causbys of the world would find it very hard to unite and stop the idea, and " "the technology, that the Wright brothers had birthed. The Wright brothers " "spat airplanes into the technological meme pool; the idea then spread like a " "virus in a chicken coop; farmers like the Causbys found themselves " "surrounded by <quote>what seemed reasonable</quote> given the technology " "that the Wrights had produced. They could stand on their farms, dead " "chickens in hand, and shake their fists at these newfangled technologies all " "they wanted. They could call their representatives or even file a lawsuit. " "But in the end, the force of what seems <quote>obvious</quote> to everyone " "else—the power of <quote>common sense</quote>—would prevail. " "Their <quote>private interest</quote> would not be allowed to defeat an " "obvious public gain." msgstr "" "Eller, det er hvordan ting skjer når det ikke er noen mektige på andre siden " "av endringen. Causbyene var bare bønder. Og selv om det uten tvil var " "mange som dem som var lei av den økende trafikken i luften (og en håper ikke " "for mange kyllinger flakset seg inn i vegger), ville Causbyene i verden " "finne det svært hardt å samles for å stoppe idéen, og teknologien, som " "Wright-brødrene hadde ført til verden. Wright-brødrene spyttet flymaskiner " "inn i den teknologiske meme-dammen. Idéen spredte seg deretter som et virus " "i en kyllingfarm. Causbyene i verden fant seg selv omringet av \"det synes " "rimelig\" gitt teknologien som Wright-brødrene hadde produsert. De kunne " "stå på sine gårder, med døde kyllinger i hendene, og heve knyttneven mot " "disse nye teknologiene så mye de ville. De kunne ringe sine representanter " "eller til og med saksøke. Men når alt kom til alt, ville kraften i det som " "virket \"åpenbart\" for alle andre—makten til \"sunn fornuft\"—" "ville vinne frem. Deres \"personlige interesser\" ville ikke få lov til å " "nedkjempe en åpenbar fordel for fellesskapet." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Bell, Alexander Graham" msgstr "Bell, Alexander Graham" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Edison, Thomas" msgstr "Edison, Thomas" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Faraday, Michael" msgstr "Faraday, Michael" #. type: Content of: <book><chapter><para> 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. <placeholder type=\"indexterm\" " "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/>" msgstr "" "Edwin Howard Armstrong er en av USAs glemte oppfinnergenier. Han dukket opp " "på oppfinnerscenen etter titaner som Thomas Edison og Alexander Graham " "Bell. Alle hans bidrag på området radioteknologi gjør han til kanskje den " "viktigste av alle enkeltoppfinnere i de første femti årene av radio. Han " "var bedre utdannet enn Michael Faraday, som var bokbinderlærling da han " "oppdaget elektrisk induksjon i 1831. Men han hadde like god intuisjon om " "hvordan radioverden virket, og ved minst tre anledninger, fant Armstrong opp " "svært viktig teknologier som brakte vår forståelse av radio et hopp videre. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>" #. type: Content of: <book><chapter><para> msgid "" "On the day after Christmas, 1933, four patents were issued to Armstrong for " "his most significant invention—FM radio. Until then, consumer radio " "had been amplitude-modulated (AM) radio. The theorists of the day had said " "that frequency-modulated (FM) radio could never work. They were right about " "FM radio in a narrow band of spectrum. But Armstrong discovered that " "frequency-modulated radio in a wide band of spectrum would deliver an " "astonishing fidelity of sound, with much less transmitter power and static." msgstr "" "Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for " "hans mest signifikante oppfinnelse—FM-radio. Inntil da hadde " "forbrukerradioer vært amplitude-modulert (AM) radio. Tidens teoretikere " "hadde sagt at frekvens-modulert (FM) radio. De hadde rett når det gjelder " "et smalt bånd av spektrumet. Men Armstrong oppdaget at frekvens-modulert " "radio i et vidt bånd i spektrumet leverte en forbløffende gjengivelse av " "lyd, med mye mindre senderstyrke og støy." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "On November 5, 1935, he demonstrated the technology at a meeting of the " #| "Institute of Radio Engineers at the Empire State Building in New York " #| "City. He tuned his radio dial across a range of AM stations, until the " #| "radio locked on a broadcast that he had arranged from seventeen miles " #| "away. The radio fell totally silent, as if dead, and then with a clarity " #| "no one else in that room had ever heard from an electrical device, it " #| "produced the sound of an announcer's voice: \"This is amateur station " #| "W2AG at Yonkers, New York, operating on frequency modulation at two and a " #| "half meters.\"" msgid "" "On November 5, 1935, he demonstrated the technology at a meeting of the " "Institute of Radio Engineers at the Empire State Building in New York City. " "He tuned his radio dial across a range of AM stations, until the radio " "locked on a broadcast that he had arranged from seventeen miles away. The " "radio fell totally silent, as if dead, and then with a clarity no one else " "in that room had ever heard from an electrical device, it produced the sound " "of an announcer's voice: <quote>This is amateur station W2AG at Yonkers, New " "York, operating on frequency modulation at two and a half meters.</quote>" msgstr "" "Den 5. november 1935 demonstrerte han teknologien på et møte hos institutt " "for radioingeniører ved Empire State-bygningen i New York City. Han vred " "radiosøkeren over en rekke AM-stasjoner, inntil radioen låste seg mot en " "kringkasting som han hadde satt opp 27 kilometer unna. Radioen ble helt " "stille, som om den var død, og så, med en klarhet ingen andre i rommet noen " "gang hadde hørt fra et elektrisk apparat, produserte det lyden av en " "opplesers stemme: \"Dette er amatørstasjon W2AG ved Yonkers, New York, som " "opererer på frekvensmodulering ved 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> msgid "" "Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" "citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." msgstr "" "Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" "citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." #. type: Content of: <book><chapter><blockquote><para> #, fuzzy #| msgid "" #| "A glass of water was poured before the microphone in Yonkers; it sounded " #| "like a glass of water being poured. … 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\"/>" 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 <quote>music box.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hørtes ut som " "et glass som ble fylt opp. … Et papir ble krøllet og revet opp, og " "det hørtes ut som papir og ikke som en sprakende skogbrann. … Sousa-" "marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble " "utført. … Musikken ble presentert med en livaktighet som sjeldent om " "noen gang før hadde vært hørt fra en radio-\"musikk-boks\".<placeholder type=" "\"footnote\" id=\"0\"/>" #. PAGE BREAK 20 #. type: Content of: <book><chapter><para> msgid "" "As our own common sense tells us, Armstrong had discovered a vastly superior " "radio technology. But at the time of his invention, Armstrong was working " "for RCA. RCA was the dominant player in the then dominant AM radio market. " "By 1935, there were a thousand radio stations across the United States, but " "the stations in large cities were all owned by a handful of networks." msgstr "" "Som vår egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye " "bedre radioteknologi. Men på tidspunktet for hans oppfinnelse, jobbet " "Armstrong for RCA. RCA var den dominerende aktøren i det da dominerende AM-" "radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men " "stasjonene i de store byene var alle eid av en liten håndfull selskaper." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Sarnoff, David" msgstr "Sarnoff, David" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " #| "Armstrong discover a way to remove static from AM radio. So Sarnoff was " #| "quite excited when Armstrong told him he had a device that removed static " #| "from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff " #| "was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "RCA's president, David Sarnoff, a friend of Armstrong's, was eager that " "Armstrong discover a way to remove static from AM radio. So Sarnoff was " "quite excited when Armstrong told him he had a device that removed static " "from <quote>radio.</quote> But when Armstrong demonstrated his invention, " "Sarnoff was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter å få " "Armstrong til å oppdage en måte å fjerne støyen fra AM-radio. Så Sarnoff var " "ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet " "støy fra \"radio.\". Men da Armstrong demonstrerte sin oppfinnelse, var " "ikke Sarnoff fornøyd. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><blockquote><para><footnote><para> #, fuzzy #| 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>." msgid "" "See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> " "First Electronic Church of America, at www.webstationone.com/fecha, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." msgstr "" "Se \"Saints: The Heroes and Geniuses of the Electronic Era,\" første " "elektroniske kirke i USA, hos www.webstationone.com/fecha, tilgjengelig fra " "<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>." #. type: Content of: <book><chapter><blockquote><para> msgid "" "I thought Armstrong would invent some kind of a filter to remove static from " "our AM radio. I didn't think he'd start a revolution— 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 AM-radioen vår. 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> 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, <placeholder " "type=\"indexterm\" id=\"0\"/>" msgstr "" "Armstrongs oppfinnelse truet RCAs AM-herredømme, så selskapet lanserte en " "kampanje for å knuse FM-radio. Mens FM kan ha vært en overlegen teknologi, " "var Sarnoff en overlegen taktiker. En forfatter beskrev det slik, " "<placeholder type=\"indexterm\" id=\"0\"/>" #. 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 "" "Kreftene til fordel for FM, i hovedsak ingeniørfaglige, kunne ikke overvinne " "tyngden til strategien utviklet av avdelingene for salg, patenter og juss " "for å undertrykke denne trusselen til selskapets posisjon. For FM utgjorde, " "hvis det fikk utvikle seg uten begrensninger … en komplett endring i " "maktforholdene rundt radio … og muligens fjerningen av det nøye " "begrensede AM-systemet som var grunnlaget for RCA stigning til makt." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "RCA at first kept the technology in house, insisting that further tests were " "needed. When, after two years of testing, Armstrong grew impatient, RCA " "began to use its power with the government to stall FM radio's deployment " "generally. In 1936, RCA hired the former head of the FCC and assigned him " "the task of assuring that the FCC assign spectrum in a way that would " "castrate FM—principally by moving FM radio to a different band of " "spectrum. At first, these efforts failed. But when Armstrong and the nation " "were distracted by World War II, RCA's work began to be more successful. " "Soon after the war ended, the FCC announced a set of policies that would " "have one clear effect: FM radio would be crippled. As Lawrence Lessing " "described it," msgstr "" "RCA holdt først teknologien innomhus, og insistere på at det var nødvendig " "med ytterligere tester. Da Armstrong, etter to år med testing, ble " "utålmodig, begynte RCA å bruke sin makt hos myndighetene til holde tilbake " "den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere " "lederen av FCC og ga ham oppgaven med å sikre at FCC tilordnet " "radiospekteret på en måte som ville kastrere FM—hovedsakelig ved å " "flytte FM-radio til et annet band i spekteret. I første omgang lyktes ikke " "disse forsøkene. Men mens Armstrong og nasjonen var distrahert av andre " "verdenskrig, begynte RCAs arbeid å bære frukter. Like etter at krigen var " "over, annonserte FCC et sett med avgjørelser som ville ha en klar effekt: FM-" "radio ville bli forkrøplet.Lawrence lessing beskrevet det slik," #. 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 "" "Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en " "serie med avgjørelser manipulert gjennom FCC av de store radiointeressene, " "var nesten utrolige i deres kraft og underfundighet.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><indexterm><primary> msgid "AT&T" msgstr "AT&T" #. type: Content of: <book><chapter><para> msgid "" "To make room in the spectrum for RCA's latest gamble, television, FM radio " "users were to be moved to a totally new spectrum band. The power of FM radio " "stations was also cut, meaning FM could no longer be used to beam programs " "from one part of the country to another. (This change was strongly " "supported by AT&T, because the loss of FM relaying stations would mean " "radio stations would have to buy wired links from AT&T.) The spread of " "FM radio was thus choked, at least temporarily." msgstr "" "For å gjøre plass i spektrumet for RCAs nyeste satsingsområde, televisjon, " "skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet. " "Sendestyrken til FM-radioene ble også redusert, og gjorde at FM ikke lenger " "kunne brukes for å sende programmer fra en del av landet til en annen. " "(Denne endringen ble sterkt støttet av AT&T, på grunn av at fjerningen " "av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nødt " "til å kjøpe kablede linker fra AT&T.) Spredningen av FM-radio var " "dermed kvalt, i hvert fall midlertidig." #. type: Content of: <book><chapter><para> msgid "" "Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's " "patents. After incorporating FM technology into the emerging standard for " "television, RCA declared the patents invalid—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 sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. " "Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS " "patentene ugyldige—uten grunn og nesten femten år etter at de ble " "utstedet. De nektet dermed å betale ham for bruken av patentene. I seks år " "kjempet Armstrong en dyr søksmålskrig for å forsvare patentene sine. Til " "slutt, samtidig som patentene utløp, tilbød RCA et forlik så lavt at det " "ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nå blakk, " "skrev Armstrong i 1954 en kort beskjed til sin kone, før han gikk ut av et " "vindu i trettende etasje og falt i døden." #. PAGE BREAK 22 #. type: Content of: <book><chapter><para> msgid "" "This is how the law sometimes works. Not often this tragically, and rarely " "with heroic drama, but sometimes, this is how it works. From the beginning, " "government and government agencies have been subject to capture. They are " "more likely captured when a powerful interest is threatened by either a " "legal or technical change. That powerful interest too often exerts its " "influence within the government to get the government to protect it. The " "rhetoric of this protection is of course always public spirited; the reality " "is something different. Ideas that were as solid as rock in one age, but " "that, left to themselves, would crumble in another, are sustained through " "this subtle corruption of our political process. RCA had what the Causbys " "did not: the power to stifle the effect of technological change." msgstr "" "Dette er slik loven virker noen ganger. Ikke ofte like tragisk, og sjelden " "med heltemodig drama, men noen ganger er det slik det virker. Fra starten " "har myndigheter og myndighetsorganer blitt tatt til fange. Det er mer " "sannsynlig at de blir fanget når en mektig interesse er truet av enten en " "juridisk eller teknologisk endring. Denne mektige interessen utøver for " "ofte sin innflytelse hos myndighetene til å få myndighetene til å beskytte " "den. Retorikken for denne beskyttelsen er naturligvis alltid med fokus på " "fellesskapets beste. Realiteten er noe annet. Idéer som kan være solide " "som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i " "en annen, er videreført gjennom denne subtile korrupsjonen i vår politiske " "prosess. RCA hadde hva Causby-ene ikke hadde: Makten til å undertrykke " "effekten av en teknologisk endring." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at " "Internet Access and the Digital Divide,</quote> Pew Internet and American " "Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #2</ulink>." msgstr "" "Amanda Lenhart, \"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, tilgjengelig fra <ulink url=\"http://free-" "culture.cc/notes/\">link #2</ulink>." #. 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 "" "Det er ingen enkeltoppfinner av Internet. Ei heller er det en god dato som " "kan brukes til å markere når det ble født. Likevel har internettet i løpet " "av svært kort tid blitt en del av vanlige amerikaneres liv. I følge the Pew " "Internet and American Life-prosjektet, har 58 prosent av amerikanerne hatt " "tilgang til internettet i 2002, opp fra 49 prosent to år tidligere." "<placeholder type=\"footnote\" id=\"0\"/> Det tallet kan uten problemer " "passere to tredjedeler av nasjonen ved utgangen av 2004." #. type: Content of: <book><chapter><para> msgid "" "As the Internet has been integrated into ordinary life, it has changed " "things. Some of these changes are technical—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 "" "Etter hvert som internett er blitt integrert inn i det vanlige liv har ting " "blitt endret. Noen av disse endringene er teknisk—internettet har " "gjort kommunikasjon raskere, det har redusert kostnaden med å samle inn " "data, og så videre. Disse tekniske endringene er ikke fokus for denne " "boken. De er viktige. De er ikke godt forstått. Men de er den type ting " "som ganske enkelt ville blir borte hvis vi alle bare slo av internettet. De " "påvirker ikke folk som ikke bruker internettet, eller i det miste påvirker " "det ikke dem direkte. De er et godt tema for en bok om internettet. Men " "dette er ikke en bok om internettet." #. type: Content of: <book><chapter><para> msgid "" "Instead, this book is about an effect of the Internet beyond the Internet " "itself: an effect upon how culture is made. My claim is that the Internet " "has induced an important and unrecognized change in that process. That " "change will radically transform a tradition that is as old as the Republic " "itself. Most, if they recognized this change, would reject it. Yet most " "don't even see the change that the Internet has introduced." msgstr "" "I stedet er denne boken om effekten av internettet ut over internettet i seg " "selv. En effekt på hvordan kultur blir skapt. Min påstand er at " "internettet har ført til en viktig og ukjent endring i denne prosessen. " "Denne endringen vil forandre en tradisjon som er like gammel som republikken " "selv. De fleste, hvis de la merke til denne endringen, ville avvise den. " "Men de fleste legger ikke engang merke til denne endringen som internettet " "har introdusert." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Barlow, Joel" msgstr "Barlow, Joel" #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Webster, Noah" msgstr "Webster, Noah" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "We can glimpse a sense of this change by distinguishing between " #| "commercial and noncommercial culture, and by mapping the law's regulation " #| "of each. By \"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. <placeholder type=\"indexterm\" id=" #| "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "We can glimpse a sense of this change by distinguishing between commercial " "and noncommercial culture, and by mapping the law's regulation of each. By " "<quote>commercial culture</quote> I mean that part of our culture that is " "produced and sold or produced to be sold. By <quote>noncommercial culture</" "quote> I mean all the rest. When old men sat around parks or on street " "corners telling stories that kids and others consumed, that was " "noncommercial culture. When Noah Webster published his <quote>Reader,</" "quote> or Joel Barlow his poetry, that was commercial culture. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Vi kan få en følelse av denne endringen ved å skille mellom kommersiell og " "ikke-kommersiell kultur, ved å knytte lovens reguleringer til hver av dem. " "Med \"kommersiell kultur\" mener jeg den delen av vår kultur som er " "produsert og solgt eller produsert for å bli solgt. Med \"ikke-kommersiell " "kultur\" mener jeg alt det andre. Da gamle menn satt rundt i parker eller på " "gatehjørner og fortalte historier som unger og andre lyttet til, så var det " "ikke-kommersiell kultur. Da Noah Webster publiserte sin \"Reader\", eller " "Joel Barlow sin poesi, så var det kommersiell kultur. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "At the beginning of our history, and for just about the whole of our " #| "tradition, noncommercial culture was essentially unregulated. Of course, " #| "if your stories were lewd, or if your song disturbed the peace, then the " #| "law might intervene. But the law was never directly concerned with the " #| "creation or spread of this form of culture, and it left this culture " #| "\"free.\" The ordinary ways in which ordinary individuals shared and " #| "transformed their culture—telling stories, reenacting scenes from " #| "plays or TV, participating in fan clubs, sharing music, making " #| "tapes—were left alone by the law." msgid "" "At the beginning of our history, and for just about the whole of our " "tradition, noncommercial culture was essentially unregulated. Of course, if " "your stories were lewd, or if your song disturbed the peace, then the law " "might intervene. But the law was never directly concerned with the creation " "or spread of this form of culture, and it left this culture <quote>free.</" "quote> The ordinary ways in which ordinary individuals shared and " "transformed their culture—telling stories, reenacting scenes from " "plays or TV, participating in fan clubs, sharing music, making tapes—" "were left alone by the law." msgstr "" "Fra historisk tid, og for omtrent hele vår tradisjon, har ikke-kommersiell " "kultur i hovedsak ikke vært regulert. Selvfølgelig, hvis din historie var " "utuktig, eller hvis dine sanger forstyrret freden, kunne loven gripe inn. " "Men loven var aldri direkte interessert i skapingen eller spredningen av " "denne form for kultur, og lot denne kulturen være \"fri\". Den vanlige " "måten som vanlige individer delte og formet deres kultur—" "historiefortelling, formidling av scener fra teater eller TV, delta i fan-" "klubber, deling av musikk, laging av kassetter—ble ikke styrt av " "lovverket." #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Brandeis, Louis D." msgstr "Brandeis, Louis D." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "This is not the only purpose of copyright, though it is the " #| "overwhelmingly primary purpose of the copyright established in the " #| "federal constitution. State copyright law historically protected not " #| "just the commercial interest in publication, but also a privacy interest. " #| "By granting authors the exclusive right to first publication, state " #| "copyright law gave authors the power to control the spread of facts about " #| "them. See Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy," #| "\" Harvard Law Review 4 (1890): 193, 198–200. <placeholder type=" #| "\"indexterm\" id=\"0\"/>" msgid "" "This is not the only purpose of copyright, though it is the overwhelmingly " "primary purpose of the copyright established in the federal constitution. " "State copyright law historically protected not just the commercial interest " "in publication, but also a privacy interest. By granting authors the " "exclusive right to first publication, state copyright law gave authors the " "power to control the spread of facts about them. See Samuel D. Warren and " "Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 " "(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Dette er ikke det eneste formålet med opphavsrett, men det er helt klart " "hovedformålet med opphavsretten slik den er etablert i føderal grunnlov. " "Opphavsrettslovene i delstatene beskyttet historisk ikke bare kommersielle " "interesse når det gjaldt publikasjoner, men også personverninteresser. Ved " "å gi forfattere eneretten til å publisere først, ga delstatenes " "opphavsrettslovene forfatterne makt til å kontrollere spredningen av fakta " "om seg selv. Se Samuel D. Warren og Louis Brandeis, \"The Right to Privacy" "\", Harvard Law Review 4 (1890): 193, 198–200. <placeholder type=" "\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "The focus of the law was on commercial creativity. At first slightly, then " "quite extensively, the law protected the incentives of creators by granting " "them exclusive rights to their creative work, so that they could sell those " "exclusive rights in a commercial marketplace.<placeholder type=\"footnote\" " "id=\"0\"/> This is also, of course, an important part of creativity and " "culture, and it has become an increasingly important part in America. But in " "no sense was it dominant within our tradition. It was instead just one part, " "a controlled part, balanced with the free." msgstr "" "Fokuset på loven var kommersiell kreativitet. I starten forsiktig, etter " "hvert betraktelig, beskytter loven insentivet til skaperne ved å tildele dem " "en eksklusiv rett til deres kreative verker, slik at de kan selge disse " "eksklusive rettighetene på en kommersiell markedsplass.<placeholder type=" "\"footnote\" id=\"0\"/> Dette er også, naturligvis, en viktig del av " "kreativitet og kultur, og det har blitt en viktigere og viktigere del i " "USA. Men det var på ingen måte dominerende i vår tradisjon. Det var i " "stedet bare en del, en kontrollert del, balansert mot det frie." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Litman, Jessica" msgstr "Litman, Jessica" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " "Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " "Prometheus bøker, 2001), kap. 13. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "This rough divide between the free and the controlled has now been erased." "<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the stage for " "this erasure and, pushed by big media, the law has now affected it. For the " "first time in our tradition, the ordinary ways in which individuals create " "and share culture fall within the reach of the regulation of the law, which " "has expanded to draw within its control a vast amount of culture and " "creativity that it never reached before. The technology that preserved the " "balance of our history—between uses of our culture that were free and " "uses of our culture that were only upon permission—has been undone. " "The consequence is that we are less and less a free culture, more and more a " "permission culture." msgstr "" "Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt " "fjernet.<placeholder type=\"footnote\" id=\"0\"/> Internettet har satt " "scenen for denne fjerningen, og pressen frem av store medieaktører har loven " "nå påvirket det. For første gang i vår tradisjon, har de vanlige måtene som " "individer skaper og deler kultur havnet innen rekekvidde for reguleringene " "til loven, som har blitt utvidet til å dra inn i sitt kontrollområde den " "enorme mengden kultur og kreativitet som den aldri tidligere har nådd over. " "Teknologien som tok vare på den historiske balansen—mellom bruken av " "den delen av kulturen vår som var fri og bruken av vår kultur som krevde " "tillatelse—har blitt borte. Konsekvensen er at vi er mindre og mindre " "en fri kultur, og mer og mer en tillatelseskultur." #. type: Content of: <book><chapter><para> msgid "" "This change gets justified as necessary to protect commercial creativity. " "And indeed, protectionism is precisely its motivation. But the protectionism " "that justifies the changes that I will describe below is not the limited and " "balanced sort that has defined the law in the past. This is not a " "protectionism to protect artists. It is instead a protectionism to protect " "certain forms of business. Corporations threatened by the potential of the " "Internet to change the way both commercial and noncommercial culture are " "made and shared have united to induce lawmakers to use the law to protect " "them. It is the story of RCA and Armstrong; it is the dream of the Causbys." msgstr "" "Denne endringen blir rettferdiggjort som nødvendig for å beskytte " "kommersiell kreativitet. Og ganske riktig, proteksjonisme er nøyaktig det " "som motiverer endringen. Men proteksjonismen som rettferdiggjør endringene " "som jeg skal beskrive lenger ned er ikke den begrensede og balanserte typen " "som har definert loven tidligere. Dette er ikke en proteksjonisme for å " "beskytte artister. Det er i stedet en proteksjonisme for å beskytte " "bestemte forretningsformer. Selskaper som er truet av potensialet til " "internettet for å endre måten både kommersiell og ikke-kommersiell kultur " "blir skapt og delt, har samlet seg for å få lovgiverne til å bruke loven for " "å beskytte selskapene. Dette er historien om RCA og Armstrong, og det er " "drømmen til Causbyene." #. type: Content of: <book><chapter><para> msgid "" "For the Internet has unleashed an extraordinary possibility for many to " "participate in the process of building and cultivating a culture that " "reaches far beyond local boundaries. That power has changed the marketplace " "for making and cultivating culture generally, and that change in turn " "threatens established content industries. The Internet is thus to the " "industries that built and distributed content in the twentieth century what " "FM radio was to AM radio, or what the truck was to the railroad industry of " "the nineteenth century: the beginning of the end, or at least a substantial " "transformation. Digital technologies, tied to the Internet, could produce a " "vastly more competitive and vibrant market for building and cultivating " "culture; that market could include a much wider and more diverse range of " "creators; those creators could produce and distribute a much more vibrant " "range of creativity; and depending upon a few important factors, those " "creators could earn more on average from this system than creators do " "today—all so long as the RCAs of our day don't use the law to protect " "themselves against this competition." msgstr "" "For internettet har sluppet løs en ekstraordinær mulighet for mange til å " "delta i prosessen med å bygge og kultivere en kultur som rekker lagt utenfor " "lokale grenselinjer. Den makten har endret markedsplassen for å lage og " "kultivere kultur generelt, og den endringen truer i neste omgang etablerte " "innholdsindustrier. Internettet er dermed for industriene som bygget og " "distribuerte innhold i det tjuende århundret hva FM-radio var for AM-radio, " "eller hva traileren var for jernbaneindustrien i det nittende århundret: " "begynnelsen på slutten, eller i hvert fall en markant endring. Digitale " "teknologier, knyttet til internettet, kunne produsere et mye mer " "konkurransedyktig og levende marked for å bygge og kultivere kultur. Dette " "markedet kunne inneholde en mye videre og mer variert utvalg av skapere. " "Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av " "kreativitet. Og avhengig av noen få viktige faktorer, så kunne disse " "skaperne tjenere mer i snitt fra dette systemet enn skaperne gjør i " "dag—så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem " "selv mot denne konkurransen." #. type: Content of: <book><chapter><para> msgid "" "Yet, as I argue in the pages that follow, that is precisely what is " "happening in our culture today. These modern-day equivalents of the early " "twentieth-century radio or nineteenth-century railroads are using their " "power to get the law to protect them against this new, more efficient, more " "vibrant technology for building culture. They are succeeding in their plan " "to remake the Internet before the Internet remakes them." msgstr "" "Likevel, som jeg argumenterer for i sidene som følger, er dette nøyaktig det " "som skjer i vår kultur i dag. Dette som er dagens ekvivalenter til tidlig " "tjuende århundres radio og nittende århundres jernbaner bruker deres makt " "til å få loven til å beskytte dem mot dette nye, mer effektive, mer levende " "teknologi for å bygge kultur. De lykkes i deres plan om å gjøre om " "internettet før internettet gjør om på dem." #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " #| "Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " #| "Times</citetitle>, 17 January 2002." msgid "" "Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New " "Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New " "York Times</citetitle>, 17 January 2002." msgstr "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " "Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " "Times</citetitle>, 17. januar 2002." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "It doesn't seem this way to many. The battles over copyright and the " #| "Internet seem remote to most. To the few who follow them, they seem " #| "mainly about a much simpler brace of questions—whether \"piracy\" " #| "will be permitted, and whether \"property\" will be protected. The \"war" #| "\" that has been waged against the technologies of the Internet—" #| "what Motion Picture Association of America (MPAA) president Jack Valenti " #| "calls his \"own terrorist war\"<placeholder type=\"footnote\" id=\"0\"/" #| ">—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." 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—whether <quote>piracy</quote> " "will be permitted, and whether <quote>property</quote> will be protected. " "The <quote>war</quote> that has been waged against the technologies of the " "Internet—what Motion Picture Association of America (MPAA) president " "Jack Valenti calls his <quote>own terrorist war</quote><placeholder type=" "\"footnote\" id=\"0\"/>—has been framed as a battle about the rule of " "law and respect for property. To know which side to take in this war, most " "think that we need only decide whether we're for property or against it." msgstr "" "Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og " "internettet er fjernt for de fleste. For de få som følger dem, virker de i " "hovedsak å handle om et enklere sett med spørsmål—hvorvidt " "\"piratvirksomhet\" vil bli akseptert, og hvorvidt \"eiendomsretten\" vil " "bli beskyttet. \"Krigen\" som har blitt erklært mot teknologiene til " "internettet—det presidenten for Motion Picture Association of America " "(MPAA) Jack Valenti kaller sin \"egen terroristkrig\"<placeholder type=" "\"footnote\" id=\"0\"/>—har blitt rammet inn som en kamp om å følge " "loven og respektere eiendomsretten. For å vite hvilken side vi bør ta i " "denne krigen, de fleste tenker at vi kun trenger å bestemme om hvorvidt vi " "er for eiendomsrett eller mot den." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "If those really were the choices, then I would be with Jack Valenti and " #| "the content industry. I, too, am a believer in property, and especially " #| "in the importance of what Mr. Valenti nicely calls \"creative property.\" " #| "I believe that \"piracy\" is wrong, and that the law, properly tuned, " #| "should punish \"piracy,\" whether on or off the Internet." msgid "" "If those really were the choices, then I would be with Jack Valenti and the " "content industry. I, too, am a believer in property, and especially in the " "importance of what Mr. Valenti nicely calls <quote>creative property.</" "quote> I believe that <quote>piracy</quote> is wrong, and that the law, " "properly tuned, should punish <quote>piracy,</quote> whether on or off the " "Internet." msgstr "" "Hvis dette virkelig var alternativene, så ville jeg være enig med Jack " "Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt " "på viktigheten av hva Mr. Valenti så pent kaller \"kreativ eiendomsrett\". " "Jeg tror at \"piratvirksomhet\" er galt, og at loven, riktig innstilt, bør " "straffe \"piratvirksomhet\", både på og utenfor internettet." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "But those simple beliefs mask a much more fundamental question and a much " #| "more dramatic change. My fear is that unless we come to see this change, " #| "the war to rid the world of Internet \"pirates\" will also rid our " #| "culture of values that have been integral to our tradition from the start." msgid "" "But those simple beliefs mask a much more fundamental question and a much " "more dramatic change. My fear is that unless we come to see this change, the " "war to rid the world of Internet <quote>pirates</quote> will also rid our " "culture of values that have been integral to our tradition from the start." msgstr "" "Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spørsmål " "og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner å " "legge merke til denne endringen, så vil krigen for å befri verden fra " "internettets \"pirater\" også fjerne verdier fra vår kultur som har vært " "integrert til vår tradisjon helt fra starten." #. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> msgid "Netanel, Neil Weinstock" msgstr "Netanel, Neil Weinstock" #. type: Content of: <book><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " #| "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> " "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" "\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" "These values built a tradition that, for at least the first 180 years of our " "Republic, guaranteed creators the right to build freely upon their past, and " "protected creators and innovators from either state or private control. The " "First Amendment protected creators against state control. And as Professor " "Neil Netanel powerfully argues,<placeholder type=\"footnote\" id=\"0\"/> " "copyright law, properly balanced, protected creators against private " "control. Our tradition was thus neither Soviet nor the tradition of patrons. " "It instead carved out a wide berth within which creators could cultivate and " "extend our culture." msgstr "" "Disse verdiene bygget en tradisjon som, for i hvert fall de første 180 årene " "av vår republikk, garanterte skaperne rettigheten til å bygge fritt på deres " "fortid, og beskyttet skaperne og innovatørene fra både statlig og privat " "kontroll. Det første grunnlovstillegget beskyttet skaperne fra statlig " "kontroll. Og som professor Neil Netanel kraftfylt argumenterer,<placeholder " "type=\"footnote\" id=\"0\"/> opphavsrettslov, skikkelig balansert, beskyttet " "skaperne mot privat kontroll. Vår tradisjon var dermed hverken Sovjet eller " "tradisjonen til velgjørere. I stedet skar det ut en bred manøvreringsrom " "hvor skapere kunne kultivere og utvide vår kultur." #. type: Content of: <book><chapter><para> msgid "" "Yet the law's response to the Internet, when tied to changes in the " "technology of the Internet itself, has massively increased the effective " "regulation of creativity in America. To build upon or critique the culture " "around us one must ask, Oliver Twist–like, for permission first. " "Permission is, of course, often granted—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 "" "Likevel har lovens respons til internettet, når det knyttes sammen til " "endringer i teknologien i internettet selv, ført til massiv økting av den " "effektive reguleringen av kreativitet i USA. For å bygge på eller kritisere " "kulturen rundt oss må en spørre, som Oliver Twist, om tillatelse først. " "Tillatelse er, naturligvis, ofte innvilget—men det er ikke ofte " "innvilget til den kritiske eller den uavhengige. Vi har bygget en slags " "kulturell adel. De innen dette adelskapet har et enkelt liv, mens de på " "utsiden har det ikke. Men det er adelskap i alle former som er fremmed for " "vår tradisjon." #. type: Content of: <book><chapter><para> #, 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." msgid "" "The story that follows is about this war. Is it not about the " "<quote>centrality of technology</quote> to ordinary life. I don't believe in " "gods, digital or otherwise. Nor is it an effort to demonize any individual " "or group, for neither do I believe in a devil, corporate or otherwise. It is " "not a morality tale. Nor is it a call to jihad against an industry." msgstr "" "Historien som følger er om denne krigen. Er det ikke om \"betydningen av " "teknologi\" i vanlig liv. Jeg tror ikke på guder, hverken digitale eller " "andre typer. Det er heller ikke et forsøk på å demonisere noen individer " "eller gruppe, jeg tro heller ikke i en djevel, selskapsmessig eller på annen " "måte. Det er ikke en moralsk historie. Ei heller er det et rop om hellig " "krig mot en industri." #. type: Content of: <book><chapter><para> msgid "" "It is instead an effort to understand a hopelessly destructive war inspired " "by the technologies of the Internet but reaching far beyond its code. And by " "understanding this battle, it is an effort to map peace. There is no good " "reason for the current struggle around Internet technologies to continue. " "There will be great harm to our tradition and culture if it is allowed to " "continue unchecked. We must come to understand the source of this war. We " "must resolve it soon." msgstr "" "Det er i stedet et forsøk på å forstå en håpløst ødeleggende krig som er " "inspirert av teknologiene til internettet, men som rekker lang utenfor dens " "kode. Og ved å forstå denne kampen er den en innsats for å finne veien til " "fred. Det er ingen god grunn for å fortsette dagens batalje rundt internett-" "teknologiene. Det vil være til stor skade for vår tradisjon og kultur hvis " "den får lov til å fortsette ukontrollert. Vi må forstå kilden til denne " "krigen. Vi må finne en løsning snart." #. type: Content of: <book><chapter><para> #, 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." msgid "" "Like the Causbys' battle, this war is, in part, about <quote>property.</" "quote> The property of this war is not as tangible as the Causbys', and no " "innocent chicken has yet to lose its life. Yet the ideas surrounding this " "<quote>property</quote> are as obvious to most as the Causbys' claim about " "the sacredness of their farm was to them. We are the Causbys. Most of us " "take for granted the extraordinarily powerful claims that the owners of " "<quote>intellectual property</quote> now assert. Most of us, like the " "Causbys, treat these claims as obvious. And hence we, like the Causbys, " "object when a new technology interferes with this property. It is as plain " "to us as it was to them that the new technologies of the Internet are " "<quote>trespassing</quote> upon legitimate claims of <quote>property.</" "quote> It is as plain to us as it was to them that the law should intervene " "to stop this trespass." msgstr "" "Lik Causbyenes kamp er denne krigen, delvis, om \"eiendomsrett\". Eiendommen " "i denne krigen er ikke like håndfast som den til Causbyene, og ingen " "uskyldige kyllinger har så langt mistet livet. Likevel er idéene rundt " "denne \"eiendomsretten\" like åpenbare for de fleste som Causbyenes krav om " "ukrenkeligheten til deres bondegård var for dem. De fleste av oss tar for " "gitt de uvanlig mektige krav som eierne av \"immaterielle rettigheter\" nå " "hevder. De fleste av oss, som Causbyene, behandler disse kravene som " "åpenbare. Og dermed protesterer vi, som Causbyene,, når ny teknologi griper " "inn i denne eiendomsretten. Det er så klart for oss som det var fro dem at " "de nye teknologiene til internettet \"tar seg til rette\" mot legitime krav " "til \"eiendomsrett\". Det er like klart for oss som det var for dem at " "loven skulle ta affære for å stoppe denne inntrengingen i annen manns " "eiendom." #. PAGE BREAK 27 #. type: Content of: <book><chapter><para> msgid "" "And thus, when geeks and technologists defend their Armstrong or Wright " "brothers technology, most of us are simply unsympathetic. Common sense does " "not revolt. Unlike in the case of the unlucky Causbys, common sense is on " "the side of the property owners in this war. Unlike the lucky Wright " "brothers, the Internet has not inspired a revolution on its side." msgstr "" "Og dermed, når nerder og teknologer forsvarer sin tids Armstrong og Wright-" "brødenes teknologi, får de lite sympati fra de fleste av oss. Sunn fornuft " "gjør ikke opprør. I motsetning til saken til de uheldige Causbyene, er sunn " "fornuft på samme side som eiendomseierne i denne krigen. I motsetning til " "hos de heldige Wright-brødrene, har internettet ikke inspirert en revolusjon " "til fordel for seg." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "My hope is to push this common sense along. I have become increasingly " #| "amazed by the power of this idea of intellectual property and, more " #| "importantly, its power to disable critical thought by policy makers and " #| "citizens. There has never been a time in our history when more of our " #| "\"culture\" was as \"owned\" as it is now. And yet there has never been a " #| "time when the concentration of power to control the <emphasis>uses</" #| "emphasis> of culture has been as unquestioningly accepted as it is now." msgid "" "My hope is to push this common sense along. I have become increasingly " "amazed by the power of this idea of intellectual property and, more " "importantly, its power to disable critical thought by policy makers and " "citizens. There has never been a time in our history when more of our " "<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet " "there has never been a time when the concentration of power to control the " "<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as " "it is now." msgstr "" "Mitt håp er å skyve denne sunne fornuften videre. Jeg har blitt stadig mer " "overrasket over kraften til denne idéen om immaterielle rettigheter og, mer " "viktig, dets evne til å slå av kritisk tanke hos lovmakere og innbyggere. " "Det har aldri før i vår historie vært så mye av vår \"kultur\" som har vært " "\"eid\" enn det er nå. Og likevel har aldri før konsentrasjonen av makt til " "å kontrollere <emphasis>bruken</emphasis> av kulturen vært mer akseptert " "uten spørsmål enn det er nå." #. type: Content of: <book><chapter><para> msgid "" "The puzzle is, Why? Is it because we have come to understand a truth about " "the value and importance of absolute property over ideas and culture? Is it " "because we have discovered that our tradition of rejecting such an absolute " "claim was wrong?" msgstr "" "Gåten er, hvorfor det? Er det fordi vi fått en innsikt i sannheten om " "verdien og betydningen av absolutt eierskap over idéer og kultur? Er det " "fordi vi har oppdaget at vår tradisjon med å avvise slike absolutte krav var " "feil?" #. type: Content of: <book><chapter><para> msgid "" "Or is it because the idea of absolute property over ideas and culture " "benefits the RCAs of our time and fits our own unreflective intuitions?" msgstr "" "Eller er det på grunn av at idéer om absolutt eierskap over idéer og kultur " "gir fordeler til RCA-ene i vår tid, og passer med vår ureflekterte intuisjon?" #. type: Content of: <book><chapter><para> msgid "" "Is the radical shift away from our tradition of free culture an instance of " "America correcting a mistake from its past, as we did after a bloody war " "with slavery, and as we are slowly doing with inequality? Or is the radical " "shift away from our tradition of free culture yet another example of a " "political system captured by a few powerful special interests?" msgstr "" "Er denne radikale endringen vekk fra vår tradisjon om fri kultur en " "forekomst av USA som korrigerer en feil fra sin fortid, slik vi gjorde det " "etter en blodig krig mot slaveri, og slik vi sakte gjør det mot " "forskjellsbehandling? Eller er denne radikale endringen vekk fra vår " "tradisjon med fri kultur nok et eksempel på at vårt politiske system er " "fanget av noen få mektige særinteresser?" #. type: Content of: <book><chapter><para> msgid "" "Does common sense lead to the extremes on this question because common sense " "actually believes in these extremes? Or does common sense stand silent in " "the face of these extremes because, as with Armstrong versus RCA, the more " "powerful side has ensured that it has the more powerful view?" msgstr "" "Fører sunn fornuft til det ekstreme i dette spørsmålet på grunn av at sunn " "fornuft faktisk tror på dette ekstreme? Eller står sunn fornuft i stillhet " "i møtet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer " "mektige siden har sikret seg at det har et mye mer mektig synspunkt?" #. PAGE BREAK 28 #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "I don't mean to be mysterious. My own views are resolved. I believe it " #| "was right for common sense to revolt against the extremism of the " #| "Causbys. I believe it would be right for common sense to revolt against " #| "the extreme claims made today on behalf of \"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." msgid "" "I don't mean to be mysterious. My own views are resolved. I believe it was " "right for common sense to revolt against the extremism of the Causbys. I " "believe it would be right for common sense to revolt against the extreme " "claims made today on behalf of <quote>intellectual property.</quote> What " "the law demands today is increasingly as silly as a sheriff arresting an " "airplane for trespass. But the consequences of this silliness will be much " "more profound." msgstr "" "Jeg forsøker ikke å være mystisk. Mine egne synspunkter er klare. Jeg mener " "det var riktig for sunn fornuft å gjøre opprør mot ekstremismen til " "Causbyene. Jeg mener det ville være riktig for sunn fornuft å gjøre opprør " "mot de ekstreme krav som gjøres i dag på vegne av \"immaterielle rettigheter" "\". Det som loven krever i dag er mer å mer like dumt som om lensmannen " "skulle arrestere en flymaskin for å trenge inn på annen manns eiendom. Men " "konsekvensene av den nye dumskapen vil bli mye mer dyptgripende." #. type: Content of: <book><chapter><para> #, 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." msgid "" "The struggle that rages just now centers on two ideas: <quote>piracy</quote> " "and <quote>property.</quote> My aim in this book's next two parts is to " "explore these two ideas." msgstr "" "Basketaket som pågår akkurat nå senterer seg rundt to idéer: " "\"piratvirksomhet\" og \"eiendom\". Mitt mål med denne bokens neste to " "deler er å utforske disse to idéene." #. type: Content of: <book><chapter><para> msgid "" "My method is not the usual method of an academic. I don't want to plunge you " "into a complex argument, buttressed with references to obscure French " "theorists—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 "" "Metoden min er ikke den vanlige metoden for en akademiker. Jeg ønsker ikke " "å pløye deg inn i et komplisert argument, steinsatt med referanser til " "obskure franske teoretikere—uansett hvor naturlig det har blitt for " "den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del " "med en samling historier som etablerer en sammenheng der disse " "tilsynelatende enkle idéene kan bli fullt ut forstått." #. type: Content of: <book><chapter><para> #, fuzzy #| msgid "" #| "The two sections set up the core claim of this book: that while the " #| "Internet has indeed produced something fantastic and new, our government, " #| "pushed by big media to respond to this \"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—and more importantly, to use " #| "their power to change something fundamental about who we have always been." msgid "" "The two sections set up the core claim of this book: that while the Internet " "has indeed produced something fantastic and new, our government, pushed by " "big media to respond to this <quote>something new,</quote> is destroying " "something very old. Rather than understanding the changes the Internet might " "permit, and rather than taking time to let <quote>common sense</quote> " "resolve how best to respond, we are allowing those most threatened by the " "changes to use their power to change the law—and more importantly, to " "use their power to change something fundamental about who we have always " "been." msgstr "" "De to delene setter opp kjernen i påstanden til denne boken: at mens " "internettet faktisk har produsert noe fantastisk og nytt, bidrar våre " "myndigheter, presset av store medieaktører for å møte dette \"noe nytt\" til " "å ødelegge noe som er svært gammelt. I stedet for å forstå endringene som " "internettet kan gjøre mulig, og i stedet for å ta den tiden som trengs for å " "la \"sunn fornuft\" finne ut hvordan best svare på utfordringen, så lar vi " "de som er mest truet av endringene bruke sin makt til å endre loven—og " "viktigere, å bruke sin makt til å endre noe fundamentalt om hvordan vi " "alltid har fungert." #. type: Content of: <book><chapter><para> msgid "" "We allow this, I believe, not because it is right, and not because most of " "us really believe in these changes. We allow it because the interests most " "threatened are among the most powerful players in our depressingly " "compromised process of making law. This book is the story of one more " "consequence of this form of corruption—a consequence to which most of " "us remain oblivious." msgstr "" "Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi " "de fleste av oss tror på disse endringene. Vi tillater det på grunn av at " "de interessene som er mest truet er blant de mest mektige aktørene i vår " "deprimerende kompromitterte prosess for å utforme lover. Denne boken er " "historien om nok en konsekvens for denne type korrupsjon—en konsekvens " "for de fleste av oss forblir ukjent med." #. type: Content of: <book><part><title> msgid "<quote>PIRACY</quote>" msgstr "" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Mansfield, William Murray, Lord" msgstr "Mansfield, William Murray, Lord" #. type: Content of: <book><part><partintro><para> #, 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," msgid "" "Since the inception of the law regulating creative property, there has been " "a war against <quote>piracy.</quote> The precise contours of this concept, " "<quote>piracy,</quote> are hard to sketch, but the animating injustice is " "easy to capture. As Lord Mansfield wrote in a case that extended the reach " "of English copyright law to include sheet music," msgstr "" "Helt siden loven begynte å regulere kreative eierrettigheter, har det vært " "en krig mot \"piratvirksomhet\". De presise konturene av dette konseptet, " "\"piratvirksomhet\", har vært vanskelig å tegne opp, men bildet av " "urettferdighet er enkelt å beskrive. Som Lord Mansfield skrev i en sak som " "utvidet rekkevidden for engelsk opphavsrettslov til å inkludere noteark," #. f1 #. type: Content of: <book><part><partintro><blockquote><para><footnote><para> msgid "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777) (Mansfield)." msgstr "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777) (Mansfield)." #. type: Content of: <book><part><partintro><blockquote><para> msgid "" "A person may use the copy by playing it, but he has no right to rob the " "author of the profit, by multiplying copies and disposing of them for his " "own use.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "En person kan bruke kopien til å spille den, men han har ingen rett til å " "robbe forfatteren for profitten, ved å lage flere kopier og distribuere " "etter eget forgodtbefinnende.<placeholder type=\"footnote\" id=\"0\"/>" #. PAGE BREAK 31 #. type: Content of: <book><part><partintro><para> #, 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." msgid "" "Today we are in the middle of another <quote>war</quote> against " "<quote>piracy.</quote> The Internet has provoked this war. The Internet " "makes possible the efficient spread of content. Peer-to-peer (p2p) file " "sharing is among the most efficient of the efficient technologies the " "Internet enables. Using distributed intelligence, p2p systems facilitate the " "easy spread of content in a way unimagined a generation ago." msgstr "" "I dag er vi midt inne i en annen \"krig\" mot \"piratvirksomhet\". " "Internettet har fremprovosert denne krigen. Internettet gjør det mulig å " "effektivt spre innhold. Peer-to-peer (p2p) fildeling er blant det mest " "effektive av de effektive teknologier internettet muliggjør. Ved å bruke " "distribuert intelligens, kan p2p-systemer muliggjøre enkel spredning av " "innhold på en måte som ingen forestilte seg for en generasjon siden." #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This efficiency does not respect the traditional lines of copyright. The " #| "network doesn't discriminate between the sharing of copyrighted and " #| "uncopyrighted content. Thus has there been a vast amount of sharing of " #| "copyrighted content. That sharing in turn has excited the war, as " #| "copyright owners fear the sharing will \"rob the author of the profit.\"" msgid "" "This efficiency does not respect the traditional lines of copyright. The " "network doesn't discriminate between the sharing of copyrighted and " "uncopyrighted content. Thus has there been a vast amount of sharing of " "copyrighted content. That sharing in turn has excited the war, as copyright " "owners fear the sharing will <quote>rob the author of the profit.</quote>" msgstr "" "Denne effektiviteten respekterer ikke de tradisjonelle skillene i " "opphavsretten. Nettverket skiller ikke mellom deling av " "opphavsrettsbeskyttet og ikke opphavsrettsbeskyttet innhold. Dermed har det " "vært deling av en enorm mengde opphavsrettsbeskyttet innhold. Denne " "delingen har i sin tur ansporet til krigen, på grunn av at eiere av " "opphavsretter frykter delingen vil \"frata forfatteren overskuddet.\"" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "The warriors have turned to the courts, to the legislatures, and " #| "increasingly to technology to defend their \"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—our kids are becoming <emphasis>thieves</" #| "emphasis>!" msgid "" "The warriors have turned to the courts, to the legislatures, and " "increasingly to technology to defend their <quote>property</quote> against " "this <quote>piracy.</quote> A generation of Americans, the warriors warn, is " "being raised to believe that <quote>property</quote> should be <quote>free.</" "quote> Forget tattoos, never mind body piercing—our kids are becoming " "<emphasis>thieves</emphasis>!" msgstr "" "Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større " "grad til teknologi for å forsvare sin \"eiendom\" mot denne " "\"piratvirksomheten\". En generasjon amerikanere, advarer krigerne, blir " "oppdratt til å tro at \"eiendom\" skal være \"gratis\". Glem tatoveringer, " "ikke tenk på kroppspiercing—våre barn blir <emphasis>tyver</emphasis>!" #. type: Content of: <book><part><partintro><para> #, 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." msgid "" "There's no doubt that <quote>piracy</quote> is wrong, and that pirates " "should be punished. But before we summon the executioners, we should put " "this notion of <quote>piracy</quote> in some context. For as the concept is " "increasingly used, at its core is an extraordinary idea that is almost " "certainly wrong." msgstr "" "Det er ingen tvil om at \"piratvirksomhet\" er galt, og at pirater bør " "straffes. Men før vi roper på bødlene, bør vi sette dette \"piratvirksomhets" "\"-begrepet i en sammenheng. For mens begrepet blir mer og mer brukt, har " "det i sin kjerne en ekstraordinær idé som nesten helt sikkert er feil." #. type: Content of: <book><part><partintro><para> msgid "The idea goes something like this:" msgstr "Idéen høres omtrent slik ut:" #. type: Content of: <book><part><partintro><blockquote><para> msgid "" "Creative work has value; whenever I use, or take, or build upon the creative " "work of others, I am taking from them something of value. Whenever I take " "something of value from someone else, I should have their permission. The " "taking of something of value from someone else without permission is wrong. " "It is a form of piracy." msgstr "" "Kreativt arbeid har verdi. Når jeg bruker, eller tar, eller bygger på det " "kreative arbeidet til andre, så tar jeg noe fra dem som har verdi. Når jeg " "tar noe av verdi fra noen andre, bør jeg få tillatelse fra dem. Å ta noe " "som har verdi fra andre uten tillatelse er galt. Det er en form for " "piratvirksomhet." #. type: Content of: <book><part><partintro><indexterm><primary> msgid "Dreyfuss, Rochelle" msgstr "Dreyfuss, Rochelle" #. f2 #. type: Content of: <book><part><partintro><para><footnote><para> #, fuzzy #| msgid "" #| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " #| "the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 " #| "(1990): 397." msgid "" "See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language " "in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</" "citetitle> 65 (1990): 397." msgstr "" "Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the " "Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 (1990): " "397." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Zittrain, Jonathan" msgstr "Zittrain, Jonathan" #. type: Content of: <book><part><partintro><para><footnote><para> #, fuzzy #| msgid "" #| "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up," #| "\" <citetitle>Wall Street Journal</citetitle>, 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,\" <citetitle>Boston Globe</citetitle>, 24 November " #| "2002. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay Up," "</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; " "Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of " "Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</" "citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " "<citetitle>Wall Street Journal</citetitle>, 21. august 1996, tilgjengelig " "fra <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,\" <citetitle>Boston Globe</citetitle>, 24. november " "2002. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This view runs deep within the current debates. It is what NYU law " #| "professor Rochelle Dreyfuss criticizes as the \"if value, then right\" " #| "theory of creative property<placeholder type=\"footnote\" id=\"0\"/> " #| "—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\"—" #| "even against the Girl Scouts." msgid "" "This view runs deep within the current debates. It is what NYU law professor " "Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> " "theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —" "if there is value, then someone must have a right to that value. It is the " "perspective that led a composers' rights organization, ASCAP, to sue the " "Girl Scouts for failing to pay for the songs that girls sang around Girl " "Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was " "<quote>value</quote> (the songs) so there must have been a <quote>right</" "quote>—even against the Girl Scouts." msgstr "" "Dette synet går dypt i de pågående debattene. Det er hva jussprofessor " "Rochelle Dreyfuss ved NYU kritiserer som \"hvis verdi, så rettighet\"-" "teorien for kreative eierrettigheter <placeholder type=\"footnote\" id=\"0\"/" ">—hvis det finnes verdi, så må noen ha rettigheten til denne verdien. " "Det er perspektivet som fikk komponistenes rettighetsorganisasjon, ASCAP, " "til å saksøke jentespeiderne for å ikke betale for sangene som jentene sagt " "rundt jentespeidernes leirbål.<placeholder type=\"footnote\" id=\"1\"/> Det " "fantes \"verdi\" (sangene), så det måtte ha vært en \"rettighet\"—til " "og med mot jentespeiderne." #. type: Content of: <book><part><partintro><indexterm><primary> msgid "ASCAP" msgstr "ASCAP" #. PAGE BREAK 32 #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "This idea is certainly a possible understanding of how creative property " #| "should work. It might well be a possible design for a system of law " #| "protecting creative property. But the \"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." msgid "" "This idea is certainly a possible understanding of how creative property " "should work. It might well be a possible design for a system of law " "protecting creative property. But the <quote>if value, then right</quote> " "theory of creative property has never been America's theory of creative " "property. It has never taken hold within our law." msgstr "" "Denne idéen er helt klart en mulig forståelse om hvordan kreative " "eierrettigheter bør virke. Det er helt klart et mulig design for et " "lovsystem som beskytter kreative eierrettigheter. Men teorien om \"hvis " "verdi, så rettighet\" for kreative eierrettigheter har aldri vært USAs teori " "for kreative eierrettigheter. It har aldri stått rot i vårt lovverk." #. type: Content of: <book><part><partintro><para> msgid "" "Instead, in our tradition, intellectual property is an instrument. It sets " "the groundwork for a richly creative society but remains subservient to the " "value of creativity. The current debate has this turned around. We have " "become so concerned with protecting the instrument that we are losing sight " "of the value." msgstr "" "I vår tradisjon har immaterielle rettigheter i stedet vært et instrument. " "Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt " "til verdien av kreativitet. Dagens debatt har snudd dette helt rundt. Vi " "har blitt så opptatt av å beskytte instrumentet at vi mister verdien av syne." #. type: Content of: <book><part><partintro><para> msgid "" "The source of this confusion is a distinction that the law no longer takes " "care to draw—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 forvirringen er et skille som loven ikke lenger bryr seg om " "å markere—skillet mellom å gjenpublisere noens verk på den ene siden, " "og bygge på og gjøre om verket på den andre. Da opphavsretten kom var det " "kun publisering som ble berørt. Opphavsretten i dag regulerer begge." #. type: Content of: <book><part><partintro><para> msgid "" "Before the technologies of the Internet, this conflation didn't matter all " "that much. The technologies of publishing were expensive; that meant the " "vast majority of publishing was commercial. Commercial entities could bear " "the burden of the law—even the burden of the Byzantine complexity that " "copyright law has become. It was just one more expense of doing business." msgstr "" "Før teknologiene til internettet dukket opp, betød ikke denne begrepsmessige " "sammenblandingen mye. Teknologiene for å publisere var kostbare, som betød " "at det meste av publisering var kommersiell. Kommersielle aktører kunne " "håndtere byrden pålagt av loven—til og med byrden som den bysantiske " "kompleksiteten som opphavsrettsloven har blitt. Det var bare nok en kostnad " "ved å drive forretning." #. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> msgid "Florida, Richard" msgstr "Florida, Richard" #. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary> msgid "Rise of the Creative Class, The (Florida)" msgstr "" #. type: Content of: <book><part><partintro><para><footnote><para> msgid "" "In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " "Books, 2002), Richard Florida documents a shift in the nature of labor " "toward a labor of creativity. His work, however, doesn't directly address " "the legal conditions under which that creativity is enabled or stifled. I " "certainly agree with him about the importance and significance of this " "change, but I also believe the conditions under which it will be enabled are " "much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " "type=\"indexterm\" id=\"1\"/>" msgstr "" "I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " "Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " "kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " "vilkår som kreativiteten blir muliggjort eller hindret under. Jeg er helt " "klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " "tror også at vilkårene som disse endringene blir aktivert under er mye " "vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "But with the birth of the Internet, this natural limit to the reach of " #| "the law has disappeared. The law controls not just the creativity of " #| "commercial creators but effectively that of anyone. Although that " #| "expansion would not matter much if copyright law regulated only \"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—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." msgid "" "But with the birth of the Internet, this natural limit to the reach of the " "law has disappeared. The law controls not just the creativity of commercial " "creators but effectively that of anyone. Although that expansion would not " "matter much if copyright law regulated only <quote>copying,</quote> when the " "law regulates as broadly and obscurely as it does, the extension matters a " "lot. The burden of this law now vastly outweighs any original benefit—" "certainly as it affects noncommercial creativity, and increasingly as it " "affects commercial creativity as well. Thus, as we'll see more clearly in " "the chapters below, the law's role is less and less to support creativity, " "and more and more to protect certain industries against competition. Just at " "the time digital technology could unleash an extraordinary range of " "commercial and noncommercial creativity, the law burdens this creativity " "with insanely complex and vague rules and with the threat of obscenely " "severe penalties. We may be seeing, as Richard Florida writes, the " "<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id=" "\"0\"/> Unfortunately, we are also seeing an extraordinary rise of " "regulation of this creative class." msgstr "" "Men da internettet dukket opp, forsvant denne naturlige begrensningen til " "lovens virkeområde. Loven kontrollerer ikke bare kreativiteten til " "kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om " "utvidelsen ikke ville bety stort hvis opphavsrettsloven kun regulerte " "\"kopiering\", så betyr utvidelsen mye når loven regulerer så bredt og " "obskurt som den gjør. Byrden denne loven gir oppveier nå langt fordelene " "den ga da den ble vedtatt—helt klart slik den påvirker ikke-" "kommersiell kreativitet, og i stadig større grad slik den påvirker " "kommersiell kreativitet. Dermed, slik vi ser klarere i kapitlene som " "følger, er lovens rolle mindre og mindre å støtte kreativitet, og mer og mer " "å beskytte enkelte industrier mot konkurranse. Akkurat på tidspunktet da " "digital teknologi kunne sluppet løs en ekstraordinær mengde med kommersiell " "og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med " "sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde " "straffer. Vi ser kanskje, som Richard Florida skriver, \"Fremveksten av den " "kreative klasse\"<placeholder type=\"footnote\" id=\"0\"/> Dessverre ser vi " "også en ekstraordinær fremvekst av reguleringer av denne kreative klassen." #. type: Content of: <book><part><partintro><para> #, fuzzy #| msgid "" #| "These burdens make no sense in our tradition. We should begin by " #| "understanding that tradition a bit more and by placing in their proper " #| "context the current battles about behavior labeled \"piracy.\"" msgid "" "These burdens make no sense in our tradition. We should begin by " "understanding that tradition a bit more and by placing in their proper " "context the current battles about behavior labeled <quote>piracy.</quote>" msgstr "" "Disse byrdene gir ingen mening i vår tradisjon. Vi bør begynne med å forstå " "den tradisjonen litt mer, og ved å plassere dagens slag om oppførsel med " "merkelappen \"piratvirksomhet\" i sin rette sammenheng." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER ONE: Creators" msgstr "Kapittel en: Skaperne" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "animated cartoons" msgstr "tegnefilmer" #. type: Content of: <book><part><chapter><para> 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 <citetitle>Plane Crazy</" "citetitle>. In November, in New York City's Colony Theater, in the first " "widely distributed cartoon synchronized with sound, <citetitle>Steamboat " "Willie</citetitle> brought to life the character that would become Mickey " "Mouse." msgstr "" "I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai " "dette året, i en stille flopp ved navn <citetitle>Plane Crazy</citetitle>. " "I november, i Colony teateret i New York City, ble den første vidt " "distribuerte tegnefilmen med synkronisert lyd, <citetitle>Steamboat Willy</" "citetitle>, vist frem med figuren som skulle bli til Mikke Mus." #. type: Content of: <book><part><chapter><para> msgid "" "Synchronized sound had been introduced to film a year earlier in the movie " "<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " "the technique and mix sound with cartoons. No one knew whether it would work " "or, if it did work, whether it would win an audience. But when Disney ran a " "test in the summer of 1928, the results were unambiguous. As Disney " "describes that first experiment," msgstr "" "Film med synkronisert lyd hadde blitt introdusert et år tidligere i filmen " "<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til å " "kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " "ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " "for det. Men da Disney gjorde en test sommeren 1928, var resultatet " "entydig. Som Disney beskriver dette første eksperimentet," #. PAGE BREAK 35 #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "A couple of my boys could read music, and one of them could play a mouth " "organ. We put them in a room where they could not see the screen and " "arranged to pipe their sound into the room where our wives and friends were " "going to see the picture." msgstr "" "Et par av guttene mine kunne lese noteark, og en av dem kunne spille " "munnspill. Vi stappet dem inn i et rom hvor de ikke kunne se skjermen, og " "gjorde det slik at lyden de spilte ble sendt videre til et rom hvor våre " "koner og venner var plassert for å se på bildet." #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The boys worked from a music and sound-effects score. After several false " "starts, sound and action got off with the gun. The mouth organist played the " "tune, the rest of us in the sound department bammed tin pans and blew slide " "whistles on the beat. The synchronization was pretty close." msgstr "" "Guttene brukte et note- og lydeffekt-ark. Etter noen dårlige oppstarter, " "kom endelig lyd og handling i gang med et smell. Munnspilleren spilte " "melodien, og resten av oss i lydavdelingen slamret på tinnkasseroller og " "blåste på slide-fløyte til rytmen. Synkroniseringen var nesten helt riktig." #. f1 #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " "Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." msgstr "" "Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " "Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The effect on our little audience was nothing less than electric. They " "responded almost instinctively to this union of sound and motion. I thought " "they were kidding me. So they put me in the audience and ran the action " "again. It was terrible, but it was wonderful! And it was something new!" "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Effekten på vårt lille publikum var intet mindre enn elektrisk. De reagerte " "nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de " "tullet med meg. Så de puttet meg i publikum og satte igang på nytt. Det " "var grufullt, men det var fantastisk. Og det var noe nytt!<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Iwerks, Ub" msgstr "Iwerks, Ub" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Disney's then partner, and one of animation's most extraordinary talents, " #| "Ub Iwerks, put it more strongly: \"I have never been so thrilled in my " #| "life. Nothing since has ever equaled it.\" <placeholder type=\"indexterm" #| "\" id=\"0\"/>" msgid "" "Disney's then partner, and one of animation's most extraordinary talents, Ub " "Iwerks, put it more strongly: <quote>I have never been so thrilled in my " "life. Nothing since has ever equaled it.</quote> <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære " "talenter, Ub Iwerks, uttalte det sterkere: \"Jeg har aldri vært så " "begeistret i hele mitt liv. Ingenting annet har noen sinne vært like bra.\" " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Disney had created something very new, based upon something relatively new. " "Synchronized sound brought life to a form of creativity that had " "rarely—except in Disney's hands—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 laget noe helt nyt, basert på noe relativt nytt. Synkronisert " "lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " "Disneys hender—vært noe annet en fyllstoff for andre filmer. Gjennom " "animasjonens tidligere historie var det Disneys oppfinnelse som satte " "standarden som andre måtte sloss for å oppfylle. Og ganske ofte var Disneys " "store geni, hans gnist av kreativitet, bygget på arbeidet til andre." #. type: Content of: <book><part><chapter><para> msgid "" "This much is familiar. What you might not know is that 1928 also marks " "another important transition. In that year, a comic (as opposed to cartoon) " "genius created his last independently produced silent film. That genius was " "Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." msgstr "" "Dette er kjent stoff. Det du kanskje ikke vet er at 1928 også markerer en " "annen viktig overgang. I samme år laget et komedie-geni (i motsetning til " "tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " "Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." #. type: Content of: <book><part><chapter><para> msgid "" "Keaton was born into a vaudeville family in 1895. In the era of silent film, " "he had mastered using broad physical comedy as a way to spark uncontrollable " "laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " "classic of this form, famous among film buffs for its incredible stunts. " "The film was classic Keaton—wildly popular and among the best of its " "genre." msgstr "" "Keaton ble født inn i en vauderville-familie i 1895. I stumfilm-æraen hadde " "han mestret bruken av bredpenslet fysisk komedie på en måte som tente " "ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" "citetitle>. var en klassiker av denne typen, berømt blant film-elskere for " "sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " "populær og blant de beste i sin sjanger." #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "I am grateful to David Gerstein and his careful history, described at " #| "<ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. According " #| "to Dave Smith of the Disney Archives, Disney paid royalties to use the " #| "music for five songs in <citetitle>Steamboat Willie</citetitle>: " #| "\"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." msgid "" "I am grateful to David Gerstein and his careful history, described at <ulink " "url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave " "Smith of the Disney Archives, Disney paid royalties to use the music for " "five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill," "</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</" "quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and " "<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the " "Straw,</quote> was already in the public domain. Letter from David Smith to " "Harry Surden, 10 July 2003, on file with author." msgstr "" "Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, " "beskrevet på <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " "I følge Dave Smith ved the Disney Archives, betalte Disney for å bruke " "musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " "\"Steamboat Bill,\" \"The Simpleton\" (Delille), \"Mischief Makers" "\" (Carbonara), \"Joyful Hurry No. 1\" (Baron), og \"Gawky Rube\" (Lakay). " "En sjette sang, \"The Turkey in the Straw,\" var allerede allemannseie. " "Brev fra David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet " "til forfatteren." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's " #| "cartoon Steamboat Willie. The coincidence of titles is not coincidental. " #| "Steamboat Willie is a direct cartoon parody of Steamboat Bill," #| "<placeholder type=\"footnote\" id=\"0\"/> and both are built upon a " #| "common song as a source. It is not just from the invention of " #| "synchronized sound in <citetitle>The Jazz Singer</citetitle> that we get " #| "<citetitle>Steamboat Willie</citetitle>. It is also from Buster Keaton's " #| "invention of Steamboat Bill, Jr., itself inspired by the song \"Steamboat " #| "Bill,\" that we get Steamboat Willie, and then from Steamboat Willie, " #| "Mickey Mouse." msgid "" "<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " "Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " "Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" "\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " "It is not just from the invention of synchronized sound in <citetitle>The " "Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " "It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " "inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat " "Willie, and then from Steamboat Willie, Mickey Mouse." msgstr "" "<citetitle>Steamboat Bill, Jr</citetitle>. kom før Disneys tegnefilm " "Steamboat Willie. Det er ingen tilfeldighet at titlene er så like. " "Steamboat Willie er en direkte tegneserieparodi av Steamboat Bill," "<placeholder type=\"footnote\" id=\"0\"/> og begge bygger på en felles sang " "som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i " "<citetitle>The Jazz Singer</citetitle> at vi får <citetitle>Steamboat " "Willie</citetitle>. Det er også fra Buster Keatons nyskapning Steamboat " "Bill, Jr., som igjen var inspirert av sangen \"Steamboat Bill\", at vi får " "Steamboat Willie. Og fra Steamboat Willie får vi så Mikke Mus." #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse " "that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink url=" "\"http://free-culture.cc/notes/\">link #5</ulink>." msgstr "" "Han var også tilhenger av allmannseiet. Se Chris Sprigman, \"The Mouse that " "Ate the Public Domain,\" Findlaw, 5. mars 2002, fra <ulink url=\"http://free-" "culture.cc/notes/\">link #5</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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—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." msgid "" "This <quote>borrowing</quote> was nothing unique, either for Disney or for " "the industry. Disney was always parroting the feature-length mainstream " "films of his day.<placeholder type=\"footnote\" id=\"0\"/> So did many " "others. Early cartoons are filled with knockoffs—slight variations on " "winning themes; retellings of ancient stories. The key to success was the " "brilliance of the differences. With Disney, it was sound that gave his " "animation its spark. Later, it was the quality of his work relative to the " "production-line cartoons with which he competed. Yet these additions were " "built upon a base that was borrowed. Disney added to the work of others " "before him, creating something new out of something just barely old." msgstr "" "Denne \"låningen\" var ikke unik, hverken for Disney eller for industrien. " "Disney apet alltid etter full-lengde massemarkedsfilmene rundt ham." "<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " "Tidlige tegnefilmer er stappfulle av etterapninger—små variasjoner " "over suksessfulle temaer, gamle historier fortalt på nytt. Nøkkelen til " "suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " "gnisten til hans animasjoner. Senere var det kvaliteten på hans arbeide " "relativt til de masseproduserte tegnefilmene som han konkurrerte med. " "Likevel var disse bidragene bygget på toppen av fundamentet som var lånt. " "Disney bygget på arbeidet til andre som kom før han, og skapte noe nytt ut " "av noe som bare var litt gammelt." #. type: Content of: <book><part><chapter><para> msgid "" "Sometimes this borrowing was slight. Sometimes it was significant. Think " "about the fairy tales of the Brothers Grimm. If you're as oblivious as I " "was, you're likely to think that these tales are happy, sweet stories, " "appropriate for any child at bedtime. In fact, the Grimm fairy tales are, " "well, for us, grim. It is a rare and perhaps overly ambitious parent who " "would dare to read these bloody, moralistic stories to his or her child, at " "bedtime or anytime." msgstr "" "Noen ganger var låningen begrenset, og noen ganger var den betydelig. Tenkt " "på eventyrene til brødrene Grimm. Hvis du er like ubevisst som jeg var, så " "tror du sannsynlighvis at disse fortellingene er glade, søte historier som " "passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " "for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiøse " "foreldre som ville våge å lese disse blodige moralistiske historiene til " "sine barn, ved leggetid eller hvilken som helst annet tidspunkt." #. PAGE BREAK 37 #. type: Content of: <book><part><chapter><para> msgid "" "Disney took these stories and retold them in a way that carried them into a " "new age. He animated the stories, with both characters and light. Without " "removing the elements of fear and danger altogether, he made funny what was " "dark and injected a genuine emotion of compassion where before there was " "fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " "of Disney work drawing upon the work of others is astonishing when set " "together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" "citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " "<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " "<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" "citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " "<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " "(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" "citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " "<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " "Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" "—not to mention a recent example that we should perhaps quickly " "forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " "cases, Disney (or Disney, Inc.) ripped creativity from the culture around " "him, mixed that creativity with his own extraordinary talent, and then " "burned that mix into the soul of his culture. Rip, mix, and burn." msgstr "" "Disney tok disse historiene og fortalte dem på nytt på en måte som førte dem " "inn i en ny tidsalder. Han ga historiene liv, med både karakterer og lys. " "Uten å fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " "mørkt og satte inn en ekte følelse av medfølelse der det før var frykt. Og " "ikke bare med verkene av brødrene Grimm. Faktisk er katalogen over Disney-" "arbeid som baserer seg på arbeidet til andre ganske forbløffende når den " "blir samlet: <citetitle>Snøhvit</citetitle> (1937), <citetitle>Fantasia</" "citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " "<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " "<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" "citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " "<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " "(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " "<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " "(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " "steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" "—for ikke å nevne et nylig eksempel som vi bør kanskje glemme raskt, " "<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " "Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " "med kreativiteten fra sitt eget ekstraordinære talent, og deretter brent " "denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This is a kind of creativity. It is a creativity that we should remember " #| "and celebrate. There are some who would say that there is no creativity " #| "except this kind. We don't need to go that far to recognize its " #| "importance. We could call this \"Disney creativity,\" though that would " #| "be a bit misleading. It is, more precisely, \"Walt Disney creativity" #| "\"—a form of expression and genius that builds upon the culture " #| "around us and makes it something different." msgid "" "This is a kind of creativity. It is a creativity that we should remember and " "celebrate. There are some who would say that there is no creativity except " "this kind. We don't need to go that far to recognize its importance. We " "could call this <quote>Disney creativity,</quote> though that would be a bit " "misleading. It is, more precisely, <quote>Walt Disney creativity</" "quote>—a form of expression and genius that builds upon the culture " "around us and makes it something different." msgstr "" "Dette er en type kreativitet. Det er en kreativitet som vi bør huske på og " "feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " "denne typen. Vi trenger ikke gå så langt for å anerkjenne dens betydning. " "Vi kan kalle dette \"Disney-kreativitet\", selv om det vil være litt " "misvisende. Det er mer presist \"Walt Disney-kreativitet\"—en " "uttrykksform og genialitet som bygger på kulturen rundt oss og omformer den " "til noe annet." #. f4 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Until 1976, copyright law granted an author the possibility of two terms: " #| "an initial term and a renewal term. I have calculated the \"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>." msgid "" "Until 1976, copyright law granted an author the possibility of two terms: an " "initial term and a renewal term. I have calculated the <quote>average</" "quote> term by determining the weighted average of total registrations for " "any particular year, and the proportion renewing. Thus, if 100 copyrights " "are registered in year 1, and only 15 are renewed, and the renewal term is " "28 years, then the average term is 32.2 years. For the renewal data and " "other relevant data, see the Web site associated with this book, available " "at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>." msgstr "" "Inntil 1976 ga opphavsrettsloven en forfatter to mulige verneperioder: en " "initiell periode, og en fornyingsperiode. Jeg har beregnet \"gjennomsnittlig" "\" vernetid ved å finne vektet gjennomsnitt av de totale registreringer for " "et gitt år, og andelen fornyinger. Hvis 100 opphavsretter ble registrert i " "år 1, bare 15 av dem ble fornyet, og fornyingsvernetiden er 28 år, så er " "gjennomsnittlig vernetid 32,2 år. Fornyingsdata og andre relevante data " "ligger på nettsidene tilknyttet denne boka, tilgjengelig fra <ulink url=" "\"http://free-culture.cc/notes/\">link #6</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In 1928, the culture that Disney was free to draw upon was relatively " #| "fresh. The public domain in 1928 was not very old and was therefore quite " #| "vibrant. The average term of copyright was just around thirty years—" #| "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." 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—for that " "minority of creative work that was in fact copyrighted.<placeholder type=" "\"footnote\" id=\"0\"/> That means that for thirty years, on average, the " "authors or copyright holders of a creative work had an <quote>exclusive " "right</quote> to control certain uses of the work. To use this copyrighted " "work in limited ways required the permission of the copyright owner." msgstr "" "I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt " "fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske " "levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve " "år—for den lille delen av kreative verk som faktisk var " "opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at " "i tredve år, i gjennomsnitt, hadde forfattere eller kreative verks " "opphavsrettighetsinnehaver en \"eksklusiv rett\" til a kontrollere bestemte " "typer bruk av verket. For å bruke disse opphavsrettsbeskyttede verkene på " "de begrensede måtene krevde tillatelse fra opphavsrettsinnehaveren." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "At the end of a copyright term, a work passes into the public domain. No " #| "permission is then needed to draw upon or use that work. No permission " #| "and, hence, no lawyers. The public domain is a \"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— whether " #| "connected or not, whether rich or not, whether approved or not—to " #| "use and build upon." msgid "" "At the end of a copyright term, a work passes into the public domain. No " "permission is then needed to draw upon or use that work. No permission and, " "hence, no lawyers. The public domain is a <quote>lawyer-free zone.</quote> " "Thus, most of the content from the nineteenth century was free for Disney to " "use and build upon in 1928. It was free for anyone— whether connected " "or not, whether rich or not, whether approved or not—to use and build " "upon." msgstr "" "Når opphavsrettens vernetid er over, faller et verk i det fri og blir " "allemannseie. Ingen tillatelse trengs da for å bygge på eller bruke dette " "verket. Ingen tillatelse og dermed, ingen advokater. Allemannseie er en " "\"advokat-fri sone\". Det meste av innhold fra det nittende århundre var " "dermed fritt tilgjengelig for Disney å bruke eller bygge på i 1928. Det var " "tilgjengelig for enhver—uansett om de hadde forbindelser eller ikke, " "om de var rik eller ikke, om de var akseptert eller ikke—til å bruke " "og bygge videre på." #. PAGE BREAK 38 #. type: Content of: <book><part><chapter><para> msgid "" "This is the ways things always were—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 slik det alltid har vært—inntil ganske nylig. For " "mesteparten av vår historie, har allemannseiet vært like over horisonten. " "Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer " "enn trettito år, som gjorde at det meste av kultur fra en og en halv " "generasjon tidligere var tilgjengelig for enhver å bygge på uten tillatelse " "fra noen. Tilsvarende for i dag ville være at kreative verker fra 1960- og " "1970-tallet nå ville være fritt tilgjengelig for de neste Walt Disney å " "bygge på uten tillatelse. Men i dag er allemannseie presumtivt kun for " "innhold fra før mellomkrigstiden." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "Of course, Walt Disney had no monopoly on <quote>Walt Disney creativity.</" "quote> Nor does America. The norm of free culture has, until recently, and " "except within totalitarian nations, been broadly exploited and quite " "universal." msgstr "" "Walt Disney hadde selvfølgelig ikke monopol på \"Walt Disney-kreativitet\". " "Det har heller ikke USA. Normen med fri kultur har, inntil nylig, og " "unntatt i totalitære nasjoner, vært bredt utnyttet og svært universell." #. type: Content of: <book><part><chapter><para> msgid "" "Consider, for example, a form of creativity that seems strange to many " "Americans but that is inescapable within Japanese culture: <citetitle>manga</" "citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " "percent of publications are comics, and 30 percent of publication revenue " "derives from comics. They are everywhere in Japanese society, at every " "magazine stand, carried by a large proportion of commuters on Japan's " "extraordinary system of public transportation." msgstr "" "Vurder for eksempel en form for kreativitet som synes underlig for mange " "amerikanere, men som er overalt i japansk kultur: <citetitle>manga</" "citetitle>, eller tegneserier. Japanerne er fanatiske når det gjelder " "tegneserier. Over 40 prosent av publikasjoner er tegneserier, og 30 prosent " "av publikasjonsomsetningen stammer fra tegneserier. De er over alt i det " "japanske samfunnet, tilgjengelig fra ethvert tidsskriftsutsalg, og i hendene " "på en stor andel av pendlere på Japans ekstraordinære system for offentlig " "transport." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Americans tend to look down upon this form of culture. That's an " #| "unattractive characteristic of ours. We're likely to misunderstand much " #| "about manga, because few of us have ever read anything close to the " #| "stories that these \"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." msgid "" "Americans tend to look down upon this form of culture. That's an " "unattractive characteristic of ours. We're likely to misunderstand much " "about manga, because few of us have ever read anything close to the stories " "that these <quote>graphic novels</quote> tell. For the Japanese, manga cover " "every aspect of social life. For us, comics are <quote>men in tights.</" "quote> And anyway, it's not as if the New York subways are filled with " "readers of Joyce or even Hemingway. People of different cultures distract " "themselves in different ways, the Japanese in this interestingly different " "way." msgstr "" "Amerikanere har en tendens til å se ned på denne formen for kultur. Det er " "et lite attraktivt kjennetegn hos oss. Vi misforstår sannsynligvis mye " "rundt manga, på grunn av at få av oss noen gang har lest noe som ligner på " "historiene i disse \"grafiske historiene\" forteller. For en japaner dekker " "manga ethvert aspekt ved det sosiale liv. For oss er tegneserier \"menn i " "strømpebukser\". Og uansett er det ikke slik at T-banen i New York er full " "av folk som leser Joyse eller Hemingway for den saks skyld. Folk i ulike " "kulturer skiller seg ut på forskjellig måter, og japanerne på dette " "interessante viset." #. type: Content of: <book><part><chapter><para> msgid "" "But my purpose here is not to understand manga. It is to describe a variant " "on manga that from a lawyer's perspective is quite odd, but from a Disney " "perspective is quite familiar." msgstr "" "Men mitt formål her er ikke å forstå manga. Det er å beskrive en variant av " "manga som fra en advokats perspektiv er ganske merkelig, men som fra en " "Disneys perspektiv er ganske godt kjent." #. PAGE BREAK 39 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " #| "also comics, but they are a kind of copycat comic. A rich ethic governs " #| "the creation of doujinshi. It is not doujinshi if it is <emphasis>just</" #| "emphasis> a copy; the artist must make a contribution to the art he " #| "copies, by transforming it either subtly or significantly. A doujinshi " #| "comic can thus take a mainstream comic and develop it differently—" #| "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." msgid "" "This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " "also comics, but they are a kind of copycat comic. A rich ethic governs the " "creation of doujinshi. It is not doujinshi if it is <emphasis>just</" "emphasis> a copy; the artist must make a contribution to the art he copies, " "by transforming it either subtly or significantly. A doujinshi comic can " "thus take a mainstream comic and develop it differently—with a " "different story line. Or the comic can keep the character in character but " "change its look slightly. There is no formula for what makes the doujinshi " "sufficiently <quote>different.</quote> But they must be different if they " "are to be considered true doujinshi. Indeed, there are committees that " "review doujinshi for inclusion within shows and reject any copycat comic " "that is merely a copy." msgstr "" "Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er også " "tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer " "de som skaper doujinshi. Det er ikke doujinshi hvis det <emphasis>bare</" "emphasis> er en kopi. Kunstneren må gjøre et bidrag til kunsten han " "kopierer ved å omforme det enten subtilt eller betydelig. En doujinshi-" "tegneserie kan dermed ta en massemarkeds-tegneserie og utvikle den i en " "annen retning—med en annen historie-linje. Eller tegneserien kan " "beholde figuren som seg selv men endre litt på utseendet. Det er ingen " "bestemt formel for hva som gjør en doujinshi tilstrekkelig \"forskjellig\". " "Men de må være forskjellige hvis de skal anses som ekte doujinshi. Det er " "faktisk komiteer som går igjennom doujinshi for å bli med på messer, og " "avviser etterapninger som bare er en kopi." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These copycat comics are not a tiny part of the manga market. They are " #| "huge. More than 33,000 \"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." msgid "" "These copycat comics are not a tiny part of the manga market. They are huge. " "More than 33,000 <quote>circles</quote> of creators from across Japan " "produce these bits of Walt Disney creativity. More than 450,000 Japanese " "come together twice a year, in the largest public gathering in the country, " "to exchange and sell them. This market exists in parallel to the mainstream " "commercial manga market. In some ways, it obviously competes with that " "market, but there is no sustained effort by those who control the commercial " "manga market to shut the doujinshi market down. It flourishes, despite the " "competition and despite the law." msgstr "" "Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det " "er enorme. Mer en 33 000 \"sirkler\" av skapere over hele Japan som " "produserer disse bitene av Walt Disney-kreativitet. Mer en 450 000 japanere " "samles to ganger i året, i den største offentlige samlingen i langet, for å " "bytte og selge dem. Dette markedet er parallelt med det kommersielle " "massemarkeds-manga-markedet. På noen måter konkurrerer det åpenbart med det " "markedet, men det er ingen vedvarende innsats fra de som kontrollerer det " "kommersielle manga-markedet for å stenge doujinshi-markedet. Det blomstrer, " "på tross av konkurransen og til tross for loven." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The most puzzling feature of the doujinshi market, for those trained in " #| "the law, at least, is that it is allowed to exist at all. Under Japanese " #| "copyright law, which in this respect (on paper) mirrors American " #| "copyright law, the doujinshi market is an illegal one. Doujinshi are " #| "plainly \"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 <citetitle>Steamboat Bill, Jr</citetitle>. 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." msgid "" "The most puzzling feature of the doujinshi market, for those trained in the " "law, at least, is that it is allowed to exist at all. Under Japanese " "copyright law, which in this respect (on paper) mirrors American copyright " "law, the doujinshi market is an illegal one. Doujinshi are plainly " "<quote>derivative works.</quote> There is no general practice by doujinshi " "artists of securing the permission of the manga creators. Instead, the " "practice is simply to take and modify the creations of others, as Walt " "Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both " "Japanese and American law, that <quote>taking</quote> without the permission " "of the original copyright owner is illegal. It is an infringement of the " "original copyright to make a copy or a derivative work without the original " "copyright owner's permission." msgstr "" "Den mest gåtefulle egenskapen med doujinshi-markedet, for de som har " "juridisk trening i hvert fall, er at det overhodet tillates å eksistere. " "Under japansk opphavsrettslov, som i hvert fall på dette området (på " "papiret) speiler USAs opphavsrettslov, er doujinshi-markedet ulovlig. " "Doujinshi er helt klart \"avledede verk\". Det er ingen generell praksis " "hos doujinshi-kunstnere for å sikre seg tillatelse hos manga-skaperne. I " "stedet er praksisen ganske enkelt å ta og endre det andre har laget, slik " "Walt Disney gjorde med <citetitle>Steamboat Bill, Jr</citetitle>. For både " "japansk og USAs lov, er å \"ta\" uten tillatelse fra den opprinnelige " "opphavsrettsinnehaver ulovlig. Det er et brudd på opphavsretten til det " "opprinnelige verket å lage en kopi eller et avledet verk uten tillatelse fra " "den opprinnelige rettighetsinnehaveren." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Winick, Judd" msgstr "Winick, Judd" #. f5 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" "citetitle> (New York: Perennial, 2000)." msgstr "" "For en utmerket historie, se Scott McCloud, <citetitle>Reinventing Comics</" "citetitle> (New York: Perennial, 2000)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet this illegal market exists and indeed flourishes in Japan, and in the " #| "view of many, it is precisely because it exists that Japanese manga " #| "flourish. As American graphic novelist Judd Winick said to me, \"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—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\"/>" msgid "" "Yet this illegal market exists and indeed flourishes in Japan, and in the " "view of many, it is precisely because it exists that Japanese manga " "flourish. As American graphic novelist Judd Winick said to me, <quote>The " "early days of comics in America are very much like what's going on in Japan " "now. … American comics were born out of copying each other. … " "That's how [the artists] learn to draw—by going into comic books and " "not tracing them, but looking at them and copying them</quote> and building " "from them.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og " "etter manges syn er det nettopp fordi det eksisterer at japansk manga " "blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, \"I " "amerikansk tegneseriers første dager var det ganske likt det som foregår i " "Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere " "hverandre. … Det er slik [kunstnerne] lærer å tegne—ved å se i " "tegneseriebøker og ikke følge streken, men ved å se på dem og kopiere dem\" " "og bygge basert på dem.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "American comics now are quite different, Winick explains, in part because " #| "of the legal difficulty of adapting comics the way doujinshi are allowed. " #| "Speaking of Superman, Winick told me, \"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.\"" msgid "" "American comics now are quite different, Winick explains, in part because of " "the legal difficulty of adapting comics the way doujinshi are allowed. " "Speaking of Superman, Winick told me, <quote>there are these rules and you " "have to stick to them.</quote> There are things Superman <quote>cannot</" "quote> do. <quote>As a creator, it's frustrating having to stick to some " "parameters which are fifty years old.</quote>" msgstr "" "Amerikanske tegneserier nå er ganske annerledes, forklarer Winick, delvis på " "grunn av de juridiske problemene med å tilpasse tegneserier slik doujinshi " "får lov til. Med for eksempel Supermann, fortalte Winick meg, \"er det en " "rekke regler, og du må følge dem\". Det er ting som Supermann \"ikke kan\" " "gjøre. \"For en som lager tegneserier er det frustrerende å måtte begrense " "seg til noen parameter som er femti år gamle.\"" #. f6 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why " #| "All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers " #| "Law Review</citetitle> 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.\"" msgid "" "See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain " "Why All the Comics My Kid Watches Are Japanese Imports?</quote> " "<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]" "here might be a collective economic rationality that would lead manga and " "anime artists to forgo bringing legal actions for infringement. One " "hypothesis is that all manga artists may be better off collectively if they " "set aside their individual self-interest and decide not to press their legal " "rights. This is essentially a prisoner's dilemma solved.</quote>" msgstr "" "Se Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why All " "the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law " "Review</citetitle> 55 (2002): 155, 182. \"det kan være en kollektiv " "økonomisk rasjonalitet som får manga- og anime-kunstnere til ikke å saksøke " "for opphavsrettsbrudd. Én hypotese er at alle manga-kunstnere kan være bedre " "stilt hvis de setter sin individuelle egeninteresse til side og bestemmer " "seg for ikke å forfølge sine juridiske rettigheter. Dette er essensielt en " "løsning på fangens dilemma.\"" #. type: Content of: <book><part><chapter><para> msgid "" "The norm in Japan mitigates this legal difficulty. Some say it is precisely " "the benefit accruing to the Japanese manga market that explains the " "mitigation. Temple University law professor Salil Mehra, for example, " "hypothesizes that the manga market accepts these technical violations " "because they spur the manga market to be more wealthy and productive. " "Everyone would be worse off if doujinshi were banned, so the law does not " "ban doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det " "nettopp er den oppsamlede fordelen i det japanske mangamarkedet som " "forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple " "University hypnotiserer for eksempel med at manga-markedet aksepterer disse " "teoretiske bruddene fordi de får mangamarkedet til å bli rikere og mer " "produktivt. Alle ville få det verre hvis doujinshi ble bannlyst, så loven " "bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The problem with this story, however, as Mehra plainly acknowledges, is " #| "that the mechanism producing this laissez faire response is not clear. It " #| "may well be that the market as a whole is better off if doujinshi are " #| "permitted rather than banned, but that doesn't explain why individual " #| "copyright owners don't sue nonetheless. If the law has no general " #| "exception for doujinshi, and indeed in some cases individual manga " #| "artists have sued doujinshi artists, why is there not a more general " #| "pattern of blocking this \"free taking\" by the doujinshi culture?" msgid "" "The problem with this story, however, as Mehra plainly acknowledges, is that " "the mechanism producing this laissez faire response is not clear. It may " "well be that the market as a whole is better off if doujinshi are permitted " "rather than banned, but that doesn't explain why individual copyright owners " "don't sue nonetheless. If the law has no general exception for doujinshi, " "and indeed in some cases individual manga artists have sued doujinshi " "artists, why is there not a more general pattern of blocking this " "<quote>free taking</quote> by the doujinshi culture?" msgstr "" "Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, " "er at mekanismen som produserer denne \"hold hendene borte\"-responsen ikke " "er forstått. Det kan godt være at markedet som helhet gjør det bedre hvis " "doujinshi tillates i stedet for å bannlyse den, men det forklarer likevel " "ikke hvorfor individuelle opphavsrettsinnehavere ikke saksøker. Hvis loven " "ikke har et generelt unntak for doujinshi, og det finnes faktisk noen " "tilfeller der individuelle manga-kunstnere har saksøkt doujinshi-kunstnere, " "hvorfor er det ikke et mer generelt mønster for å blokkere denne \"frie " "takingen\" hos doujinshi-kulturen?" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "I spent four wonderful months in Japan, and I asked this question as " #| "often as I could. Perhaps the best account in the end was offered by a " #| "friend from a major Japanese law firm. \"We don't have enough lawyers,\" " #| "he told me one afternoon. There \"just aren't enough resources to " #| "prosecute cases like this.\"" msgid "" "I spent four wonderful months in Japan, and I asked this question as often " "as I could. Perhaps the best account in the end was offered by a friend from " "a major Japanese law firm. <quote>We don't have enough lawyers,</quote> he " "told me one afternoon. There <quote>just aren't enough resources to " "prosecute cases like this.</quote>" msgstr "" "Jeg var fire nydelige måneder i Japan, og jeg stilte dette spørsmål så ofte " "som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et " "større japansk advokatfirma. \"Vi har ikke nok advokater\", fortalte han meg " "en ettermiddag. Det er \"bare ikke nok ressurser til å tiltale tilfeller " "som dette\"." #. PAGE BREAK 41 #. type: Content of: <book><part><chapter><para> msgid "" "This is a theme to which we will return: that regulation by law is a " "function of both the words on the books and the costs of making those words " "have effect. For now, focus on the obvious question that is begged: Would " "Japan be better off with more lawyers? Would manga be richer if doujinshi " "artists were regularly prosecuted? Would the Japanese gain something " "important if they could end this practice of uncompensated sharing? Does " "piracy here hurt the victims of the piracy, or does it help them? Would " "lawyers fighting this piracy help their clients or hurt them? Let's pause " "for a moment." msgstr "" "Dette er et tema vi kommer tilbake til: at lovens regulering både er en " "funksjon av ordene i bøkene, og kostnadene med å få disse ordene til å ha " "effekt. Akkurat nå er det endel åpenbare spørsmål som presser seg frem: " "Ville Japan gjøre det bedre med flere advokater? Ville manga være rikere " "hvis doujinshi-kunstnere ble regelmessig rettsforfulgt? Ville Japan vinne " "noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon? " "Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem? " "Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter, " "eller skade dem? La oss ta et øyeblikks pause." #. type: Content of: <book><part><chapter><para> msgid "" "If you're like I was a decade ago, or like most people are when they first " "start thinking about these issues, then just about now you should be puzzled " "about something you hadn't thought through before." msgstr "" "Hvis du er som meg et tiår tilbake, eller som folk flest når de først " "begynner å tenke på disse temaene, da bør du omtrent nå være rådvill om noe " "du ikke hadde tenkt igjennom før." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Vaidhyanathan, Siva" msgstr "Vaidhyanathan, Siva" #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "The term <citetitle>intellectual property</citetitle> is of relatively " #| "recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). " #| "See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New " #| "York: Random House, 2001), 293 n. 26. The term accurately describes a set " #| "of \"property\" rights—copyright, patents, trademark, and trade-" #| "secret—but the nature of those rights is very different. " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "The term <citetitle>intellectual property</citetitle> is of relatively " "recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 11 (New York: New York University Press, 2001). See also " "Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: " "Random House, 2001), 293 n. 26. The term accurately describes a set of " "<quote>property</quote> rights—copyright, patents, trademark, and " "trade-secret—but the nature of those rights is very different. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Begrepet <citetitle>immateriell eiendom</citetitle> er av relativ ny " "opprinnelse. Se See Siva Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). Se " "også Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: " "Random House, 2001), 293 n. 26. Begrepet presist beskriver et sett med " "\"eiendoms\"-rettigheter—opphavsretter, patenter, varemerker og " "forretningshemmeligheter—men egenskapene til disse rettighetene er " "svært forskjellige.<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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." msgid "" "We live in a world that celebrates <quote>property.</quote> I am one of " "those celebrants. I believe in the value of property in general, and I also " "believe in the value of that weird form of property that lawyers call " "<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/" "> A large, diverse society cannot survive without property; a large, " "diverse, and modern society cannot flourish without intellectual property." msgstr "" "Vi lever i en verden som feirer \"eiendom\". Jeg er en av de som feierer. " "Jeg tror på verdien av eiendom generelt, og jeg tror også på verdien av den " "sære formen for eiendom som advokater kaller \"immateriell eiendom\"." "<placeholder type=\"footnote\" id=\"0\"/> Et stort og variert samfunn kan " "ikke overleve uten eiendom, og et moderne samfunn kan ikke blomstre uten " "immaterielle eierrettigheter." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But it takes just a second's reflection to realize that there is plenty " #| "of value out there that \"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— 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." msgid "" "But it takes just a second's reflection to realize that there is plenty of " "value out there that <quote>property</quote> doesn't capture. I don't mean " "<quote>money can't buy you love,</quote> but rather, value that is plainly " "part of a process of production, including commercial as well as " "noncommercial production. If Disney animators had stolen a set of pencils " "to draw Steamboat Willie, we'd have no hesitation in condemning that taking " "as wrong— even though trivial, even if unnoticed. Yet there was " "nothing wrong, at least under the law of the day, with Disney's taking from " "Buster Keaton or from the Brothers Grimm. There was nothing wrong with the " "taking from Keaton because Disney's use would have been considered " "<quote>fair.</quote> There was nothing wrong with the taking from the Grimms " "because the Grimms' work was in the public domain." msgstr "" "Men det tar bare noen sekunders refleksjon for å innse at det er masse av " "verdi der ute som \"eiendom\" ikke dekker. Jeg mener ikke \"kjærlighet kan " "ikke kjøpes med penger\" men heller, at en verdi som ganske enkelt er del av " "produksjonsprosessen, både for kommersiell og ikke-kommersiell produksjon. " "Hvis Disneys animatører hadde stjålet et sett med blyanter for å tegne " "Steamboat Willie, vi ville ikke nølt med å dømme det som galt—selv om " "det er trivielt og selv om det ikke blir oppdaget. Men det var intet galt, " "i hvert fall slik loven var da, med at Disney tok fra Buster Keaton eller " "fra Grimm-brødrene. Det var intet galt med å ta fra Keaton, fordi Disneys " "bruk ville blitt ansett som \"rimelig\". Det var intet galt med å ta fra " "brødrene Grimm fordi deres verker var allemannseie." #. PAGE BREAK 42 #. type: Content of: <book><part><chapter><para> msgid "" "Thus, even though the things that Disney took—or more generally, the " "things taken by anyone exercising Walt Disney creativity—are valuable, " "our tradition does not treat those takings as wrong. Some things remain free " "for the taking within a free culture, and that freedom is good." msgstr "" "Dermed, selv om de tingene som Disney tok—eller mer generelt, tingene " "som blir tatt av enhver som utøver Walt Disney-kreativitet—er " "verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene. " "Noen ting forblir frie til å bli tatt i en fri kultur og denne friheten er " "bra." #. type: Content of: <book><part><chapter><para> msgid "" "The same with the doujinshi culture. If a doujinshi artist broke into a " "publisher's office and ran off with a thousand copies of his latest " "work—or even one copy—without paying, we'd have no hesitation in " "saying the artist was wrong. In addition to having trespassed, he would have " "stolen something of value. The law bans that stealing in whatever form, " "whether large or small." msgstr "" "Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brøt " "seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans " "siste verk—eller bare en kopi—uten å betale, så ville vi uten å " "nøle si at kunstneren har gjort noe galt. I tillegg til å ha trengt seg inn " "på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr stjeling " "i enhver form, uansett hvor stort eller lite som blir tatt." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet there is an obvious reluctance, even among Japanese lawyers, to say " #| "that the copycat comic artists are \"stealing.\" This form of Walt Disney " #| "creativity is seen as fair and right, even if lawyers in particular find " #| "it hard to say why." msgid "" "Yet there is an obvious reluctance, even among Japanese lawyers, to say that " "the copycat comic artists are <quote>stealing.</quote> This form of Walt " "Disney creativity is seen as fair and right, even if lawyers in particular " "find it hard to say why." msgstr "" "Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si " "at etterapende tegneseriekunstnere \"stjeler\". Denne formen for Walt " "Disney-kreativitet anses som rimelig og riktig, selv om spesielt advokater " "synes det er vanskelig å forklare hvorfor." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "It's the same with a thousand examples that appear everywhere once you " #| "begin to look. Scientists build upon the work of other scientists without " #| "asking or paying for the privilege. (\"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 <emphasis>anyone</emphasis> believe Shakespeare would be better " #| "spread within our culture if there were a central Shakespeare rights " #| "clearinghouse that all productions of Shakespeare must appeal to first?) " #| "And Hollywood goes through cycles with a certain kind of movie: five " #| "asteroid films in the late 1990s; two volcano disaster films in 1997." msgid "" "It's the same with a thousand examples that appear everywhere once you begin " "to look. Scientists build upon the work of other scientists without asking " "or paying for the privilege. (<quote>Excuse me, Professor Einstein, but may " "I have permission to use your theory of relativity to show that you were " "wrong about quantum physics?</quote>) Acting companies perform adaptations " "of the works of Shakespeare without securing permission from anyone. (Does " "<emphasis>anyone</emphasis> believe Shakespeare would be better spread " "within our culture if there were a central Shakespeare rights clearinghouse " "that all productions of Shakespeare must appeal to first?) And Hollywood " "goes through cycles with a certain kind of movie: five asteroid films in the " "late 1990s; two volcano disaster films in 1997." msgstr "" "Det er det same med tusen eksempler som dukker opp over alt med en gang en " "begynner å se etter dem. Forskerne bygger på arbeidet til andre forskere " "uten å spørre eller betale for privilegiet. (\"Unnskyld meg, professor " "Einstein, men kan jeg få tillatelse til å bruke din relativitetsteori til å " "vise at du tok feil om kvantefysikk?\") Teatertropper viser frem " "bearbeidelser av verkene til Shakespeare uten å sikre seg noen tillatelser. " "(Er det <emphasis>noen</emphasis> som tror at Shakespeare ville vært mer " "spredt i vår kultur om det var et sentralt rettighetsklareringskontor for " "Shakespeare som alle som laget Shakespeare-produksjoner måtte appellere til " "først?) Og Hollywood går igjennom sykluser med en bestemt type filmer: fem " "astroidefilmer i slutten av 1990-tallet, to vulkankatastrofefilmer i 1997." #. PAGE BREAK 43 #. type: Content of: <book><part><chapter><para> msgid "" "Creators here and everywhere are always and at all times building upon the " "creativity that went before and that surrounds them now. That building is " "always and everywhere at least partially done without permission and without " "compensating the original creator. No society, free or controlled, has ever " "demanded that every use be paid for or that permission for Walt Disney " "creativity must always be sought. Instead, every society has left a certain " "bit of its culture free for the taking—free societies more fully than " "unfree, perhaps, but all societies to some degree." msgstr "" "Skapere her og overalt har alltid og til alle tider bygd på kreativiteten " "som eksisterte før og som omringer dem nå. Denne byggingen er alltid og " "overalt i det minste delvis gjort uten tillatelse og uten å kompensere den " "opprinnelige skaperen. Intet samfunn, fritt eller kontrollert, har noen " "gang krevd at enhver bruk skulle bli betalt for eller at tillatelse for Walt " "Disney-kreativitet alltid måtte skaffes. Istedet har ethvert samfunn latt " "en bestemt bit av sin kultur være fritt tilgjengelig for alle å ta—" "frie samfunn muligens i større grad enn ufrie, men en viss grad i alle " "samfunn." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The hard question is therefore not <emphasis>whether</emphasis> a culture " #| "is free. All cultures are free to some degree. The hard question instead " #| "is \"<emphasis>How</emphasis> 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?" msgid "" "The hard question is therefore not <emphasis>whether</emphasis> a culture is " "free. All cultures are free to some degree. The hard question instead is " "<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and " "how broadly, is the culture free for others to take and build upon? Is that " "freedom limited to party members? To members of the royal family? To the top " "ten corporations on the New York Stock Exchange? Or is that freedom spread " "broadly? To artists generally, whether affiliated with the Met or not? To " "musicians generally, whether white or not? To filmmakers generally, whether " "affiliated with a studio or not?" msgstr "" "Det vanskelige spørsmålet er derfor ikke <emphasis>om</emphasis> en kultur " "er fri. Alle kulturer er frie til en viss grad. Det vanskelige spørsmålet " "er i stedet \"<emphasis>hvor</emphasis> fri er denne kulturen er?\" Hvor mye " "og hvor bredt, er kulturen fritt tilgjengelig for andre å ta, og bygge på? " "Er den friheten begrenset til partimedlemmer? Til medlemmer av " "kongefamilien? Til de ti største selskapene på New York-børsen? Eller er " "at frihet bredt tilgjengelig? Til kunstnere generelt, uansett om de er " "tilknyttet til nasjonalmuseet eller ikke? Til musikere generelt, uansett om " "de er hvite eller ikke? Til filmskapere generelt, uansett om de er " "tilknyttet et studio eller ikke?" #. type: Content of: <book><part><chapter><para> msgid "" "Free cultures are cultures that leave a great deal open for others to build " "upon; unfree, or permission, cultures leave much less. Ours was a free " "culture. It is becoming much less so." msgstr "" "Frie kulturer er kulturer som etterlater mye åpent for andre å bygge på. " "Ufrie, eller tillatelse-kulturer etterlater mye mindre. Vår var en fri " "kultur. Den er på tur til å bli mindre fri." #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER TWO: \"Mere Copyists\"" msgid "CHAPTER TWO: <quote>Mere Copyists</quote>" msgstr "Kapittel to: <quote>Kun etter-apere</quote>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "photography" msgstr "fotografering" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Daguerre, Louis" msgstr "Daguerre, Louis" #. type: Content of: <book><part><chapter><para> #, 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.) " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "In 1839, Louis Daguerre invented the first practical technology for " "producing what we would call <quote>photographs.</quote> Appropriately " "enough, they were called <quote>daguerreotypes.</quote> The process was " "complicated and expensive, and the field was thus limited to professionals " "and a few zealous and wealthy amateurs. (There was even an American Daguerre " "Association that helped regulate the industry, as do all such associations, " "by keeping competition down so as to keep prices up.) <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "I 1839 fant Louis Daguerre opp den første praktiske teknologien for å " "produsere det vi ville kalle \"fotografier\". Rimelig nok ble de kalt " "\"daguerreotyper\". Prosessen var komplisert og kostbar, og feltet var " "dermed begrenset til profesjonelle og noen få ivrige og velstående " "amatører. (Det var til og med en amerikansk Daguerre-forening som hjalp til " "med å regulere industrien, slik alle slike foreninger gjør, ved å holde " "konkurransen ned slik at prisene var høye.) <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Talbot, William" msgstr "Talbot, William" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet despite high prices, the demand for daguerreotypes was strong. This " #| "pushed inventors to find simpler and cheaper ways to make \"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. <placeholder " #| "type=\"indexterm\" id=\"0\"/>" msgid "" "Yet despite high prices, the demand for daguerreotypes was strong. This " "pushed inventors to find simpler and cheaper ways to make <quote>automatic " "pictures.</quote> William Talbot soon discovered a process for making " "<quote>negatives.</quote> But because the negatives were glass, and had to " "be kept wet, the process still remained expensive and cumbersome. In the " "1870s, dry plates were developed, making it easier to separate the taking of " "a picture from its developing. These were still plates of glass, and thus it " "was still not a process within reach of most amateurs. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Men til tross for høye priser var etterspørselen etter daguerreotyper " "sterk. Dette inspirerte oppfinnere til å finne enklere og billigere måter å " "lage \"automatiske bilder\". William Talbot oppdaget snart en prosess for å " "lage \"negativer\". Men da negativene var av glass, og måtte holdes " "fuktige, forble prosessen kostbar og tung. På 1870-tallet ble tørrplater " "utviklet, noe som gjorde det enklere å skille det å ta et bilde fra å " "fremkalle det. Det var fortsatt plater av glass, og dermed var det fortsatt " "ikke en prosess som var innenfor rekkevidden til de fleste amatører. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Eastman, George" msgstr "Eastman, George" #. PAGE BREAK 45 #. type: Content of: <book><part><chapter><para> msgid "" "The technological change that made mass photography possible didn't happen " "until 1888, and was the creation of a single man. George Eastman, himself an " "amateur photographer, was frustrated by the technology of photographs made " "with plates. In a flash of insight (so to speak), Eastman saw that if the " "film could be made to be flexible, it could be held on a single spindle. " "That roll could then be sent to a developer, driving the costs of " "photography down substantially. By lowering the costs, Eastman expected he " "could dramatically broaden the population of photographers." msgstr "" "Den teknologiske endringen som gjorde masse-fotografering mulig skjedde ikke " "før i 1888, og det var takket være en eneste mann. George Eastman, selv en " "amatørfotograf, var frustrert over den plate-baserte fotografi-teknologien. " "I et lysglimt av innsikt (for å si det slik), forsto Eastman at hvis filmen " "kunne gjøres bøyelig, så kunne den holdes på en enkel rull. Denne rullen " "kunne så sendes til en fremkaller, og senke kostnadene til fotografering " "vesentlig. Ved å redusere kostnadene, forventet Eastman at han dramatisk " "kunne utvide andelen fotografer." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " "Johns Hopkins University Press, 1975), 112." msgstr "" "Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " "Johns Hopkins University Press, 1975), 112." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Kodak Primer, The (Eastman)" msgstr "" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Eastman developed flexible, emulsion-coated paper film and placed rolls " #| "of it in small, simple cameras: the Kodak. The device was marketed on the " #| "basis of its simplicity. \"You press the button and we do the rest." #| "\"<placeholder type=\"footnote\" id=\"0\"/> As he described in " #| "<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" " #| "id=\"1\"/>" msgid "" "Eastman developed flexible, emulsion-coated paper film and placed rolls of " "it in small, simple cameras: the Kodak. The device was marketed on the basis " "of its simplicity. <quote>You press the button and we do the rest.</" "quote><placeholder type=\"footnote\" id=\"0\"/> As he described in " "<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" id=" "\"1\"/>" msgstr "" "Eastman utviklet bøyelig, emulsjons-belagt papirfilm og plasserte ruller med " "dette i små, enkle kameraer: Kodaken. Enheten ble markedsfør med grunnlag " "dens enkelhet. \"Du trykker på knappen og vi fikser resten.\"<placeholder " "type=\"footnote\" id=\"0\"/> Som han beskrev det i <citetitle>The Kodak " "Primer</citetitle>: <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Coe, Brian" msgstr "Coe, Brian" #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: " "Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: " "Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "The principle of the Kodak system is the separation of the work that any " "person whomsoever can do in making a photograph, from the work that only an " "expert can do. … 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 "" "Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan " "utføre når en tar fotografier, fra arbeidet som kun en ekspert kan gjøre. " "… Vi utstyrte alle, menn, kvinner og barn, som hadde tilstrekkelig " "intelligens til å peke en boks i riktig retning og trykke på en knapp, med " "et instrument som helt fjernet fra praksisen med å fotografere " "nødvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell " "kunnskap om kunstarten. Det kan tas i bruk uten forutgående studier, uten " "et mørkerom og uten kjemikalier.<placeholder type=\"footnote\" id=\"0\"/>" #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Jenkins, 177." msgstr "Jenkins, 177." #. f4 #. type: Content of: <book><part><chapter><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><part><chapter><para> msgid "" "For $25, anyone could make pictures. The camera came preloaded with film, " "and when it had been used, the camera was returned to an Eastman factory, " "where the film was developed. Over time, of course, the cost of the camera " "and the ease with which it could be used both improved. Roll film thus " "became the basis for the explosive growth of popular photography. Eastman's " "camera first went on sale in 1888; one year later, Kodak was printing more " "than six thousand negatives a day. From 1888 through 1909, while industrial " "production was rising by 4.7 percent, photographic equipment and material " "sales increased by 11 percent.<placeholder type=\"footnote\" id=\"0\"/> " "Eastman Kodak's sales during the same period experienced an average annual " "increase of over 17 percent.<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "For $25 kunne alle ta bilder. Det var allerede film i kameraet, og når det " "var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble " "fremkalt. Etter hvert, naturligvis, ble både kostnaden til kameraet og hvor " "enkelt et var å bruke forbedret. Film på rull ble dermed grunnlaget for en " "eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut " "for salg i 1888, og et år senere trykket Kodak mer enn seks tusen negativer " "om dagen. Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7 " "prosent, økte salget av fotografisk utstyr og materiale med 11 prosent." "<placeholder type=\"footnote\" id=\"0\"/> Salget til Eastman Kodak i samme " "periode opplevde en årlig vekst på over 17 prosent.<placeholder type=" "\"footnote\" id=\"1\"/>" #. f5 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Coe, 58." msgstr "Coe, 58." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The real significance of Eastman's invention, however, was not economic. " #| "It was social. Professional photography gave individuals a glimpse of " #| "places they would never otherwise see. Amateur photography gave them the " #| "ability to record their own lives in a way they had never been able to do " #| "before. As author Brian Coe notes, \"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\"/>" msgid "" "The real significance of Eastman's invention, however, was not economic. It " "was social. Professional photography gave individuals a glimpse of places " "they would never otherwise see. Amateur photography gave them the ability to " "record their own lives in a way they had never been able to do before. As " "author Brian Coe notes, <quote>For the first time the snapshot album " "provided the man on the street with a permanent record of his family and its " "activities. … For the first time in history there exists an authentic " "visual record of the appearance and activities of the common man made " "without [literary] interpretation or bias.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" "Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke " "økonomisk. Den var sosial. Profesjonell fotografering ga individer et " "glimt av steder de ellers aldri ville se. Amatørfotografering ga dem " "muligheten til å arkivere deres liv på en måte som de aldri hadde vært i " "stand til tidligere. Som forfatter Brian Coe skriver, \"For første gang " "tilbød fotoalbumet mannen i gata et permanent arkiv over hans familie og " "dens aktiviteter. … For første gang i historien fantes det en " "autentisk visuell oppføring av utseende og aktivitet til vanlige mennesker " "laget uten [skrivefør] tolkning eller forutinntatthet.\"<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In this way, the Kodak camera and film were technologies of expression. " #| "The pencil or paintbrush was also a technology of expression, of course. " #| "But it took years of training before they could be deployed by amateurs " #| "in any useful or effective way. With the Kodak, expression was possible " #| "much sooner and more simply. The barrier to expression was lowered. Snobs " #| "would sneer at its \"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." msgid "" "In this way, the Kodak camera and film were technologies of expression. The " "pencil or paintbrush was also a technology of expression, of course. But it " "took years of training before they could be deployed by amateurs in any " "useful or effective way. With the Kodak, expression was possible much sooner " "and more simply. The barrier to expression was lowered. Snobs would sneer at " "its <quote>quality</quote>; professionals would discount it as irrelevant. " "But watch a child study how best to frame a picture and you get a sense of " "the experience of creativity that the Kodak enabled. Democratic tools gave " "ordinary people a way to express themselves more easily than any tools could " "have before." msgstr "" "På denne måten var Kodak-kameraet og film uttrykksteknologier. Blyanten og " "malepenselen var selvfølgelig også en uttrykksteknologi. Men det tok årevis " "med trening før de kunne bli brukt nyttig og effektiv av amatører. Med " "Kodaken var uttrykk mulig mye raskere og enklere. Barrièren for å uttrykke " "seg var senket. Snobber ville fnyse over \"kvaliteten\", profesjonelle " "ville avvise den som irrelevant. Men se et barn studere hvordan best velge " "bildemotiv og du får følelsen av hva slags kreativitetserfaring som Kodaken " "muliggjorde. Demokratiske verktøy ga vanlige folk en måte å uttrykke dem " "selv på enklere enn noe annet verktøy kunne ha gjort før." #. f6 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " "<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " "<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " "123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " "<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." msgstr "" "For illustrerende saker, se for eksempel, <citetitle>Pavesich</citetitle> " "mot <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " "<citetitle>Foster-Milburn Co</citetitle>. mot <citetitle>Chinn</citetitle>, " "123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> mot " "<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." #. type: Content of: <book><part><chapter><para> msgid "" "What was required for this technology to flourish? Obviously, Eastman's " "genius was an important part. But also important was the legal environment " "within which Eastman's invention grew. For early in the history of " "photography, there was a series of judicial decisions that could well have " "changed the course of photography substantially. Courts were asked whether " "the photographer, amateur or professional, required permission before he " "could capture and print whatever image he wanted. Their answer was no." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet " "var åpenbart en viktig del. Men den juridiske miljøet som Eastmans " "oppfinnelse vokste i var også viktig. For tidlig i historien til " "fotografering, var det en rekke av rettsavgjørelser som godt kunne ha endret " "kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen, " "amatør eller profesjonell, måtte ha ha tillatelse før han kunne fange og " "trykke hvilket som helst bilde han ønsket. Svaret var nei.<placeholder type=" "\"footnote\" id=\"0\"/>" #. PAGE BREAK 47 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The arguments in favor of requiring permission will sound surprisingly " #| "familiar. The photographer was \"taking\" something from the person or " #| "building whose photograph he shot—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." msgid "" "The arguments in favor of requiring permission will sound surprisingly " "familiar. The photographer was <quote>taking</quote> something from the " "person or building whose photograph he shot—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 "" "Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent " "ut. Fotografen \"tok\" noe fra personen eller bygningen som ble " "fotografert—røvet til seg noe av verdi. Noen trodde til og med at han " "tok målets sjel. På samme måte som Disney ikke var fri til å ta blyantene " "som hans animatører brukte til å tegne Mikke, så skulle heller ikke disse " "fotografene være fri til å ta bilder som de fant verdi i." #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Warren, Samuel D." msgstr "Warren, Samuel D." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" " #| "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder " #| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" "Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> " "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Samuel D. Warren og Louis D. Brandeis, \"The Right to Privacy,\" " "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "On the other side was an argument that should be familiar, as well. Sure, " "there may be something of value being used. But citizens should have the " "right to capture at least those images that stand in public view. (Louis " "Brandeis, who would become a Supreme Court Justice, thought the rule should " "be different for images from private spaces.<placeholder type=\"footnote\" " "id=\"0\"/>) It may be that this means that the photographer gets something " "for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " "Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " "to capture an image without compensating the source." msgstr "" "På den andre siden var et argument som også bør bør være kjent. Joda, det " "var kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til å " "fange i hvert fall de bildene som var tatt av offentlig område. (Louis " "Brandeis, som senere ble høyesterettsjustitiarus, mente regelen skulle være " "annerledes for bilder tatt av private områder.<placeholder type=\"footnote\" " "id=\"0\"/>) Det kan være at dette betyr at fotografen får noe for " "ingenting. På samme måte som Disney kunne hente inspirasjon fra " "<citetitle>Steamboat Bill, Jr</citetitle>. eller Grimm-brødrene, så burde " "fotografene stå fritt til å fange et bilde uten å kompensere kilden." #. f8 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and " #| "Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " #| "\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) " #| "398–407; <citetitle>White</citetitle> v. <citetitle>Samsung " #| "Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " #| "cert. denied, 508 U.S. 951 (1993)." msgid "" "See Melville B. Nimmer, <quote>The Right of Publicity,</quote> " "<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William " "L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</" "citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. " "<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 " "(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." msgstr "" "Se Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and " "Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " "\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) " "398–407; <citetitle>White</citetitle> mot <citetitle>Samsung " "Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " "sert. nektet, 508 U.S. 951 (1993)." #. type: Content of: <book><part><chapter><para> msgid "" "Fortunately for Mr. Eastman, and for photography in general, these early " "decisions went in favor of the pirates. In general, no permission would be " "required before an image could be captured and shared with others. Instead, " "permission was presumed. Freedom was the default. (The law would eventually " "craft an exception for famous people: commercial photographers who snap " "pictures of famous people for commercial purposes have more restrictions " "than the rest of us. But in the ordinary case, the image can be captured " "without clearing the rights to do the capturing.<placeholder type=\"footnote" "\" id=\"0\"/>)" msgstr "" "Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse " "tidligere avgjørelsene i favør av piratene. Generelt ble det ikke nødvendig " "å sikre seg tillatelse før et bilde kunne tas og deles med andre. I stedet " "var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven " "ga etter en stund et unntak for berømte personer: kommersielle fotografer " "som tok bilder av berømte personer for kommersielle formål har flere " "begrensninger enn resten av oss. Men i det vanlige tilfellet, kan bildet " "fanges uten å klarere rettighetene for a fange det.<placeholder type=" "\"footnote\" id=\"0\"/>)" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "We can only speculate about how photography would have developed had the " #| "law gone the other way. If the presumption had been against the " #| "photographer, then the photographer would have had to demonstrate " #| "permission. Perhaps Eastman Kodak would have had to demonstrate " #| "permission, too, before it developed the film upon which images were " #| "captured. After all, if permission were not granted, then Eastman Kodak " #| "would be benefiting from the \"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." msgid "" "We can only speculate about how photography would have developed had the law " "gone the other way. If the presumption had been against the photographer, " "then the photographer would have had to demonstrate permission. Perhaps " "Eastman Kodak would have had to demonstrate permission, too, before it " "developed the film upon which images were captured. After all, if permission " "were not granted, then Eastman Kodak would be benefiting from the " "<quote>theft</quote> committed by the photographer. Just as Napster " "benefited from the copyright infringements committed by Napster users, Kodak " "would be benefiting from the <quote>image-right</quote> infringement of its " "photographers. We could imagine the law then requiring that some form of " "permission be demonstrated before a company developed pictures. We could " "imagine a system developing to demonstrate that permission." msgstr "" "Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven " "hadde slått ut den andre veien. Hvis den hadde vært mot fotografen, da " "ville fotografen måttet dokumentere at tillatelse var på plass. Kanskje " "Eastman Kodak også måtte ha dokumentert at tillatelse var gitt, før de " "utviklet filmen som bildene ble fanget på. Tross alt, hvis tillatelse ikke " "var gitt, da ville Eastman Kodak ha nytt fordeler fra \"tyveriet\" begått av " "fotografer. På samme måte som Napster nøt fordeler fra opphavsrettsbrudd " "utført av Napster-brukere, så ville Kodak nytt fordeler fra \"bilde-" "rettighets\"-brudd til deres fotografer. Vi kan forestille oss at loven da " "krevede at en form for tillatelse ble vist frem før et selskap fremkalte " "bildene. Vi kan forestille oss et system bli utviklet for å legge frem " "slike tillatelser." #. PAGE BREAK 48 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But though we could imagine this system of permission, it would be very " #| "hard to see how photography could have flourished as it did if the " #| "requirement for permission had been built into the rules that govern it. " #| "Photography would have existed. It would have grown in importance over " #| "time. Professionals would have continued to use the technology as they " #| "did—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." 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—" "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 <quote>Just Think!</quote> in place of the " "name of a school. But there's little that's <quote>just</quote> cerebral in " "the projects that these busses enable. These buses are filled with " "technologies that teach kids to tinker with film. Not the film of Eastman. " "Not even the film of your VCR. Rather the <quote>film</quote> of digital " "cameras. Just Think! is a project that enables kids to make films, as a way " "to understand and critique the filmed culture that they find all around " "them. Each year, these busses travel to more than thirty schools and enable " "three hundred to five hundred children to learn something about media by " "doing something with media. By doing, they think. By tinkering, they learn." msgstr "" "Men selv om vi kan tenke oss dette godkjenningssystemet, så vil det være " "svært vanskelig å se hvordan fotografering skulle ha blomstret slik det " "gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. " "Fotografering ville eksistert. Det ville ha økt sin betydning over tid. " "Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde—" "siden profesjonelle enklere kunne håndtert byrdene pålagt dem av " "godkjenningssystemet. Men spredningen av fotografering til vanlige folk " "villa aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det " "ville uten tvil aldri vært realisert en slik vekst i demokratisk " "uttrykksteknologi. Hvis du kjører gjennom området Presidio i San Francisco, " "kan det hende du ser to gusjegule skolebusser overmalt med fargefulle og " "iøynefallende bilder, og logoen \"Just Think!\" i stedet for navnet på en " "skole. Men det er lite som er \"bare\" mentalt i prosjektene som disse " "bussene muliggjør. Disse bussene er fylt med teknologi som lærer unger å " "fikle med film. Ikke filmen til Eastman. Ikke en gang filmen i din " "videospiller. I stedet er det snakk om \"filmen\" til digitale kamera. " "Just Think! er et prosjekt som gjør det mulig for unger å lage filmer, som " "en måte å forstå og kritisere den filmede kulturen som de finner over alt " "rundt seg. Hvert år besøker disse bussene mer enn tredve skoler og gir " "mellom tre hundre og fire hundre barn muligheten til å lære noe om media ved " "å gjøre noe med media. Ved å gjøre, så tenker de. Ved å fikle, så lærer de." #. f9 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| 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>." msgid "" "H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and " "Software You Need to Create Digital Multimedia Presentations,</quote> " "cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #7</ulink>." msgstr "" "H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software " "You Need to Create Digital Multimedia Presentations,\" cadalyst, februar " "2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #7</" "ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These buses are not cheap, but the technology they carry is increasingly " #| "so. The cost of a high-quality digital video system has fallen " #| "dramatically. As one analyst puts it, \"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.\"" msgid "" "These buses are not cheap, but the technology they carry is increasingly so. " "The cost of a high-quality digital video system has fallen dramatically. As " "one analyst puts it, <quote>Five years ago, a good real-time digital video " "editing system cost $25,000. Today you can get professional quality for $595." "</quote><placeholder type=\"footnote\" id=\"0\"/> These buses are filled " "with technology that would have cost hundreds of thousands just ten years " "ago. And it is now feasible to imagine not just buses like this, but " "classrooms across the country where kids are learning more and more of " "something teachers call <quote>media literacy.</quote>" msgstr "" "Disse bussene er ikke billige, men teknologien de har med seg blir billigere " "og billigere. Kostnaden til et høykvalitets digitalt videosystem har falt " "dramatisk. Som en analytiker omtalte det, \"for fem år siden kostet et godt " "sanntids redigerinssystem for digital video $25 000. I dag kan du få " "profesjonell kvalitet for $595.\"<placeholder type=\"footnote\" id=\"0\"/> " "Disse bussene er fylt med teknologi som ville kostet hundre-tusenvis av " "dollar for bare ti år siden. Og det er nå mulig å forestille seg ikke bare " "slike busser, men klasserom rundt om i landet hvor unger kan lære mer og mer " "av det lærerne kaller \"medie-skriveføre\" eller \"mediekompetanse\"." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Yanofsky, Dave" msgstr "Yanofsky, Dave" #. type: Content of: <book><part><chapter><para> #, 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.\" <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of " "Just Think!, puts it, <quote>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.</quote> <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "\"Media-skriveføre,\" eller \"mediekompetanse\" som administrerende direktør " "Dave Yanofsky i Just Think!, sier det, \"er evnen til … å forstå, " "analysere og dekonstruere mediebilder. Dets mål er å gjøre [unger] i stand " "til å forstå hvordan mediene fungerer, hvordan de er konstruert, hvordan de " "blir levert, og hvordan folk bruker dem\". <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This may seem like an odd way to think about <quote>literacy.</quote> For " "most people, literacy is about reading and writing. Faulkner and Hemingway " "and noticing split infinitives are the things that <quote>literate</quote> " "people know about." msgstr "" "Dette kan virke som en litt rar måte å tenke på \"skrivefør\". For de fleste " "handler skrivefør å kunne lese og skrive. \"Skriveføre folk kjenner ting " "som Faulkner, Hemingway og å kjenne igjen delte infinitiver." #. f10 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " #| "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on " #| "Family and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, " #| "B6." msgid "" "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on " "Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May " "1997, B6." msgstr "" "Judith Van Evra, <citetitle>Television and Child Development</citetitle> " "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family " "and TV Study,\" <citetitle>Denver Post</citetitle>, 25. mai 1997, B6." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Maybe. But in a world where children see on average 390 hours of " #| "television commercials per year, or between 20,000 and 45,000 commercials " #| "generally,<placeholder type=\"footnote\" id=\"0\"/> it is increasingly " #| "important to understand the \"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." msgid "" "Maybe. But in a world where children see on average 390 hours of television " "commercials per year, or between 20,000 and 45,000 commercials generally," "<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to " "understand the <quote>grammar</quote> of media. For just as there is a " "grammar for the written word, so, too, is there one for media. And just as " "kids learn how to write by writing lots of terrible prose, kids learn how to " "write media by constructing lots of (at least at first) terrible media." msgstr "" "Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-" "reklaager i året, eller generelt mellom 20 000 og 45 000 reklameinnslag," "<placeholder type=\"footnote\" id=\"0\"/> så er det mer og mer viktig å " "forstå \"gramatikken\" til media. For på samme måte som det er en gramatikk " "for det skrevne ord, så er det også en for media. Og akkurat slik som unger " "lærer å skrive ved å skrive masse grusom prosa, så lærer unger å skrive " "media ved å konstruere masse (i hvert fall i begynnelsen) grusom media." #. type: Content of: <book><part><chapter><para> msgid "" "A growing field of academics and activists sees this form of literacy as " "crucial to the next generation of culture. For though anyone who has written " "understands how difficult writing is—how difficult it is to sequence " "the story, to keep a reader's attention, to craft language to be " "understandable—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 " "skriveføre som avgjørende for den neste generasjonen av kultur. For selv om " "de som har skrevet forstår hvor vanskelig det er å skrive—hvor " "vanskelig det er å bestemme rekkefølge i historien, å holde på " "oppmerksomheten hos leseren, å forme språket slik at det er forståelig—" "så har få av oss en reell følelse av hvor vanskelig medier er. Eller mer " "fundamentalt, de færreste av av oss har en følelse for hvordan media " "fungerer, hvordan det holder et publikum eller leder leseren gjennom " "historien, hvordan det utløser følelser eller bygger opp spenningen." #. type: Content of: <book><part><chapter><para> msgid "" "It took filmmaking a generation before it could do these things well. But " "even then, the knowledge was in the filming, not in writing about the film. " "The skill came from experiencing the making of a film, not from reading a " "book about it. One learns to write by writing and then reflecting upon what " "one has written. One learns to write with images by making them and then " "reflecting upon what one has created." msgstr "" "Det tok filmkusten en generasjon før den kunne gjøre disse tingene bra. Men " "selv da, så var kunnskapen i filmingen, ikke i å skrive om filmen. " "Ferdigheten kom fra erfaring med å lage en film, ikke fra å lese en bok om " "den. En lærer å skrive ved å skrive, og deretter reflektere over det en har " "skrevet. En lærer å skrive med bilder ved å lage dem, og deretter " "reflektere over det en har laget." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Crichton, Michael" msgstr "Crichton, Michael" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Barish, Stephanie" msgstr "Barish, Stephanie" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Daley, Elizabeth" msgstr "Daley, Elizabeth" #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" msgstr "" "Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" #. f12 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Scott Steinberg, \"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>." msgid "" "See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, " "4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>." msgstr "" "Se Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4. november " "2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #8</" "ulink>; \"Timeline,\" 22. november 2000, tilgjengelig fra <ulink url=" "\"http://free-culture.cc/notes/\">link #9</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This grammar has changed as media has changed. When it was just film, as " #| "Elizabeth Daley, executive director of the University of Southern " #| "California's Annenberg Center for Communication and dean of the USC " #| "School of Cinema-Television, explained to me, the grammar was about \"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\"/>" msgid "" "This grammar has changed as media has changed. When it was just film, as " "Elizabeth Daley, executive director of the University of Southern " "California's Annenberg Center for Communication and dean of the USC School " "of Cinema-Television, explained to me, the grammar was about <quote>the " "placement of objects, color, … rhythm, pacing, and texture.</" "quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an " "interactive space where a story is <quote>played</quote> as well as " "experienced, that grammar changes. The simple control of narrative is lost, " "and so other techniques are necessary. Author Michael Crichton had mastered " "the narrative of science fiction. But when he tried to design a computer " "game based on one of his works, it was a new craft he had to learn. How to " "lead people through a game without their feeling they have been led was not " "obvious, even to a wildly successful author.<placeholder type=\"footnote\" " "id=\"1\"/>" msgstr "" "Denne gramatikken har endret seg etter hvert som media har endret seg. Da " "det kun var film, som Elizabeth Daley, administrerende direktør ved " "Universitetet i Sør-Califorias Anneberg-senter for kommunkasjon og rektor " "ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om " "\"plasseringen av objekter, farger, … rytme, skritt og tekstur\"." "<placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som datamaskiner " "åpner opp et interaktivt rom hvor en historie blir \"spillt\" i tillegg til " "opplevd, endrer gramatikken seg. Den enkle kontrollen til forstellerstemmen " "er forsvunnet, og dermed er andre teknikker nødvendig. Forfatter Michael " "Crichton hadde mestret fortellerstemmen til science fiction. Men da han " "forsøkte å lage et dataspill basert på et av sine verk, så var det et nytt " "håndverk han måtte lære. Det var ikke åpenbart hvordan en leder folk " "gjennom et spill uten at de far følelsen av å ha blitt ledet, selv for en " "enormt vellykket forfatter.<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "computer games" msgstr "dataspill" #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This skill is precisely the craft a filmmaker learns. As Daley describes, " "<quote>people are very surprised about how they are led through a film. [I]t " "is perfectly constructed to keep you from seeing it, so you have no idea. If " "a filmmaker succeeds you do not know how you were led.</quote> If you know " "you were led through a film, the film has failed." msgstr "" "Akkurat denne ferdigheten er håndverket en lærer til de som lager filmer. " "Som Daley skriver, \"folk er svært overrasket over hvordan de blir ledet " "gjennom en film. Den er perfekt konstruert for å hindre deg fra å se det, " "så du aner det ikke. Hvis en som lager filmer lykkes så vet du ikke at du " "har vært ledet.\" Hvis du vet at du ble ledet igjennom en film, så har " "filmen feilet." #. type: Content of: <book><part><chapter><para> msgid "" "Yet the push for an expanded literacy—one that goes beyond text to " "include audio and visual elements—is not about making better film " "directors. The aim is not to improve the profession of filmmaking at all. " "Instead, as Daley explained," msgstr "" "Likevel er innsatsen for å utvide skriveføren—til en som går ut over " "tekst til å ta med lyd og visuelle elementer—handler ikke om å lage " "bedre filmregisører. Målet er ikke å forbedre filmyrket i det hele tatt. I " "stedet, som Daley forklarer," #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "From my perspective, probably the most important digital divide is not " "access to a box. It's the ability to be empowered with the language that " "that box works in. Otherwise only a very few people can write with this " "language, and all the rest of us are reduced to being read-only." msgstr "" "Fra mitt perspektiv er antagelig det viktigste digitale skillet ikke om en " "har tilgang til en boks eller ikke. Det er evnen til å ha kontroll over " "språket som boksen bruker. I motsatt fall er det bare noen få som kan " "skrive i dette språket, og alle oss andre er redusert til å ikke kunne " "skrive." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"Read-only.\" Passive recipients of culture produced elsewhere. Couch " #| "potatoes. Consumers. This is the world of media from the twentieth " #| "century." msgid "" "<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. " "Couch potatoes. Consumers. This is the world of media from the twentieth " "century." msgstr "" "\"ikke kunne skrive.\" Passive mottakerne av kultur produsert andre steder. " "Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende århundre." #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Intervju med Daley og Barish. <placeholder type=\"indexterm\" id=\"0\"/>" #. f31 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "Ibid." msgstr "ibid." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The twenty-first century could be different. This is the crucial point: " #| "It could be both read and write. Or at least reading and better " #| "understanding the craft of writing. Or best, reading and understanding " #| "the tools that enable the writing to lead or mislead. The aim of any " #| "literacy, and this literacy in particular, is to \"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\"/>" msgid "" "The twenty-first century could be different. This is the crucial point: It " "could be both read and write. Or at least reading and better understanding " "the craft of writing. Or best, reading and understanding the tools that " "enable the writing to lead or mislead. The aim of any literacy, and this " "literacy in particular, is to <quote>empower people to choose the " "appropriate language for what they need to create or express.</" "quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students " "<quote>to communicate in the language of the twenty-first century.</" "quote><placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "Det tjueførste århundret kan bli annerledes. Dette er et kritisk punkt: Det " "kan bli både lesing og skriving. Eller i det minste lesing og bedre " "forståelse for håndverket å skrive. Eller det beste, lesing og forstå " "verktøyene som gir skriving mulighet til å veilede eller villede. Målet med " "enhver skriveførhet, og denne skriveførheten spesielt, er å \"gi folket " "myndighet til å velge det språket som passer for det de trenger å lage eller " "uttrykke\".<placeholder type=\"footnote\" id=\"0\"/> Det gir studenter " "mulighet \"til å kommunisere i språket til det tjueførste århundret\"." "<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "As with any language, this language comes more easily to some than to " "others. It doesn't necessarily come more easily to those who excel in " "written language. Daley and Stephanie Barish, director of the Institute for " "Multimedia Literacy at the Annenberg Center, describe one particularly " "poignant example of a project they ran in a high school. The high school " "was a very poor inner-city Los Angeles school. In all the traditional " "measures of success, this school was a failure. But Daley and Barish ran a " "program that gave kids an opportunity to use film to express meaning about " "something the students know something about—gun violence." msgstr "" "Som det alle andre språk, læres dette språket lettere for noen enn for " "andre. Det kommer ikke nødvendigvis lettere for de som gjør det godt " "skriftlig. Daley og Stephanie Barish, direktør for Institutt for Multimedia-" "skriveføre ved Annenberg-senteret, beskriver et spesielt sterkt eksempel fra " "et prosjekt de gjennomførte i en videregående skole. Den videregående " "skolen var en veldig fattig skole i den indre byen i Los Angeles. Etter " "alle tradisjonelle måleenheter for suksess var denne skolen en fiasko. Men " "Daley og Barish gjennomførte et program som ga ungene en mulighet til å " "bruke film til å uttrykke sine meninger om noe som studentene visste noe " "om—våpen-relatert vold." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The class was held on Friday afternoons, and it created a relatively new " #| "problem for the school. While the challenge in most classes was getting " #| "the kids to come, the challenge in this class was keeping them away. The " #| "\"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—learning how to express themselves." msgid "" "The class was held on Friday afternoons, and it created a relatively new " "problem for the school. While the challenge in most classes was getting the " "kids to come, the challenge in this class was keeping them away. The " "<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> " "said Barish. They were working harder than in any other class to do what " "education should be about—learning how to express themselves." msgstr "" "Klassen møttes fredag ettermiddag, og skapte et relativt nytt problem for " "skolen. Mens utfordringen i de fleste klasser var å få ungene til å dukke " "opp, var utfordringen for denne klassen å holde dem unna. \"Ungene dukket " "opp 06:00, og dro igjen 05:00 på natta\", sa Barish. De jobbet hardere enn i " "noen annen klasse for å gjøre det utdanning burde handle om—å lære " "hvordan de skulle uttrykke seg." #. type: Content of: <book><part><chapter><para> #, 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—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 <emphasis>these</emphasis> ideas can be expressed well. The " #| "power of this message depended upon its connection to this form of " #| "expression." msgid "" "Using whatever <quote>free web stuff they could find,</quote> and relatively " "simple tools to enable the kids to mix <quote>image, sound, and text,</" "quote> Barish said this class produced a series of projects that showed " "something about gun violence that few would otherwise understand. This was " "an issue close to the lives of these students. The project <quote>gave them " "a tool and empowered them to be able to both understand it and talk about it," "</quote> Barish explained. That tool succeeded in creating expression—" "far more successfully and powerfully than could have been created using only " "text. <quote>If you had said to these students, `you have to do it in text,' " "they would've just thrown their hands up and gone and done something else,</" "quote> Barish described, in part, no doubt, because expressing themselves in " "text is not something these students can do well. Yet neither is text a form " "in which <emphasis>these</emphasis> ideas can be expressed well. The power " "of this message depended upon its connection to this form of expression." msgstr "" "Ved å bruke hva som helst av \"fritt tilgjengelig web-stoff de kunne finne" "\", og relativt enkle verktøy som gjorde det mulig for ungene å blande " "\"bilde, lyd og tekst\", sa Barish at denne klassen produserte en serie av " "prosjekter som viste noe om våpen-basert vold som få ellers ville forstå. " "Dette var et tema veldig nært livene til disse studentene. Prosjektet \"ga " "dem et verktøy og bemyndiget dem slik at de både ble i stand til å forstå " "det og snakke om det\", forklarer Barish. Dette verktøyet lyktes med å " "skape uttrykk—mye mer vellykket og kraffylt enn noe som hadde blitt " "laget ved å kun bruke tekst. \"Hvis du hadde sagt til disse studentene at " "'du må gjøre dette i tekstform', så hadde de bare kastet hendene i været og " "gått og gjort noe annet\", forklarer Barish. Delvis, uten tvil, fordi å " "uttrykke seg selv i tekstform ikke er noe disse studentene gjør godt. Heller " "ikke er tekstform en form som kan uttrykke <emphasis>disse</emphasis> idéene " "godt. Kraften i denne meldingen avhenger av dens forbindelse med denne for " "for uttrykk." #. PAGE BREAK 52 #. type: Content of: <book><part><chapter><para> #, 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—and " #| "increasingly, not the most powerful part—of constructing meaning. " #| "As Daley explained in the most moving part of our interview," msgid "" "<quote>But isn't education about teaching kids to write?</quote> I asked. In " "part, of course, it is. But why are we teaching kids to write? Education, " "Daley explained, is about giving students a way of <quote>constructing " "meaning.</quote> To say that that means just writing is like saying teaching " "writing is only about teaching kids how to spell. Text is one part—and " "increasingly, not the most powerful part—of constructing meaning. As " "Daley explained in the most moving part of our interview," msgstr "" "\"Men handler ikke utdanning om å lære unger å skrive?\" spurte jeg. Jo " "delvis, naturligvis. Men hvorfor lærer vi unger å skrive? Utdanning, " "forklarer Daley, handler om å gi studentene en måte å \"konstruere mening" "\". Å si at det kun betyr skriving er som å si at å lære bort skriving kun " "handler om å lære ungene å stave. Tekstforming er bare en del—og i " "større grad ikke den kraftigste delen—for å konstruere mening. Som " "Daley forklarte i den mest rørende delen av vårt intervju," #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "What you want is to give these students ways of constructing meaning. If " #| "all you give them is text, they're not going to do it. Because they " #| "can't. You know, you've got Johnny who can look at a video, he can play a " #| "video game, he can do graffiti all over your walls, he can take your car " #| "apart, and he can do all sorts of other things. He just can't read your " #| "text. So Johnny comes to school and you say, \"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.…" msgid "" "What you want is to give these students ways of constructing meaning. If all " "you give them is text, they're not going to do it. Because they can't. You " "know, you've got Johnny who can look at a video, he can play a video game, " "he can do graffiti all over your walls, he can take your car apart, and he " "can do all sorts of other things. He just can't read your text. So Johnny " "comes to school and you say, <quote>Johnny, you're illiterate. Nothing you " "can do matters.</quote> Well, Johnny then has two choices: He can dismiss " "you or he [can] dismiss himself. If his ego is healthy at all, he's going to " "dismiss you. [But i]nstead, if you say, <quote>Well, with all these things " "that you can do, let's talk about this issue. Play for me music that you " "think reflects that, or show me images that you think reflect that, or draw " "for me something that reflects that.</quote> Not by giving a kid a video " "camera and … saying, <quote>Let's go have fun with the video camera " "and make a little movie.</quote> But instead, really help you take these " "elements that you understand, that are your language, and construct meaning " "about the topic.…" msgstr "" "Det du ønsker er å gi disse studentene en måte å konstruere mening. Hvis alt " "du gir dem er tekst, så kommer de ikke til å gjøre det. Fordi de kan ikke. " "Du vet, du har Johnny som kan se på en video, han kan spille på et TV-spill, " "han kan spre grafitti over alle dine vegger, han kan ta fra hverandre bilen " "din, og han kan gjøre alle mulige andre ting. Men han kan ikke lese teksten " "din. Så Jonny kommer på skolen og du sier \"Johnny, du er analfabet. " "Ingenting du gjør betyr noe\". Vel, da har Johnny to valg: Han kan avvise " "deg eller han kan avvise seg selv. Hvis han har et sunt ego så vil han " "avvise deg. Men hvis du i stedet sier, \"Well, med alle disse tingene som " "du kan gjøre, la oss snakke om dette temaet. Spill musikk til meg som du " "mener reflekterer over temaet, eller vis meg bilder som du mener reflekterer " "over temaet, eller tegn noe til meg som reflektere temaet\". Ikke ved å gi " "en unge et videokamera og … si \"La oss dra å ha det morsomt med " "videokameraet og lage en liten film\". Men istedet, virkelig hjelpe deg å ta " "disse elementene som du forstår, som er ditt språk, og konstruer mening om " "temaet.…" #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "That empowers enormously. And then what happens, of course, is " #| "eventually, as it has happened in all these classes, they bump up against " #| "the fact, \"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." msgid "" "That empowers enormously. And then what happens, of course, is eventually, " "as it has happened in all these classes, they bump up against the fact, " "<quote>I need to explain this and I really need to write something.</quote> " "And as one of the teachers told Stephanie, they would rewrite a paragraph 5, " "6, 7, 8 times, till they got it right." msgstr "" "Dette bemyndiger enormt. Og det som skjer til slutt, selvfølgelig, som det " "har skjedd i alle disse klassene, er at de stopper opp når de treffer " "faktumet \"jeg trenger å forklare dette, og da trenger jeg virkelig å skrive " "noe\". Og som en av lærerne fortalte Stephanie, de vil skrive om avsnittet " "5, 6, 7, 8 ganger, helt til det blir riktig." #. PAGE BREAK 53 #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "Because they needed to. There was a reason for doing it. They needed to " #| "say something, as opposed to just jumping through your hoops. They " #| "actually needed to use a language that they didn't speak very well. But " #| "they had come to understand that they had a lot of power with this " #| "language.\"" 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 trengte det. Det var en grunn til å gjøre det. De trengte å si " "noe, i motsetning til å kun danse etter din pipe. De trengte faktisk å " "bruke det språket de ikke håndterte veldig bra. Men de hadde begynt å " "forstå at de hadde mye gjennomslagskraft med dette språket.\"" #. type: Content of: <book><part><chapter><para> 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 "" "Da to fly krasjet inn i World Trade Center, og et annet inn i Pentagon, og " "et fjerde inn i et jorde i Pennsylvania, snudde alle medier verden rundt seg " "til denne nyheten. Ethvert moment for omtreng hver eneste dag den uka, og " "ukene som fulgte gjenfortalte TV spesielt, men media generelt, historien om " "disse hendelsene som vi nettopp hadde vært vitne til. Genialiteten i denne " "forferdelige terrorhandlingen var at det forsinkede andre-angrepet var " "perfekt tidsatt for å sikre at hele verden ville være der for å se på." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These retellings had an increasingly familiar feel. There was music " #| "scored for the intermissions, and fancy graphics that flashed across the " #| "screen. There was a formula to interviews. There was \"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." msgid "" "These retellings had an increasingly familiar feel. There was music scored " "for the intermissions, and fancy graphics that flashed across the screen. " "There was a formula to interviews. There was <quote>balance,</quote> and " "seriousness. This was news choreographed in the way we have increasingly " "come to expect it, <quote>news as entertainment,</quote> even if the " "entertainment is tragedy." msgstr "" "Disse gjenfortellingene ga en økende familiær følelse. Det var musikk " "spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers " "over skjermen. Det var en formel for intervjuer. Det var \"balanse\" og " "seriøsitet. Dette var nyheter koreaografert slik vi i stadig større grad " "forventer det, \"nyheter som underholdning\", selv om underholdningen er en " "tragedie." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "ABC" msgstr "ABC" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "CBS" msgstr "CBS" #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>Cyber Rights</citetitle>, around a news event that had " #| "captured the attention of the world. There was ABC and CBS, but there was " #| "also the Internet." msgid "" "But in addition to this produced news about the <quote>tragedy of September " "11,</quote> those of us tied to the Internet came to see a very different " "production as well. The Internet was filled with accounts of the same " "events. Yet these Internet accounts had a very different flavor. Some people " "constructed photo pages that captured images from around the world and " "presented them as slide shows with text. Some offered open letters. There " "were sound recordings. There was anger and frustration. There were attempts " "to provide context. There was, in short, an extraordinary worldwide barn " "raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber " "Rights</citetitle>, around a news event that had captured the attention of " "the world. There was ABC and CBS, but there was also the Internet." msgstr "" "Men i tillegg til disse produserte nyhetene om \"tragedien 11. september\", " "kunne de av oss som er knyttet til internettet i tillegg se en svært " "annerledes produksjon. Internettet er fullt av fortellinger om de samme " "hendelsene. Men disse internet-fortellingene hadde en veldig annerledes " "smak. Noen folk konstruerte foto-sider som fanget bilder fra hele verden og " "presenterte dem som lysbildepresentasjoner med tekst. Noen tilbød åpne " "brev. Det var lydopptak. Det var sinne og frustrasjon. Det var forsøk på " "å tilby en sammenheng. Det var, kort og godt, en ekstraordinær " "verdensomspennende låvebygging, slik Mike Godwin bruker begrepet i hans bok " "<citetitle>Cyber Rights</citetitle>, rundt en nyhetshendelse som hadde " "fanget oppmerksomheten til hele verden. Det var ABC og CBS, men det var " "også internettet." #. PAGE BREAK 54 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "I don't mean simply to praise the Internet—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." msgid "" "I don't mean simply to praise the Internet—though I do think the " "people who supported this form of speech should be praised. I mean instead " "to point to a significance in this form of speech. For like a Kodak, the " "Internet enables people to capture images. And like in a movie by a student " "on the <quote>Just Think!</quote> bus, the visual images could be mixed with " "sound or text." msgstr "" "Det er ikke så enkelt som at jeg ønsker å lovprise internettet—selv om " "jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg " "ønsker i stedet å peke på viktigheten av denne formen for tale. For på " "samme måte som en Kodak, gjør internettet folk i stand til å fange bilder. " "Og på samme måte som med en film laget av en av studentene på \"Just Think!" "\"-bussen, kan visuelle bilder bli blandet med lyd og tekst." #. type: Content of: <book><part><chapter><para> msgid "" "But unlike any technology for simply capturing images, the Internet allows " "these creations to be shared with an extraordinary number of people, " "practically instantaneously. This is something new in our tradition—" "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 en hvilken som helst teknologi for å enkelt fange " "bilder, tillater internettet at en nesten umiddelbart deler disse " "kreasjonene med et ekstraordinært antall menesker. Dette er noe nytt i vår " "tradisjon—ikke bare kan kultur fanges inn mekanisk, og åpenbart heller " "ikke at hendelser blir kommentert kritisk, men at denne blandingen av " "bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart." #. type: Content of: <book><part><chapter><para> msgid "" "September 11 was not an aberration. It was a beginning. Around the same " "time, a form of communication that has grown dramatically was just beginning " "to come into public consciousness: the Web-log, or blog. The blog is a kind " "of public diary, and within some cultures, such as in Japan, it functions " "very much like a diary. In those cultures, it records private facts in a " "public way—it's a kind of electronic <citetitle>Jerry Springer</" "citetitle>, available anywhere in the world." msgstr "" "11. september var ikke et avvik. Det var en start. Omtrent på samme tid, " "begynte en form for kommunkasjon som hadde vokst dramatisk å komme inn i " "offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig " "dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en " "dagbok. I disse kulturene registrerer den private fakta på en offentlig " "måte—det er en slags elektronisk <citetitle>Jerry Springer</" "citetitle>, tilgjengelig overalt i verden." #. type: Content of: <book><part><chapter><para> msgid "" "But in the United States, blogs have taken on a very different character. " "There are some who use the space simply to talk about their private life. " "But there are many who use the space to engage in public discourse. " "Discussing matters of public import, criticizing others who are mistaken in " "their views, criticizing politicians about the decisions they make, offering " "solutions to problems we all see: blogs create the sense of a virtual public " "meeting, but one in which we don't all hope to be there at the same time and " "in which conversations are not necessarily linked. The best of the blog " "entries are relatively short; they point directly to words used by others, " "criticizing with or adding to them. They are arguably the most important " "form of unchoreographed public discourse that we have." msgstr "" "Men i USA har blogger inntatt en svært annerledes karakter. Det er noen som " "bruker denne plassen til å snakke om sitt private liv. Men det er mange som " "bruker denne plassen til å delta i offentlig debatt. Diskuterer saker med " "offentlig interesse, kritiserer andre som har feil synspunkt, kritisere " "politigere for avgjørelser de tar, tilbyr løsninger på problemer vi alle " "ser. Blogger skaper en følelse av et virtuelt offentlig møte, men et hvor " "vi ikke alle håper å være tilstede på samme tid og hvor konversasjonene ikke " "nødvendigvis er koblet sammen. De beste av bloggoppføringene er relativt " "korte. De peker direkte til ord bruk av andre, kritiserer dem eller bidrar " "til dem. Det kan argumenteres for at de er den viktigste form for " "ukoreografert offentlig debatt som vi har." #. PAGE BREAK 55 #. type: Content of: <book><part><chapter><para> msgid "" "That's a strong statement. Yet it says as much about our democracy as it " "does about blogs. This is the part of America that is most difficult for " "those of us who love America to accept: Our democracy has atrophied. Of " "course we have elections, and most of the time the courts allow those " "elections to count. A relatively small number of people vote in those " "elections. The cycle of these elections has become totally professionalized " "and routinized. Most of us think this is democracy." msgstr "" "Dette er en sterk uttalelse. Likevel sier den like mye om vårt demokrati " "som den sier om blogger. Dette er delen av USA som det er mest vanskelig " "for oss som elsker USA å akseptere: vårt demokrati har svunnet hen. Vi har " "naturligvis valg, og mesteparten av tiden tillater domstolene at disse " "valgene teller. Et relativt lite antall mennesker stemmer i disse valgene. " "Syklusen med disse valgene har blitt totalt profesjonalisert og " "rutinepreget. De fleste av oss tenker på dette som demokrati." #. f15 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" "citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " "16." msgstr "" "Se for eksempel Alexis de Tocqueville, <citetitle>Democracy in America</" "citetitle>, bk. 1, overs. Henry Reeve (New York: Bantam Books, 2000), kap. " "16." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But democracy has never just been about elections. Democracy means rule " #| "by the people, but rule means something more than mere elections. In our " #| "tradition, it also means control through reasoned discourse. This was " #| "the idea that captured the imagination of Alexis de Tocqueville, the " #| "nineteenth-century French lawyer who wrote the most important account of " #| "early \"Democracy in America.\" It wasn't popular elections that " #| "fascinated him—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\"/>" msgid "" "But democracy has never just been about elections. Democracy means rule by " "the people, but rule means something more than mere elections. In our " "tradition, it also means control through reasoned discourse. This was the " "idea that captured the imagination of Alexis de Tocqueville, the nineteenth-" "century French lawyer who wrote the most important account of early " "<quote>Democracy in America.</quote> It wasn't popular elections that " "fascinated him—it was the jury, an institution that gave ordinary " "people the right to choose life or death for other citizens. And most " "fascinating for him was that the jury didn't just vote about the outcome " "they would impose. They deliberated. Members argued about the <quote>right</" "quote> result; they tried to persuade each other of the <quote>right</quote> " "result, and in criminal cases at least, they had to agree upon a unanimous " "result for the process to come to an end.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" "Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket " "styrer, og å styre betyr noe mer enn kun valg. I vår tradisjon betyr det " "også kontroll gjennom gjennomtenkt meningsbrytning. Dette var idéen som " "fanget fantasien til Alexis de Tocqueville, den franske nittenhundretalls-" "advokaten som skrev den viktigste historien om det tidlige \"demokratiet i " "Amerika\". Det var ikke allmenn stemmerett som fascinerte han—det var " "juryen, en institusjon som ga vanlige folk retten til å velge liv eller død " "før andre borgere. Og det som fascinerte han mest var at juryen ikke bare " "stemte over hvilket resultat de ville legge frem. De diskuterte. " "Medlemmene argumenterte om hva som var \"riktig\" resultat, de forsøkte å " "overbevise hverandre om \"riktig\"resultat, og i hvert fall i kriminalsaker " "måtte de bli enige om et enstemming resultat for at prosessen skulle " "avsluttes.<placeholder type=\"footnote\" id=\"0\"/>" #. f16 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" " #| "<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." msgid "" "Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> " "<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129." msgstr "" "Bruce Ackerman og James Fishkin, \"Deliberation Day,\" <citetitle>Journal of " "Political Philosophy</citetitle> 10 (2) (2002): 129." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Yet even this institution flags in American life today. And in its place, " #| "there is no systematic effort to enable citizen deliberation. Some are " #| "pushing to create just such an institution.<placeholder type=\"footnote\" " #| "id=\"0\"/> And in some towns in New England, something close to " #| "deliberation remains. But for most of us for most of the time, there is " #| "no time or place for \"democratic deliberation\" to occur." msgid "" "Yet even this institution flags in American life today. And in its place, " "there is no systematic effort to enable citizen deliberation. Some are " "pushing to create just such an institution.<placeholder type=\"footnote\" id=" "\"0\"/> And in some towns in New England, something close to deliberation " "remains. But for most of us for most of the time, there is no time or place " "for <quote>democratic deliberation</quote> to occur." msgstr "" "Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det " "ingen systematisk innsats for å muliggjøre borger-diskusjon. Noen gjør en " "innsats for å lage en slik institusjon.<placeholder type=\"footnote\" id=" "\"0\"/> Og i noen landsbyer i New England er det noe i nærheten av diskusjon " "igjen. Men for de fleste av oss mesteparten av tiden, er det ingen tid og " "sted for å gjennomføre \"demokratisk diskusjon\"." #. f17 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " "University Press, 2001), 65–80, 175, 182, 183, 192." msgstr "" "Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " "University Press, 2001), 65–80, 175, 182, 183, 192." #. type: Content of: <book><part><chapter><para> msgid "" "More bizarrely, there is generally not even permission for it to occur. We, " "the most powerful democracy in the world, have developed a strong norm " "against talking about politics. It's fine to talk about politics with people " "you agree with. But it is rude to argue about politics with people you " "disagree with. Political discourse becomes isolated, and isolated discourse " "becomes more extreme.<placeholder type=\"footnote\" id=\"0\"/> We say what " "our friends want to hear, and hear very little beyond what our friends say." msgstr "" "Mer merkelig er at en generelt sett ikke engang har aksept for at det skal " "skje. Vi, det mektigste demokratiet i verden, har utviklet en sterk norm " "mot å diskutere politikk. Det er greit å diskutere politikk med folk du er " "enig med, men det er uhøflig å diskutere politikk med folk du er uenig med. " "Politisk debatt blir isolert, og isolert diskusjon blir mer ekstrem." "<placeholder type=\"footnote\" id=\"0\"/> Vi sier det våre venner vil høre, " "og hører veldig lite utenom hva våre venner sier." #. PAGE BREAK 56 #. type: Content of: <book><part><chapter><para> msgid "" "Enter the blog. The blog's very architecture solves one part of this " "problem. People post when they want to post, and people read when they want " "to read. The most difficult time is synchronous time. Technologies that " "enable asynchronous communication, such as e-mail, increase the opportunity " "for communication. Blogs allow for public discourse without the public ever " "needing to gather in a single public place." msgstr "" "Så kommer bloggen. Selve bloggens arkitektur løser en del av dette " "problemet. Folk publiserer det de ønsker å publisere, og folk leser det de " "ønsker å lese. Det vanskeligste tiden er synkron tid. Teknologier som " "muliggjør asynkron kommunasjons, slik som epost, øker muligheten for " "kommunikasjon. Blogger gjør det mulig med offentlig debatt uten at folket " "noen gang trenger å samle seg på et enkelt offentlig sted." #. type: Content of: <book><part><chapter><para> msgid "" "But beyond architecture, blogs also have solved the problem of norms. " "There's no norm (yet) in blog space not to talk about politics. Indeed, the " "space is filled with political speech, on both the right and the left. Some " "of the most popular sites are conservative or libertarian, but there are " "many of all political stripes. And even blogs that are not political cover " "political issues when the occasion merits." msgstr "" "Men i tillegg til arkitektur, har blogger også løst problemet med normer. " "Det er (ennå) ingen norm i blogg-sfæren om å ikke snakke om politikk. " "Sfæren er faktisk fylt med politiske innlegg, både på høyre- og " "venstresiden. Noen av de mest populære stedene er konservative eller " "libertarianske, men det er mange av alle politiske farger. Til og med " "blogger som ikke er politiske dekker politiske temaer når anledningen krever " "det." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Dean, Howard" msgstr "Dean, Howard" #. type: Content of: <book><part><chapter><para> msgid "" "The significance of these blogs is tiny now, though not so tiny. The name " "Howard Dean may well have faded from the 2004 presidential race but for " "blogs. Yet even if the number of readers is small, the reading is having an " "effect. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Betydningene av disse bloggene er liten nå, men ikke ubetydelig. Navnet " "Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett " "fra hos noen få blogger. Men selv om antallet lesere er lavt, så har det å " "lese dem en effekt. <placeholder type=\"indexterm\" id=\"0\"/>" #. f18 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New " #| "York Times, 16 January 2003, G5." msgid "" "Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</" "quote> New York Times, 16 January 2003, G5." msgstr "" "Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New " "York Times, 16. januar 2003, G5." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Lott, Trent" msgstr "Lott, Trent" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "One direct effect is on stories that had a different life cycle in the " #| "mainstream media. The Trent Lott affair is an example. When Lott " #| "\"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\"/> <placeholder " #| "type=\"indexterm\" id=\"1\"/>" msgid "" "One direct effect is on stories that had a different life cycle in the " "mainstream media. The Trent Lott affair is an example. When Lott " "<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially " "praising Thurmond's segregationist policies, he calculated correctly that " "this story would disappear from the mainstream press within forty-eight " "hours. It did. But he didn't calculate its life cycle in blog space. The " "bloggers kept researching the story. Over time, more and more instances of " "the same <quote>misspeaking</quote> emerged. Finally, the story broke back " "into the mainstream press. In the end, Lott was forced to resign as senate " "majority leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" "En direkte effekt er på historier som hadde en annerledes livssyklus i de " "store mediene. Trend Lott-affæren er et eksempel. Da Logg \"sa feil\" på " "en fest for senator Storm Thurmond, og essensielt lovpriste " "segregeringspolitikken til Thurmond, regnet han ganske riktig med at " "historien ville forsvinne fra de store mediene i løpet av førtiåtte timer. " "Det skjedde. Men han regnet ikke med dens livssyklus i bloggsfæren. " "Bloggerne fortsatte å undersøke historien. Etter hvert dukket flere og " "flere tilfeller av tilsvarende \"feiluttalelser\" opp. Så dukket historien " "opp igjen hos de store mediene. Lott ble til slutt tvinget til å trekke seg " "som leder for senatets flertall.<placeholder type=\"footnote\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "This different cycle is possible because the same commercial pressures don't " "exist with blogs as with other ventures. Television and newspapers are " "commercial entities. They must work to keep attention. If they lose " "readers, they lose revenue. Like sharks, they must move on." msgstr "" "Denne annerledes syklusen er mulig på grunn av at et tilsvarende kommersielt " "press ikke eksisterer hos blogger slik det gjør hos andre kanaler. " "Televisjon og aviser er kommersielle aktører. De må arbeide for å holde på " "oppmerksomheten. Hvis de mister lesere, så mister de inntekter. Som haier, " "må de bevege seg videre." #. type: Content of: <book><part><chapter><para> msgid "" "But bloggers don't have a similar constraint. They can obsess, they can " "focus, they can get serious. If a particular blogger writes a particularly " "interesting story, more and more people link to that story. And as the " "number of links to a particular story increases, it rises in the ranks of " "stories. People read what is popular; what is popular has been selected by a " "very democratic process of peer-generated rankings." msgstr "" "Men bloggere har ikke tilsvarende begresninger. De kan bli opphengt, de kan " "fokusere, de kan bli seriøse. Hvis en bestemt blogger skriver en spesielt " "interessant historie, så vil flere og flere folk lenke til den historien. " "Og etter hvert som antalet lenker til en bestemt historie øker, så stiger " "den i rangeringen for historier. Folk leser det som er populært, og hva som " "er populært har blitt valgt gjennom en svært demokratisk prosess av " "likemanns-generert rangering. " #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Winer, Dave" msgstr "Winer, Dave" #. PAGE BREAK 57 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "There's a second way, as well, in which blogs have a different cycle from " #| "the mainstream press. As Dave Winer, one of the fathers of this movement " #| "and a software author for many decades, told me, another difference is " #| "the absence of a financial \"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.\"" msgid "" "There's a second way, as well, in which blogs have a different cycle from " "the mainstream press. As Dave Winer, one of the fathers of this movement and " "a software author for many decades, told me, another difference is the " "absence of a financial <quote>conflict of interest.</quote> <quote>I think " "you have to take the conflict of interest</quote> out of journalism, Winer " "told me. <quote>An amateur journalist simply doesn't have a conflict of " "interest, or the conflict of interest is so easily disclosed that you know " "you can sort of get it out of the way.</quote>" msgstr "" "Det er også en annen måte, hvor blogger har en annen syklus enn de store " "mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en " "programvareutvikler i mange tiår fortalte meg, er en annen forskjell " "fraværet av finansiell \"interessekonflikt\". \"Jeg tror du må ta " "interessekonflikten\" ut av journalismen, fortalte Winer meg. \"En " "amatørjournalist har ganske enkelt ikke interessekonflikt, eller " "interessekonflikten er så enkelt å avsløre at du liksom vet du kan rydde den " "av veien.\"" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "CNN" msgstr "CNN" #. f19 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Telephone interview with David Winer, 16 April 2003." msgstr "Telefonintervju med David Winer, 16. april 2003." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These conflicts become more important as media becomes more concentrated " #| "(more on this below). A concentrated media can hide more from the public " #| "than an unconcentrated media can—as CNN admitted it did after the " #| "Iraq war because it was afraid of the consequences to its own employees." #| "<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " #| "coherent account. (In the middle of the Iraq war, I read a post on the " #| "Internet from someone who was at that time listening to a satellite " #| "uplink with a reporter in Iraq. The New York headquarters was telling the " #| "reporter over and over that her account of the war was too bleak: She " #| "needed to offer a more optimistic story. When she told New York that " #| "wasn't warranted, they told her that <emphasis>they</emphasis> were " #| "writing \"the story.\")" 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—as CNN admitted it did after the Iraq " "war because it was afraid of the consequences to its own employees." "<placeholder type=\"footnote\" id=\"0\"/> It also needs to sustain a more " "coherent account. (In the middle of the Iraq war, I read a post on the " "Internet from someone who was at that time listening to a satellite uplink " "with a reporter in Iraq. The New York headquarters was telling the reporter " "over and over that her account of the war was too bleak: She needed to offer " "a more optimistic story. When she told New York that wasn't warranted, they " "told her that <emphasis>they</emphasis> were writing <quote>the story.</" "quote>)" msgstr "" "Disse konfliktene blir mer viktig etter hvert som mediene blir mer " "konsentert (mer om dette under). Konsenterte medier kan skjule mer fra " "offentligheten enn ikke-konsenterte medier kan—slik CNN innrømte at de " "gjorde etter Iraq-krigen fordi de var rett for konsekvensene for sine egne " "ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger også å " "opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste " "jeg en melding på Internet fra noen som på det tidspunktet lyttet på " "satellitt-forbindelsen til en reporter i Iraq. New York-hovedkvarteret ba " "reporteren gang på gang at hennes rapport om krigen var for trist: Hun måtte " "tilby en mer optimistisk historie. Når hun fortalte New York at det ikke var " "grunnlag for det, fortalte de henne at det var <emphasis>dem</emphasis> som " "skrev \"historien\".)" #. f20 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of " #| "Information Online,\" <citetitle>New York Times</citetitle>, 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>." msgid "" "John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of " "Information Online,</quote> <citetitle>New York Times</citetitle>, 2 " "February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, " "but Strong Overall,</quote> Online Journalism Review, 2 February 2003, " "available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>." msgstr "" "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information " "Online,\" <citetitle>New York Times</citetitle>, 2 februar 2003, A28; Staci " "D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online " "Journalism Review, 2. februar 2003, tilgjengelig fra <ulink url=\"http://" "free-culture.cc/notes/\">link #10</ulink>." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Blog space gives amateurs a way to enter the debate—\"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\"—with all the benefits, and costs, that might " #| "entail." msgid "" "Blog space gives amateurs a way to enter the debate—<quote>amateur</" "quote> not in the sense of inexperienced, but in the sense of an Olympic " "athlete, meaning not paid by anyone to give their reports. It allows for a " "much broader range of input into a story, as reporting on the Columbia " "disaster revealed, when hundreds from across the southwest United States " "turned to the Internet to retell what they had seen.<placeholder type=" "\"footnote\" id=\"0\"/> And it drives readers to read across the range of " "accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, " "Winer says, are <quote>communicating directly with our constituency, and the " "middle man is out of it</quote>—with all the benefits, and costs, that " "might entail." msgstr "" "Blogg-sfæren gir amatører en måte å bli med i debatten—\"amatør\" ikke " "i betydningen uerfaren, men i betydningen til en Olympisk atlet, det vil si " "ikke betalt av noen for å komme med deres rapport. Det tillater en mye " "bredere rekke av innspill til en historie, slik rapporteringen Columbia-" "katastrofen avdekket, når hundrevis fra hele sørvest-USA vendte seg til " "internettet for å gjenfortelle hva de hadde sett.<placeholder type=\"footnote" "\" id=\"0\"/> Og det får lesere til å lese på tvers av en rekke fortellinger " "og \"triangulere\", som Winer formulerer det, sannheten. Blogger, sier " "Winer, \"kommunserer direkte med vår velgermasse, og mellommannen er fjernet" "\"— med alle de fordeler og ulemper det kan føre med seg." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " #| "<citetitle>New York Times</citetitle>, 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 <citetitle>Houston Chronicle</" #| "citetitle> reporter, was fired for keeping a personal Web log, published " #| "under a pseudonym, that dealt with some of the issues and people he was " #| "covering.\") <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> " "<citetitle>New York Times</citetitle>, 29 September 2003, C4. (<quote>Not " "all news organizations have been as accepting of employees who blog. Kevin " "Sites, a CNN correspondent in Iraq who started a blog about his reporting of " "the war on March 9, stopped posting 12 days later at his bosses' request. " "Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> " "reporter, was fired for keeping a personal Web log, published under a " "pseudonym, that dealt with some of the issues and people he was covering.</" "quote>) <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " "<citetitle>New York Times</citetitle>, 29. september 2003, C4. (\"Ikke alle " "nyhetsorganisasjoner har hatt like stor aksept for ansatte som blogger. " "Kevin Sites, en CNN-korrespondent i Irak som startet en blogg om sin " "rapportering av krigen 9. mars, stoppet å publisere 12 dager senere på " "forespørsel fra sine sjefer. I fjor fikk Steve Olafson, en " "<citetitle>Houston Chronicle</citetitle>-reporter, sparken for å ha hatt en " "personlig web-logg, publisert under pseudonym, som handlet om noen av " "temaene og folkene som han dekket\") <placeholder type=\"indexterm\" id=" "\"0\"/>" #. PAGE BREAK 58 #. type: Content of: <book><part><chapter><para> #, fuzzy #| 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—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.\"" msgid "" "Winer is optimistic about the future of journalism infected with blogs. " "<quote>It's going to become an essential skill,</quote> Winer predicts, for " "public figures and increasingly for private figures as well. It's not clear " "that <quote>journalism</quote> is happy about this—some journalists " "have been told to curtail their blogging.<placeholder type=\"footnote\" id=" "\"0\"/> But it is clear that we are still in transition. <quote>A lot of " "what we are doing now is warm-up exercises,</quote> Winer told me. There is " "a lot that must mature before this space has its mature effect. And as the " "inclusion of content in this space is the least infringing use of the " "Internet (meaning infringing on copyright), Winer said, <quote>we will be " "the last thing that gets shut down.</quote>" msgstr "" "Winer er optimistisk når det gjelder en journalistfremtid infisert av " "blogger. \"Det kommer til å bli en nødvendig ferdighet\", spår Winer, for " "offentlige aktører og også i større grad for private aktører. Det er ikke " "klart at \"journalismen\" er glad for dette—noen journalister har " "blitt bedt om å kutte ut sin blogging.<placeholder type=\"footnote\" id=" "\"0\"/> Men det er klart at vi fortsatt er i en overgangsfase. \"Mye av det " "vi gjør nå er oppvarmingsøvelser\", fortalte Winer meg. Det er mye som må " "modne før dette området har sin modne effekt. Og etter som inkludering av " "innhold i dette området er det området med minst opphavsrettsbrudd på " "internettet, sa Wiener at \"vi vil være den siste tingen som blir skutt ned" "\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "This speech affects democracy. Winer thinks that happens because <quote>you " "don't have to work for somebody who controls, [for] a gatekeeper.</quote> " "That is true. But it affects democracy in another way as well. As more and " "more citizens express what they think, and defend it in writing, that will " "change the way people understand public issues. It is easy to be wrong and " "misguided in your head. It is harder when the product of your mind can be " "criticized by others. Of course, it is a rare human who admits that he has " "been persuaded that he is wrong. But it is even rarer for a human to ignore " "when he has been proven wrong. The writing of ideas, arguments, and " "criticism improves democracy. Today there are probably a couple of million " "blogs where such writing happens. When there are ten million, there will be " "something extraordinary to report." msgstr "" "Slik tale påvirker demokratiet. Winer mener dette skjer fordi \"du trenger " "ikke jobber for noen som kontrollerer, [for] en portvokter\". Det er sant. " "Men det påvirker demokratiet også på en annen måte. Etter hvert som flere og " "flere borgere uttrykker hva de mener, og forsvarer det skriftlig, så vil det " "endre hvordan folk forstår offentlige temaer. Det er enkelt å ha feil og " "være på villspor i hodet ditt. Det er vanskeligere når resultatet fra dine " "tanker kan bli kritisert av andre. Det er selvfølgelig et sjeldent menneske " "som innrømmer at han ble overtalt til å innse at han tok feil. Men det er " "mer sjeldent for et menneske å ignorere at noen har bevist at han tok feil. " "Å skrive ned idéer, argumenter og kritikk forbedrer demokratiet. I dag er " "det antagelig et par millioner blogger der det skrives på denne måten. Når " "det er ti milloner, så vil det være noe ekstraordært å rapportere." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Brown, John Seely" msgstr "Brown, John Seely" #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "John Seely Brown is the chief scientist of the Xerox Corporation. His work, " "as his Web site describes it, is <quote>human learning and … the " "creation of knowledge ecologies for creating … innovation.</quote>" msgstr "" "John Seely Brown er sjefsforsker ved Xerox Corporation. Hans arbeid, i " "følge hans eget nettsted, er \"menneskelig læring og … å skape " "kunnskapsøkologier for å skape … innovasjon\"." #. type: Content of: <book><part><chapter><para> msgid "" "Brown thus looks at these technologies of digital creativity a bit " "differently from the perspectives I've sketched so far. I'm sure he would be " "excited about any technology that might improve democracy. But his real " "excitement comes from how these technologies affect learning." msgstr "" "Brown ser dermed på disse teknologiene for digital kreativitet litt " "annerledes enn fra perspektivene jeg har skissert opp så langt. Jeg er " "sikker på at han blir begeistret for enhver teknologi som kan forbedre " "demokratiet. Men det han virkelig blir begeistret over er hvordan disse " "teknologiene påvirker læring." #. PAGE BREAK 59 #. type: Content of: <book><part><chapter><para> #, 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—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." msgid "" "As Brown believes, we learn by tinkering. When <quote>a lot of us grew up,</" "quote> he explains, that tinkering was done <quote>on motorcycle engines, " "lawnmower engines, automobiles, radios, and so on.</quote> But digital " "technologies enable a different kind of tinkering—with abstract ideas " "though in concrete form. The kids at Just Think! not only think about how a " "commercial portrays a politician; using digital technology, they can take " "the commercial apart and manipulate it, tinker with it to see how it does " "what it does. Digital technologies launch a kind of bricolage, or " "<quote>free collage,</quote> as Brown calls it. Many get to add to or " "transform the tinkering of many others." msgstr "" "Brown tror vi lærer med å fikle. Da \"mange av oss vokste opp\", forklarer " "han, ble fiklingen gjort \"pa motorsykkelmotorer, gressklippermotorer, " "biler, radioer og så videre\". Men digitale teknologier muliggjør en annen " "type fikling—med abstrakte idéer i sin konkrete form. Ungene i Just " "Think! tenker ikke bare på hvordan et reklameinnslag fremstiller en " "politiker. Ved å bruke digital teknologi kan de ta reklameinnslaget fra " "hverandre og manipulerer det, fikle med det, og se hvordan det blir gjort. " "Digitale teknologier setter igang en slags *bricolage* eller \"fritt " "tilgjengelig sammenstilling\", som Brown kaller det. Mange får mulighet til " "å legge til på eller endre på fiklingen til mange andre." #. type: Content of: <book><part><chapter><para> msgid "" "The best large-scale example of this kind of tinkering so far is free " "software or open-source software (FS/OSS). FS/OSS is software whose source " "code is shared. Anyone can download the technology that makes a FS/OSS " "program run. And anyone eager to learn how a particular bit of FS/OSS " "technology works can tinker with the code." msgstr "" "Det beste eksemplet i større skala så langt på denne typen fikling er fri " "programvare og åpen kildekode (FS/OSS). FS/OSS er programvare der " "kildekoden deles ut. Alle kan laste ned teknologien som får et FS/OSS-" "program til å fungere. Og enhver som har lyst til å lære hvordan en bestemt " "bit av FS/OSS-teknologi fungerer kan fikle med koden." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "This opportunity creates a <quote>completely new kind of learning platform,</" "quote> as Brown describes. <quote>As soon as you start doing that, you " "… unleash a free collage on the community, so that other people can " "start looking at your code, tinkering with it, trying it out, seeing if they " "can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open " "source becomes a major apprenticeship platform.</quote>" msgstr "" "Denne muligheten gir en \"helt ny type læringsplattform\", i følge Brown. " "\"Så snart du begynner å gjøre dette, så … slipper du løs en fritt " "tilgjengelig sammenstilling til fellesskapet, slik at andre folk kan begynne " "å se på koden din, fikle med den, teste den, seom de kan forbedre den\". Og " "hver innsats er et slags læretid. \"Åpen kildekode blir en stor " "lærlingeplatform.\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "In this process, <quote>the concrete things you tinker with are abstract. " "They are code.</quote> Kids are <quote>shifting to the ability to tinker in " "the abstract, and this tinkering is no longer an isolated activity that " "you're doing in your garage. You are tinkering with a community platform. " "… You are tinkering with other people's stuff. The more you tinker " "the more you improve.</quote> The more you improve, the more you learn." msgstr "" "I denne prossesen, \"er de konkrete tingene du fikler med abstrakte. De er " "kildekode\". Unger \"endres til å få evnen til å fikle med det abstrakte, " "og denne fiklingen er ikke lenger en isolert aktivitet som du gjør i " "garasjen din. Du fikler med en fellesskapsplatform. … Du fikler med " "andre folks greier. Og jo mer du fikler, jo mer forbedrer du.\" Jo mer du " "forbedrer, jo mer lærer du." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This same thing happens with content, too. And it happens in the same " #| "collaborative way when that content is part of the Web. As Brown puts it, " #| "\"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.\"" msgid "" "This same thing happens with content, too. And it happens in the same " "collaborative way when that content is part of the Web. As Brown puts it, " "<quote>the Web [is] the first medium that truly honors multiple forms of " "intelligence.</quote> Earlier technologies, such as the typewriter or word " "processors, helped amplify text. But the Web amplifies much more than text. " "<quote>The Web … 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.</quote>" msgstr "" "Denne sammen tingen skjer også med innhold. Og det skjer på samme " "samarbeidende måte når dette innholdet er del av nettet. Som Brown " "formulerer det, \"nettet er det første medium som virkelig tar hensyn til " "flere former for intelligens\". Tidligere teknologier, slik som " "skrivemaskin eller tekstbehandling, hjelper med å fremme tekst. Men nettet " "fremmer mye mer enn tekst. \"Nettet … si hvis du er musikalsk, hvis " "du er kunstnerisk, hvis du er visuell, hvis du er interessert i film …" "da er det en masse du kan gå igang med på dette mediet. Det kan fremme og " "ta hensyn til alle disse formene for intelligens.\"" #. PAGE BREAK 60 #. type: Content of: <book><part><chapter><para> msgid "" "Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just " "Think! teach: that this tinkering with culture teaches as well as creates. " "It develops talents differently, and it builds a different kind of " "recognition." msgstr "" "Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lærer " "bort: at denne fiklingen med kultur lærer såvel som den skaper. Den utvikler " "talenter litt anderledes, og den bygger en annen type gjenkjenning." #. type: Content of: <book><part><chapter><para> msgid "" "Yet the freedom to tinker with these objects is not guaranteed. Indeed, as " "we'll see through the course of this book, that freedom is increasingly " "highly contested. While there's no doubt that your father had the right to " "tinker with the car engine, there's great doubt that your child will have " "the right to tinker with the images she finds all around. The law and, " "increasingly, technology interfere with a freedom that technology, and " "curiosity, would otherwise ensure." msgstr "" "Likevel er friheten til å fikle med disse objektene ikke garantert. Faktisk, " "som vi vil se i løpet av denne boken, er den friheten i stadig større grad " "omstridt. Mens det ikke er noe tvil om at din far hadde rett til å fikle " "med bilmotoren, så er det stor tvil om dine barn vil ha retten til å fikle " "med bilder som hun finner over alt. Loven, og teknologi i stadig større " "grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre." #. f22 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "See, for example, Edward Felten and Andrew Appel, \"Technological Access " #| "Control Interferes with Noninfringing Scholarship,\" " #| "<citetitle>Communications of the Association for Computer Machinery</" #| "citetitle> 43 (2000): 9." msgid "" "See, for example, Edward Felten and Andrew Appel, <quote>Technological " "Access Control Interferes with Noninfringing Scholarship,</quote> " "<citetitle>Communications of the Association for Computer Machinery</" "citetitle> 43 (2000): 9." msgstr "" "Se for eksempel, Edward Felten og Andrew Appel, \"Technological Access " "Control Interferes with Noninfringing Scholarship,\" " "<citetitle>Communications of the Association for Computer Machinery</" "citetitle> 43 (2000): 9." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "These restrictions have become the focus of researchers and scholars. " #| "Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " #| "xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has " #| "developed a powerful argument in favor of the \"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." msgid "" "These restrictions have become the focus of researchers and scholars. " "Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref " "xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a " "powerful argument in favor of the <quote>right to tinker</quote> as it " "applies to computer science and to knowledge in general.<placeholder type=" "\"footnote\" id=\"0\"/> But Brown's concern is earlier, or younger, or more " "fundamental. It is about the learning that kids can do, or can't do, because " "of the law." msgstr "" "Disse begresningene har blitt fokusen for forskere og akademikere. Professor " "Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle=" "\"select: labelnumber\" linkend=\"property-i\"/>) har utviklet et kraftfylt " "argument til fordel for \"retten til å fikle\" slik det gjøres i informatikk " "og til kunnskap generelt.<placeholder type=\"footnote\" id=\"0\"/> Men " "bekymringen til Brown er tidligere, og mer fundamentalt. Det handler om hva " "slags læring unger kan få, eller ikke kan få, på grunn av loven." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "<quote>This is where education in the twenty-first century is going,</quote> " "Brown explains. We need to <quote>understand how kids who grow up digital " "think and want to learn.</quote>" msgstr "" "\"Dette er dit utviklingen av utdanning i det tjueførste århundret er på vei" "\", forklarer Brown. Vi må \"forstå hvordan unger som vokser opp digitalt " "tenker og ønsker å lære\"." #. type: Content of: <book><part><chapter><para> #, 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.\"" msgid "" "<quote>Yet,</quote> as Brown continued, and as the balance of this book will " "evince, <quote>we are building a legal system that completely suppresses the " "natural tendencies of today's digital kids. … We're building an " "architecture that unleashes 60 percent of the brain [and] a legal system " "that closes down that part of the brain.</quote>" msgstr "" "\"Likevel\", fortsatte Brown, og som balansen i denne boken vil føre bevis " "for, \"bygger vi et juridisk system som fullstendig undertrykker den " "naturlige tendensen i dagens digitale unger. … We bygger en " "arkitektur som frigjør 60 prosent av hjernen [og] et juridisk system som " "stenger ned den delen av hjernen\"." #. type: Content of: <book><part><chapter><para> msgid "" "We're building a technology that takes the magic of Kodak, mixes moving " "images and sound, and adds a space for commentary and an opportunity to " "spread that creativity everywhere. But we're building the law to close down " "that technology." msgstr "" "Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige " "bilder og lyd, og legger inn plass for kommentarer og en mulighet til å spre " "denne kreativiteten over alt. Men vi bygger loven for å stenge ned denne " "teknologien." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in " #| "chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " #| "quipped to me in a rare moment of despondence." msgid "" "<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet " "in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " "quipped to me in a rare moment of despondence." msgstr "" "\"Ikke måten å drive en kultur på\", sa Brewster Kahle, som vi møtte i " "kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, " "kommenterte til meg i et sjeldent øyeblikk av nedstemthet." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER THREE: Catalogs" msgstr "Kapittel tre: Kataloger" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "RPI" msgstr "RPI" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Rensselaer Polytechnic Institute (RPI)" msgstr "Rensselaer Polytechnic Institute (RPI)" #. type: Content of: <book><part><chapter><para> 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 "" "Høsten 2001, ble Jesse Jordan fra Oceanside, New York, innrullert som " "førsteårsstudent ved Rensselaer Polytechnic Institute, i Troy, New York. " "Hans studieprogram ved RPI var informasjonsteknologi. Selv om han ikke var " "en programmerer, bestemte Jesse seg i oktober å begynne å fikle med en " "søkemotorteknologi som var tilgjengelig på RPI-nettverket." #. type: Content of: <book><part><chapter><para> msgid "" "RPI is one of America's foremost technological research institutions. It " "offers degrees in fields ranging from architecture and engineering to " "information sciences. More than 65 percent of its five thousand " "undergraduates finished in the top 10 percent of their high school class. " "The school is thus a perfect mix of talent and experience to imagine and " "then build, a generation for the network age." msgstr "" "RPI er en av Amerikas fremste teknologiske forskningsinstitusjoner. De " "tilbyr grader innen områder som går fra arkitektur og ingeniørfag til " "informasjonsvitenskap. Mer enn 65 prosent av de fem tusen " "laveregradsstudentene fullførte blant de 10 prosent beste i deres klasse på " "videregående. Skolen er dermed en perfekt blanding av talent og erfaring " "for å se for seg og deretter bygge, en generasjon tilpasset nettverksalderen." #. type: Content of: <book><part><chapter><para> msgid "" "RPI's computer network links students, faculty, and administration to one " "another. It also links RPI to the Internet. Not everything available on the " "RPI network is available on the Internet. But the network is designed to " "enable students to get access to the Internet, as well as more intimate " "access to other members of the RPI community." msgstr "" "RPIs data-nettverk kobler studenter, forelesere og administrasjon sammen. " "Det kobler også RPI til internettet. Ikke alt som er tilgjengelig på RPI-" "nettet er tilgjengelig på internettet. Men nettverket er utformet for å gi " "alle studentene mulighet til å bruke internettet, i tillegg til mer direkte " "tilgang til andre medlemmer i RPI-fellesskapet." #. PAGE BREAK 62 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Search engines are a measure of a network's intimacy. Google brought the " #| "Internet much closer to all of us by fantastically improving the quality " #| "of search on the network. Specialty search engines can do this even " #| "better. The idea of \"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." msgid "" "Search engines are a measure of a network's intimacy. Google brought the " "Internet much closer to all of us by fantastically improving the quality of " "search on the network. Specialty search engines can do this even better. The " "idea of <quote>intranet</quote> search engines, search engines that search " "within the network of a particular institution, is to provide users of that " "institution with better access to material from that institution. " "Businesses do this all the time, enabling employees to have access to " "material that people outside the business can't get. Universities do it as " "well." msgstr "" "Søkemotorer er et mål pa hvor nært et nettverk oppleves å være. Google " "brakte internettet mye nærmere oss alle ved en utrolig forbedring av " "kvaliteten på søk i nettverket. Spesialiserte søkemotorer kan gjøre dette " "enda bedre. Ideen med \"intranett\"-søkemotorer, søkemotorer som kun søker " "internt i nettverket til en bestemt institusjon, er å tilby brukerne i denne " "institusjonen bedre tilgang til materiale fra denne institusjonen. Bedrifter " "gjør dette hele tiden, ved å gi ansatte mulighet til å få tak i materiale " "som folk på utsiden av bedriften ikke kan få tak i. Universitetet gjør også " "dette." #. type: Content of: <book><part><chapter><para> msgid "" "These engines are enabled by the network technology itself. Microsoft, for " "example, has a network file system that makes it very easy for search " "engines tuned to that network to query the system for information about the " "publicly (within that network) available content. Jesse's search engine was " "built to take advantage of this technology. It used Microsoft's network file " "system to build an index of all the files available within the RPI network." msgstr "" "Disse motorene blir muliggjort av netverksteknologien selv. For eksempel " "har Microsoft et nettverksfilsystem som gjør det veldig enkelt for " "søkemotorer tilpasset det nettverket å spørre systemet etter informasjon om " "det offentlig (innen nettverket) tilgjengelige innholdet. Søkemotoren til " "Jesse var bygget for å dra nytte av denne teknologien. Den brukte " "Microsofts nettverksfilsystem for å bygge en indeks over alle filene " "tilgjengelig inne i RPI-nettverket." #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's wasn't the first search engine built for the RPI network. Indeed, " "his engine was a simple modification of engines that others had built. His " "single most important improvement over those engines was to fix a bug within " "the Microsoft file-sharing system that could cause a user's computer to " "crash. With the engines that existed before, if you tried to access a file " "through a Windows browser that was on a computer that was off-line, your " "computer could crash. Jesse modified the system a bit to fix that problem, " "by adding a button that a user could click to see if the machine holding the " "file was still on-line." msgstr "" "Jesse sin var ikke den første søkemotoren bygget for RPI-nettverket. Hans " "motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans " "viktigste enkeltforbedring i forhold til disse motorene var å fikse en feil " "i Microsofts fildelings-system som fikk en brukers datamaskin til å krasje. " "Med motorene som hadde eksistert tidligere, hvis du forsøkte å koble deg ved " "hjelp av Windows-utforskeren til en fil som var på en datamaskin som ikke " "var på nett, så ville din datamaskin krasje. Jesse endret systemet litt for " "å fikse det problemet, ved å legge til en knapp som en bruker kunne klikke " "på for å se om maskinen som hadde filen fortsatt var på nett." #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's engine went on-line in late October. Over the following six months, " "he continued to tweak it to improve its functionality. By March, the system " "was functioning quite well. Jesse had more than one million files in his " "directory, including every type of content that might be on users' computers." msgstr "" "Motoren til Jesse kom pa nett i slutten av oktober. I løpet av de følgende " "seks månedene fortsatte han å justere den for å forbedre dens " "funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn " "en million filer i sin katalog, inkludert alle mulige typer innhold som " "fantes på brukernes datamaskiner." #. PAGE BREAK 63 #. type: Content of: <book><part><chapter><para> msgid "" "Thus the index his search engine produced included pictures, which students " "could use to put on their own Web sites; copies of notes or research; copies " "of information pamphlets; movie clips that students might have created; " "university brochures—basically anything that users of the RPI network " "made available in a public folder of their computer." msgstr "" "Dermed inneholdt indeksen som hans søkemotor produserte bilder, som " "studentene kunne bruke til å legge inn på sine egne nettsider, kopier av " "notater og forskning, kopier av informasjonshefter, filmklipp som studentene " "kanskje hadde laget, universitetsbrosjyrer—ganske enkelt alt som " "brukerne av RPI-nettverket hadde gjort tilgjengelig i en fellesmappe på sine " "datamaskiner." #. type: Content of: <book><part><chapter><para> msgid "" "But the index also included music files. In fact, one quarter of the files " "that Jesse's search engine listed were music files. But that means, of " "course, that three quarters were not, and—so that this point is " "absolutely clear—Jesse did nothing to induce people to put music files " "in their public folders. He did nothing to target the search engine to these " "files. He was a kid tinkering with a Google-like technology at a university " "where he was studying information science, and hence, tinkering was the aim. " "Unlike Google, or Microsoft, for that matter, he made no money from this " "tinkering; he was not connected to any business that would make any money " "from this experiment. He was a kid tinkering with technology in an " "environment where tinkering with technology was precisely what he was " "supposed to do." msgstr "" "Men indeksen inneholdt også musikkfiler. Faktisk var en fjerdedel av filene " "som Jesses søkemotor inneholdt musikkfiler. Men det betyr, naturligvis, at " "tre fjerdedeler ikke var det, og—slik at dette poenget er helt " "klart—Jesse gjorde ingenting for å få folk til å plassere musikkfiler " "i deres fellesmapper. Han gjorde ingenting for å sikte søkemotoren mot " "disse filene. Han var en ungdom som fiklet med Google-lignende teknologi " "ved et universitet der han studerte informasjonsvitenskap, og dermed var " "fiklingen målet. I motsetning til Google, eller Microsoft for den saks " "skyld, tjente han ingen penger på denne fiklingen. Han var ikke knyttet til " "noen bedrift som skulle tjene penger fra dette eksperimentet. Han var en " "ungdom som fiklet med teknologi i en omgivelse hvor fikling med teknologi " "var nøyaktig hva han var ment å gjøre." #. type: Content of: <book><part><chapter><para> msgid "" "On April 3, 2003, Jesse was contacted by the dean of students at RPI. The " "dean informed Jesse that the Recording Industry Association of America, the " "RIAA, would be filing a lawsuit against him and three other students whom he " "didn't even know, two of them at other universities. A few hours later, " "Jesse was served with papers from the suit. As he read these papers and " "watched the news reports about them, he was increasingly astonished." msgstr "" "Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved " "RPI. Lederen fortalte Jesse at Foreningen for innspillingsindustri i USA, " "RIAA, wille levere inn et søksmål mot han og tre andre studenter som han " "ikke en gang kjente, to av dem på andre undersiteter. Noen få timer senere " "ble Jesse forkynt søksmålet og fikk overlevert dokumentene. Mens han leste " "disse dokumentene og så på nyhetsrapportene om den, ble han stadig mer " "forbauset." #. type: Content of: <book><part><chapter><para> #, 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\"—" #| "again, a <emphasis>search engine</emphasis>, which Jesse had not himself " #| "built, using the Windows filesharing system, which Jesse had not himself " #| "built, to enable members of the RPI community to get access to content, " #| "which Jesse had not himself created or posted, and the vast majority of " #| "which had nothing to do with music." msgid "" "<quote>It was absurd,</quote> he told me. <quote>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</" "quote>—again, a <emphasis>search engine</emphasis>, which Jesse had " "not himself built, using the Windows filesharing system, which Jesse had not " "himself built, to enable members of the RPI community to get access to " "content, which Jesse had not himself created or posted, and the vast " "majority of which had nothing to do with music." msgstr "" "\"Det var absurd\", fortalte han meg. \"Jeg mener at jeg ikke gjorde noe " "galt. … Jeg mener det ikke er noe galt med søkemotoren som jeg kjørte " "eller … hva jeg hadde gjort med den. Jeg mener, jeg hadde ikke " "endret den på noen måte som fremmet eller forbedret arbeidet til pirater. " "Jeg endret kun søkemotoren slik at den ble enklere å bruke\"—igjen, en " "<emphasis>søkemotor</emphasis>, som Jesse ikke hadde bygd selv, som brukte " "fildelingssystemet til Windows, som Jesse ikke hadde bygd selv, for å gjøre " "det mulig for medlemmer av RPI-fellesskapet å få tilgang til innhold, som " "Jesse ikke hadde laget eller gjort tilgjengelig, og der det store flertall " "av dette ikke hadde noe å gjøre med musikk." #. PAGE BREAK 64 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But the RIAA branded Jesse a pirate. They claimed he operated a network " #| "and had therefore \"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." msgid "" "But the RIAA branded Jesse a pirate. They claimed he operated a network and " "had therefore <quote>willfully</quote> violated copyright laws. They " "demanded that he pay them the damages for his wrong. For cases of " "<quote>willful infringement,</quote> the Copyright Act specifies something " "lawyers call <quote>statutory damages.</quote> These damages permit a " "copyright owner to claim $150,000 per infringement. As the RIAA alleged more " "than one hundred specific copyright infringements, they therefore demanded " "that Jesse pay them at least $15,000,000." msgstr "" "Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og " "dermed \"med vilje\" hadde brutt opphavsrettslovene. De krevde at han " "betalte dem skadeerstatning for det han hadde gjort galt. I saker med " "\"krenkelser med vilje\", spesifiserer opphavsrettsloven noe som advokater " "kaller \"lovbestemte skader\". Disse skadene tillater en " "opphavsrettighetseier å kreve $150 000 per krenkelse. Etter som RIAA " "påsto det var mer enn et hundre spesifikke opphavsrettskrenkelser, krevde de " "dermed at Jesse betalte dem minst $15 000 000." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " #| "Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group " #| "LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." msgid "" "Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media " "Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443." msgstr "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</" "citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Similar lawsuits were brought against three other students: one other " #| "student at RPI, one at Michigan Technical University, and one at " #| "Princeton. Their situations were similar to Jesse's. Though each case was " #| "different in detail, the bottom line in each was exactly the same: huge " #| "demands for \"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 <emphasis>billion</" #| "emphasis>—six times the <emphasis>total</emphasis> profit of the " #| "film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" msgid "" "Similar lawsuits were brought against three other students: one other " "student at RPI, one at Michigan Technical University, and one at Princeton. " "Their situations were similar to Jesse's. Though each case was different in " "detail, the bottom line in each was exactly the same: huge demands for " "<quote>damages</quote> that the RIAA claimed it was entitled to. If you " "added up the claims, these four lawsuits were asking courts in the United " "States to award the plaintiffs close to $100 <emphasis>billion</" "emphasis>—six times the <emphasis>total</emphasis> profit of the film " "industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Lignende søksmål ble gjort mot tre andre studenter: en annen student ved " "RPI, en ved Michegan Technical University og en ved Princeton. Deres " "situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige " "detaljer, var hovedpoenget nøyaktig det samme: store krav om \"erstatning\" " "som RIAA påsto de hadde rett på. Hvis du summerte opp disse kravene, ba " "disse fire søksmålene domstolene i USA å tildele saksøkerne nesten $100 " "<emphasis>milliarder</emphasis>—seks ganger det <emphasis>totale</" "emphasis> overskuddet til filmindustrien i 2001.<placeholder type=\"footnote" "\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Jesse called his parents. They were supportive but a bit frightened. An " "uncle was a lawyer. He began negotiations with the RIAA. They demanded to " "know how much money Jesse had. Jesse had saved $12,000 from summer jobs and " "other employment. They demanded $12,000 to dismiss the case." msgstr "" "Jesse kontaktet sine foreldre. De støttet ham, men var litt skremt. En " "onkel var advokat. Han startet forhandlinger med RIAA. De krevde å få vite " "hvor mye penger Jesse hadde. Jesse hadde spart opp $12 000 fra " "sommerjobber og annet arbeid. De krevde 12 000 for å trekke saken." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The RIAA wanted Jesse to admit to doing something wrong. He refused. They " #| "wanted him to agree to an injunction that would essentially make it " #| "impossible for him to work in many fields of technology for the rest of " #| "his life. He refused. They made him understand that this process of being " #| "sued was not going to be pleasant. (As Jesse's father recounted to me, " #| "the chief lawyer on the case, Matt Oppenheimer, told Jesse, \"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." msgid "" "The RIAA wanted Jesse to admit to doing something wrong. He refused. They " "wanted him to agree to an injunction that would essentially make it " "impossible for him to work in many fields of technology for the rest of his " "life. He refused. They made him understand that this process of being sued " "was not going to be pleasant. (As Jesse's father recounted to me, the chief " "lawyer on the case, Matt Oppenheimer, told Jesse, <quote>You don't want to " "pay another visit to a dentist like me.</quote>) And throughout, the RIAA " "insisted it would not settle the case until it took every penny Jesse had " "saved." msgstr "" "RIAA ville at Jesse skulle innrømme at han hadde gjort noe galt. Han " "nektet. De ville ha han til å godta en kjennelse som i praksis ville gjøre " "det umulig for han å arbeide i mange områder innen teknologi for resten av " "hans liv. Han nektet. De fikk han til å forstå at denne prosessen med å " "bli saksøkt ikke kom til å bli hyggelig. (Som faren til Jesse refererte til " "meg, fortalte sjefsadvokaten på saken, Matt Oppenheimer, \"Du ønsker ikke et " "tannlegebesøk hos meg flere ganger\") Og gjennom det hele insisterte RIAA at " "de ikke ville inngå forlik før de hadde tatt hver eneste øre som Jesse hadde " "spart opp." #. PAGE BREAK 65 #. type: Content of: <book><part><chapter><para> msgid "" "Jesse's family was outraged at these claims. They wanted to fight. But " "Jesse's uncle worked to educate the family about the nature of the American " "legal system. Jesse could fight the RIAA. He might even win. But the cost of " "fighting a lawsuit like this, Jesse was told, would be at least $250,000. If " "he won, he would not recover that money. If he won, he would have a piece of " "paper saying he had won, and a piece of paper saying he and his family were " "bankrupt." msgstr "" "Familien til Jessie ble opprørt over disse påstandene. De ønsket å kjempe. " "Men onkelen til Jessie gjorde en innsats for å lære familien om hvordan det " "amerikanske juridiske systemet fungerte. Jesse kunne sloss mot RIAA. Han " "kunne til og med vinne. Men kostnaden med å loss mot et søksmål som dette, " "ble Jesse fortalt, ville være minst $250 000. Hvis han vant ville han " "ikke få tilbake noen av de pengene. Hvis han vant, så ville han ha en bit " "papir som sa at han vant, og en bit papir som sa at han og hans familie var " "konkurs." #. type: Content of: <book><part><chapter><para> msgid "" "So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or " "$12,000 and a settlement." msgstr "" "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><part><chapter><para><footnote><para> msgid "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musicians and Singers). See also National Endowment for " "the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." msgstr "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musikere og Sangere). Se også National Endowment for " "the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." #. f3 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" " #| "<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." msgid "" "Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</" "quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." msgstr "" "Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" " "<citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24." #. type: Content of: <book><part><chapter><para> msgid "" "The recording industry insists this is a matter of law and morality. Let's " "put the law aside for a moment and think about the morality. Where is the " "morality in a lawsuit like this? What is the virtue in scapegoatism? The " "RIAA is an extraordinarily powerful lobby. The president of the RIAA is " "reported to make more than $1 million a year. Artists, on the other hand, " "are not well paid. The average recording artist makes $45,900.<placeholder " "type=\"footnote\" id=\"0\"/> There are plenty of ways for the RIAA to affect " "and direct policy. So where is the morality in taking money from a student " "for running a search engine?<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" "Innspillingsindustrien insisterer at dette er et spørsmål om lov og moral. " "La oss legge loven til side for et øyeblikk og tenke på moralen. Hvor er " "moralen i et søksmål som dette? Hva er dyden i å skape offerlam. RIAA er " "en spesielt mektig lobby. Presidenten i RIAA tjener i følge rapporter mer " "enn $1 million i året. Artister, på den andre siden, får ikke godt betalt. " "Den gjennomsnittelige innspillingsartist tjener $45 900.<placeholder " "type=\"footnote\" id=\"0\"/> Det er utallige måter som RIAA kan bruke for å " "påvirke og styre politikken. Så hva er det moralske i å ta penger fra en " "student for å drive en søkemotor?<placeholder type=\"footnote\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "On June 23, Jesse wired his savings to the lawyer working for the RIAA. The " "case against him was then dismissed. And with this, this kid who had " "tinkered a computer into a $15 million lawsuit became an activist:" msgstr "" "23. juni overførte Jesse alle sine oppsparte midler til advokaten som jobbet " "for RIAA. Saken mot ham ble trukket. Og med dette, ble unggutten som hadde " "fiklet med en datamaskin og blitt saksøkt for 15 millioner dollar en " "aktivist:" #. type: Content of: <book><part><chapter><blockquote><para> 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 [tidligere]. Jeg mente egentlig aldri å " "være en aktivist. … [men] jeg har blitt skjøvet inn i dette. Jeg " "forutså over hodet ikke noe slik som dette, men jeg tror det er bare helt " "absurd det RIAA har gjort." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Jesse's parents betray a certain pride in their reluctant activist. As " #| "his father told me, Jesse \"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.\"" msgid "" "Jesse's parents betray a certain pride in their reluctant activist. As his " "father told me, Jesse <quote>considers himself very conservative, and so do " "I. … 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.</quote>" msgstr "" "Foreldrene til Jesse avslører en viss stolthet over deres motvillige " "aktivist. Som hans far fortalte meg, Jesse \"anser seg selv for å være " "konservativ, og det samme gjør jeg. … Han er ingen treklemmer. " "… Jeg synes det er sært at de ville lage bråk med ham. Men han " "ønsker å la folk vite at de sender feil budskap. Og han ønsker å korrigere " "rullebladet.\"" #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER FOUR: \"Pirates\"" msgid "CHAPTER FOUR: <quote>Pirates</quote>" msgstr "Kapittel fire: <quote>Pirater</quote>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "If \"piracy\" means using the creative property of others without their " #| "permission—if \"if value, then right\" is true—then the " #| "history of the content industry is a history of piracy. Every important " #| "sector of \"big media\" today—film, records, radio, and cable " #| "TV—was born of a kind of piracy so defined. The consistent story is " #| "how last generation's pirates join this generation's country club—" #| "until now." msgid "" "If <quote>piracy</quote> means using the creative property of others without " "their permission—if <quote>if value, then right</quote> is true—" "then the history of the content industry is a history of piracy. Every " "important sector of <quote>big media</quote> today—film, records, " "radio, and cable TV—was born of a kind of piracy so defined. The " "consistent story is how last generation's pirates join this generation's " "country club—until now." msgstr "" "Hvis \"piratvirksomhet\" betyr å bruke den kreative eiendommen til andre " "uten deres tillatelse—hvis \"hvis verdi, så rettighet\" er sant—" "da er historien om innholdsindustrien en historie om piratvirksomhet. Hver " "eneste viktige sektor av \"store medier\" i dag—film, plater, radio og " "kabel-TV—kom fra en slags piratvirksomhet etter den definisjonen. Den " "konsekvente fortellingen er at forrige generasjon pirater blir del av denne " "generasjonens borgerskap—inntil nå." #. type: Content of: <book><part><chapter><section><title> msgid "Film" msgstr "Film" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "I am grateful to Peter DiMauro for pointing me to this extraordinary " #| "history. See also Siva Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 87–93, which details Edison's \"adventures" #| "\" with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "I am grateful to Peter DiMauro for pointing me to this extraordinary " "history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 87–93, which details Edison's <quote>adventures</quote> " "with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg er takknemlig til Peter DiMauro for å ha pekt meg i retning av denne " "ekstraordinære historien. Se også Siva Vaidhyanathan, <citetitle>Copyrights " "and Copywrongs</citetitle>, 87–93, som forteller detaljer om Edisons " "\"eventyr\" med opphavsrett og patent. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. PAGE BREAK 67 #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "The film industry of Hollywood was built by fleeing pirates.<placeholder " #| "type=\"footnote\" id=\"0\"/> Creators and directors migrated from the " #| "East Coast to California in the early twentieth century in part to escape " #| "controls that patents granted the inventor of filmmaking, Thomas Edison. " #| "These controls were exercised through a monopoly \"trust,\" the Motion " #| "Pictures Patents Company, and were based on Thomas Edison's creative " #| "property—patents. Edison formed the MPPC to exercise the rights " #| "this creative property gave him, and the MPPC was serious about the " #| "control it demanded." msgid "" "The film industry of Hollywood was built by fleeing pirates.<placeholder " "type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East " "Coast to California in the early twentieth century in part to escape " "controls that patents granted the inventor of filmmaking, Thomas Edison. " "These controls were exercised through a monopoly <quote>trust,</quote> the " "Motion Pictures Patents Company, and were based on Thomas Edison's creative " "property—patents. Edison formed the MPPC to exercise the rights this " "creative property gave him, and the MPPC was serious about the control it " "demanded." msgstr "" "Filmindustrien i Hollywood var bygget av flyktende pirater.<placeholder type=" "\"footnote\" id=\"0\"/> Skapere og regisører migrerte fra østkysten til " "California tidlig i det tjuende århundret delvis for å slippe unna " "kontrollene som patenter ga oppfinneren av det å lage filmer, Thomas " "Edison. Disse kontrollene be utøvet gjennom et monopol-\"kartell\", The " "Motion Pictures Patents company, og var basert på Tomhas Edisons kreative " "eierrettigheter—patenter. Edison stiftet MPPC for å utøve rettighetene " "som disse kreative eierrettighetene ga ham, og MPPC var seriøst med " "kontrollen de krevde." #. type: Content of: <book><part><chapter><section><para> msgid "As one commentator tells one part of the story," msgstr "Som en kommentaror forteller en del av historien," #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "A January 1909 deadline was set for all companies to comply with the " "license. By February, unlicensed outlaws, who referred to themselves as " "independents protested the trust and carried on business without submitting " "to the Edison monopoly. In the summer of 1909 the independent movement was " "in full-swing, with producers and theater owners using illegal equipment and " "imported film stock to create their own underground market." msgstr "" "En tidsfrist ble satt til januar 1909 for alle selskaper å komme i samsvar " "med lisensen. Når februar kom, protesterte de ulisensierte fredløse, som " "refererte til seg selv som uavhengige, mot kartellet og fortsatte sin " "forretningsvirksomhet uten å bøye seg for Edisons monopol. Sommeren 1909 " "var bevegelsen med uavhenginge i full sving, med produsenter og kinoeiere " "som brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget " "undergrunnsmarked." #. f2 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> msgid "" "J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " "Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " "expanded texts posted at <quote>The Edison Movie Monopoly: The Motion " "Picture Patents Company vs. the Independent Outlaws,</quote> available at " "<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a " "discussion of the economic motive behind both these limits and the limits " "imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison " "to the Broadcast Flag: Mechanisms of Consent and Refusal and the " "Propertization of Copyright</quote> (September 2002), University of Chicago " "Law School, James M. Olin Program in Law and Economics, Working Paper No. " "159." msgstr "" #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "Fox, William" msgstr "Fox, William" #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "General Film Company" msgstr "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Picker, Randal C." msgstr "Picker, Randal C." #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "With the country experiencing a tremendous expansion in the number of " "nickelodeons, the Patents Company reacted to the independent movement by " "forming a strong-arm subsidiary known as the General Film Company to block " "the entry of non-licensed independents. With coercive tactics that have " "become legendary, General Film confiscated unlicensed equipment, " "discontinued product supply to theaters which showed unlicensed films, and " "effectively monopolized distribution with the acquisition of all U.S. film " "exchanges, except for the one owned by the independent William Fox who " "defied the Trust even after his license was revoked.<placeholder type=" "\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/>" msgstr "" #. f3 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</" #| "citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link " #| "#12</ulink>." msgid "" "Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents " "Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/" "\">link #12</ulink>." msgstr "" "Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</" "citetitle>, arkivert på <ulink url=\"http://free-culture.cc/notes/\">link " "#12</ulink>." #. type: Content of: <book><part><chapter><section><para> msgid "" "The Napsters of those days, the <quote>independents,</quote> were companies " "like Fox. And no less than today, these independents were vigorously " "resisted. <quote>Shooting was disrupted by machinery stolen, and " "`accidents' resulting in loss of negatives, equipment, buildings and " "sometimes life and limb frequently occurred.</quote><placeholder type=" "\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. " "California was remote enough from Edison's reach that filmmakers there could " "pirate his inventions without fear of the law. And the leaders of Hollywood " "filmmaking, Fox most prominently, did just that." msgstr "" #. PAGE BREAK 68 #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "Of course, California grew quickly, and the effective enforcement of " #| "federal law eventually spread west. But because patents grant the patent " #| "holder a truly \"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." msgid "" "Of course, California grew quickly, and the effective enforcement of federal " "law eventually spread west. But because patents grant the patent holder a " "truly <quote>limited</quote> monopoly (just seventeen years at that time), " "by the time enough federal marshals appeared, the patents had expired. A new " "industry had been born, in part from the piracy of Edison's creative " "property." msgstr "" "California vokste naturligvis raskt, og effektiv håndhevelse av føderale " "lover spredte seg til slutt vestover. Men fordi patenter tildeler " "patentinnehaveren et i sannhet \"begrenset\" monopol (kun sytten år på den " "tiden), så patentene var utgått før nok føderale lovmenn dukket opp. En ny " "industri var født, delvis fra piratvirksomhet mot Edison's kreative " "rettigheter." #. type: Content of: <book><part><chapter><section><title> msgid "Recorded Music" msgstr "Innspilt musikk" #. type: Content of: <book><part><chapter><section><para> msgid "" "The record industry was born of another kind of piracy, though to see how " "requires a bit of detail about the way the law regulates music." msgstr "" "Plateindustrien ble født av en annen type piratvirksomhet, dog for å forstå " "hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer " "musikk." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Fourneaux, Henri" msgstr "Fourneaux, Henri" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Russel, Phil" msgstr "Russel, Phil" #. type: Content of: <book><part><chapter><section><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 <quote>Happy " "Mose,</quote> the law said I would have to pay for the right to get a copy " "of the musical score, and I would also have to pay for the right to perform " "it publicly." msgstr "" "på 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><part><chapter><section><para><indexterm><primary> msgid "Beatles" msgstr "Beatles" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But what if I wanted to record <quote>Happy Mose,</quote> using Edison's " "phonograph or Fourneaux's player piano? Here the law stumbled. It was clear " "enough that I would have to buy any copy of the musical score that I " "performed in making this recording. And it was clear enough that I would " "have to pay for any public performance of the work I was recording. But it " "wasn't totally clear that I would have to pay for a <quote>public " "performance</quote> if I recorded the song in my own house (even today, you " "don't owe the Beatles anything if you sing their songs in the shower), or if " "I recorded the song from memory (copies in your brain are not—" "yet— 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." #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> msgid "Kittredge, Alfred" msgstr "Kittredge, Alfred" #. type: Content of: <book><part><chapter><section><para> msgid "" "The composers (and publishers) were none too happy about this capacity to " "pirate. As South Dakota senator Alfred Kittredge put it, <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til " "å røve. Som Senator Alfred Kittredge fra Sør-Dakota formulerte det," "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><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 <citetitle>Legislative History of the Copyright Act</" "citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." "J.: Rothman Reprints, 1976). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "endre og 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><part><chapter><section><blockquote><para> msgid "" "Imagine the injustice of the thing. A composer writes a song or an opera. A " "publisher buys at great expense the rights to the same and copyrights it. " "Along come the phonographic companies and companies who cut music rolls and " "deliberately steal the work of the brain of the composer and publisher " "without any regard for [their] rights.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" "Forestill dere denne urettferdigheten. En komponist skriver en sang eller " "en opera. En utgiver kjøper til et høy sum rettighetene til denne, og " "registrerer opphavsretten til den. Så kommer de fonografiske selskapene og " "selskapene som skjærer musikk-ruller og med vitende og vilje stjeler " "arbeidet som kommer fra hjernet til komponisten og utgiveren uten å bry seg " "om [deres] rettigheter.<placeholder type=\"footnote\" id=\"0\"/>" #. f5 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of " "Nathan Burkan, attorney for the Music Publishers Association)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra " "Nathan Burkan, advokat for the Music Publishers Association)." #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of " "Nathan Burkan, attorney for the Music Publishers Association)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra " "Nathan Burkan, advokat for the Music Publishers Association)." #. f7 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of " "John Philip Sousa, composer)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra " "John Philip Sousa, komponist)." #. type: Content of: <book><part><chapter><section><para> msgid "" "The innovators who developed the technology to record other people's works " "were <quote>sponging upon the toil, the work, the talent, and genius of " "American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the " "<quote>music publishing industry</quote> was thereby <quote>at the complete " "mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> " "As John Philip Sousa put it, in as direct a way as possible, <quote>When " "they make money out of my pieces, I want a share of it.</quote><placeholder " "type=\"footnote\" id=\"2\"/>" msgstr "" #. f8 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "To Amend and Consolidate the Acts Respecting Copyright, 283–84 " "(statement of Albert Walker, representative of the Auto-Music Perforating " "Company of New York)." msgstr "" "To Amend and Consolidate the Acts Respecting Copyright, 283–84 " "(uttalelse fra Albert Walker, representant for the Auto-Music Perforating " "Company of New York)." #. f9 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "American Graphophone Company" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "These arguments have familiar echoes in the wars of our day. So, too, do the " "arguments on the other side. The innovators who developed the player piano " "argued that <quote>it is perfectly demonstrable that the introduction of " "automatic music players has not deprived any composer of anything he had " "before their introduction.</quote> Rather, the machines increased the sales " "of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the " "innovators argued, the job of Congress was <quote>to consider first the " "interest of [the public], whom they represent, and whose servants they are.</" "quote> <quote>All talk about `theft,'</quote> the general counsel of the " "American Graphophone Company wrote, <quote>is the merest claptrap, for there " "exists no property in ideas musical, literary or artistic, except as defined " "by statute.</quote><placeholder type=\"footnote\" id=\"1\"/> <placeholder " "type=\"indexterm\" id=\"2\"/>" msgstr "" #. PAGE BREAK 70 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The law soon resolved this battle in favor of the composer <emphasis>and</" "emphasis> the recording artist. Congress amended the law to make sure that " "composers would be paid for the <quote>mechanical reproductions</quote> of " "their music. But rather than simply granting the composer complete control " "over the right to make mechanical reproductions, Congress gave recording " "artists a right to record the music, at a price set by Congress, once the " "composer allowed it to be recorded once. This is the part of copyright law " "that makes cover songs possible. Once a composer authorizes a recording of " "his song, others are free to record the same song, so long as they pay the " "original composer a fee set by the law." msgstr "" "loven 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "American law ordinarily calls this a <quote>compulsory license,</quote> but " "I will refer to it as a <quote>statutory license.</quote> A statutory " "license is a license whose key terms are set by law. After Congress's " "amendment of the Copyright Act in 1909, record companies were free to " "distribute copies of recordings so long as they paid the composer (or " "copyright holder) the fee set by the statute." msgstr "" "amerikansk lov 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><section><section><para><indexterm><primary> msgid "Grisham, John" msgstr "Grisham, John" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=" "\"0\"/>" 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><part><chapter><section><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 " "<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " "Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " "Reprints, 1976)." msgstr "" "Copyright 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><part><chapter><section><para> msgid "" "But the law governing recordings gives recording artists less. And thus, in " "effect, the law <emphasis>subsidizes</emphasis> the recording industry " "through a kind of piracy—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\"/> <placeholder " "type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><blockquote><para> msgid "" "the record producers argued vigorously that the compulsory license system " "must be retained. They asserted that the record industry is a half-billion-" "dollar business of great economic importance in the United States and " "throughout the world; records today are the principal means of disseminating " "music, and this creates special problems, since performers need unhampered " "access to musical material on nondiscriminatory terms. Historically, the " "record producers pointed out, there were no recording rights before 1909 and " "the 1909 statute adopted the compulsory license as a deliberate anti-" "monopoly condition on the grant of these rights. They argue that the result " "has been an outpouring of recorded music, with the public being given lower " "prices, improved quality, and a greater choice.<placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Radio" msgstr "Radio" #. type: Content of: <book><part><chapter><section><para> msgid "Radio was also born of piracy." msgstr "Radio kom også fra piratvirksomhet." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Hand, Learned" msgstr "Hand, Learned" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " "the beginning, record companies printed <quote>Not Licensed for Radio " "Broadcast</quote> and other messages purporting to restrict the ability to " "play a record on a radio station. Judge Learned Hand rejected the argument " "that a warning attached to a record might restrict the rights of the radio " "station. See <citetitle>RCA Manufacturing Co</citetitle>. v. " "<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also " "Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of " "Consent and Refusal and the Propertization of Copyright,</quote> " "<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. " "<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " "id=\"1\"/>" msgstr "" "se 17, 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><part><chapter><section><para> msgid "" "When a radio station plays a record on the air, that constitutes a " "<quote>public performance</quote> of the composer's work.<placeholder type=" "\"footnote\" id=\"0\"/> As I described above, the law gives the composer (or " "copyright holder) an exclusive right to public performances of his work. " "The radio station thus owes the composer money for that performance." msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Lovett, Lyle" msgstr "Lovett, Lyle" #. PAGE BREAK 72 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But when the radio station plays a record, it is not only performing a copy " "of the <emphasis>composer's</emphasis> work. The radio station is also " "performing a copy of the <emphasis>recording artist's</emphasis> work. It's " "one thing to have <quote>Happy Birthday</quote> sung on the radio by the " "local children's choir; it's quite another to have it sung by the Rolling " "Stones or Lyle Lovett. The recording artist is adding to the value of the " "composition performed on the radio station. And if the law were perfectly " "consistent, the radio station would have to pay the recording artist for his " "work, just as it pays the composer of the music for his work. <placeholder " "type=\"indexterm\" id=\"0\"/>" msgstr "" "men når 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><part><chapter><section><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><part><chapter><para><indexterm><primary> msgid "Madonna" msgstr "Madonna" #. type: Content of: <book><part><chapter><section><para> msgid "" "This difference can be huge. Imagine you compose a piece of music. Imagine " "it is your first. You own the exclusive right to authorize public " "performances of that music. So if Madonna wants to sing your song in public, " "she has to get your permission." msgstr "" "Denne forskjellen kan bli stor. Forestill deg at du komponerer et stykke " "musikk. Se for deg at det er ditt første stykke. Du eier de eksklusive " "rettighetene til å godkjenne offentlig fremføring av den musikken. Så hvis " "Madonna ønsker å synge din sang offentlig, må hun få din tillatelse." #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "Imagine she does sing your song, and imagine she likes it a lot. She then " #| "decides to make a recording of your song, and it becomes a top hit. Under " #| "our law, every time a radio station plays your song, you get some money. " #| "But Madonna gets nothing, save the indirect effect on the sale of her " #| "CDs. The public performance of her recording is not a \"protected\" " #| "right. The radio station thus gets to <emphasis>pirate</emphasis> the " #| "value of Madonna's work without paying her anything." msgid "" "Imagine she does sing your song, and imagine she likes it a lot. She then " "decides to make a recording of your song, and it becomes a top hit. Under " "our law, every time a radio station plays your song, you get some money. But " "Madonna gets nothing, save the indirect effect on the sale of her CDs. The " "public performance of her recording is not a <quote>protected</quote> right. " "The radio station thus gets to <emphasis>pirate</emphasis> the value of " "Madonna's work without paying her anything." msgstr "" "Tenkt deg videre at hun syner din sang, og at hun liker den veldig godt. " "Hun bestemmer seg deretter for å spille inn sangen din, og den blir en " "populær hitlåt. Med vår lov vil du få litt penger hver gang en radiostasjon " "spiller din sang. Men Madonna får ingenting, fortsett fra de indirekte " "effektene fra salg av hennes CD-er. Den offentlige fremføringen av hennes " "innspilling er ikke en \"beskyttet\" rettighet. Radiostasjonen får dermed " "<emphasis>røve</emphasis> verdien av Madonnas arbeid uten å betale henne " "noen ting." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Cable TV" msgstr "Kabel-TV" #. type: Content of: <book><part><chapter><section><para> msgid "Cable TV was also born of a kind of piracy." msgstr "Kabel-TV kom også fra en form for piratvirksomhet." #. PAGE BREAK 73 #. type: Content of: <book><part><chapter><section><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— 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><part><chapter><section><indexterm><primary> msgid "Anello, Douglas" msgstr "Anello, Douglas" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Burdick, Quentin" msgstr "Burdick, Quentin" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Hyde, Rosel H." msgstr "Hyde, Rosel H." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—CATV: Hearing on S. 1006 Before the " "Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee " "on the Judiciary, 89th Cong., 2nd sess., 78 (1966) (statement of Rosel H. " "Hyde, chairman of the Federal Communications Commission). <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "Copyright 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><para> msgid "" "Broadcasters and copyright owners were quick to attack this theft. Rosel " "Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair " "and potentially destructive competition.</quote><placeholder type=\"footnote" "\" id=\"0\"/> There may have been a <quote>public interest</quote> in " "spreading the reach of cable TV, but as Douglas Anello, general counsel to " "the National Association of Broadcasters, asked Senator Quentin Burdick " "during testimony, <quote>Does public interest dictate that you use somebody " "else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another " "broadcaster put it," msgstr "" #. f15 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><blockquote><para> msgid "" "The extraordinary thing about the CATV business is that it is the only " "business I know of where the product that is being sold is not paid for." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "Again, the demand of the copyright holders seemed reasonable enough:" msgstr "Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:" #. f16 #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "Copyright Law Revision—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><part><chapter><section><blockquote><para> msgid "" "All we are asking for is a very simple thing, that people who now take our " "property for nothing pay for it. We are trying to stop piracy and I don't " "think there is any lesser word to describe it. I think there are harsher " "words which would fit it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Alt vi ber om er en veldig enkel ting, at folk som tar vår eiendom gratis " "betaler for den. Vi forsøker å stoppe piratvirksomhet og jeg kan ikke tenke " "på et svakere ord for å beskrive det. Jeg tror det er sterkere ord som " "ville passe.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Heston, Charlton" msgstr "Heston, Charlton" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "Copyright Law Revision—CATV, 209 (statement of Charlton Heston, " "president of the Screen Actors Guild). <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Copyright Law Revision—CATV, 209 (vitnemål fra Charlton Heston, " "president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| 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\"/>" msgid "" "These were <quote>free-ride[rs],</quote> Screen Actor's Guild president " "Charlton Heston said, who were <quote>depriving actors of compensation.</" "quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Disse var \"gratispassasjerer\", sa presidenten Charlton Heston i Screen " "Actor's Guild, som \"tok lønna fra skuespillerne\"<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "But again, there was another side to the debate. As Assistant Attorney " "General Edwin Zimmerman put it," msgstr "" "Men igjen, det er en annen side i debatten. Som assisterende justisminister " "Edwin Zimmerman sa det," #. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary> msgid "Zimmerman, Edwin" msgstr "Zimmerman, Edwin" #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> msgid "" "Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, " "acting assistant attorney general). <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman, " "fungerende assisterende justisministeren). <placeholder type=\"indexterm\" " "id=\"0\"/>" #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "Our point here is that unlike the problem of whether you have any copyright " "protection at all, the problem here is whether copyright holders who are " "already compensated, who already have a monopoly, should be permitted to " "extend that monopoly. … The question here is how much compensation " "they should have and how far back they should carry their right to " "compensation.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "Copyright owners took the cable companies to court. Twice the Supreme Court " "held that the cable companies owed the copyright owners nothing." msgstr "" "Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to " "ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting." #. type: Content of: <book><part><chapter><section><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 <quote>pirated.</" "quote> In the end, Congress resolved this question in the same way that it " "resolved the question about record players and player pianos. Yes, cable " "companies would have to pay for the content that they broadcast; but the " "price they would have to pay was not set by the copyright owner. The price " "was set by law, so that the broadcasters couldn't exercise veto power over " "the emerging technologies of cable. Cable companies thus built their empire " "in part upon a <quote>piracy</quote> of the value created by broadcasters' " "content." msgstr "" "Det 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><part><chapter><section><para><footnote><para> msgid "" "See, for example, National Music Publisher's Association, <citetitle>The " "Engine of Free Expression: Copyright on the Internet—The Myth of Free " "Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #13</ulink>. <quote>The threat of piracy—the use of " "someone else's creative work without permission or compensation—has " "grown with the Internet.</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "These separate stories sing a common theme. If <quote>piracy</quote> means " "using value from someone else's creative property without permission from " "that creator—as it is increasingly described today<placeholder type=" "\"footnote\" id=\"0\"/> — then <emphasis>every</emphasis> industry " "affected by copyright today is the product and beneficiary of a certain kind " "of piracy. Film, records, radio, cable TV. … The list is long and " "could well be expanded. Every generation welcomes the pirates from the last. " "Every generation—until now." msgstr "" #. type: Content of: <book><part><chapter><title> #, fuzzy #| msgid "CHAPTER FIVE: \"Piracy\"" msgid "CHAPTER FIVE: <quote>Piracy</quote>" msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "But as well as copy-shop piracy, there is another kind of <quote>taking</" "quote> that is more directly related to the Internet. That taking, too, " "seems wrong to many, and it is wrong much of the time. Before we paint this " "taking <quote>piracy,</quote> however, we should understand its nature a bit " "more. For the harm of this taking is significantly more ambiguous than " "outright copying, and the law should account for that ambiguity, as it has " "so often done in the past." msgstr "" "men 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><part><chapter><section><title> #, mtrans, fuzzy msgid "Piracy I" msgstr "piratkopiering jeg" #. f1 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See IFPI (International Federation of the Phonographic Industry), " "<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " "July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " "#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk," "</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "All across the world, but especially in Asia and Eastern Europe, there are " "businesses that do nothing but take others people's copyrighted content, " "copy it, and sell it—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><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 <beginpage pagenum=" "\"77\"/> 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." #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "agricultural patents" msgstr "" #. type: Content of: <book><chapter><para><footnote><para><indexterm><primary> msgid "Drahos, Peter" msgstr "Drahos, Peter" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Peter Drahos with John Braithwaite, Information Feudalism: " "<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " "Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " "Property Rights (TRIPS) agreement obligates member nations to create " "administrative and enforcement mechanisms for intellectual property rights, " "a costly proposition for developing countries. Additionally, patent rights " "may lead to higher prices for staple industries such as agriculture. Critics " "of TRIPS question the disparity between burdens imposed upon developing " "countries and benefits conferred to industrialized nations. TRIPS does " "permit governments to use patents for public, noncommercial uses without " "first obtaining the patent holder's permission. Developing nations may be " "able to use this to gain the benefits of foreign patents at lower prices. " "This is a promising strategy for developing nations within the TRIPS " "framework. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" msgstr "" "se peter drahos 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><part><chapter><section><para> msgid "" "If a country is to be treated as a sovereign, however, then its laws are its " "laws regardless of their source. The international law under which these " "nations live gives them some opportunities to escape the burden of " "intellectual property law.<placeholder type=\"footnote\" id=\"0\"/> In my " "view, more developing nations should take advantage of that opportunity, but " "when they don't, then their laws should be respected. And under the laws of " "these nations, this piracy is wrong." msgstr "" #. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary> msgid "Liebowitz, Stan" msgstr "Liebowitz, Stan" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "For an analysis of the economic impact of copying technology, see Stan " "Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " "Amacom, 2002), 144–90. <quote>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.</quote> Ibid., 149. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> msgid "" "Alternatively, we could try to excuse this piracy by noting that in any " "case, it does no harm to the industry. The Chinese who get access to " "American CDs at 50 cents a copy are not people who would have bought those " "American CDs at $15 a copy. So no one really has any less money than they " "otherwise would have had.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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, <quote>You wouldn't go into " "Barnes & Noble and take a book off of the shelf without paying; why " "should it be any different with on-line music?</quote> The difference is, of " "course, that when you take a book from Barnes & 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 & 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 & 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This argument is still very weak. However, although copyright is a property " "right of a very special sort, it <emphasis>is</emphasis> a property right. " "Like all property rights, the copyright gives the owner the right to decide " "the terms under which content is shared. If the copyright owner doesn't want " "to sell, she doesn't have to. There are exceptions: important statutory " "licenses that apply to copyrighted content regardless of the wish of the " "copyright owner. Those licenses give people the right to <quote>take</quote> " "copyrighted content whether or not the copyright owner wants to sell. But " "where the law does not give people the right to take content, it is wrong to " "take that content even if the wrong does no harm. If we have a property " "system, and that system is properly balanced to the technology of a time, " "then it is wrong to take property without the permission of a property " "owner. That is exactly what <quote>property</quote> means." msgstr "" "Dette 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><section><section><para><indexterm><primary> msgid "GNU/Linux operating system" msgstr "GNU/Linux-operativsystemet" #. type: Content of: <book><chapter><section><section><para><indexterm><primary> msgid "Linux operating system" msgstr "Linux-operativsystemet" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Microsoft" msgstr "Microsoft" #. type: Content of: <book><part><chapter><section><para><indexterm><secondary> msgid "Windows operating system of" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Windows" msgstr "Windows" #. type: Content of: <book><part><chapter><section><para> msgid "" "Finally, we could try to excuse this piracy with the argument that the " "piracy actually helps the copyright owner. When the Chinese <quote>steal</" "quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft " "loses the value of the software that was taken. But it gains users who are " "used to life in the Microsoft world. Over time, as the nation grows more " "wealthy, more and more people will buy software rather than steal it. And " "hence over time, because that buying will benefit Microsoft, Microsoft " "benefits from the piracy. If instead of pirating Microsoft Windows, the " "Chinese used the free GNU/Linux operating system, then these Chinese users " "would not eventually be buying Microsoft. Without piracy, then, Microsoft " "would lose. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " "<placeholder type=\"indexterm\" id=\"3\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Internet Explorer" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Netscape" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "Still, the argument is not terribly persuasive. We don't give the alcoholic " "a defense when he steals his first beer, merely because that will make it " "more likely that he will buy the next three. Instead, we ordinarily allow " "businesses to decide for themselves when it is best to give their product " "away. If Microsoft fears the competition of GNU/Linux, then Microsoft can " "give its product away, as it did, for example, with Internet Explorer to " "fight Netscape. A property right means giving the property owner the right " "to say who gets access to what—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. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" msgstr "" #. PAGE BREAK 79 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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 <quote>piracy</quote> " "is. Or at least, not all <quote>piracy</quote> is wrong if that term is " "understood in the way it is increasingly used today. Many kinds of " "<quote>piracy</quote> are useful and productive, to produce either new " "content or new ways of doing business. Neither our tradition nor any " "tradition has ever banned all <quote>piracy</quote> in that sense of the " "term." msgstr "" "men som 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> #, mtrans, fuzzy msgid "Piracy II" msgstr "piratkopiering ii" #. f4 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777)." msgstr "" "<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " "1274 (1777)." #. PAGE BREAK 80 #. type: Content of: <book><part><chapter><section><para> msgid "" "The key to the <quote>piracy</quote> that the law aims to quash is a use " "that <quote>rob[s] the author of [his] profit.</quote><placeholder type=" "\"footnote\" id=\"0\"/> This means we must determine whether and how much " "p2p sharing harms before we know how strongly the law should seek to either " "prevent it or find an alternative to assure the author of his profit." msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Christensen, Clayton M." msgstr "Christensen, Clayton M." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " "Revolutionary National Bestseller That Changed the Way We Do Business</" "citetitle> (New York: HarperBusiness, 2000). Professor Christensen examines " "why companies that give rise to and dominate a product area are frequently " "unable to come up with the most creative, paradigm-shifting uses for their " "own products. This job usually falls to outside innovators, who reassemble " "existing technology in inventive ways. For a discussion of Christensen's " "ideas, see Lawrence Lessig, <citetitle>Future</citetitle>, 89–92, " "139. <placeholder type=\"indexterm\" id=\"0\"/>" 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 idéer, kan du se lawrence lessig, fremtidige, 8992, 139." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Fanning, Shawn" msgstr "Fanning, Shawn" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</" "quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, " "A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</" "citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, " "Secures New Financing,</quote> <citetitle>San Francisco Chronicle</" "citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> " "<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, " "<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</" "citetitle>, 26 July 2002, 18." msgstr "" "se carolyn lochhead, \"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><part><chapter><section><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— " "or your 20,000 best friends." msgstr "" #. f7 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " "Distribution</citetitle> (September 2002), reporting that 28 percent of " "Americans aged twelve and older have downloaded music off of the Internet " "and 30 percent have listened to digital music files stored on their " "computers." msgstr "" "se ipsos-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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> " "<citetitle>New York Times</citetitle>, 6 June 2003, A1." msgstr "" "Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york " "times, 6. juni 2003 a1." #. type: Content of: <book><part><chapter><section><para> msgid "" "According to a number of estimates, a huge proportion of Americans have " "tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " "estimated that 60 million Americans had downloaded music—28 percent of " "Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " "by the NPD group quoted in <citetitle>The New York Times</citetitle> " "estimated that 43 million citizens used file-sharing networks to exchange " "content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " "majority of these are not kids. Whatever the actual figure, a massive " "quantity of content is being <quote>taken</quote> on these networks. The " "ease and inexpensiveness of file-sharing networks have inspired millions to " "enjoy music in a way that they hadn't before." msgstr "" #. type: Content of: <book><part><chapter><section><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—a bit more carefully than the polarized " "voices around this debate usually do—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><part><chapter><section><para> msgid "" "File sharers share different kinds of content. We can divide these different " "kinds into four types." msgstr "" "Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i " "fire typer." #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><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 <quote>recalling</quote> old songs. She was astonished at the " "range and mix of content that was available.) For content not sold, this is " "still technically a violation of copyright, though because the copyright " "owner is not selling the content anymore, the economic harm is zero—" "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><part><chapter><section><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><part><chapter><section><para> msgid "How do these different types of sharing balance out?" msgstr "Hvordan balanserer disse ulike delingstypene?" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " "148–49. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " "148–49. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "Let's start with some simple but important points. From the perspective of " "the law, only type D sharing is clearly legal. From the perspective of " "economics, only type A sharing is clearly harmful.<placeholder type=" "\"footnote\" id=\"0\"/> Type B sharing is illegal but plainly beneficial. " "Type C sharing is illegal, yet good for society (since more exposure to " "music is good) and harmless to the artist (since the work is not otherwise " "available). So how sharing matters on balance is a hard question to " "answer—and certainly much more difficult than the current rhetoric " "around the issue suggests." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>theft</quote> that is <quote>devastating</" "quote> 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the " "Music Industry's Business Model Crisis</citetitle> (2003), 3. This report " "describes the music industry's effort to stigmatize the budding practice of " "cassette taping in the 1970s, including an advertising campaign featuring a " "cassette-shape skull and the caption <quote>Home taping is killing music.</" "quote> At the time digital audio tape became a threat, the Office of " "Technical Assessment conducted a survey of consumer behavior. In 1988, 40 " "percent of consumers older than ten had taped music to a cassette format. U." "S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home " "Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " "D.C.: U.S. Government Printing Office, October 1989), 145–56." 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><part><chapter><section><para> msgid "" "While the numbers do suggest that sharing is harmful, how harmful is harder " "to reckon. It has long been the recording industry's practice to blame " "technology for any drop in sales. The history of cassette recording is a " "good example. As a study by Cap Gemini Ernst & Young put it, " "<quote>Rather than exploiting this new, popular technology, the labels " "fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> The labels " "claimed that every album taped was an album unsold, and when record sales " "fell by 11.4 percent in 1981, the industry claimed that its point was " "proved. Technology was the problem, and banning or regulating technology was " "the answer." msgstr "" #. f11 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4." #. type: Content of: <book><part><chapter><section><para> msgid "" "Yet soon thereafter, and before Congress was given an opportunity to enact " "regulation, MTV was launched, and the industry had a record turnaround. " "<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' " "… was not the fault of the tapers—who did not [stop after MTV " "came into being]—but had to a large extent resulted from stagnation in " "musical innovation at the major labels.</quote><placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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—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—the question is not simply " "whether type A sharing is harmful. The question is also <emphasis>how</" "emphasis> harmful type A sharing is, and how beneficial the other types of " "sharing are." msgstr "" "men 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><part><chapter><section><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 " "<quote>net harm</quote> to the industry as a whole is the amount by which " "type A sharing exceeds type B. If the record companies sold more records " "through sampling than they lost through substitution, then sharing networks " "would actually benefit music companies on balance. They would therefore have " "little <emphasis>static</emphasis> reason to resist them." msgstr "" "Vi 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><part><chapter><section><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><part><chapter><section><para><footnote><para> msgid "" "See Recording Industry Association of America, <citetitle>2002 Yearend " "Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" "notes/\">link #15</ulink>. A later report indicates even greater losses. See " "Recording Industry Association of America, <citetitle>Some Facts About Music " "Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit " "shipments of recorded music have fallen by 26 percent from 1.16 billion " "units in to 860 million units in 2002 in the United States (based on units " "shipped). In terms of sales, revenues are down 14 percent, from $14.6 " "billion in to $12.6 billion last year (based on U.S. dollar value of " "shipments). The music industry worldwide has gone from a $39 billion " "industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " "dollar value of shipments).</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Black, Jane" msgstr "Black, Jane" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| 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>. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, " "13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13. februar " "2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " "#17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 " "million to 803 million units; revenues fell 6.7 percent.<placeholder type=" "\"footnote\" id=\"0\"/> This confirms a trend over the past few years. The " "RIAA blames Internet piracy for the trend, though there are many other " "causes that could account for this drop. SoundScan, for example, reports a " "more than 20 percent drop in the number of CDs released since 1999. That no " "doubt accounts for some of the decrease in sales. Rising prices could " "account for at least some of the loss. <quote>From 1999 to 2001, the average " "price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder " "type=\"footnote\" id=\"1\"/> Competition from other forms of media could " "also account for some of the decline. As Jane Black of " "<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film " "<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could " "get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote" "\" id=\"2\"/>" msgstr "" #. PAGE BREAK 84 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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, <quote>What's the difference between downloading a " "song and stealing a CD?</quote>—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—if every use of Kazaa <quote>rob[bed] the author of " "[his] profit</quote>—then the industry would have suffered a 100 " "percent drop in sales last year, not a 7 percent drop. If 2.6 times the " "number of CDs sold were downloaded for free, and yet sales revenue dropped " "by just 6.7 percent, then there is a huge difference between " "<quote>downloading a song and stealing a CD.</quote>" msgstr "" "Det er for mange 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "These are the harms—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><part><chapter><section><para><footnote><para> msgid "" "By one estimate, 75 percent of the music released by the major labels is no " "longer in print. See Online Entertainment and Copyright Law—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><part><chapter><section><para> msgid "" "One benefit is type C sharing—making available content that is " "technically still under copyright but is no longer commercially available. " "This is not a small category of content. There are millions of tracks that " "are no longer commercially available.<placeholder type=\"footnote\" id=\"0\"/" "> And while it's conceivable that some of this content is not available " "because the artist producing the content doesn't want it to be made " "available, the vast majority of it is unavailable solely because the " "publisher or the distributor has decided it no longer makes economic sense " "<emphasis>to the company</emphasis> to make it available." msgstr "" #. f16 #. type: Content of: <book><part><chapter><section><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, <citetitle>The " "Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), " "available at <ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. " "Used records accounted for $260 million in sales in 2002. See National " "Association of Recording Merchandisers, <quote>2002 Annual Survey Results,</" "quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #20</" "ulink>." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "In real space—long before the Internet—the market had a simple " "response to this problem: used book and record stores. There are thousands " "of used book and used record stores in America today.<placeholder type=" "\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " "content they buy. And under American copyright law, when they buy and sell " "this content, <emphasis>even if the content is still under copyright</" "emphasis>, the copyright owner doesn't get a dime. Used book and record " "stores are commercial entities; their owners make money from the content " "they sell; but as with cable companies before statutory licensing, they " "don't have to pay the copyright owner for the content they sell." msgstr "" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Bernstein, Leonard" msgstr "Bernstein, Leonard" #. type: Content of: <book><part><chapter><section><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 <quote>Two Love Songs,</quote> I still have it. That " "difference would matter economically if the owner of the copyright were " "selling the record in competition to my sharing. But we're talking about the " "class of content that is not currently commercially available. The Internet " "is making it available, through cooperative sharing, without competing with " "the market." msgstr "" "type c deling, 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Finally, and perhaps most importantly, file-sharing networks enable type D " "sharing to occur—the sharing of content that copyright owners want to " "have shared or for which there is no continuing copyright. This sharing " "clearly benefits authors and society. Science fiction author Cory Doctorow, " "for example, released his first novel, <citetitle>Down and Out in the Magic " "Kingdom</citetitle>, both free on-line and in bookstores on the same day. " "His (and his publisher's) thinking was that the on-line distribution would " "be a great advertisement for the <quote>real</quote> book. People would read " "part on-line, and then decide whether they liked the book or not. If they " "liked it, they would be more likely to buy it. Doctorow's content is type D " "content. If sharing networks enable his work to be spread, then both he and " "society are better off. (Actually, much better off: It is a great book!)" msgstr "" "til 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The point throughout is this: While the recording industry understandably " "says, <quote>This is how much we've lost,</quote> we must also ask, " "<quote>How much has society gained from p2p sharing? What are the " "efficiencies? What is the content that otherwise would be unavailable?</" "quote>" msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "For unlike the piracy I described in the first section of this chapter, much " "of the <quote>piracy</quote> that file sharing enables is plainly legal and " "good. And like the piracy I described in chapter <xref xrefstyle=\"select: " "labelnumber\" linkend=\"pirates\"/>, much of this piracy is motivated by a " "new way of spreading content caused by changes in the technology of " "distribution. Thus, consistent with the tradition that gave us Hollywood, " "radio, the recording industry, and cable TV, the question we should be " "asking about file sharing is how best to preserve its benefits while " "minimizing (to the extent possible) the wrongful harm it causes artists. The " "question is one of balance. The law should seek that balance, and that " "balance will be found only with time." msgstr "" "for 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><part><chapter><section><para> #, fuzzy #| msgid "" #| "\"But isn't the war just a war against illegal sharing? Isn't the target " #| "just what you call type A sharing?\"" msgid "" "<quote>But isn't the war just a war against illegal sharing? Isn't the " "target just what you call type A sharing?</quote>" msgstr "" "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><part><chapter><section><para><footnote><para> msgid "" "See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " "(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " "account of the litigation and its toll on Napster, see Joseph Menn, " "<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" "citetitle> (New York: Crown Business, 2003), 269–82." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "You would think. And we should hope. But so far, it is not. The effect of " "the war purportedly on type A sharing alone has been felt far beyond that " "one class of sharing. That much is obvious from the Napster case itself. " "When Napster told the district court that it had developed a technology to " "block the transfer of 99.4 percent of identified infringing material, the " "district court told counsel for Napster 99.4 percent was not good enough. " "Napster had to push the infringements <quote>down to zero.</" "quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "So, as we've seen, when <quote>mechanical reproduction</quote> threatened " "the interests of composers, Congress balanced the rights of composers " "against the interests of the recording industry. It granted rights to " "composers, but also to the recording artists: Composers were to be paid, but " "at a price set by Congress. But when radio started broadcasting the " "recordings made by these recording artists, and they complained to Congress " "that their <quote>creative property</quote> was not being respected (since " "the radio station did not have to pay them for the creativity it broadcast), " "Congress rejected their claim. An indirect benefit was enough." msgstr "" "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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This compromise, like the compromise affecting records and player pianos, " "served two important goals—indeed, the two central goals of any " "copyright legislation. First, the law assured that new innovators would have " "the freedom to develop new ways to deliver content. Second, the law assured " "that copyright holders would be paid for the content that was distributed. " "One fear was that if Congress simply required cable TV to pay copyright " "holders whatever they demanded for their content, then copyright holders " "associated with broadcasters would use their power to stifle this new " "technology, cable. But if Congress had permitted cable to use broadcasters' " "content for free, then it would have unfairly subsidized cable. Thus " "Congress chose a path that would assure <emphasis>compensation</emphasis> " "without giving the past (broadcasters) control over the future (cable)." msgstr "" "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><part><chapter><section><indexterm><primary> msgid "Betamax" msgstr "Betamax" #. type: Content of: <book><part><chapter><section><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 <quote>record</quote> button, the device could " "be used to record copyrighted movies and shows. Sony was therefore " "benefiting from the copyright infringement of its customers. It should " "therefore, Disney and Universal claimed, be partially liable for that " "infringement." msgstr "" "samme år 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><part><chapter><section><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 <quote>copy me</quote> signal on the line. It " "was clear that there were many television shows that did not grant anyone " "permission to copy. Indeed, if anyone had asked, no doubt the majority of " "shows would not have authorized copying. And in the face of this obvious " "preference, Sony could have designed its system to minimize the opportunity " "for copyright infringement. It did not, and for that, Disney and Universal " "wanted to hold it responsible for the architecture it chose." msgstr "" "Det 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " "of America</citetitle>, 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><part><chapter><section><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><part><chapter><section><para> msgid "" "MPAA president Jack Valenti became the studios' most vocal champion. Valenti " "called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, " "30, 40 million of these VCRs in the land, we will be invaded by millions of " "`tapeworms,' eating away at the very heart and essence of the most precious " "asset the copyright owner has, his copyright.</quote><placeholder type=" "\"footnote\" id=\"0\"/> <quote>One does not have to be trained in " "sophisticated marketing and creative judgment,</quote> he told Congress, " "<quote>to understand the devastation on the after-theater marketplace caused " "by the hundreds of millions of tapings that will adversely impact on the " "future of the creative community in this country. It is simply a question of " "basic economics and plain common sense.</quote><placeholder type=\"footnote" "\" id=\"1\"/> Indeed, as surveys would later show, percent of VCR owners had " "movie libraries of ten videos or more<placeholder type=\"footnote\" id=\"2\"/" "> — a use the Court would later hold was not <quote>fair.</quote> By " "<quote>allowing VCR owners to copy freely by the means of an exemption from " "copyright infringementwithout creating a mechanism to compensate " "copyrightowners,</quote> Valenti testified, Congress would <quote>take from " "the owners the very essence of their property: the exclusive right to " "control who may use their work, that is, who may copy it and thereby profit " "from its reproduction.</quote><placeholder type=\"footnote\" id=\"3\"/>" msgstr "" #. f22 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " "of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." msgstr "" "<citetitle>Universal City Studios, Inc</citetitle>. mot <citetitle>Sony " "Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Kozinski, Alex" msgstr "Kozinski, Alex" #. type: Content of: <book><part><chapter><section><para> msgid "" "It took eight years for this case to be resolved by the Supreme Court. In " "the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in " "its jurisdiction—leading Judge Alex Kozinski, who sits on that court, " "refers to it as the <quote>Hollywood Circuit</quote>—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—which Jack Valenti had called <quote>the Boston Strangler " "of the American film industry</quote> (worse yet, it was a " "<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)" "—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. PAGE BREAK 90 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><blockquote><para><footnote><para> msgid "" "<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." msgstr "" "<citetitle>Sony Corp. of America</citetitle> mot <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." #. type: Content of: <book><part><chapter><section><blockquote><para> msgid "" "Sound policy, as well as history, supports our consistent deference to " "Congress when major technological innovations alter the market for " "copyrighted materials. Congress has the constitutional authority and the " "institutional ability to accommodate fully the varied permutations of " "competing interests that are inevitably implicated by such new technology." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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 " "<quote>taking</quote> 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><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "CASE" msgstr "Tilfelle" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> #, fuzzy #| msgid "WHOSE VALUE WAS \"PIRATED\"" msgid "WHOSE VALUE WAS <quote>PIRATED</quote>" msgstr "Hvems verdi ble \"røvet\"" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "RESPONSE OF THE COURTS" msgstr "Responsen til domstolene" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry> msgid "RESPONSE OF CONGRESS" msgstr "Responsen til Kongressen" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Recordings" msgstr "Innspillinger" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Composers" msgstr "Komponister" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "No protection" msgstr "Ingen beskyttelse" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> #, mtrans, fuzzy msgid "Statutory license" msgstr "lovbestemte lisens" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Recording artists" msgstr "Innspillingsartister" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "N/A" msgstr "" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Nothing" msgstr "Ingenting" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Broadcasters" msgstr "Kringkastere" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> #, mtrans, fuzzy msgid "VCR" msgstr "Videoopptakere" #. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry> msgid "Film creators" msgstr "Filmskapere" #. type: Content of: <book><part><chapter><section><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 " "<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " "4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not " "eliminate the opportunity for free riding in the sense I've described. See " "Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From " "Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law " "Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" " "id=\"0\"/>" 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><part><chapter><section><para> msgid "" "In each case throughout our history, a new technology changed the way " "content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each " "case, throughout our history, that change meant that someone got a " "<quote>free ride</quote> on someone else's work." msgstr "" #. PAGE BREAK 91 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In <emphasis>none</emphasis> of these cases did either the courts or " "Congress eliminate all free riding. In <emphasis>none</emphasis> of these " "cases did the courts or Congress insist that the law should assure that the " "copyright holder get all the value that his copyright created. In every " "case, the copyright owners complained of <quote>piracy.</quote> In every " "case, Congress acted to recognize some of the legitimacy in the behavior of " "the <quote>pirates.</quote> In each case, Congress allowed some new " "technology to benefit from content made before. It balanced the interests at " "stake." msgstr "" "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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " "Studios, Inc</citetitle>., 464 U.S. 417, (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, (1984)." #. type: Content of: <book><part><chapter><section><para> msgid "" "We could answer yes to each of these questions, but our tradition has " "answered no. In our tradition, as the Supreme Court has stated, copyright " "<quote>has never accorded the copyright owner complete control over all " "possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> " "Instead, the particular uses that the law regulates have been defined by " "balancing the good that comes from granting an exclusive right against the " "burdens such an exclusive right creates. And this balancing has historically " "been done <emphasis>after</emphasis> a technology has matured, or settled " "into the mix of technologies that facilitate the distribution of content." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>stealing</quote> from artists. But neither should the law " "become a tool to entrench one particular way in which artists (or more " "accurately, distributors) get paid. As I describe in some detail in the last " "chapter of this book, we should be securing income to artists while we allow " "the market to secure the most efficient way to promote and distribute " "content. This will require changes in the law, at least in the interim. " "These changes should be designed to balance the protection of the law " "against the strong public interest that innovation continue." msgstr "" "Vi 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software " "Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 " "September 2003, C3." msgstr "" "John schwartz, \"nye økonomien: angrepet på node-til-node-programvare " "reflekterer forbi innsats,\" new york times, 22 september 2003, c3." #. type: Content of: <book><part><chapter><section><para> msgid "" "This is especially true when a new technology enables a vastly superior mode " "of distribution. And this p2p has done. P2p technologies can be ideally " "efficient in moving content across a widely diverse network. Left to " "develop, they could make the network vastly more efficient. Yet these " "<quote>potential public benefits,</quote> as John Schwartz writes in " "<citetitle>The New York Times</citetitle>, <quote>could be delayed in the " "P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/> Yet when anyone " "begins to talk about <quote>balance,</quote> the copyright warriors raise a " "different argument. <quote>All this hand waving about balance and incentives," "</quote> they say, <quote>misses a fundamental point. Our content,</quote> " "the warriors insist, <quote>is our <emphasis>property</emphasis>. Why should " "we wait for Congress to `rebalance' our property rights? Do you have to wait " "before calling the police when your car has been stolen? And why should " "Congress deliberate at all about the merits of this theft? Do we ask whether " "the car thief had a good use for the car before we arrest him?</quote>" msgstr "" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And " #| "it should be protected just as any other property is protected.\"" msgid "" "<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. " "<quote>And it should be protected just as any other property is protected.</" "quote>" msgstr "" "\"Det er <emphasis>vår eiendom</emphasis>,\" insisterer krigerne. \"og den " "bør være beskyttet på samme måte som all annen eiendom er beskyttet.\"" #. type: Content of: <book><part><title> msgid "<quote>PROPERTY</quote>" msgstr "" #. PAGE BREAK 94 #. type: Content of: <book><part><partintro><para> 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 "" "Opphavsretts-krigerne har rett: Opphavsretten er en type eiendom. Den kan " "eies og selges, og loven beskytter mot at den blir stjålet. Vanligvis, kan " "opphavsrettseieren be om hvilken som helst pris som han ønsker. Markeder " "bestemmer tilbud og etterspørsel som i hvert tilfelle bestemmer prisen hun " "kan få." #. type: Content of: <book><part><partintro><para> #, 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 <emphasis>idea</emphasis> you had to put a picnic table " #| "in the backyard—by, for example, going to Sears, buying a table, " #| "and putting it in my backyard? What is the thing I am taking then?" msgid "" "But in ordinary language, to call a copyright a <quote>property</quote> " "right is a bit misleading, for the property of copyright is an odd kind of " "property. Indeed, the very idea of property in any idea or any expression " "is very odd. I understand what I am taking when I take the picnic table you " "put in your backyard. I am taking a thing, the picnic table, and after I " "take it, you don't have it. But what am I taking when I take the good " "<emphasis>idea</emphasis> you had to put a picnic table in the " "backyard—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 er det å kalle opphavsrett for en \"eiendoms\"-rett litt " "misvisende, for eindommen i opphavsretten er en merkelig type eiendom. " "Selve ideen om eienrettigheter til en ide eller et uttrykk er nemlig veldig " "merkelig. Jeg forstår hva jeg tar når jeg tar en picnic-bord som du " "plasserte i din bakhage. Jeg tar en ting, picnic-bokrdet, og etter at jeg " "tar det har ikke du det. Men hva tar jeg når jeg tar den gode " "<emphasis>ideen</emphasis> som du hadde om å plassere picnic-bordet i " "bakhagen—ved å for eksempel dra til butikken Sears, kjøpe et bord, og " "plassere det i min egen bakhage? Hva er tingen jeg tar da?" #. f1 #. type: Content of: <book><part><partintro><para><footnote><para> msgid "" "Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " "<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " "Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." msgstr "" "Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i " "<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " "Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." #. type: Content of: <book><part><partintro><para> msgid "" "The point is not just about the thingness of picnic tables versus ideas, " "though that's an important difference. The point instead is that in the " "ordinary case—indeed, in practically every case except for a narrow " "range of exceptions—ideas released to the world are free. I don't take " "anything from you when I copy the way you dress—though I might seem " "weird if I did it every day, and especially weird if you are a woman. " "Instead, as Thomas Jefferson said (and as is especially true when I copy the " "way someone else dresses), <quote>He who receives an idea from me, receives " "instruction himself without lessening mine; as he who lights his taper at " "mine, receives light without darkening me.</quote><placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><partintro><para> msgid "" "The exceptions to free use are ideas and expressions within the reach of the " "law of patent and copyright, and a few other domains that I won't discuss " "here. Here the law says you can't take my idea or expression without my " "permission: The law turns the intangible into property." msgstr "" "Unntakene til fri bruk er ideer og uttrykk innenfor dekningsområdet til " "loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil " "diskutere her. Her sier loven at du ikke kan ta min ide eller uttrykk uten " "min tilatelse: Loven gjør det flyktige til eiendom. " #. f2 #. type: Content of: <book><part><partintro><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, " "<quote>What Is Property? Putting the Pieces Back Together,</quote> " "<citetitle>Arizona Law Review</citetitle> 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><part><partintro><para> msgid "" "But how, and to what extent, and in what form—the details, in other " "words—matter. To get a good sense of how this practice of turning the " "intangible into property emerged, we need to place this <quote>property</" "quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><partintro><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 <quote>copyright material " "is property</quote> in context. Where did the idea come from? What are its " "limits? How does it function in practice? After these stories, the " "significance of this true statement—<quote>copyright material is " "property</quote>— 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 idéen om " "\"copyright-beskyttet materiale er egenskapen\" i sammenheng. hvor gikk " "idéen 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><part><chapter><title> msgid "CHAPTER SIX: Founders" msgstr "Kapittel seks: Grunnleggerne" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Henry V" msgstr "Henry V" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in " #| "1595. The play was first published in 1597. It was the eleventh major " #| "play that Shakespeare had written. He would continue to write plays " #| "through 1613, and the plays that he wrote have continued to define Anglo-" #| "American culture ever since. So deeply have the works of a sixteenth-" #| "century writer seeped into our culture that we often don't even recognize " #| "their source. I once overheard someone commenting on Kenneth Branagh's " #| "adaptation of Henry V: \"I liked it, but Shakespeare is so full of " #| "clichés.\"" msgid "" "William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. " "The play was first published in 1597. It was the eleventh major play that " "Shakespeare had written. He would continue to write plays through 1613, and " "the plays that he wrote have continued to define Anglo-American culture ever " "since. So deeply have the works of a sixteenth-century writer seeped into " "our culture that we often don't even recognize their source. I once " "overheard someone commenting on Kenneth Branagh's adaptation of Henry V: " "<quote>I liked it, but Shakespeare is so full of clichés.</quote>" msgstr "" "William Shakespeare skrev <citetitle>Romeo og Julie</citetitle> i 1595. " "Skuespillet ble først utgitt i 1597. Det var det ellevte store skuespillet " "Shakespeare hadde skrevet. Han fortsatte å skrive skuespill helt til 1613, " "og stykkene han skrevhar fortsatt å definere angloamerikansk kultur siden. " "Så dypt har verkene av en 1500-talls forfatter sunket inn i vår kultur at vi " "ofte ikke engang kjenner kilden. Jeg overhørte en gang noen som kommentere " "Kenneth Branaghs utgave av Henry V: \"Jeg likte det, men Shakespeare er så " "full av klisjeer.\"" #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, 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 " #| "<citetitle>Romeo and Juliet</citetitle>, he published an astonishing " #| "array of works that still remain at the heart of the English canon, " #| "including collected works of Shakespeare, Ben Jonson, John Milton, and " #| "John Dryden. See Keith Walker, \"Jacob Tonson, Bookseller,\" " #| "<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." msgid "" "Jacob Tonson is typically remembered for his associations with prominent " "eighteenth-century literary figures, especially John Dryden, and for his " "handsome <quote>definitive editions</quote> of classic works. In addition to " "<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array " "of works that still remain at the heart of the English canon, including " "collected works of Shakespeare, Ben Jonson, John Milton, and John Dryden. " "See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> " "<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31." msgstr "" "Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære " "storheter, spesielt John Dryden, og for hans kjekke\"ferdige versjoner\" av " "klassiske verk. I tillegg til <citetitle>Romeo og Julie</citetitle>, utga " "han en utrolig rekke liste av verk som ennå er hjertet av den engelske " "kanon, inkludert de samlede verk av Shakespeare, Ben Jonson, John Milton, og " "John Dryden. Se Keith Walker: \"Jacob Tonson, Bookseller,\" " "<citetitle>American Scholar</citetitle> 61:3 (1992): 424-31." #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." msgstr "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." #. PAGE BREAK 97 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> " #| "was written, the \"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." msgid "" "In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " "written, the <quote>copy-right</quote> for the work was still thought by " "many to be the exclusive right of a single London publisher, Jacob Tonson." "<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a " "small group of publishers called the Conger<placeholder type=\"footnote\" id=" "\"1\"/> who controlled bookselling in England during the eighteenth century. " "The Conger claimed a perpetual right to control the <quote>copy</quote> of " "books that they had acquired from authors. That perpetual right meant that " "no one else could publish copies of a book to which they held the " "copyright. Prices of the classics were thus kept high; competition to " "produce better or cheaper editions was eliminated." msgstr "" "I 1774, nesten 180 år etter at <citetitle>Romeo og Julie</citetitle> ble " "skrevet, mente mange at \"opphavsretten\" kun tilhørte én eneste utgiver i " "London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> Tonson var " "den mest fremstående av en liten gruppe utgivere kalt \"the Conger" "\"<placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte boksalget i " "England gjennom hele 1700-tallet. The Conger hevdet at de hadde en " "evigvarende rett over \"kopier\" av bøker de hadde fått av forfatterne. " "Denne evigvarende retten innebar at ingen andre kunne publisere kopier av " "disse bøkene. Slik ble prisen på klassiske bøker holdt oppe; alle " "konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " #| "\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and " #| "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " "<quote>copyright law.</quote> See Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette " "en \"opphavsrettslov.\" Se Vaidhyanathan, <citetitle>Copyrights and " "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Now, there's something puzzling about the year 1774 to anyone who knows a " #| "little about copyright law. The better-known year in the history of " #| "copyright is 1710, the year that the British Parliament adopted the first " #| "\"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, <citetitle>Romeo and Juliet</" #| "citetitle> should have been free in 1731. So why was there any issue " #| "about it still being under Tonson's control in 1774?" msgid "" "Now, there's something puzzling about the year 1774 to anyone who knows a " "little about copyright law. The better-known year in the history of " "copyright is 1710, the year that the British Parliament adopted the first " "<quote>copyright</quote> act. Known as the Statute of Anne, the act stated " "that all published works would get a copyright term of fourteen years, " "renewable once if the author was alive, and that all works already published " "by 1710 would get a single term of twenty-one additional years.<placeholder " "type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</" "citetitle> should have been free in 1731. So why was there any issue about " "it still being under Tonson's control in 1774?" msgstr "" "Men altså, det er noe spennende med året 1774 for alle som vet litt om " "opphavsretts-lovgivning. Det mest kjente året for opphavsrett er 1710, da " "det britiske parlamentet vedtok den første loven. Denne loven er kjent som " "\"Statute of Anne\" og sa at alle publiserte verk skulle være beskyttet i " "fjorten år, en periode som kunne fornyes én gang dersom forfatteren ennå " "levde, og at alle verk publisert i eller før 1710 skulle ha en ekstraperiode " "på 22 tillegsår.<placeholder type=\"footnote\" id=\"0\"/> På grunn av denne " "loven, så skulle <citetitle>Rome og Julie</citetitle> ha falt i det fri i " "1731. Hvordan kunne da Tonson fortsatt ha kontroll over verket i 1774?" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Licensing Act (1662)" msgstr "" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The reason is that the English hadn't yet agreed on what a \"copyright\" " #| "was—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. <placeholder type=" #| "\"indexterm\" id=\"0\"/>" msgid "" "The reason is that the English hadn't yet agreed on what a <quote>copyright</" "quote> was—indeed, no one had. At the time the English passed the " "Statute of Anne, there was no other legislation governing copyrights. The " "last law regulating publishers, the Licensing Act of 1662, had expired in " "1695. That law gave publishers a monopoly over publishing, as a way to make " "it easier for the Crown to control what was published. But after it " "expired, there was no positive law that said that the publishers, or " "<quote>Stationers,</quote> had an exclusive right to print books. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva " "opphavsrett innebar -- faktisk hadde ingen i verden det. På den tiden da " "engelskmennene vedtok \"Statute of Anne\", var det ingen annen lovgivning om " "opphavsrett. Den siste loven som regulerte utgivere var lisensieringsloven " "av 1662, utløpt i 1695. At loven ga utgiverne monopol over publiseringen, " "noe som gjorde det enklere for kronen å kontrollere hva ble publisert. Men " "etter at det har utløpt, var det ingen positiv lov som sa at utgiverne hadde " "en eksklusiv rett til å trykke bøker. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "There was no <emphasis>positive</emphasis> law, but that didn't mean that " #| "there was no law. The Anglo-American legal tradition looks to both the " #| "words of legislatures and the words of judges to know the rules that are " #| "to govern how people are to behave. We call the words from legislatures " #| "\"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." msgid "" "There was no <emphasis>positive</emphasis> law, but that didn't mean that " "there was no law. The Anglo-American legal tradition looks to both the words " "of legislatures and the words of judges to know the rules that are to govern " "how people are to behave. We call the words from legislatures " "<quote>positive law.</quote> We call the words from judges <quote>common law." "</quote> The common law sets the background against which legislatures " "legislate; the legislature, ordinarily, can trump that background only if it " "passes a law to displace it. And so the real question after the licensing " "statutes had expired was whether the common law protected a copyright, " "independent of any positive law." msgstr "" "At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " "det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser både " "til lover skapt av politikere (det lovgivende statsorgen)og til lover " "(prejudikater) skapt av domstolene for å bestemme hvordan folket skal leve. " "Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " "dommerne sedvanerett.\"Common law\" angir bakgrunnen for de lovgivendes " "lovgivning; retten til lovgiving, 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><part><chapter><para> #, 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." msgid "" "This question was important to the publishers, or <quote>booksellers,</" "quote> as they were called, because there was growing competition from " "foreign publishers. The Scottish, in particular, were increasingly " "publishing and exporting books to England. That competition reduced the " "profits of the Conger, which reacted by demanding that Parliament pass a law " "to again give them exclusive control over publishing. That demand ultimately " "resulted in the Statute of Anne." msgstr "" "Dette spørsmålet var viktig for utgiverne eller \"bokselgere,\" som de ble " "kalt, fordi det var økende konkurranse fra utenlandske utgivere, Særlig fra " "Skottland hvor publiseringen og eksporten av bøker til England hadde økt " "veldig. Denne konkurransen reduserte fortjenesten til \"The Conger\", som " "derfor krevde at parlamentet igjen skulle vedta en lov for å gi dem " "eksklusiv kontroll over publisering. Dette kravet resulterte i \"Statute of " "Anne\"." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "The Statute of Anne granted the author or <quote>proprietor</quote> of a " "book an exclusive right to print that book. In an important limitation, " "however, and to the horror of the booksellers, the law gave the bookseller " "that right for a limited term. At the end of that term, the copyright " "<quote>expired,</quote> and the work would then be free and could be " "published by anyone. Or so the legislature is thought to have believed." msgstr "" "\"Statute of Anne\" ga forfatteren eller \"eieren\" av en bok en eksklusiv " "rett til å publisere denne boken. Men det var, til bokhandernes forferdelse " "en viktig begrensning, nemlig hvor lenge denne retten skulle vare. Etter " "dette gikk trykkeretten bort og verket falt i det fri og kunne trykkes av " "hvem som helst. Det var ihvertfall det lovgiverne hadde tenkt." #. type: Content of: <book><part><chapter><para> msgid "" "Now, the thing to puzzle about for a moment is this: Why would Parliament " "limit the exclusive right? Not why would they limit it to the particular " "limit they set, but why would they limit the right <emphasis>at all?</" "emphasis>" msgstr "" "Men nå det mest interessante med dette: Hvorfor ville parlamentet begrense " "trykkeretten? Sprøsmålet er ikke hvorfor de bestemte seg for denne perioden, " "men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "For the booksellers, and the authors whom they represented, had a very " #| "strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " #| "That play was written by Shakespeare. It was his genius that brought it " #| "into the world. He didn't take anybody's property when he created this " #| "play (that's a controversial claim, but never mind), and by his creating " #| "this play, he didn't make it any harder for others to craft a play. So " #| "why is it that the law would ever allow someone else to come along and " #| "take Shakespeare's play without his, or his estate's, permission? What " #| "reason is there to allow someone else to \"steal\" Shakespeare's work?" msgid "" "For the booksellers, and the authors whom they represented, had a very " "strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " "That play was written by Shakespeare. It was his genius that brought it into " "the world. He didn't take anybody's property when he created this play " "(that's a controversial claim, but never mind), and by his creating this " "play, he didn't make it any harder for others to craft a play. So why is it " "that the law would ever allow someone else to come along and take " "Shakespeare's play without his, or his estate's, permission? What reason is " "there to allow someone else to <quote>steal</quote> Shakespeare's work?" msgstr "" "Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " "krav. Ta <citetitle>romeo og Julie</citetitle> som et eksempel: Skuespillet " "ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " "verden. Han krenket ikke noens rett da han skrev dette verket (det er en " "kontroversiell påstanden, men det er urelevant), og med sin egen rett skapte " "han verket, han gjorde det ikke noe vanskeligere for andre til å lage " "skuespill. Så hvorfor skulle loven tillate at noen annen kunne komme og ta " "Shakespeares verkuten hans, eller hans arvingers, tillatelse? Hvilke grunner " "finnes for å tillate at noen \"stjeler\" Shakespeares verk?" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The answer comes in two parts. We first need to see something special " #| "about the notion of \"copyright\" that existed at the time of the Statute " #| "of Anne. Second, we have to see something important about \"booksellers.\"" msgid "" "The answer comes in two parts. We first need to see something special about " "the notion of <quote>copyright</quote> that existed at the time of the " "Statute of Anne. Second, we have to see something important about " "<quote>booksellers.</quote>" msgstr "" "Svaret er todel. Først må vi se på noe spesielt med oppfatningen av " "opphavsrett som fantes på tidspunktet da \"Statute of Anne\" ble vedtatt. " "Deretter må vi se på noe spesielt med bokhandlerne." #. PAGE BREAK 99 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "First, about copyright. In the last three hundred years, we have come to " #| "apply the concept of \"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 <emphasis>used</emphasis>. Today the right includes a large " #| "collection of restrictions on the freedom of others: It grants the author " #| "the exclusive right to copy, the exclusive right to distribute, the " #| "exclusive right to perform, and so on." msgid "" "First, about copyright. In the last three hundred years, we have come to " "apply the concept of <quote>copyright</quote> ever more broadly. But in " "1710, it wasn't so much a concept as it was a very particular right. The " "copyright was born as a very specific set of restrictions: It forbade others " "from reprinting a book. In 1710, the <quote>copy-right</quote> was a right " "to use a particular machine to replicate a particular work. It did not go " "beyond that very narrow right. It did not control any more generally how a " "work could be <emphasis>used</emphasis>. Today the right includes a large " "collection of restrictions on the freedom of others: It grants the author " "the exclusive right to copy, the exclusive right to distribute, the " "exclusive right to perform, and so on." msgstr "" "Først om opphavsretten. I de siste tre hundre år har vi kommet til å bruke " "begrepet \"copyright\" i stadig videre forstand. Men i 1710 var det ikke så " "mye et konsept som det var en bestemt rett. Opphavsretten ble født som et " "svært spesifikt sett med begrensninger: den forbød andre å reprodusere en " "bok. I 1710 var \"kopi-rett\" en rett til å bruke en bestemt maskin til å " "replikere en bestemt arbeid. Den gikk ikke utover dette svært smale " "formålet. Den kontrollerte ikke mer generelt hvordan et verk kunne " "<emphasis>brukes</emphasis>. Idag inkluderer retten en stor samling av " "restriksjoner på andres frihet: den gir forfatteren eksklusiv rett til å " "kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å fremføre, og " "så videre." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "So, for example, even if the copyright to Shakespeare's works were " #| "perpetual, all that would have meant under the original meaning of the " #| "term was that no one could reprint Shakespeare's work without the " #| "permission of the Shakespeare estate. It would not have controlled " #| "anything, for example, about how the work could be performed, whether the " #| "work could be translated, or whether Kenneth Branagh would be allowed to " #| "make his films. The \"copy-right\" was only an exclusive right to " #| "print—no less, of course, but also no more." msgid "" "So, for example, even if the copyright to Shakespeare's works were " "perpetual, all that would have meant under the original meaning of the term " "was that no one could reprint Shakespeare's work without the permission of " "the Shakespeare estate. It would not have controlled anything, for example, " "about how the work could be performed, whether the work could be translated, " "or whether Kenneth Branagh would be allowed to make his films. The " "<quote>copy-right</quote> was only an exclusive right to print—no " "less, of course, but also no more." msgstr "" "Så selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, " "betydde det under den opprinnelige betydningen av begrepet at ingen kunne " "trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den " "ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne " "fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt " "lov til å lage filmer. \"Kopi-retten\" var bare en eksklusiv rett til å " "trykke--ikke noe mindre, selvfølgelig, men heller ikke mer." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Henry VIII, King of England" msgstr "Henry VIII, Konge av England" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Even that limited right was viewed with skepticism by the British. They " #| "had had a long and ugly experience with \"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—" #| "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." msgid "" "Even that limited right was viewed with skepticism by the British. They had " "had a long and ugly experience with <quote>exclusive rights,</quote> " "especially <quote>exclusive rights</quote> granted by the Crown. The English " "had fought a civil war in part about the Crown's practice of handing out " "monopolies—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 dnne begrensede retten ble møtt med skepsis av britene. De hadde hatt " "en lang og stygg erfaring med \"eksklusive rettigheter,\" spesielt \"enerett" "\" gitt av kronen. Engelskmennene hadde utkjempet en borgerkrig delvis mot " "kronens praksis med å dele ut monopoler--spesielt monopoler for verk som " "allerede eksisterte. Kong Henrik VIII hadde gitt patent til å trykke Bibelen " "og monopol til Darcy for å lage spillkort. Det engelske parlamentet begynte " "å kjempe tilbake mot denne makten hos kronen. I 1656 ble \"Statute of " "Monopolis\" vedtatt for å begrense monopolene på patenter for nye " "oppfinnelser. Og i 1710 var parlamentet ivrig etter å håndtere det voksende " "monopolet på publisering." #. type: Content of: <book><part><chapter><para> #, 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." msgid "" "Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was " "naturally viewed as a right that should be limited. (However convincing the " "claim that <quote>it's my property, and I should have it forever,</quote> " "try sounding convincing when uttering, <quote>It's my monopoly, and I should " "have it forever.</quote>) The state would protect the exclusive right, but " "only so long as it benefited society. The British saw the harms from " "specialinterest favors; they passed a law to stop them." msgstr "" "Dermed ble \"kopi-retten\", når den sees på som en monopolrett, en rettighet " "som bør være begrenset. (Uansett hvor overbevisende påstanden om at \"det er " "min eiendom, og jeg skal ha for alltid,\" prøv hvor overbevisende det er når " "men sier \"det er mitt monopol, og jeg skal ha det for alltid.\") Staten " "ville beskytte eneretten, men bare så lenge det gavnet samfunnet. Britene så " "skadene særinteresserte kunne skape; de vedtok en lov for å stoppe dem." #. f4 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " "Property</citetitle> (New York: J. Messner, Inc., 1937), 31." msgstr "" "Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " "Property</citetitle> (New York: J. Messner, Inc., 1937), 31." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Second, about booksellers. It wasn't just that the copyright was a " #| "monopoly. It was also that it was a monopoly held by the booksellers. " #| "Booksellers sound quaint and harmless to us. They were not viewed as " #| "harmless in seventeenth-century England. Members of the Conger were " #| "increasingly seen as monopolists of the worst kind—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\"/>" 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—tools of the Crown's repression, selling " "the liberty of England to guarantee themselves a monopoly profit. The " "attacks against these monopolists were harsh: Milton described them as " "<quote>old patentees and monopolizers in the trade of book-selling</quote>; " "they were <quote>men who do not therefore labour in an honest profession to " "which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. " "Det var også et monopol holdt av bokhandlerne. En bokhandler høres greie og " "ufarlige ut for oss, men slik var det ikke i syttenhundretallets England. " "Medlemmene i \"the Conger\" ble av en voksende mengde sett på som " "monopolister av verste sort - et verktøy for kronens undertrykkelse, de " "solgte Englands frihet mot å være garantert en monopolskinntekt. Men " "monopolistene ble kvast kritisert: Milton beskrev dem som \"gamle " "patentholdere og monopolister i bokhandlerkunsten\"; de var \"menn som " "derfor ikke hadde et ærlig arbeide hvor utdanning er nødvendig." "\"<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Many believed the power the booksellers exercised over the spread of " "knowledge was harming that spread, just at the time the Enlightenment was " "teaching the importance of education and knowledge spread generally. The " "idea that knowledge should be free was a hallmark of the time, and these " "powerful commercial interests were interfering with that idea." msgstr "" "Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap, " "var til skade for selve spredningen, men på dette tidspunktet viste " "Opplysningen viktigheten av utdannelse og kunnskap for alle. idéen om at " "kunnskap burde være gratis er et kjennetegn for tiden, og disse kraftige " "kommersielle interesser forstyrret denne idéen." #. type: Content of: <book><part><chapter><para> msgid "" "To balance this power, Parliament decided to increase competition among " "booksellers, and the simplest way to do that was to spread the wealth of " "valuable books. Parliament therefore limited the term of copyrights, and " "thereby guaranteed that valuable books would become open to any publisher to " "publish after a limited time. Thus the setting of the term for existing " "works to just twenty-one years was a compromise to fight the power of the " "booksellers. The limitation on terms was an indirect way to assure " "competition among publishers, and thus the construction and spread of " "culture." msgstr "" "For å balansere denne makten, besluttet Parlamentet å øke konkurransen blant " "bokhandlerne, og den enkleste måten å gjøre det på, var å spre mengden av " "verdifulle bøker. Parlamentet begrenset derfor begrepet om opphavsrett, og " "garantert slik at verdifulle bøker ville bli frie for alle utgiver å " "publisere etter en begrenset periode. Slik ble det å gi eksisterende verk en " "periode på tjueen år et kompromiss for å bekjempe bokhandlernes makt. " "Begrensninger med dato var en indirekte måte å skape konkurranse mellom " "utgivere, og slik en skapelse og spredning av kultur." #. type: Content of: <book><part><chapter><para> msgid "" "When 1731 (1710 + 21) came along, however, the booksellers were getting " "anxious. They saw the consequences of more competition, and like every " "competitor, they didn't like them. At first booksellers simply ignored the " "Statute of Anne, continuing to insist on the perpetual right to control " "publication. But in 1735 and 1737, they tried to persuade Parliament to " "extend their terms. Twenty-one years was not enough, they said; they needed " "more time." msgstr "" "Når 1731 (1710+21) kom, ble bokhandlerne engstelige. De så konsekvensene av " "mer konkurranse, og som alle konkurrenter, likte de det ikke. Først " "ignorerte bokhandlere ganske enkelt \"Statute of Anne\", og fortsatte å " "kreve en evigvarende rett til å kontrollere publiseringen. Men i 1735 og " "1737 de prøvde å tvinge Parlamentet til å utvide periodene. Tjueen år var " "ikke nok, sa de; de trengte mer tid." #. type: Content of: <book><part><chapter><para> msgid "" "Parliament rejected their requests. As one pamphleteer put it, in words that " "echo today," msgstr "" "Parlamentet avslo kravene, Som en pamflett sa, i en vending som levere ennå " "idag," #. f5 #. type: Content of: <book><part><chapter><blockquote><para><footnote><para> msgid "" "A Letter to a Member of Parliament concerning the Bill now depending in the " "House of Commons, for making more effectual an Act in the Eighth Year of the " "Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " "Vesting the Copies of Printed Books in the Authors or Purchasers of such " "Copies, during the Times therein mentioned (London, 1735), in Brief Amici " "Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " "<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." msgstr "" #. type: Content of: <book><part><chapter><blockquote><para> msgid "" "I see no Reason for granting a further Term now, which will not hold as well " "for granting it again and again, as often as the Old ones Expire; so that " "should this Bill pass, it will in Effect be establishing a perpetual " "Monopoly, a Thing deservedly odious in the Eye of the Law; it will be a " "great Cramp to Trade, a Discouragement to Learning, no Benefit to the " "Authors, but a general Tax on the Publick; and all this only to increase the " "private Gain of the Booksellers.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Jeg ser ingen grunn til å gi en utvidet perioden nå som ikke ville kunne gi " "utvidelser om igjen og om igjen, så fort de gamle utgår; så dersom dette " "lovforslaget blir vedtatt, vil effekten være: at et evig monopol blir skapt, " "et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for " "forfatterne, men en stor avgift for folket; og alt dette kun for å øke " "bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Having failed in Parliament, the publishers turned to the courts in a " #| "series of cases. Their argument was simple and direct: The Statute of " #| "Anne gave authors certain protections through positive law, but those " #| "protections were not intended as replacements for the common law. " #| "Instead, they were intended simply to supplement the common law. Under " #| "common law, it was already wrong to take another person's creative " #| "\"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." msgid "" "Having failed in Parliament, the publishers turned to the courts in a series " "of cases. Their argument was simple and direct: The Statute of Anne gave " "authors certain protections through positive law, but those protections were " "not intended as replacements for the common law. Instead, they were " "intended simply to supplement the common law. Under common law, it was " "already wrong to take another person's creative <quote>property</quote> and " "use it without his permission. The Statute of Anne, the booksellers argued, " "didn't change that. Therefore, just because the protections of the Statute " "of Anne expired, that didn't mean the protections of the common law expired: " "Under the common law they had the right to ban the publication of a book, " "even if its Statute of Anne copyright had expired. This, they argued, was " "the only way to protect authors." msgstr "" "Etter å ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke " "saker. Deres argument var enkelt og direkte: \"Statute of Anne\" ga " "forfatterne en viss beskyttelse gjennom positiv loven, men denne " "beskyttelsenvar ikke ment som en erstatning for felles lov. Istedet var de " "ment å supplere felles lov. Ifølge sedvanerett var det galt å ta en annen " "persons kreative eiendom og bruke den uten hans tillatelse. \"Statute of Anne" "\", hevdet bokhandlere, endret ikke dette faktum. Derfor betydde ikke det at " "beskyttelsen gitt av \"Statute of Anne\" utløp, at beskyttelsen fra " "sedvaneretten utløp: Ifølge sedvaneretten hadde de rett til å fordømme " "publiseringen av en bok, selv følgelig om \"Statute of Anne\" sa at de var " "falt i det fri. Dette, mente de, var den eneste måten å beskytte forfatterne." #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " #| "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " #| "wonderfully compelling account, see Vaidhyanathan, 37–48. " #| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" "Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use,</quote> " "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " "wonderfully compelling account, see Vaidhyanathan, 37–48. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " "fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48. " "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "This was a clever argument, and one that had the support of some of the " #| "leading jurists of the day. It also displayed extraordinary chutzpah. " #| "Until then, as law professor Raymond Patterson has put it, \"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." msgid "" "This was a clever argument, and one that had the support of some of the " "leading jurists of the day. It also displayed extraordinary chutzpah. Until " "then, as law professor Raymond Patterson has put it, <quote>The publishers " "… had as much concern for authors as a cattle rancher has for cattle." "</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care " "squat for the rights of the author. His concern was the monopoly profit " "that the author's work gave." msgstr "" "Dette var et godt argument, og hadde støtte fra flere av den tidens ledende " "jurister. Det viste også en ekstraordinær chutzpah. Inntail da, som " "jusprofessor Raymond Pattetson har sagt, \"var utgiverne … like " "bekymret for forfatterne som en gjeter for sine lam.\"<placeholder type=" "\"footnote\" id=\"0\"/> Bokselgerne brydde seg ikke det spor om forfatternes " "rettigheter. Deres bekymring var den monopolske inntekten forfatterens verk " "ga." #. f7 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "For a compelling account, see David Saunders, <citetitle>Authorship and " "Copyright</citetitle> (London: Routledge, 1992), 62–69." msgstr "" "For a compelling account, see David Saunders, <citetitle>Authorship and " "Copyright</citetitle> (London: Routledge, 1992), 62–69." #. type: Content of: <book><part><chapter><para> msgid "" "The booksellers' argument was not accepted without a fight. The hero of " "this fight was a Scottish bookseller named Alexander Donaldson.<placeholder " "type=\"footnote\" id=\"0\"/>" msgstr "" "Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne " "kampen var den skotske bokselgeren Alexander Donaldson.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><indexterm><primary> msgid "Rose, Mark" msgstr "Rose, Mark" #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " "University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " "University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>" #. f9 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Ibid., 93." msgstr "Ibid., 93." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Boswell, James" msgstr "Boswell, James" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Erskine, Andrew" msgstr "Erskine, Andrew" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Donaldson was an outsider to the London Conger. He began his career in " #| "Edinburgh in 1750. The focus of his business was inexpensive reprints " #| "\"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\"/> <placeholder type=\"indexterm" #| "\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>" msgid "" "Donaldson was an outsider to the London Conger. He began his career in " "Edinburgh in 1750. The focus of his business was inexpensive reprints " "<quote>of standard works whose copyright term had expired,</quote> at least " "under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> " "Donaldson's publishing house prospered and became <quote>something of a " "center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor " "Mark Rose writes, was <quote>the young James Boswell who, together with his " "friend Andrew Erskine, published an anthology of contemporary Scottish poems " "with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/>" msgstr "" "Donaldson var en fremmed for Londons \"the Conger\". Han startet in karriere " "i Edinburgh i 1750. Hans forretningsidé var billige kopier av standardverk " "falt i det fri, ihvertfall fri ifølge \"Statute of Anne\".<placeholder type=" "\"footnote\" id=\"0\"/> Donaldsons forlag vokste og ble \"et sentrum for " "litterære skotter.\" \"Blant dem,\" skriver professor Mark Rose, var \"den " "unge James Boswell som, sammen med sin venn Andrew Erskine, publiserte en " "hel antologi av skotsk samtidspoesi sammen med Donaldson.\"<placeholder type=" "\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " "<placeholder type=\"indexterm\" id=\"3\"/>" #. f10 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle>, 167 (quoting Borwell)." msgstr "" "Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" "citetitle>, 167 (quoting Borwell)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "When the London booksellers tried to shut down Donaldson's shop in " #| "Scotland, he responded by moving his shop to London, where he sold " #| "inexpensive editions \"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." msgid "" "When the London booksellers tried to shut down Donaldson's shop in Scotland, " "he responded by moving his shop to London, where he sold inexpensive " "editions <quote>of the most popular English books, in defiance of the " "supposed common law right of Literary Property.</quote><placeholder type=" "\"footnote\" id=\"0\"/> His books undercut the Conger prices by 30 to 50 " "percent, and he rested his right to compete upon the ground that, under the " "Statute of Anne, the works he was selling had passed out of protection." msgstr "" "Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så " "flyttet han butikken til London. Her solgte han billige utgaver av \"de mest " "populære, engelske bøker, i kamp mot sedvanerettens rett til litterær " "eiendom.\" <placeholder type=\"footnote\" id=\"0\"/> Bøkene hans var mellom " "30% og 50% billigere enn \"the Conger\"s, og han baserte sin rett til denne " "konkurransen på at bøkene, takket være \"Statute of Anne\", var falt i det " "fri." #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>Millar</citetitle> v. " #| "<citetitle>Taylor</citetitle>." msgid "" "The London booksellers quickly brought suit to block <quote>piracy</quote> " "like Donaldson's. A number of actions were successful against the " "<quote>pirates,</quote> the most important early victory being " "<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>." msgstr "" "Londons bokselgere begynte straks å slå ned mot \"pirater\" som Donaldson. " "Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen " "mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</citetitle>." #. f11 #. type: Content of: <book><part><chapter><para><footnote><para> #, fuzzy #| msgid "" #| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " #| "Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law " #| "Review</citetitle> 29 (1983): 1152." msgid "" "Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: " "Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law " "Review</citetitle> 29 (1983): 1152." msgstr "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " "Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</" "citetitle> 29 (1983): 1152." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Millar was a bookseller who in 1729 had purchased the rights to James " #| "Thomson's poem \"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\"/>" msgid "" "Millar was a bookseller who in 1729 had purchased the rights to James " "Thomson's poem <quote>The Seasons.</quote> Millar complied with the " "requirements of the Statute of Anne, and therefore received the full " "protection of the statute. After the term of copyright ended, Robert Taylor " "began printing a competing volume. Millar sued, claiming a perpetual common " "law right, the Statute of Anne notwithstanding.<placeholder type=\"footnote" "\" id=\"0\"/>" msgstr "" "Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James " "Thomsons dikt \"The Seasons\". Millar hadde da full beskyttelse gjennom " "\"Statute of Anne\", men etter at denne beskyttelsen var uløpt, begynte " "Robert Taylor å trykke et konkurrerende bind. Millar gikk til sak, og hevdet " "han hadde en evig rett gjennom sedvaneretten, uansett hva \"Statute of Anne" "\" sa.<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Astonishingly to modern lawyers, one of the greatest judges in English " #| "history, Lord Mansfield, agreed with the booksellers. Whatever protection " #| "the Statute of Anne gave booksellers, it did not, he held, extinguish any " #| "common law right. The question was whether the common law would protect " #| "the author against subsequent \"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." msgid "" "Astonishingly to modern lawyers, one of the greatest judges in English " "history, Lord Mansfield, agreed with the booksellers. Whatever protection " "the Statute of Anne gave booksellers, it did not, he held, extinguish any " "common law right. The question was whether the common law would protect the " "author against subsequent <quote>pirates.</quote> Mansfield's answer was " "yes: The common law would bar Taylor from reprinting Thomson's poem without " "Millar's permission. That common law rule thus effectively gave the " "booksellers a perpetual right to control the publication of any book " "assigned to them." msgstr "" "Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av " "de største dommere i engelsk historie, Lord Mansfield, enig med " "bokhandlerne. Uansett hvilken beskyttelse \"Statute of Anne\" gav " "bokhandlerne, så sa han at den ikke fortrengte noe fra sedvaneretten. " "Spørsmålet var hvorvidt sedvaneretten beskyttet forfatterne mot pirater. " "Mansfield svar var ja: Sedvaneretten nektet Taylor å reprodusere Thomsons " "dikt uten Millars tillatelse. Slik gav sedvaneretten bokselgerne en evig " "publiseringsrett til bøker solgt til dem." #. PAGE BREAK 103 #. type: Content of: <book><part><chapter><para> msgid "" "Considered as a matter of abstract justice—reasoning as if justice " "were just a matter of logical deduction from first principles—" "Mansfield's conclusion might make some sense. But what it ignored was the " "larger issue that Parliament had struggled with in 1710: How best to limit " "the monopoly power of publishers? Parliament's strategy was to offer a term " "for existing works that was long enough to buy peace in 1710, but short " "enough to assure that culture would pass into competition within a " "reasonable period of time. Within twenty-one years, Parliament believed, " "Britain would mature from the controlled culture that the Crown coveted to " "the free culture that we inherited." msgstr "" "Ser man på det som et spørsmål innen abstrakt jus - dersom man resonnere som " "om rettferdighet bare var logisk deduksjon fra de første bud - kunne " "Mansfields konklusjon gitt mening. Men den overså det Parlamentet hadde " "kjempet for i 1710: Hvordan man på best mulig vis kunne innskrenke " "utgivernes monopolmakt. Parlamentets strategi hadde vært å kjøpe fred " "gjennom å tilby en beskyttelsesperiode også for eksisterende verk, men " "perioden måtte være så kort at kulturen ble utsatt for konkurranse innen " "rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under " "kronen, inn i en fri og åpen kultur." #. type: Content of: <book><part><chapter><para> msgid "" "The fight to defend the limits of the Statute of Anne was not to end there, " "however, and it is here that Donaldson enters the mix." msgstr "" "Kampen for å forsvare \"Statute of Anne\"s begrensninger sluttet uansett " "ikke der, for nå kommer Donaldson." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Beckett, Thomas" msgstr "Beckett, Thomas" #. f12 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Ibid., 1156." msgstr "Ibid., 1156." #. type: Content of: <book><part><chapter><para> msgid "" "Millar died soon after his victory, so his case was not appealed. His estate " "sold Thomson's poems to a syndicate of printers that included Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " "unauthorized edition of Thomson's works. Beckett, on the strength of the " "decision in <citetitle>Millar</citetitle>, got an injunction against " "Donaldson. Donaldson appealed the case to the House of Lords, which " "functioned much like our own Supreme Court. In February of 1774, that body " "had the chance to interpret the meaning of Parliament's limits from sixty " "years before." msgstr "" "Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over " "Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " "utgave av Thomsons verk. Etter avgjørelsen i <citetitle>Millar</citetitle>-" "saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " "Overhuset, som da fungerte som en slags høyesterett. I februar 1774 hadde " "dette organet muligheten til å tolke Parlamentets mening med utøpsdatoen fra " "seksti år før." #. type: Content of: <book><part><chapter><para> msgid "" "As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " "<citetitle>Beckett</citetitle> drew an enormous amount of attention " "throughout Britain. Donaldson's lawyers argued that whatever rights may have " "existed under the common law, the Statute of Anne terminated those rights. " "After passage of the Statute of Anne, the only legal protection for an " "exclusive right to control publication came from that statute. Thus, they " "argued, after the term specified in the Statute of Anne expired, works that " "had been protected by the statute were no longer protected." msgstr "" "Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" "citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " "advokater mente at selv om det før fantes en del rettigheter i " "sedvaneretten, så var disse fortrengt av \"Statute of Anne\". Etter at " "\"Statute of Anne\" var blitt vedtatt, skulle den eneste lovlige beskyttelse " "for trykkerett kom derfra. Og derfor, mente de, i tråd med vilkårene i " "\"Statute of Anne\", falle i det fri så fort beskyttelsesperioden var over." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "The House of Lords was an odd institution. Legal questions were presented " #| "to the House and voted upon first by the \"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." msgid "" "The House of Lords was an odd institution. Legal questions were presented to " "the House and voted upon first by the <quote>law lords,</quote> members of " "special legal distinction who functioned much like the Justices in our " "Supreme Court. Then, after the law lords voted, the House of Lords generally " "voted." msgstr "" "Overhuset var en merkelig institusjon. Juridiske spørsmål ble presentert for " "huset, og ble først stemt over av \"juslorder\", medlemmer av enspesiell " "rettslig gruppe som fungerte nesten slik som justiariusene i vår " "Høyesterett. Deretter, etter at \"juslordene\" hadde stemt, stemte resten av " "Overhuset." #. PAGE BREAK 104 #. type: Content of: <book><part><chapter><para> msgid "" "The reports about the law lords' votes are mixed. On some counts, it looks " "as if perpetual copyright prevailed. But there is no ambiguity about how the " "House of Lords voted as whole. By a two-to-one majority (22 to 11) they " "voted to reject the idea of perpetual copyrights. Whatever one's " "understanding of the common law, now a copyright was fixed for a limited " "time, after which the work protected by copyright passed into the public " "domain." msgstr "" "Rapportene om juslordene stemmer er uenige. På enkelte punkter ser det ut " "som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om " "hvordan resten av Overhuset stemte. Med en majoritet på to mot en (22 mot " "11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man " "hadde tolket sedvaneretten, var nå kopiretten begrenset til en periode, og " "etter denne ville verket falle i det fri." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Bacon, Francis" msgstr "Bacon, Francis" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Bunyan, John" msgstr "Bunyan, John" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Johnson, Samuel" msgstr "Johnson, Samuel" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Milton, John" msgstr "Milton, John" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Shakespeare, William" msgstr "Shakespeare, William" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "\"The public domain.\" Before the case of <citetitle>Donaldson</" #| "citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of " #| "a public domain in England. Before 1774, there was a strong argument that " #| "common law copyrights were perpetual. After 1774, the public domain was " #| "born. For the first time in Anglo-American history, the legal control " #| "over creative works expired, and the greatest works in English " #| "history—including those of Shakespeare, Bacon, Milton, Johnson, and " #| "Bunyan—were free of legal restraint. <placeholder type=\"indexterm" #| "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder " #| "type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " #| "<placeholder type=\"indexterm\" id=\"4\"/>" msgid "" "<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</" "citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a " "public domain in England. Before 1774, there was a strong argument that " "common law copyrights were perpetual. After 1774, the public domain was " "born. For the first time in Anglo-American history, the legal control over " "creative works expired, and the greatest works in English history—" "including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—" "were free of legal restraint. <placeholder type=\"indexterm\" id=\"0\"/> " "<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " "id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=" "\"indexterm\" id=\"4\"/>" msgstr "" "\"Å falle i det fri\". Før rettssaken <citetitle>Donaldson</citetitle> mot " "<citetitle>Beckett</citetitle> var det ingen klar oppfatning om hva å falle " "i det fri innebar. Før 1774 var det jo en allmenn oppfatning om at " "kopiretten var evigvarende. Men etter 1774 ble Public Domain født.For første " "gang i angloamerikansk historie var den lovlige beskyttelsen av et verk " "utgått, og de største verk i engelsk historie - inkludert Shakespeare, " "Bacon, Milton, Johnson og Bunyan - var frie. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" "\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " "<placeholder type=\"indexterm\" id=\"4\"/>" #. f13 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "Rose, 97." msgstr "Rose, 97." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "It is hard for us to imagine, but this decision by the House of Lords " #| "fueled an extraordinarily popular and political reaction. In Scotland, " #| "where most of the \"pirate publishers\" did their work, people celebrated " #| "the decision in the streets. As the <citetitle>Edinburgh Advertiser</" #| "citetitle> 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\"/>" msgid "" "It is hard for us to imagine, but this decision by the House of Lords fueled " "an extraordinarily popular and political reaction. In Scotland, where most " "of the <quote>pirate publishers</quote> did their work, people celebrated " "the decision in the streets. As the <citetitle>Edinburgh Advertiser</" "citetitle> reported, <quote>No private cause has so much engrossed the " "attention of the public, and none has been tried before the House of Lords " "in the decision of which so many individuals were interested.</quote> " "<quote>Great rejoicing in Edinburgh upon victory over literary property: " "bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte " "opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste " "piratugiverne hadde holdt til, ble avgjørelsen feiret i gatene. Som " "<citetitle>Edinburgh Advertiser</citetitle> skrev \"Ingen privatsak har noen " "gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt prøvet i " "Overhuset har interessert så mange enkeltmennesker.\" \"Stor glede i " "Edinburgh etter seieren over litterær eiendom: bål og *illuminations*." "<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "In London, however, at least among publishers, the reaction was equally " "strong in the opposite direction. The <citetitle>Morning Chronicle</" "citetitle> reported:" msgstr "" "I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " "motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" #. type: Content of: <book><part><chapter><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 "" "Gjennom denne avgjørelsen … er verdier til nesten 200 000 pund, som " "er blitt ærlig kjøpt gjennom allment salg, og som i går var eiendom, er nå " "redusert til ingenting. Bokselgerne i London og Westminster, mange av dem " "har solgt hus og eiendom for å kjøpe kopirettigheter, er med ett ruinerte, " "og mange som gjennom mange år har opparbeidet kompetanse for å brødfø " "familien, sitter nå uten en shilling til sine.<placeholder type=\"footnote\" " "id=\"0\"/>" #. PAGE BREAK 105 #. type: Content of: <book><part><chapter><para> #, 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 <emphasis>free</" #| "emphasis>. Not in the sense that copyrights would not be respected, for " #| "of course, for a limited time after a work was published, the bookseller " #| "had an exclusive right to control the publication of that book. And not " #| "in the sense that books could be stolen, for even after a copyright " #| "expired, you still had to buy the book from someone. But <emphasis>free</" #| "emphasis> in the sense that the culture and its growth would no longer be " #| "controlled by a small group of publishers. As every free market does, " #| "this free market of free culture would grow as the consumers and " #| "producers chose. English culture would develop as the many English " #| "readers chose to let it develop— chose in the books they bought and " #| "wrote; chose in the memes they repeated and endorsed. Chose in a " #| "<emphasis>competitive context</emphasis>, not a context in which the " #| "choices about what culture is available to people and how they get access " #| "to it are made by the few despite the wishes of the many." msgid "" "<quote>Ruined</quote> is a bit of an exaggeration. But it is not an " "exaggeration to say that the change was profound. The decision of the House " "of Lords meant that the booksellers could no longer control how culture in " "England would grow and develop. Culture in England was thereafter " "<emphasis>free</emphasis>. Not in the sense that copyrights would not be " "respected, for of course, for a limited time after a work was published, the " "bookseller had an exclusive right to control the publication of that book. " "And not in the sense that books could be stolen, for even after a copyright " "expired, you still had to buy the book from someone. But <emphasis>free</" "emphasis> in the sense that the culture and its growth would no longer be " "controlled by a small group of publishers. As every free market does, this " "free market of free culture would grow as the consumers and producers chose. " "English culture would develop as the many English readers chose to let it " "develop— chose in the books they bought and wrote; chose in the memes " "they repeated and endorsed. Chose in a <emphasis>competitive context</" "emphasis>, not a context in which the choices about what culture is " "available to people and how they get access to it are made by the few " "despite the wishes of the many." msgstr "" "Ruinert er en overdrivelse. Men det er ingen overdrivelse å si at endringen " "var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen " "kontrollere hvordan kulturen i England ville vokse og utvikle seg. Kulturen " "i England var etter dette <emphasis>fri</emphasis>. Ikke i den betydning at " "kopiretten ble ignorert, for utgiverne hadde i en begrenset periode rett " "over trykkingen. Og heller ikke i den betydningen at bøker kunne stjeles, " "for selv etter at boken var falt i det fri, så måtte den kjøpes. Men " "<emphasis>fri</emphasis> i betydningen at kulturen og dens vekst ikke lenger " "var kontrollert av en liten gruppe utgivere. Som alle frie markeder, ville " "dette markedet vokse og utvikle seg etter tilbud og etterspørsel. Den " "engelske kulturen ble nå formet slik flertallet Englands lesere ville at det " "skulle formes - gjennom valget av hva de kjøpte og skrev, gjennom valget av " "*memes* de gjentok og beundret. Valg i en <emphasis>konkurrerende " "sammenheng</emphasis>, ikke der hvor valgene var om hvilken kultur som " "skulle være tilgjengelig for folket og hvor deres tilgang til den ble styrt " "av noen få, på tros av flertallets ønsker." #. type: Content of: <book><part><chapter><para> msgid "" "At least, this was the rule in a world where the Parliament is antimonopoly, " "resistant to the protectionist pleas of publishers. In a world where the " "Parliament is more pliant, free culture would be less protected." msgstr "" "Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " "holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett å " "påvirke, vil den frie kultur være mindre beskyttet." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER SEVEN: Recorders" msgstr "Kapittel sju: Innspillerne" #. type: Content of: <book><part><chapter><para> 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 Else er en filmskaper. Han er mest kjent for sine dokumentarer og har på " "ypperlig vis klart å spre sin kunst. Han er også en lærer, som meg selv, og " "jeg misunner den lojaliteten og beundringen hans studenter har for ham. (Ved " "et uhell møtte jeg to av hans studenter i et middagsselskap og han var deres " "Gud.)" #. type: Content of: <book><part><chapter><para> msgid "" "Else worked on a documentary that I was involved in. At a break, he told me " "a story about the freedom to create with film in America today." msgstr "" "Else arbeidet med en dokumentarfilm hvor også jeg var involvert. I en pause " "så fortalte han meg om hvordan det kunne være å skape film i dagens Amerika." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "San Francisco Opera" msgstr "San Francisco Opera" #. type: Content of: <book><part><chapter><para> msgid "" "In 1990, Else was working on a documentary about Wagner's Ring Cycle. The " "focus was stagehands at the San Francisco Opera. Stagehands are a " "particularly funny and colorful element of an opera. During a show, they " "hang out below the stage in the grips' lounge and in the lighting loft. They " "make a perfect contrast to the art on the stage. <placeholder type=" "\"indexterm\" id=\"0\"/>" msgstr "" "I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var på " "*stagehands* på San Francisco Opera. Stagehands er spesielt morsomt og " "fargerikt innslag i en opera. I løpet av forestillingen oppholder de seg " "blant publikum og på lysloftet. De er en perfekt kontrast til kunsten på " "scenen.<placeholder type=\"indexterm\" id=\"0\"/>" #. PAGE BREAK 107 #. type: Content of: <book><part><chapter><para> msgid "" "During one of the performances, Else was shooting some stagehands playing " "checkers. In one corner of the room was a television set. Playing on the " "television set, while the stagehands played checkers and the opera company " "played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " "this touch of cartoon helped capture the flavor of what was special about " "the scene." msgstr "" "Under en forestilling, filmet Else noen stagehands som spilte *checkers*. I " "et hjørne av rommet stod det et fjernsynsapparat. På fjernsynet, mens " "forestillingen pågikk og operakompaniet spilte Wagner, gikk <citetitle>The " "Simpsons</citetitle>. Slik Else så det, så hjalp dette tegnefilm-innslaget " "med å fange det spesielle med scenen." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Years later, when he finally got funding to complete the film, Else " #| "attempted to clear the rights for those few seconds of <citetitle>The " #| "Simpsons</citetitle>. For of course, those few seconds are copyrighted; " #| "and of course, to use copyrighted material you need the permission of the " #| "copyright owner, unless \"fair use\" or some other privilege applies." msgid "" "Years later, when he finally got funding to complete the film, Else " "attempted to clear the rights for those few seconds of <citetitle>The " "Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " "of course, to use copyrighted material you need the permission of the " "copyright owner, unless <quote>fair use</quote> or some other privilege " "applies." msgstr "" "Så noen år senere, da han endelig hadde fått ordnet den siste " "finansieringen, ville Else skaffe rettigheter til å bruke disse få sekundene " "med <citetitle>The Simpson</citetitle>. For disse få sekundene var selvsagt " "beskyttet av opphavsretten, og for å bruke beskyttet materiale må man ha " "tillatelse fra eieren, dersom det ikke er \"rimelig bruk\" eller det " "foreligger spesielle avtaler." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Gracie Films" msgstr "Gracie Films" #. type: Content of: <book><part><chapter><para> msgid "" "Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " "to get permission. Groening approved the shot. The shot was a four-and-a-" "halfsecond image on a tiny television set in the corner of the room. How " "could it hurt? Groening was happy to have it in the film, but he told Else " "to contact Gracie Films, the company that produces the program. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Else kontaktet <citetitle>Simpson</citetitle>-skaper Matt Groenings kontor " "for å få tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om " "fire og et halvt sekund på et lite fjernsyn, bakerst i et hjørne av rommet. " "Hvordan kunne det skade? Groening var glad for å få ha det med i filmen, men " "han ba Else om å kontakte Gracie Films, firmaet som produserer programmet." "<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Gracie Films was okay with it, too, but they, like Groening, wanted to be " "careful. So they told Else to contact Fox, Gracie's parent company. Else " "called Fox and told them about the clip in the corner of the one room shot " "of the film. Matt Groening had already given permission, Else said. He was " "just confirming the permission with Fox. <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Gracie Films sa også at det var greit, men de, slik som Groening, ønsket å " "være forsiktige, og ba Else om å kontakte Fox, konsernet som eide Gracie. Og " "Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i " "hjørnet i bakgrunnen i ett rom i filmen. Matt Groening hadde allerede gitt " "sin tillatelse, sa Else. Han ville bare få det avklart med Fox.<placeholder " "type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Then, as Else told me, \"two things happened. First we discovered " #| "… that Matt Groening doesn't own his own creation—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 " #| "<citetitle>Simpsons</citetitle> which was in the corner of the shot.\"" msgid "" "Then, as Else told me, <quote>two things happened. First we discovered " "… that Matt Groening doesn't own his own creation—or at least " "that someone [at Fox] believes he doesn't own his own creation.</quote> And " "second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to " "use this four-point-five seconds of … entirely unsolicited " "<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>" msgstr "" "Deretter, fortalte Else: \"skjedde to ting. Først oppdaget vi … at " "Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos Fox] " "trodde at han ikke eide sitt eget verk.\" Som det andre krevde Fox \"ti " "tusen dollar i lisensavgift for disse fire og et halvt sekundene med " "… fullstendig tilfeldig <citetitle>Simpson</citetitle> som var i et " "hjørne i ett opptak.\"" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "Else was certain there was a mistake. He worked his way up to someone he " #| "thought was a vice president for licensing, Rebecca Herrera. He " #| "explained to her, \"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." msgid "" "Else was certain there was a mistake. He worked his way up to someone he " "thought was a vice president for licensing, Rebecca Herrera. He explained " "to her, <quote>There must be some mistake here. … We're asking for " "your educational rate on this.</quote> That was the educational rate, " "Herrera told Else. A day or so later, Else called again to confirm what he " "had been told." msgstr "" "Ellers var sikker på at det var en feil. Han fikk tak i noen som han trodde " "var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at " "\"det må være en feil her … Vi ber deg om en utdanningssats på dette." "\" Og de hadde fått utdanningssats, fortalte Herrera. Kort tid etter ringte " "Else igjen for å få dette bekreftet." #. PAGE BREAK 108 #. type: Content of: <book><part><chapter><para> #, 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 <citetitle>The Simpsons</citetitle> in the corner of a shot in a " #| "documentary film about Wagner's Ring Cycle. And then, astonishingly, " #| "Herrera told Else, \"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.\"" msgid "" "<quote>I wanted to make sure I had my facts straight,</quote> he told me. " "<quote>Yes, you have your facts straight,</quote> she said. It would cost " "$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner " "of a shot in a documentary film about Wagner's Ring Cycle. And then, " "astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you " "over to our attorneys.</quote> As an assistant to Herrera told Else later " "on, <quote>They don't give a shit. They just want the money.</quote>" msgstr "" "\"Jeg måtte være sikker på at jeg hadde riktige opplysninger foran meg,\" sa " "han. \"Ja, du har riktige opplysninger,\" sa hun. Det ville koste $10 000 å " "bruke dette lille klippet av <citetitle>The Simpson</citetitle>, plassert " "bakerst i et hjørne i en scene i en dokumentar om Wagners Ring Cycle. Som om " "det ikke var nok, forbløffet Herrera Else med å si \"Og om du siterer meg, " "vil du høre fra våre advokater.\" En av Herreras assistenter fortalte Else " "at \"De bryr seg ikke i det heletatt. Alt de vil ha er pengene.\"" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Day After Trinity, The" msgstr "" #. type: Content of: <book><part><chapter><para> msgid "" "Else didn't have the money to buy the right to replay what was playing on " "the television backstage at the San Francisco Opera. To reproduce this " "reality was beyond the documentary filmmaker's budget. At the very last " "minute before the film was to be released, Else digitally replaced the shot " "with a clip from another film that he had worked on, <citetitle>The Day " "After Trinity</citetitle>, from ten years before. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Men Else hadde ikke penger til å kjøpe lisens for klippet. Så å gjenskape " "denne delen av virkeligheten, lå langt utenfor hans budsjett. Like før " "dokumentaren skulle slippes, redigerte Else inn et annet klipp på " "fjernsynet, et klipp fra en av hans andre filmer <citetitle>The Day After " "Trinity</citetitle> fra ti år tidligere. <placeholder type=\"indexterm\" id=" "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "There's no doubt that someone, whether Matt Groening or Fox, owns the " "copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " "property. To use that copyrighted material thus sometimes requires the " "permission of the copyright owner. If the use that Else wanted to make of " "the <citetitle>Simpsons</citetitle> copyright were one of the uses " "restricted by the law, then he would need to get the permission of the " "copyright owner before he could use the work in that way. And in a free " "market, it is the owner of the copyright who gets to set the price for any " "use that the law says the owner gets to control." msgstr "" "Det er ingen tvil om at noen, enten det er er Matt Groening eller Fox, eier " "rettighetene til <citetitle>The Simpsons</citetitle>. Rettighetene er deres " "eiendom. For å bruke beskyttet mteriale, kreves det ofte at men får " "tillatelse fra eieren eller eierne. Dersom Else ønsket å bruke " "<citetitle>The Simpsons</citetitle> til noe hvor loven gir verket " "beskyttelse, så må han innhente tillatelse fra eieren før han kan bruke det. " "Og i et fritt markes er det eieren som bestemmer hvor mye han/hun vil ta for " "hvilken som helst bruk (hvor loven krever tillatelse fra eier)." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "For example, \"public performance\" is a use of <citetitle>The Simpsons</" #| "citetitle> that the copyright owner gets to control. If you take a " #| "selection of favorite episodes, rent a movie theater, and charge for " #| "tickets to come see \"My Favorite <citetitle>Simpsons</citetitle>,\" then " #| "you need to get permission from the copyright owner. And the copyright " #| "owner (rightly, in my view) can charge whatever she wants—$10 or " #| "$1,000,000. That's her right, as set by the law." msgid "" "For example, <quote>public performance</quote> is a use of <citetitle>The " "Simpsons</citetitle> that the copyright owner gets to control. If you take a " "selection of favorite episodes, rent a movie theater, and charge for tickets " "to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then " "you need to get permission from the copyright owner. And the copyright owner " "(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. " "That's her right, as set by the law." msgstr "" "For eksempel \"offentlig fremvisning\"* av <citetitle>The Simpson</" "citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du " "velger ut dine favorittepisoder, leier en kinosal og selger billetter til " "\"Mine <citetitle>Simpson</citetitle>-favoritter\", så må du ha tillatelse " "fra rettighetsinnhaveren (eieren). Og eieren kan (med rette, slik jeg ser " "det) kreve hvor mye han vil; $10ellr $1 000 000. Det er hans rett ifølge " "loven." #. f1 #. type: Content of: <book><part><chapter><para><footnote><para> #, 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 " #| "<citetitle>Eldred</citetitle>\" (draft on file with author), University " #| "of Chicago Law School, 5 August 2003." msgid "" "For an excellent argument that such use is <quote>fair use,</quote> but that " "lawyers don't permit recognition that it is <quote>fair use,</quote> see " "Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory " "Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file " "with author), University of Chicago Law School, 5 August 2003." msgstr "" "Ønsker du å lese en flott redegjørelse om hvordan dette er \"fair use\", og " "hvordan advokatene ikke anerkjenner det, så les Richard A. Posner og William " "F. Patry, \"Fair Use and Statutory Reform in the Wake of <citetitle>Eldred</" "citetitle> \" (utkast arkivert hos forfatteren), University of Chicago Law " "School, 5. august 2003." #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "But when lawyers hear this story about Jon Else and Fox, their first " #| "thought is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's " #| "use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" #| "citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" #| "citetitle>—and fair use does not require the permission of anyone." msgid "" "But when lawyers hear this story about Jon Else and Fox, their first thought " "is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's " "use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</" "citetitle> episode is clearly a fair use of <citetitle>The Simpsons</" "citetitle>—and fair use does not require the permission of anyone." msgstr "" "Men når jurister hører denne historien om Jon Else og Fox, så er deres " "første tanke \"rimelig bruk\".<placeholder type=\"footnote\" id=\"0\"/> " "Elses bruk av 4,5 sekunder med et indirekte klipp av en <citetitle>Simpsons</" "citetitle>-episode er et klart eksempel på \"rimelig bruk\" av " "<citetitle>The Simpsons</citetitle>— og \"rimelig bruk\" krever ingen " "tillatelse fra noen." #. PAGE BREAK 109 #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "So I asked Else why he didn't just rely upon \"fair use.\" Here's his " #| "reply:" msgid "" "So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's " "his reply:" msgstr "" "Så jeg spurte Else om hvorfor han ikke bare stolte på \"fair use\". Og her " "er hans svar:" #. type: Content of: <book><part><chapter><blockquote><para> #, fuzzy #| msgid "" #| "The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in " #| "the gulf between what lawyers find irrelevant in some abstract sense, and " #| "what is crushingly relevant in practice to those of us actually trying to " #| "make and broadcast documentaries. I never had any doubt that it was " #| "\"clearly fair use\" in an absolute legal sense. But I couldn't rely on " #| "the concept in any concrete way. Here's why:" msgid "" "The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " "gulf between what lawyers find irrelevant in some abstract sense, and what " "is crushingly relevant in practice to those of us actually trying to make " "and broadcast documentaries. I never had any doubt that it was " "<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't " "rely on the concept in any concrete way. Here's why:" msgstr "" "<citetitle>Simpsons</citetitle>-fiaskoen lærte meg om hvor stor avstand det " "var mellom det jurister finner urelevant på en abstrakt måte, og hva som er " "knusende relevant på en konkret måte for oss som prøver å lage og kringkaste " "dokumentarer. Jeg tvilte aldri på at dette helt klart var \"rimelig bruk\", " "men jeg kunne ikke stole på konseptet på noen konkret måte. Og dette er " "grunnen:" #. 1. #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> #, fuzzy #| msgid "" #| "Before our films can be broadcast, the network requires that we buy " #| "Errors and Omissions insurance. The carriers require a detailed \"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." msgid "" "Before our films can be broadcast, the network requires that we buy Errors " "and Omissions insurance. The carriers require a detailed <quote>visual cue " "sheet</quote> listing the source and licensing status of each shot in the " "film. They take a dim view of <quote>fair use,</quote> and a claim of " "<quote>fair use</quote> can grind the application process to a halt." msgstr "" "Før våre filmer kan kringkastes, krever nettverket at vi kjøper en \"Errors " "and Omissions\"-forsikring. Den krever en detailjert \"visual cue sheet\" " "med alle kilder og lisens-status på alle scener i filmen. De har et smalt " "syn på \"fair use\", og å påstå at noe er nettopp det kan forsinke, og i " "verste fall stoppe, prosessen." #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para><indexterm><primary> msgid "Lucas, George" msgstr "Lucas, George" #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> msgid "" "I probably never should have asked Matt Groening in the first place. But I " "knew (at least from folklore) that Fox had a history of tracking down and " "stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " "Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " "usage. So I decided to play by the book, thinking that we would be granted " "free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " "a documentary producer working to exhaustion on a shoestring, the last thing " "I wanted was to risk legal trouble, even nuisance legal trouble, and even to " "defend a principle. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste " "(ihvertfall fra rykter) at Fox tidligere hadde brukt å jakte på og stoppe " "ulisensiert bruk av <citetitle>The Simpsons</citetitle>, på samme måte som " "George Lucas var veldig ivrig på å forfølge bruken av <citetitle>Star Wars</" "citetitle>. Så jeg bestemte meg for å følge boka, og trodde at vi kulle få " "til en gratis, i alle fall rimelig, avtale for fire sekunders bruk av " "<citetitle>The Simpsons</citetitle>. Som en dokumentarskaper, arbeidende på " "randen av utryddelse, var det siste jeg ønsket en juridisk strid, selv for å " "forsvare et prinsipp." #. 3. #. PAGE BREAK 110 #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> #, fuzzy #| msgid "" #| "I did, in fact, speak with one of your colleagues at Stanford Law School " #| "… 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." 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 <quote>depose and litigate you to within an inch of your life,</quote> " "regardless of the merits of my claim. He made clear that it would boil down " "to who had the bigger legal department and the deeper pockets, me or them." msgstr "" "Jeg snakket faktisk med en av dine kolleger på Stanford Law School … " "som bekreftet at dette var rimelig bruk. Han bekreftet også at Fox ville " "\"depose and litigate you to within an inch of your life\", uavhengig av " "sannheten i mine krav. Han gjorde det klart at alt ville koke ned til hvem " "som hadde flest jurister og dypest lommer, jeg eller dem." #. 4. #. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para> msgid "" "The question of fair use usually comes up at the end of the project, when we " "are up against a release deadline and out of money." msgstr "" "Spørsmålet om \"fair use\" dukker om regel opp helt mot slutten av " "prosjektet, når vi nærmer oss siste frist og er tomme for penger." #. type: Content of: <book><part><chapter><para> msgid "" "In theory, fair use means you need no permission. The theory therefore " "supports free culture and insulates against a permission culture. But in " "practice, fair use functions very differently. The fuzzy lines of the law, " "tied to the extraordinary liability if lines are crossed, means that the " "effective fair use for many types of creators is slight. The law has the " "right aim; practice has defeated the aim." msgstr "" "I teorien betyr \"fair use\" at du ikke trenger tillatelse. Teorien støtter " "derfor den frie kultur og arbeider mot tillatelseskulturen. Men i praksis " "fungerer \"fair use\" helt annerledes. Men de uklare linjene i lovverket, " "samt de fryktelige konsekvensene dersom man tar feil, gjør at mange " "kunstnere ikke stoler på \"fair use\". Loven har en svært god hensikt, men " "praksisen har ikke fulgt opp." #. type: Content of: <book><part><chapter><para> msgid "" "This practice shows just how far the law has come from its eighteenth-" "century roots. The law was born as a shield to protect publishers' profits " "against the unfair competition of a pirate. It has matured into a sword that " "interferes with any use, transformative or not." msgstr "" "Dette eksempelet viser hvor langt denne loven har kommet fra sine " "syttenhundretalls røtter. Loven som skulle beskytte utgiverne mot " "urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned på " "_all_ bruk, transformativ* eller ikke." #. type: Content of: <book><part><chapter><title> msgid "CHAPTER EIGHT: Transformers" msgstr "Kapittel åtte: Omformere" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Allen, Paul" msgstr "Allen, Paul" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Alben, Alex" msgstr "Alben, Alex" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Alben had a special interest in new technology. He was intrigued by the " "emerging market for CD-ROM technology—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. idéen var å presentere alt arbeidet av eastwood, med klipp fra " "hans filmer og intervjuer med tallene viktig til sin karriere." #. type: Content of: <book><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Then Alben and his team decided to include actual film clips. <quote>Our " "goal was that we were going to have a clip from every one of Eastwood's " "films,</quote> Alben told me. It was here that the problem arose. <quote>No " "one had ever really done this before,</quote> Alben explained. <quote>No one " "had ever tried to do this in the context of an artistic look at an actor's " "career.</quote>" msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, " "<quote>Well, what will it take?</quote>" msgstr "" "Alben brakt idéen til michael slade, ceo i starwave. Slade som ble spurt, " "\"Vel, hva vil det ta?\"" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "artists" msgstr "artister" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary> msgid "publicity rights on images of" msgstr "" #. type: Content of: <book><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Technically, the rights that Alben had to clear were mainly those of " "publicity—rights an artist has to control the commercial exploitation " "of his image. But these rights, too, burden <quote>Rip, Mix, Burn</quote> " "creativity, as this chapter evinces. <placeholder type=\"indexterm\" id=" "\"0\"/>" 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. <placeholder " "type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><para> msgid "" "Alben replied, <quote>Well, we're going to have to clear rights from " "everyone who appears in these films, and the music and everything else that " "we want to use in these film clips.</quote> Slade said, <quote>Great! Go for " "it.</quote><placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><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 idé 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><part><chapter><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><part><chapter><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—of course we were " "going to use the <quote>Make my day</quote> clip from <citetitle>Dirty " "Harry</citetitle>. But you then need to get the guy on the ground who's " "wiggling under the gun and you need to get his permission. And then you " "have to decide what you are going to pay him." msgstr "" "så vi 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><part><chapter><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—some of them were " "hard to identify because in Eastwood movies you can't tell who's the guy " "crashing through the glass—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><part><chapter><para> #, mtrans, fuzzy msgid "" "Some actors were glad to help—Donald Sutherland, for example, followed " "up himself to be sure that the rights had been cleared. Others were " "dumbfounded at their good fortune. Alben would ask, <quote>Hey, can I pay " "you $600 or maybe if you were in two films, you know, $1,200?</quote> And " "they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</" "quote> And some of course were a bit difficult (estranged ex-wives, in " "particular). But eventually, Alben and his team had cleared the rights to " "this retrospective CD-ROM on Clint Eastwood's career." msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "It was one <emphasis>year</emphasis> later—<quote>and even then we " "weren't sure whether we were totally in the clear.</quote>" msgstr "" "Det var ett år senere, \"og selv da vi var ikke sikker på om vi var helt i " "klartekst.\"" #. type: Content of: <book><part><chapter><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><part><chapter><blockquote><para> #, mtrans, fuzzy msgid "" "Everyone thought it would be too hard. Everyone just threw up their hands " "and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the " "music, there's the screenplay, there's the director, there's the actors.</" "quote> But we just broke it down. We just put it into its constituent parts " "and said, <quote>Okay, there's this many actors, this many directors, " "… this many musicians,</quote> 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><part><chapter><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." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Drucker, Peter" msgstr "Drucker, Peter" #. f2 #. type: Content of: <book><part><chapter><para><footnote><para> msgid "" "U.S. Department of Commerce Office of Acquisition Management, " "<citetitle>Seven Steps to Performance-Based Services Acquisition</" "citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " "#22</ulink>." msgstr "" #. type: Content of: <book><part><chapter><para> msgid "" "But I pressed Alben about how weird it seems that it would have to take a " "year's work simply to clear rights. No doubt Alben had done this " "efficiently, but as Peter Drucker has famously quipped, <quote>There is " "nothing so useless as doing efficiently that which should not be done at all." "</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked " "Alben, that this is the way a new work has to be made?" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "For, as he acknowledged, <quote>very few … have the time and " "resources, and the will to do this,</quote> and thus, very few such works " "would ever be made. Does it make sense, I asked him, from the standpoint of " "what anybody really thought they were ever giving rights for originally, " "that you would have to go clear rights for these kinds of clips?" msgstr "" "for, som han 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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Or at least, is this <emphasis>how</emphasis> the artist should be " "compensated? Would it make sense, I asked, for there to be some kind of " "statutory license that someone could pay and be free to make derivative use " "of clips like this? Did it really make sense that a follow-on creator would " "have to track down every artist, actor, director, musician, and get explicit " "permission from each? Wouldn't a lot more be created if the legal part of " "the creative process could be made to be more clean?" msgstr "" "eller 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><part><chapter><blockquote><para> #, mtrans, fuzzy msgid "" "Absolutely. I think that if there were some fair-licensing mechanism—" "where you weren't subject to hold-ups and you weren't subject to estranged " "former spouses—you'd see a lot more of this work, because it wouldn't " "be so daunting to try to put together a retrospective of someone's career " "and meaningfully illustrate it with lots of media from that person's career. " "You'd build in a cost as the producer of one of these things. You'd build in " "a cost of paying X dollars to the talent that performed. But it would be a " "known cost. That's the thing that trips everybody up and makes this kind of " "product hard to get off the ground. If you knew I have a hundred minutes of " "film in this product and it's going to cost me X, then you build your budget " "around it, and you can get investments and everything else that you need to " "produce it. But if you say, <quote>Oh, I want a hundred minutes of something " "and I have no idea what it's going to cost me, and a certain number of " "people are going to hold me up for money,</quote> then it becomes difficult " "to put one of these things together." msgstr "" "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><part><chapter><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, " "<quote>Does this still make sense?</quote>" 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 idéen 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><part><chapter><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><part><chapter><para> msgid "" "The video was a brilliant collage of film from every period in the twentieth " "century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " "episode. The execution was perfect, down to the sixty-minute stopwatch. The " "judges loved every minute of it." msgstr "" "Videoen var en glimrende sammenstilling av filmer fra hver periode i det " "tjuende århundret, rammet inn rundt idéen om en episode i TV-serien " "<citetitle>60 Minutes</citetitle>. Utførelsen var perfekt, ned til seksti " "minutter stoppeklokken. Dommerne elsket enhver minutt av den." #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Nimmer, David" msgstr "Nimmer, David" #. type: Content of: <book><part><chapter><para> #, fuzzy #| msgid "" #| "When the lights came up, I looked over to my copanelist, David Nimmer, " #| "perhaps the leading copyright scholar and practitioner in the nation. He " #| "had an astonished look on his face, as he peered across the room of over " #| "250 well-entertained judges. Taking an ominous tone, he began his talk " #| "with a question: \"Do you know how many federal laws were just violated " #| "in this room?\"" msgid "" "When the lights came up, I looked over to my copanelist, David Nimmer, " "perhaps the leading copyright scholar and practitioner in the nation. He had " "an astonished look on his face, as he peered across the room of over 250 " "well-entertained judges. Taking an ominous tone, he began his talk with a " "question: <quote>Do you know how many federal laws were just violated in " "this room?</quote>" msgstr "" "Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer, " "kanskje den ledende opphavsrettakademiker og utøver i nasjonen. Han hadde en " "forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over " "250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin " "tale med et spørsmål: \"Vet dere hvor mange føderale lover som nettopp brutt " "i dette rommet?\"" #. type: Content of: <book><part><chapter><indexterm><primary> msgid "Boies, David" msgstr "Boies, David" #. type: Content of: <book><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "We live in a <quote>cut and paste</quote> culture enabled by technology. " "Anyone building a presentation knows the extraordinary freedom that the cut " "and paste architecture of the Internet created—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." #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Camp Chaos" msgstr "" #. type: Content of: <book><part><chapter><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><para> #, mtrans, fuzzy msgid "" "All of these creations are technically illegal. Even if the creators wanted " "to be <quote>legal,</quote> the cost of complying with the law is impossibly " "high. Therefore, for the law-abiding sorts, a wealth of creativity is never " "made. And for that part that is made, if it doesn't follow the clearance " "rules, it doesn't get released." msgstr "" "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><part><chapter><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 <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, " "the system could simply make it easy for follow-on creators to compensate " "artists without requiring an army of lawyers to come along: a rule, for " "example, that says <quote>the royalty owed the copyright owner of an " "unregistered work for the derivative reuse of his work will be a flat 1 " "percent of net revenues, to be held in escrow for the copyright owner.</" "quote> Under this rule, the copyright owner could benefit from some royalty, " "but he would not have the benefit of a full property right (meaning the " "right to name his own price) unless he registers the work." msgstr "" "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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "In February 2003, DreamWorks studios announced an agreement with Mike Myers, " "the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin " "Powers. According to the announcement, Myers and Dream-Works would work " "together to form a <quote>unique filmmaking pact.</quote> Under the " "agreement, DreamWorks <quote>will acquire the rights to existing motion " "picture hits and classics, write new storylines and—with the use of " "stateof-the-art digital technology—insert Myers and other actors into " "the film, thereby creating an entirely new piece of entertainment.</quote>" 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><part><chapter><para> #, mtrans, fuzzy msgid "" "The announcement called this <quote>film sampling.</quote> As Myers " "explained, <quote>Film Sampling is an exciting way to put an original spin " "on existing films and allow audiences to see old movies in a new light. Rap " "artists have been doing this for years with music and now we are able to " "take that same concept and apply it to film.</quote> Steven Spielberg is " "quoted as saying, <quote>If anyone can create a way to bring old films to " "new audiences, it is Mike.</quote>" msgstr "" "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><part><chapter><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—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><part><chapter><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 <quote>fair use.</" "quote> Much of <quote>sampling</quote> should be considered <quote>fair use." "</quote> But few would rely upon so weak a doctrine to create. That leads to " "the second reason that the privilege is reserved for the few: The costs of " "negotiating the legal rights for the creative reuse of content are " "astronomically high. These costs mirror the costs with fair use: You either " "pay a lawyer to defend your fair use rights or pay a lawyer to track down " "permissions so you don't have to rely upon fair use rights. Either way, the " "creative process is a process of paying lawyers—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><part><chapter><title> msgid "CHAPTER NINE: Collectors" msgstr "Kapittel ni: Samlere" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "In April 1996, millions of <quote>bots</quote>—computer codes designed " "to <quote>spider,</quote> or automatically search the Internet and copy " "content—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\"—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><part><chapter><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 <quote>the Way Back Machine,</quote> you could enter a Web " "page, and see all of its copies going back to 1996, as well as when those " "pages changed." msgstr "" "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><part><chapter><para> #, mtrans, fuzzy msgid "" "This is the thing about the Internet that Orwell would have appreciated. In " "the dystopia described in <citetitle>1984</citetitle>, old newspapers were " "constantly updated to assure that the current view of the world, approved of " "by the government, was not contradicted by previous news reports." msgstr "" "Dette er 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><part><chapter><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><part><chapter><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—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><part><chapter><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, <quote>Combat Operations in Iraq Have Ended.</quote> That was later " "changed, without notice, to <quote>Major Combat Operations in Iraq Have " "Ended.</quote> E-mail from Brewster Kahle, 1 December 2003." msgstr "" "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><part><chapter><para> msgid "" "Until the Way Back Machine, at least. With the Way Back Machine, and the " "Internet Archive underlying it, you can see what the Internet was. You have " "the power to see what you remember. More importantly, perhaps, you also have " "the power to find what you don't remember and what others might prefer you " "forget.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><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—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><part><chapter><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 <emphasis>all</emphasis> forget history. The " "key is whether we have a way to go back to rediscover what we forget. More " "directly, the key is whether an objective past can keep us honest. Libraries " "help do that, by collecting content and keeping it, for schoolchildren, for " "researchers, for grandma. A free society presumes this knowedge." msgstr "" "Det 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><part><chapter><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—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><part><chapter><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><part><chapter><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 <quote>two hundred and thirty terabytes " "of material</quote>—and was <quote>ten times larger than the Library " "of Congress.</quote> And this was just the first of the archives that Kahle " "set out to build. In addition to the Internet Archive, Kahle has been " "constructing the Television Archive. Television, it turns out, is even more " "ephemeral than the Internet. While much of twentieth-century culture was " "constructed through television, only a tiny proportion of that culture is " "available for anyone to see today. Three hours of news are recorded each " "evening by Vanderbilt University—thanks to a specific exemption in the " "copyright law. That content is indexed, and is available to scholars for a " "very low fee. <quote>But other than that, [television] is almost unavailable," "</quote> Kahle told me. <quote>If you were Barbara Walters you could get " "access to [the archives], but if you are just a graduate student?</quote> As " "Kahle put it," msgstr "" "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," #. type: Content of: <book><part><chapter><blockquote><indexterm><primary> msgid "Quayle, Dan" msgstr "Quayle, Dan" #. PAGE BREAK 122 #. type: Content of: <book><part><chapter><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 <citetitle>60 Minutes</citetitle> 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><part><chapter><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><part><chapter><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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at " "the Library of Congress,</quote> <citetitle>Film Library Quarterly</" "citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate " "Won't Wait: A History of Film Preservation in the United States</citetitle> " "( Jefferson, N.C.: McFarland & 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 & Co, 1992), 36." #. type: Content of: <book><part><chapter><para> msgid "" "These rules applied to film as well. But in 1915, the Library of Congress " "made an exception for film. Film could be copyrighted so long as such " "deposits were made. But the filmmaker was then allowed to borrow back the " "deposits—for an unlimited time at no cost. In 1915 alone, there were " "more than 5,475 films deposited and <quote>borrowed back.</quote> Thus, when " "the copyrights to films expire, there is no copy held by any library. The " "copy exists—if it exists at all—in the library archive of the " "film company.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "The same is generally true about television. Television broadcasts were " "originally not copyrighted—there was no way to capture the broadcasts, " "so there was no fear of <quote>theft.</quote> But as technology enabled " "capturing, broadcasters relied increasingly upon the law. The law required " "they make a copy of each broadcast for the work to be <quote>copyrighted.</" "quote> But those copies were simply kept by the broadcasters. No library had " "any right to them; the government didn't demand them. The content of this " "part of American culture is practically invisible to anyone who would look." msgstr "" "det samme 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><part><chapter><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><part><chapter><para><indexterm><primary> msgid "Movie Archive" msgstr "" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "Kahle had the same idea with film. Working with Rick Prelinger, whose " "archive of film includes close to 45,000 <quote>ephemeral films</quote> " "(meaning films other than Hollywood movies, films that were never " "copyrighted), Kahle established the Movie Archive. Prelinger let Kahle " "digitize 1,300 films in this archive and post those films on the Internet to " "be downloaded for free. Prelinger's is a for-profit company. It sells copies " "of these films as stock footage. What he has discovered is that after he " "made a significant chunk available for free, his stock footage sales went up " "dramatically. People could easily find the material they wanted to use. Some " "downloaded that material and made films on their own. Others purchased " "copies to enable other films to be made. Either way, the archive enabled " "access to this important part of our culture. Want to see a copy of the " "<quote>Duck and Cover</quote> film that instructed children how to save " "themselves in the middle of nuclear attack? Go to archive.org, and you can " "download the film in a few minutes—for free. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><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><part><chapter><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—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><part><chapter><para> #, mtrans, fuzzy msgid "" "For here is an idea that we should more clearly recognize. Every bit of " "creative property goes through different <quote>lives.</quote> In its first " "life, if the creator is lucky, the content is sold. In such cases the " "commercial market is successful for the creator. The vast majority of " "creative property doesn't enjoy such success, but some clearly does. For " "that content, commercial life is extremely important. Without this " "commercial market, there would be, many argue, much less creativity." msgstr "" "Her er en idé som vi 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><part><chapter><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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord, " "Bar Owner Starts a New Chapter by Adopting Business,</quote> " "<citetitle>Chicago Tribune</citetitle>, 5 September 1997, at Metro Lake 1L. " "Of books published between 1927 and 1946, only 2.2 percent were in print in " "2002. R. Anthony Reese, <quote>The First Sale Doctrine in the Era of Digital " "Networks,</quote> <citetitle>Boston College Law Review</citetitle> 44 " "(2003): 593 n. 51." msgstr "" "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><part><chapter><para> msgid "" "The same has always been true about books. A book goes out of print very " "quickly (the average today is after about a year<placeholder type=\"footnote" "\" id=\"0\"/>). After it is out of print, it can be sold in used book stores " "without the copyright owner getting anything and stored in libraries, where " "many get to read the book, also for free. Used book stores and libraries are " "thus the second life of a book. That second life is extremely important to " "the spread and stability of culture." msgstr "" #. type: Content of: <book><part><chapter><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—" "television, movies, music, radio, the Internet—there is no guarantee " "of a second life. For these sorts of culture, it is as if we've replaced " "libraries with Barnes & 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 " "& 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><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><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. <emphasis>When</emphasis> the commercial " "life of creative property ends, I don't know. But it does. And whenever it " "does, Kahle and his archive hint at a world where this knowledge, and " "culture, remains perpetually available. Some will draw upon it to understand " "it; some to criticize it. Some will use it, as Walt Disney did, to re-create " "the past for the future. These technologies promise something that had " "become unimaginable for much of our past—a future <emphasis>for</" "emphasis> our past. The technology of digital arts could make the dream of " "the Library of Alexandria real again." msgstr "" "Kahle er ikke den eneste 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><part><chapter><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 <quote>archives,</quote> as warm as the idea of a <quote>library</" "quote> might seem, the <quote>content</quote> that is collected in these " "digital spaces is also someone's <quote>property.</quote> And the law of " "property restricts the freedoms that Kahle and others would exercise." msgstr "" "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 idéen 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><part><chapter><title> #, fuzzy #| msgid "CHAPTER TEN: \"Property\"" msgid "CHAPTER TEN: <quote>Property</quote>" msgstr "Kapittel ti: <quote>Eiendom</quote>" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Johnson, Lyndon" msgstr "Johnson, Lyndon" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Kennedy, John F." msgstr "Kennedy, John F." #. type: Content of: <book><part><chapter><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—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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/>" 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><part><chapter><para><indexterm><primary> msgid "Disney, Inc." msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Sony Pictures Entertainment" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "MGM" msgstr "MGM" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Paramount Pictures" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Twentieth Century Fox" msgstr "" #. type: Content of: <book><part><chapter><para><indexterm><primary> msgid "Universal Pictures" msgstr "" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Warner Brothers" msgstr "" #. type: Content of: <book><part><chapter><para> #, 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. <placeholder type=" "\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " "<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" " "id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> <placeholder type=" "\"indexterm\" id=\"5\"/> <placeholder type=\"indexterm\" id=\"6\"/>" 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><part><chapter><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—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><part><chapter><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 " "<quote>creative property.</quote>" 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><part><chapter><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><part><chapter><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><part><chapter><blockquote><para> msgid "" "No matter the lengthy arguments made, no matter the charges and the counter-" "charges, no matter the tumult and the shouting, reasonable men and women " "will keep returning to the fundamental issue, the central theme which " "animates this entire debate: <emphasis>Creative property owners must be " "accorded the same rights and protection resident in all other property " "owners in the nation</emphasis>. That is the issue. That is the question. " "And that is the rostrum on which this entire hearing and the debates to " "follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 129 #. type: Content of: <book><part><chapter><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 " "<quote>central theme</quote> to which <quote>reasonable men and women</" "quote> will return is this: <quote>Creative property owners must be accorded " "the same rights and protections resident in all other property owners in the " "nation.</quote> There are no second-class citizens, Valenti might have " "continued. There should be no second-class property owners." msgstr "" "strategien for denne 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><part><chapter><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 <emphasis>anyone</emphasis> who is serious in this debate than this " "claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " "perhaps the nation's foremost extremist when it comes to the nature and " "scope of <quote>creative property.</quote> His views have <emphasis>no</" "emphasis> reasonable connection to our actual legal tradition, even if the " "subtle pull of his Texan charm has slowly redefined that tradition, at least " "in Washington." msgstr "" "denne påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt " "med slike klarhet som å gjøre idéen 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><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Lawyers speak of <quote>property</quote> not as an absolute thing, but as a " "bundle of rights that are sometimes associated with a particular object. " "Thus, my <quote>property right</quote> to my car gives me the right to " "exclusive use, but not the right to drive at 150 miles an hour. For the best " "effort to connect the ordinary meaning of <quote>property</quote> to " "<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property " "and the Constitution</citetitle> (New Haven: Yale University Press, 1977), " "26–27." 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><part><chapter><para> msgid "" "While <quote>creative property</quote> is certainly <quote>property</quote> " "in a nerdy and precise sense that lawyers are trained to understand," "<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor " "should it be, that <quote>creative property owners</quote> have been " "<quote>accorded the same rights and protection resident in all other " "property owners.</quote> Indeed, if creative property owners were given the " "same rights as all other property owners, that would effect a radical, and " "radically undesirable, change in our tradition." msgstr "" #. type: Content of: <book><part><chapter><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><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "The framers of our Constitution loved <quote>property.</quote> Indeed, so " "strongly did they love property that they built into the Constitution an " "important requirement. If the government takes your property—if it " "condemns your house, or acquires a slice of land from your farm—it is " "required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay " "you <quote>just compensation</quote> for that taking. The Constitution thus " "guarantees that property is, in a certain sense, sacred. It cannot " "<emphasis>ever</emphasis> be taken from the property owner unless the " "government pays for the privilege." msgstr "" "forfatterne 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><part><chapter><para> #, mtrans, fuzzy msgid "" "Yet the very same Constitution speaks very differently about what Valenti " "calls <quote>creative property.</quote> In the clause granting Congress the " "power to create <quote>creative property,</quote> the Constitution " "<emphasis>requires</emphasis> that after a <quote>limited time,</quote> " "Congress take back the rights that it has granted and set the " "<quote>creative property</quote> free to the public domain. Yet when " "Congress does this, when the expiration of a copyright term <quote>takes</" "quote> your copyright and turns it over to the public domain, Congress does " "not have any obligation to pay <quote>just compensation</quote> for this " "<quote>taking.</quote> Instead, the same Constitution that requires " "compensation for your land requires that you lose your <quote>creative " "property</quote> right without any compensation at all." msgstr "" "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><part><chapter><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><part><chapter><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><part><chapter><para> #, mtrans, fuzzy msgid "" "Instead, my argument is that because Jefferson did it, we should at least " "try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " "property types that they were, reject the claim that creative property be " "given the same rights as all other property? Why did they require that for " "creative property there must be a public domain?" msgstr "" "i stedet, 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><part><chapter><para> #, mtrans, fuzzy msgid "" "To answer this question, we need to get some perspective on the history of " "these <quote>creative property</quote> rights, and the control that they " "enabled. Once we see clearly how differently these rights have been " "defined, we will be in a better position to ask the question that should be " "at the core of this war: Not <emphasis>whether</emphasis> creative property " "should be protected, but how. Not <emphasis>whether</emphasis> we will " "enforce the rights the law gives to creative-property owners, but what the " "particular mix of rights ought to be. Not <emphasis>whether</emphasis> " "artists should be paid, but whether institutions designed to assure that " "artists get paid need also control how culture develops." msgstr "" "for 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><part><chapter><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 <citetitle>Code and Other Laws of " "Cyberspace</citetitle>, I used a simple model to capture this more general " "perspective. For any particular right or regulation, this model asks how " "four different modalities of regulation interact to support or weaken the " "right or regulation. I represented it with this diagram:" msgstr "" "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><part><chapter><figure><title> msgid "" "How four different modalities of regulation interact to support or weaken " "the right or regulation." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1331.png\"></graphic>" msgstr "<graphic fileref=\"images/1331.png\"></graphic>" #. type: Content of: <book><part><chapter><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— either " "constrained or, alternatively, enabled. Law is the most obvious constraint " "(to lawyers, at least). It constrains by threatening punishments after the " "fact if the rules set in advance are violated. So if, for example, you " "willfully infringe Madonna's copyright by copying a song from her latest CD " "and posting it on the Web, you can be punished with a $150,000 fine. The " "fine is an ex post punishment for violating an ex ante rule. It is imposed " "by the state. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "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><part><chapter><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><part><chapter><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—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><part><chapter><para> #, mtrans, fuzzy msgid "" "Finally, and for the moment, perhaps, most mysteriously, " "<quote>architecture</quote>—the physical world as one finds it—" "is a constraint on behavior. A fallen bridge might constrain your ability " "to get across a river. Railroad tracks might constrain the ability of a " "community to integrate its social life. As with the market, architecture " "does not effect its constraint through ex post punishments. Instead, also as " "with the market, architecture effects its constraint through simultaneous " "conditions. These conditions are imposed not by courts enforcing contracts, " "or by police punishing theft, but by nature, by <quote>architecture.</quote> " "If a 500-pound boulder blocks your way, it is the law of gravity that " "enforces this constraint. If a $500 airplane ticket stands between you and a " "flight to New York, it is the market that enforces this constraint." msgstr "" "til 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><part><chapter><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><part><chapter><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><part><chapter><indexterm><primary> msgid "driving speed, constraints on" msgstr "kjørehastighet, begrensninger på" #. type: Content of: <book><part><chapter><para> #, mtrans, fuzzy msgid "" "So, for example, consider the <quote>freedom</quote> to drive a car at a " "high speed. That freedom is in part restricted by laws: speed limits that " "say how fast you can drive in particular places at particular times. It is " "in part restricted by architecture: speed bumps, for example, slow most " "rational drivers; governors in buses, as another example, set the maximum " "rate at which the driver can drive. The freedom is in part restricted by the " "market: Fuel efficiency drops as speed increases, thus the price of gasoline " "indirectly constrains speed. And finally, the norms of a community may or " "may not constrain the freedom to speed. Drive at 50 mph by a school in your " "own neighborhood and you're likely to be punished by the neighbors. The same " "norm wouldn't be as effective in a different town, or at night." msgstr "" "så, 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><part><chapter><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, <citetitle>Code: And Other Laws of " "Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " "Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal " "Studies</citetitle>, June 1998." 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><part><chapter><para> msgid "" "The final point about this simple model should also be fairly clear: While " "these four modalities are analytically independent, law has a special role " "in affecting the three.<placeholder type=\"footnote\" id=\"0\"/> The law, in " "other words, sometimes operates to increase or decrease the constraint of a " "particular modality. Thus, the law might be used to increase taxes on " "gasoline, so as to increase the incentives to drive more slowly. The law " "might be used to mandate more speed bumps, so as to increase the difficulty " "of driving rapidly. The law might be used to fund ads that stigmatize " "reckless driving. Or the law might be used to require that other laws be " "more strict—a federal requirement that states decrease the speed " "limit, for example—so as to decrease the attractiveness of fast " "driving." msgstr "" #. type: Content of: <book><part><chapter><figure><title> msgid "Law has a special role in affecting the three." msgstr "" #. type: Content of: <book><part><chapter><figure> msgid "<graphic fileref=\"images/1361.png\"></graphic>" msgstr "<graphic fileref=\"images/1361.png\"></graphic>" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Americans with Disabilities Act (1990)" msgstr "" #. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary> msgid "Commons, John R." msgstr "Commons, John R." #. type: Content of: <book><part><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" "Some people object to this way of talking about <quote>liberty.</quote> They " "object because their focus when considering the constraints that exist at " "any particular moment are constraints imposed exclusively by the government. " "For instance, if a storm destroys a bridge, these people think it is " "meaningless to say that one's liberty has been restrained. A bridge has " "washed out, and it's harder to get from one place to another. To talk about " "this as a loss of freedom, they say, is to confuse the stuff of politics " "with the vagaries of ordinary life. I don't mean to deny the value in this " "narrower view, which depends upon the context of the inquiry. I do, however, " "mean to argue against any insistence that this narrower view is the only " "proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come " "from a long tradition of political thought with a broader focus than the " "narrow question of what the government did when. John Stuart Mill defended " "freedom of speech, for example, from the tyranny of narrow minds, not from " "the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</" "citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons " "famously defended the economic freedom of labor from constraints imposed by " "the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom " "Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected " "Essays</citetitle> (London: Routledge: 1997), 62. The Americans with " "Disabilities Act increases the liberty of people with physical disabilities " "by changing the architecture of certain public places, thereby making access " "to those places easier; 42 <citetitle>United States Code</citetitle>, " "section 12101 (2000). Each of these interventions to change existing " "conditions changes the liberty of a particular group. The effect of those " "interventions should be accounted for in order to understand the effective " "liberty that each of these groups might face. <placeholder type=\"indexterm" "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" 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><part><chapter><para> msgid "" "These constraints can thus change, and they can be changed. To understand " "the effective protection of liberty or protection of property at any " "particular moment, we must track these changes over time. A restriction " "imposed by one modality might be erased by another. A freedom enabled by one " "modality might be displaced by another.<placeholder type=\"footnote\" id=" "\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><title> msgid "Why Hollywood Is Right" msgstr "Hvorfor Hollywood har rett" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><figure><title> msgid "effective state of anarchy after the Internet." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1381.png\"></graphic>" msgstr "<graphic fileref=\"images/1381.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Neither this analysis nor the conclusions that follow are new to the " "warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce " "Department (one heavily influenced by the copyright warriors) in 1995, this " "mix of regulatory modalities had already been identified and the strategy to " "respond already mapped. In response to the changes the Internet had " "effected, the White Paper argued (1) Congress should strengthen intellectual " "property law, (2) businesses should adopt innovative marketing techniques, " "(3) technologists should push to develop code to protect copyrighted " "material, and (4) educators should educate kids to better protect copyright." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This mixed strategy is just what copyright needed—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><part><chapter><section><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 " "<quote>architecture of revenue.</quote>" 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.\"" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "railroad industry" msgstr "jernbaneindustri" #. f5 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</" "quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://" "free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of " "Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak " "Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>." msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "But just because a particular interest asks for government support, it " "doesn't follow that support should be granted. And just because technology " "has weakened a particular way of doing business, it doesn't follow that the " "government should intervene to support that old way of doing business. " "Kodak, for example, has lost perhaps as much as 20 percent of their " "traditional film market to the emerging technologies of digital cameras." "<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " "should ban digital cameras just to support Kodak? Highways have weakened the " "freight business for railroads. Does anyone think we should ban trucks from " "roads <emphasis>for the purpose of</emphasis> protecting the railroads? " "Closer to the subject of this book, remote channel changers have weakened " "the <quote>stickiness</quote> of television advertising (if a boring " "commercial comes on the TV, the remote makes it easy to surf ), and it may " "well be that this change has weakened the television advertising market. But " "does anyone believe we should regulate remotes to reinforce commercial " "television? (Maybe by limiting them to function only once a second, or to " "switch to only ten channels within an hour?)" msgstr "" #. f6 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " "1994), 170–71." msgstr "" "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." #. type: Content of: <book><chapter><para><indexterm><primary> msgid "Gates, Bill" msgstr "Gates, Bill" #. type: Content of: <book><part><chapter><section><para> msgid "" "The obvious answer to these obviously rhetorical questions is no. In a free " "society, with a free market, supported by free enterprise and free trade, " "the government's role is not to support one way of doing business against " "others. Its role is not to pick winners and protect them against loss. If " "the government did this generally, then we would never have any progress. As " "Microsoft chairman Bill Gates wrote in 1991, in a memo criticizing software " "patents, <quote>established companies have an interest in excluding future " "competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> And relative " "to a startup, established companies also have the means. (Think RCA and FM " "radio.) A world in which competitors with new ideas must fight not only the " "market but also the government is a world in which competitors with new " "ideas will not succeed. It is a world of stasis and increasingly " "concentrated stagnation. It is the Soviet Union under Brezhnev. " "<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In the context of laws regulating speech—which include, obviously, " "copyright law—that duty is even stronger. When the industry " "complaining about changing technologies is asking Congress to respond in a " "way that burdens speech and creativity, policy makers should be especially " "wary of the request. It is always a bad deal for the government to get into " "the business of regulating speech markets. The risks and dangers of that " "game are precisely why our framers created the First Amendment to our " "Constitution: <quote>Congress shall make no law … abridging the " "freedom of speech.</quote> So when Congress is being asked to pass laws that " "would <quote>abridge</quote> the freedom of speech, it should ask— " "carefully—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><part><chapter><section><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 <quote>justified.</" "quote> My argument is about their effect. For before we get to the question " "of justification, a hard question that depends a great deal upon your " "values, we should first ask whether we understand the effect of the changes " "the content industry wants." msgstr "" "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><part><chapter><section><para> msgid "Here's the metaphor that will capture the argument to follow." msgstr "Her kommer metaforen som vil forklare argumentet." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "DDT" msgstr "DDT" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Müller, Paul Hermann" msgstr "Müller, Paul Hermann" #. type: Content of: <book><part><chapter><section><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. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Carson, Rachel" msgstr "Carson, Rachel" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Silent Sprint (Carson)" msgstr "" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " "which argued that DDT, whatever its primary benefits, was also having " "unintended environmental consequences. Birds were losing the ability to " "reproduce. Whole chains of the ecology were being destroyed. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" 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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "See, for example, James Boyle, \"A Politics of Intellectual Property: " #| "Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> " #| "47 (1997): 87." msgid "" "See, for example, James Boyle, <quote>A Politics of Intellectual Property: " "Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</" "citetitle> 47 (1997): 87." msgstr "" "Se for eksempel James Boyle, \"A Politics of Intellectual Property: " "Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 " "(1997): 87." #. PAGE BREAK 141 #. type: Content of: <book><part><chapter><section><para> msgid "" "It is to this image precisely that Duke University law professor James Boyle " "appeals when he argues that we need an <quote>environmentalism</quote> for " "culture.<placeholder type=\"footnote\" id=\"0\"/> His point, and the point I " "want to develop in the balance of this chapter, is not that the aims of " "copyright are flawed. Or that authors should not be paid for their work. Or " "that music should be given away <quote>for free.</quote> The point is that " "some of the ways in which we might protect authors will have unintended " "consequences for the cultural environment, much like DDT had for the natural " "environment. And just as criticism of DDT is not an endorsement of malaria " "or an attack on farmers, so, too, is criticism of one particular set of " "regulations protecting copyright not an endorsement of anarchy or an attack " "on authors. It is an environment of creativity that we seek, and we should " "be aware of our actions' effects on the environment." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> msgid "Beginnings" msgstr "Opphav" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "America copied English copyright law. Actually, we copied and improved " "English copyright law. Our Constitution makes the purpose of <quote>creative " "property</quote> rights clear; its express limitations reinforce the English " "aim to avoid overly powerful publishers." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The power to establish <quote>creative property</quote> rights is granted to " "Congress in a way that, for our Constitution, at least, is very odd. Article " "I, section 8, clause 8 of our Constitution states that:" msgstr "" "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><part><chapter><section><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 " "<quote>Progress Clause,</quote> for notice what this clause does not say. It " "does not say Congress has the power to grant <quote>creative property rights." "</quote> It says that Congress has the power <emphasis>to promote progress</" "emphasis>. The grant of power is its purpose, and its purpose is a public " "one, not the purpose of enriching publishers, nor even primarily the purpose " "of rewarding authors." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The Progress Clause expressly limits the term of copyrights. As we saw in " "chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the " "English limited the term of copyright so as to assure that a few would not " "exercise disproportionate control over culture by exercising " "disproportionate control over publishing. We can assume the framers followed " "the English for a similar purpose. Indeed, unlike the English, the framers " "reinforced that objective, by requiring that copyrights extend <quote>to " "Authors</quote> only." msgstr "" "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><part><chapter><section><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—including the Senate, whose members were at the time selected " "by the states, and an electoral college, also selected by the states, to " "select the president. In each case, a <emphasis>structure</emphasis> built " "checks and balances into the constitutional frame, structured to prevent " "otherwise inevitable concentrations of power." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "I doubt the framers would recognize the regulation we call <quote>copyright</" "quote> today. The scope of that regulation is far beyond anything they ever " "considered. To begin to understand what they did, we need to put our " "<quote>copyright</quote> in context: We need to see how it has changed in " "the 210 years since they first struck its design." msgstr "" "Jeg 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><part><chapter><section><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><part><chapter><section><para> msgid "We will end here:" msgstr "Vi kommer til å ende opp her:" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid ""Copyright" today." msgid "<quote>Copyright</quote> today." msgstr ""Opphavsrett" i dag." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1442.png\"></graphic>" msgstr "<graphic fileref=\"images/1442.png\"></graphic>" #. PAGE BREAK 144 #. type: Content of: <book><part><chapter><section><para> msgid "Let me explain how." msgstr "La meg forklare hvordan." #. type: Content of: <book><part><chapter><section><title> msgid "Law: Duration" msgstr "Loven: Varighet" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Crosskey, William W." msgstr "Crosskey, William W." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "William W. Crosskey, <citetitle>Politics and the Constitution in the History " "of the United States</citetitle> (London: Cambridge University Press, 1953), " "vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the " "supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " "or were supposed by some to have, under the Common Law</emphasis></quote> " "(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William W. Crosskey, politikk og Grunnloven i historien av USA (London: " "Cambridge University Press, 1953), vol. 1, 485–86: \"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><part><chapter><section><para> msgid "" "When the first Congress enacted laws to protect creative property, it faced " "the same uncertainty about the status of creative property that the English " "had confronted in 1774. Many states had passed laws protecting creative " "property, and some believed that these laws simply supplemented common law " "rights that already protected creative authorship.<placeholder type=" "\"footnote\" id=\"0\"/> This meant that there was no guaranteed public " "domain in the United States in 1790. If copyrights were protected by the " "common law, then there was no simple way to know whether a work published in " "the United States was controlled or free. Just as in England, this lingering " "uncertainty would make it hard for publishers to rely upon a public domain " "to reprint and distribute works." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><footnote><para> msgid "" "Although 13,000 titles were published in the United States from 1790 to " "1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " "History of Book Publishing in the United States</citetitle>, vol. 1, " "<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " "York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " "twelve were copyrighted under the 1790 act; William J. Maher, " "<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " "1790 in Historical Context</citetitle>, 7–10 (2002), available at " "<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><part><chapter><section><para> msgid "" "While there were many works created in the United States in the first ten " "years of the Republic, only 5 percent of the works were actually registered " "under the federal copyright regime. Of all the work created in the United " "States both before 1790 and from 1790 through 1800, 95 percent immediately " "passed into the public domain; the balance would pass into the pubic domain " "within twenty-eight years at most, and more likely within fourteen years." "<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "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 allemannseie (public domain). " "Resten ble allemannseie etter maksimalt 20 år, og som oftest etter 14 år." "<placeholder type=\"footnote\" id=\"0\"/>" #. PAGE BREAK 145 #. type: Content of: <book><part><chapter><section><para> msgid "" "This system of renewal was a crucial part of the American system of " "copyright. It assured that the maximum terms of copyright would be granted " "only for works where they were wanted. After the initial term of fourteen " "years, if it wasn't worth it to an author to renew his copyright, then it " "wasn't worth it to society to insist on the copyright, either." msgstr "" "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><part><chapter><section><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, " "<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on " "Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), " "618. For a more recent and comprehensive analysis, see William M. Landes and " "Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> " "<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, " "498–501, and accompanying figures." 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><part><chapter><section><para> msgid "" "Fourteen years may not seem long to us, but for the vast majority of " "copyright owners at that time, it was long enough: Only a small minority of " "them renewed their copyright after fourteen years; the balance allowed their " "work to pass into the public domain.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. f11 #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "See Ringer, ch. 9, n. 2." msgstr "Se Ringer, kap. 9, n. 2." #. type: Content of: <book><part><chapter><section><para> msgid "" "Even today, this structure would make sense. Most creative work has an " "actual commercial life of just a couple of years. Most books fall out of " "print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " "happens, the used books are traded free of copyright regulation. Thus the " "books are no longer <emphasis>effectively</emphasis> controlled by " "copyright. The only practical commercial use of the books at that time is to " "sell the books as used books; that use—because it does not involve " "publication—is effectively free." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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—the maximum " "term. For <quote>natural</quote> authors, that term was life plus fifty " "years. For corporations, the term was seventy-five years. Then, in 1992, " "Congress abandoned the renewal requirement for all works created before " "1978. All works still under copyright would be accorded the maximum term " "then available. After the Sonny Bono Act, that term was ninety-five years." msgstr "" "USA 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><part><chapter><section><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 " "<quote>limited,</quote> 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><part><chapter><section><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, " "<quote>Indefinitely Renewable Copyright,</quote> 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><part><chapter><section><para> msgid "" "The effect of these changes on the average duration of copyright is " "dramatic. In 1973, more than 85 percent of copyright owners failed to renew " "their copyright. That meant that the average term of copyright in 1973 was " "just 32.2 years. Because of the elimination of the renewal requirement, the " "average term of copyright is now the maximum term. In thirty years, then, " "the average term has tripled, from 32.2 years to 95 years.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><title> msgid "Law: Scope" msgstr "Loven: Virkeområde" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The <quote>scope</quote> of a copyright is the range of rights granted by " "the law. The scope of American copyright has changed dramatically. Those " "changes are not necessarily bad. But we should understand the extent of the " "changes if we're to keep this debate in context." msgstr "" "\"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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "In 1790, that scope was very narrow. Copyright covered only <quote>maps, " "charts, and books.</quote> That means it didn't cover, for example, music or " "architecture. More significantly, the right granted by a copyright gave the " "author the exclusive right to <quote>publish</quote> copyrighted works. That " "means someone else violated the copyright only if he republished the work " "without the copyright owner's permission. Finally, the right granted by a " "copyright was an exclusive right to that particular book. The right did not " "extend to what lawyers call <quote>derivative works.</quote> It would not, " "therefore, interfere with the right of someone other than the author to " "translate a copyrighted book, or to adapt the story to a different form " "(such as a drama based on a published book)." msgstr "" "i 1790 var 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><part><chapter><section><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 " "<quote>publish</quote> the work, but also the exclusive right of control " "over any <quote>copies</quote> of that work. And most significant for our " "purposes here, the right gives the copyright owner control over not only his " "or her particular work, but also any <quote>derivative work</quote> that " "might grow out of the original work. In this way, the right covers more " "creative work, protects the creative work more broadly, and protects works " "that are based in a significant way on the initial creative work." msgstr "" "Dette, 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><part><chapter><section><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 © or the word " "<emphasis>copyright</emphasis>. And for most of the history of American " "copyright law, there was a requirement that works be deposited with the " "government before a copyright could be secured." msgstr "" "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><part><chapter><section><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—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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "All of these <quote>formalities</quote> were abolished in the American " "system when we decided to follow European copyright law. There is no " "requirement that you register a work to get a copyright; the copyright now " "is automatic; the copyright exists whether or not you mark your work with a " "©; 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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the " "Creation of American Literature,</quote> 29 <citetitle>New York University " "Journal of International Law and Politics</citetitle> 255 (1997), and James " "Gilraeth, ed., Federal Copyright Records, 1790–1800 (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><part><chapter><section><para> msgid "" "If, in 1790, you wrote a book and you were one of the 5 percent who actually " "copyrighted that book, then the copyright law protected you against another " "publisher's taking your book and republishing it without your permission. " "The aim of the act was to regulate publishers so as to prevent that kind of " "unfair competition. In 1790, there were 174 publishers in the United States." "<placeholder type=\"footnote\" id=\"0\"/> The Copyright Act was thus a tiny " "regulation of a tiny proportion of a tiny part of the creative market in the " "United States—publishers." msgstr "" #. PAGE BREAK 149 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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, <emphasis>every</emphasis> creative act " "that's reduced to a tangible form—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><part><chapter><section><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><part><chapter><section><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 <quote>derivative " "rights.</quote> If you write a book, no one can make a movie out of your " "book without permission. No one can translate it without permission. " "CliffsNotes can't make an abridgment unless permission is granted. All of " "these derivative uses of your original work are controlled by the copyright " "holder. The copyright, in other words, is now not just an exclusive right to " "your writings, but an exclusive right to your writings and a large " "proportion of the writings inspired by them." msgstr "" "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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" #| "citetitle>, July/August 2003, available at <ulink url=\"http://free-" #| "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" #| "\"0\"/>" msgid "" "Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal " "Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-" "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" "\"0\"/>" msgstr "" "Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" "citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://free-" "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=" "\"0\"/>" #. type: Content of: <book><part><chapter><section><para> msgid "" "In preventing that joke, the law created an astonishing power within a free " "culture—at least, it's astonishing when you understand that the law " "applies not just to the commercial publisher but to anyone with a computer. " "I understand the wrong in duplicating and selling someone else's work. But " "whatever <emphasis>that</emphasis> wrong is, transforming someone else's " "work is a different wrong. Some view transformation as no wrong at all—" "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 "" #. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary> msgid "Rubenfeld, Jeb" msgstr "Rubenfeld, Jeb" #. type: Content of: <book><part><chapter><section><para><footnote><para> #, 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 <quote>copies</quote> and derivative works. " "See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's " "Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 " "(2002): 1–60 (see especially pp. 53–59). <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> msgid "" "Yet copyright law treats these two different wrongs in the same way. I can " "go to court and get an injunction against your pirating my book. I can go to " "court and get an injunction against your transformative use of my book." "<placeholder type=\"footnote\" id=\"0\"/> These two different uses of my " "creative work are treated the same." msgstr "" #. type: Content of: <book><part><chapter><section><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 " "<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse " "toys and be the one to trade on the value that Disney originally created?" msgstr "" "Dette kan 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><part><chapter><section><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><part><chapter><section><title> msgid "Law and Architecture: Reach" msgstr "Lov og arkitektur: Rekkevidde" #. f16 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "This is a simplification of the law, but not much of one. The law certainly " "regulates more than <quote>copies</quote>—a public performance of a " "copyrighted song, for example, is regulated even though performance per se " "doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section " "106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; " "17 <citetitle>United States Code</citetitle>, section 112(a). But the " "presumption under the existing law (which regulates <quote>copies;</quote> " "17 <citetitle>United States Code</citetitle>, section 102) is that if there " "is a copy, there is a right." msgstr "" "Dette er 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><part><chapter><section><para> msgid "" "Whereas originally the law regulated only publishers, the change in " "copyright's scope means that the law today regulates publishers, users, and " "authors. It regulates them because all three are capable of making copies, " "and the core of the regulation of copyright law is copies.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 151 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "<quote>Copies.</quote> That certainly sounds like the obvious thing for " "<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's " "argument at the start of this chapter, that <quote>creative property</quote> " "deserves the <quote>same rights</quote> as all other property, it is the " "<emphasis>obvious</emphasis> that we need to be most careful about. For " "while it may be obvious that in the world before the Internet, copies were " "the obvious trigger for copyright law, upon reflection, it should be obvious " "that in the world with the Internet, copies should <emphasis>not</emphasis> " "be the trigger for copyright law. More precisely, they should not " "<emphasis>always</emphasis> be the trigger for copyright law." msgstr "" "\"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><part><chapter><section><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><part><chapter><section><para> msgid "" "This is perhaps the central claim of this book, so let me take this very " "slowly so that the point is not easily missed. My claim is that the Internet " "should at least force us to rethink the conditions under which the law of " "copyright automatically applies,<placeholder type=\"footnote\" id=\"0\"/> " "because it is clear that the current reach of copyright was never " "contemplated, much less chosen, by the legislators who enacted copyright law." msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><figure><title> msgid "All potential uses of a book." msgstr "Alle potensielle bruk av en bok." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1521.png\"></graphic>" msgstr "<graphic fileref=\"images/1521.png\"></graphic>" #. PAGE BREAK 152 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Think about a book in real space, and imagine this circle to represent all " "its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " "by copyright law, because the uses don't create a copy. If you read a book, " "that act is not regulated by copyright law. If you give someone the book, " "that act is not regulated by copyright law. If you resell a book, that act " "is not regulated (copyright law expressly states that after the first sale " "of a book, the copyright owner can impose no further conditions on the " "disposition of the book). If you sleep on the book or use it to hold up a " "lamp or let your puppy chew it up, those acts are not regulated by copyright " "law, because those acts do not make a copy." msgstr "" "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><part><chapter><section><figure><title> msgid "Examples of unregulated uses of a book." msgstr "Eksempler på uregulert bruk av en bok." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1531.png\"></graphic>" msgstr "<graphic fileref=\"images/1531.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, fuzzy #| msgid "" #| "Finally, there is a tiny sliver of otherwise regulated copying uses that " #| "remain unregulated because the law considers these \"fair uses.\"" msgid "" "Finally, there is a tiny sliver of otherwise regulated copying uses that " "remain unregulated because the law considers these <quote>fair uses.</quote>" msgstr "" "Til slutt er det en tynn skive av ellers regulert kopierings-bruk som " "forblir uregluert på grunn av at loven anser dette som \"rimelig bruk\"." #. type: Content of: <book><part><chapter><section><figure><title> msgid "" "Republishing stands at the core of this circle of possible uses of a " "copyrighted work." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1541.png\"></graphic>" msgstr "<graphic fileref=\"images/1541.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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 <quote>fair uses</quote> 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><part><chapter><section><figure><title> #, fuzzy #| msgid "Unregulated copying considered "fair uses."" msgid "Unregulated copying considered <quote>fair uses.</quote>" msgstr "Uregulert kopiering anses som "rimelig bruk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1542.png\"></graphic>" msgstr "<graphic fileref=\"images/1542.png\"></graphic>" #. type: Content of: <book><part><chapter><section><figure><title> msgid "" "Uses that before were presumptively unregulated are now presumptively " "regulated." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1551.png\"></graphic>" msgstr "<graphic fileref=\"images/1551.png\"></graphic>" #. PAGE BREAK 154 #. type: Content of: <book><part><chapter><section><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 <quote>fair</quote> 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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "I don't mean <quote>nature</quote> in the sense that it couldn't be " "different, but rather that its present instantiation entails a copy. Optical " "networks need not make copies of content they transmit, and a digital " "network could be designed to delete anything it copies so that the same " "number of copies remain." msgstr "" "Jeg 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><part><chapter><section><para> msgid "" "Enter the Internet—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—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><part><chapter><section><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 <emphasis>copyright</emphasis>-related argument that the copyright " "owner could make to control that use of her book. Copyright law would have " "nothing to say about whether you read the book once, ten times, or every " "night before you went to bed. None of those instances of use—" "reading— 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><part><chapter><section><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 <emphasis>copyright law</emphasis> would aid the " "copyright owner in exercising this degree of control, because of the " "accidental feature of copyright law that triggers its application upon there " "being a copy. Now if you read the book ten times and the license says you " "may read it only five times, then whenever you read the book (or any portion " "of it) beyond the fifth time, you are making a copy of the book contrary to " "the copyright owner's wish." msgstr "" "men 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><part><chapter><section><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><part><chapter><section><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 idéen 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><part><chapter><section><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 <emphasis>any</" "emphasis> transformation you make of creative work using a machine. " "<quote>Copy and paste</quote> and <quote>cut and paste</quote> become " "crimes. Tinkering with a story and releasing it to others exposes the " "tinkerer to at least a requirement of justification. However troubling the " "expansion with respect to copying a particular work, it is extraordinarily " "troubling with respect to transformative uses of creative work." msgstr "" "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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Third, this shift from category 1 to category 2 puts an extraordinary burden " "on category 3 (<quote>fair use</quote>) that fair use never before had to " "bear. If a copyright owner now tried to control how many times I could read " "a book on-line, the natural response would be to argue that this is a " "violation of my fair use rights. But there has never been any litigation " "about whether I have a fair use right to read, because before the Internet, " "reading did not trigger the application of copyright law and hence the need " "for a fair use defense. The right to read was effectively protected before " "because reading was not regulated." msgstr "" "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><part><chapter><section><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—never even addressing the earlier question about the expansion in " "effective regulation. A thin protection grounded in fair use makes sense " "when the vast majority of uses are <emphasis>unregulated</emphasis>. But " "when everything becomes presumptively regulated, then the protections of " "fair use are not enough." msgstr "" "dette 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The case of Video Pipeline is a good example. Video Pipeline was in the " "business of making <quote>trailer</quote> advertisements for movies " "available to video stores. The video stores displayed the trailers as a way " "to sell videos. Video Pipeline got the trailers from the film distributors, " "put the trailers on tape, and sold the tapes to the retail stores." msgstr "" "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><part><chapter><section><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 <quote>selling by sampling</quote> technique by " "giving on-line stores the same ability to enable <quote>browsing.</quote> " "Just as in a bookstore you can read a few pages of a book before you buy the " "book, so, too, you would be able to sample a bit from the movie on-line " "before you bought it." msgstr "" "selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte å " "tenke på Internett som en måte å distribuere disse forhåndsvisninger. idéen " "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><part><chapter><section><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—he had built a business on distributing this " "content as a way to help sell Disney films; he had customers who depended " "upon his delivering this content. Disney would agree to talk only if Video " "Pipeline stopped the distribution immediately. Video Pipeline thought it " "was within their <quote>fair use</quote> rights to distribute the clips as " "they had. So they filed a lawsuit to ask the court to declare that these " "rights were in fact their rights." msgstr "" "i 1998 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Disney countersued—for $100 million in damages. Those damages were " "predicated upon a claim that Video Pipeline had <quote>willfully infringed</" "quote> on Disney's copyright. When a court makes a finding of willful " "infringement, it can award damages not on the basis of the actual harm to " "the copyright owner, but on the basis of an amount set in the statute. " "Because Video Pipeline had distributed seven hundred clips of Disney movies " "to enable video stores to sell copies of those movies, Disney was now suing " "Video Pipeline for $100 million." msgstr "" "Disney 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><part><chapter><section><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><part><chapter><section><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 " "<quote>first-sale doctrine</quote> would free the seller to use the video as " "he wished, including showing portions of it in order to engender sales of " "the entire movie video. But with the Internet, it becomes possible for " "Disney to centralize control over access to this content. Because each use " "of the Internet produces a copy, use on the Internet becomes subject to the " "copyright owner's control. The technology expands the scope of effective " "control, because the technology builds a copy into every transaction." msgstr "" "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><part><chapter><section><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 & 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 & 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 & 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 & 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><part><chapter><section><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><part><chapter><section><title> msgid "Architecture and Law: Force" msgstr "Arkitektur og lov: Makt" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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." #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Casablanca" msgstr "Casablanca" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Marx Brothers" msgstr "" #. f19 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, fuzzy #| msgid "" #| "See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " #| "Contemporary Problems</citetitle> 44 (1981): 172–73." msgid "" "See David Lange, <quote>Recognizing the Public Domain,</quote> " "<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73." msgstr "" "Se David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " "Contemporary Problems</citetitle> 44 (1981): 172–73." #. type: Content of: <book><part><chapter><section><para> msgid "" "There's a famous story about a battle between the Marx Brothers and Warner " "Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" "citetitle>. Warner Brothers objected. They wrote a nasty letter to the " "Marxes, warning them that there would be serious legal consequences if they " "went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx " "Brothers) og Warner Brothers. Marx-brødrene planla å lage en parodi av " "<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " "ufint brev til Marx-brødrene og advarte dem om at det ville få seriøse " "juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" "\"footnote\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Ibid. Se også Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" "citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><part><chapter><section><para> #, fuzzy #| msgid "" #| "This led the Marx Brothers to respond in kind. They warned Warner " #| "Brothers that the Marx Brothers \"were brothers long before you were." #| "\"<placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " #| "owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " #| "insisted on trying to control <citetitle>Casablanca</citetitle>, then the " #| "Marx Brothers would insist on control over <citetitle>brothers</" #| "citetitle>." msgid "" "This led the Marx Brothers to respond in kind. They warned Warner Brothers " "that the Marx Brothers <quote>were brothers long before you were.</" "quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore " "owned the word <citetitle>brothers</citetitle>, and if Warner Brothers " "insisted on trying to control <citetitle>Casablanca</citetitle>, then the " "Marx Brothers would insist on control over <citetitle>brothers</citetitle>." msgstr "" "Dette fikk Marx-brødrene til å svare tilbake med samme mynt. De advarte " "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"." "<placeholder type=\"footnote\" id=\"0\"/> Marx-brødrene eide derfor ordet " "<citetitle>Brothers</citetitle>, og hvis Warner Brothers insisterte på å " "forsøke å kontrollere <citetitle>Casablanca</citetitle>, så ville Marx-" "brødrene insistere på kontroll over <citetitle>Brothers</citetitle>." #. type: Content of: <book><part><chapter><section><para> msgid "" "An absurd and hollow threat, of course, because Warner Brothers, like the " "Marx Brothers, knew that no court would ever enforce such a silly claim. " "This extremism was irrelevant to the real freedoms anyone (including Warner " "Brothers) enjoyed." msgstr "" "Det var en absurd og hul trussel, selvfølgelig, fordi Warner Brothers, på " "samme måte som Marx-brødrene, visste at ingen domstol noensinne ville " "håndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte " "friheter som alle (inkludert Warner Brothers) nøt godt av." #. type: Content of: <book><part><chapter><section><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, er det derimot ingen kontroll mot dum regler, fordi på " "Internett, i økende grad, blir regler ikke håndhevet 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><part><chapter><section><indexterm><primary> msgid "Adobe eBook Reader" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "Consider the life of my Adobe eBook Reader." msgstr "La oss se på livet til min Adobe eBook Reader." #. type: Content of: <book><part><chapter><section><para> msgid "" "An e-book is a book delivered in electronic form. An Adobe eBook is not a " "book that Adobe has published; Adobe simply produces the software that " "publishers use to deliver e-books. It provides the technology, and the " "publisher delivers the content by using the technology." msgstr "" "En ebok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok " "som Adobe har publisert. Adobe produserer kun programvaren som utgivere " "bruker å levere e-bøker. Den bidrar med teknologien, og utgiveren leverer " "innholdet ved hjelp av teknologien." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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: " "<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " "Some of them reproduce content that is not in the public domain: My own book " "<citetitle>The Future of Ideas</citetitle> is not yet within the public " "domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " "my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " "cover, and then a button at the bottom called Permissions." msgstr "" "som du 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 idéer 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><part><chapter><section><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><part><chapter><section><figure> msgid "<graphic fileref=\"images/1611.png\"></graphic>" msgstr "<graphic fileref=\"images/1611.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><figure> msgid "<graphic fileref=\"images/1612.png\"></graphic>" msgstr "<graphic fileref=\"images/1612.png\"></graphic>" #. PAGE BREAK 161 #. type: Content of: <book><part><chapter><section><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 <citetitle>Middlemarch</citetitle> 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><part><chapter><section><para><indexterm><primary> msgid "Aristotle" msgstr "Aristoteles" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "<citetitle>Politics</citetitle>, (Aristotle)" msgstr "<citetitle>Politikk</citetitle>, (Aristotles)" #. type: Content of: <book><part><chapter><section><para> msgid "" "Here's the e-book for another work in the public domain (including the " "translation): Aristotle's <citetitle>Politics</citetitle>. <placeholder " "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Her er e-boken for et annet allemannseid verk (inkludert oversettelsen): " "Aristoteles <citetitle>Politikk</citetitle> <placeholder type=\"indexterm\" " "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid "E-book of Aristotle;s "Politics"" msgid "E-book of Aristotle;s <quote>Politics</quote>" msgstr "E-bok av Aristoteles <quote>Politikk</quote>" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1621.png\"></graphic>" msgstr "<graphic fileref=\"images/1621.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "List of the permissions for Aristotle;s <quote>Politics</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1622.png\"></graphic>" msgstr "<graphic fileref=\"images/1622.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Finally (and most embarrassingly), here are the permissions for the original " "e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" msgstr "" "Endelig (og mest embarrassingly), her er du tillatelsene for den " "opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:" #. type: Content of: <book><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "List of the permissions for <quote>The Future of Ideas</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1631.png\"></graphic>" msgstr "<graphic fileref=\"images/1631.png\"></graphic>" #. type: Content of: <book><part><chapter><section><para> msgid "No copying, no printing, and don't you dare try to listen to this book!" msgstr "" "Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne boken!" #. f21 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> msgid "" "Now, the Adobe eBook Reader calls these controls <quote>permissions</" "quote>— 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—up to the limits of the copyright law. But for work not " "under copyright, there is no such copyright power.<placeholder type=" "\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> " "says I have the permission to copy only ten text selections into the memory " "every ten days, what that really means is that the eBook Reader has enabled " "the publisher to control how I use the book on my computer, far beyond the " "control that the law would enable." msgstr "" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "The control comes instead from the code—from the technology within " "which the e-book <quote>lives.</quote> Though the e-book says that these are " "permissions, they are not the sort of <quote>permissions</quote> that most " "of us deal with. When a teenager gets <quote>permission</quote> to stay out " "till midnight, she knows (unless she's Cinderella) that she can stay out " "till 2 A.M., but will suffer a punishment if she's caught. But when the " "Adobe eBook Reader says I have the permission to make ten copies of the text " "into the computer's memory, that means that after I've made ten copies, the " "computer will not make any more. The same with the printing restrictions: " "After ten pages, the eBook Reader will not print any more pages. It's the " "same with the silly restriction that says that you can't use the Read Aloud " "button to read my book aloud—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." #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "These are <emphasis>controls</emphasis>, not permissions. Imagine a world " "where the Marx Brothers sold word processing software that, when you tried " "to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from " "the sentence. <placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This is the future of copyright law: not so much copyright <emphasis>law</" "emphasis> as copyright <emphasis>code</emphasis>. The controls over access " "to content will not be controls that are ratified by courts; the controls " "over access to content will be controls that are coded by programmers. And " "whereas the controls that are built into the law are always to be checked by " "a judge, the controls that are built into the technology have no similar " "built-in check." msgstr "" "Dette er fremtiden 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para><indexterm><primary> msgid "Alice's Adventures in Wonderland (Carroll)" msgstr "" #. type: Content of: <book><part><chapter><section><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 <citetitle>Alice's Adventures in Wonderland</" "citetitle>. This wonderful book is in the public domain. Yet when you " "clicked on Permissions for that book, you got the following report: " "<placeholder type=\"indexterm\" id=\"0\"/>" 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><part><chapter><section><figure><title> #, fuzzy #| msgid "List of the permissions for Aristotle;s "Politics"." msgid "" "List of the permissions for <quote>Alice's Adventures in Wonderland</quote>." msgstr "Liste med tillatelser for Aristotles "Politikk"." #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1641.png\"></graphic>" msgstr "<graphic fileref=\"images/1641.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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 <quote>permissions</" "quote> indicated, not allowed to <quote>read aloud</quote>!" 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><indexterm><primary> msgid "Aibo robotic dog" msgstr "Aibo robothund" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "robotic dog" msgstr "robothund" #. type: Content of: <book><part><chapter><section><indexterm><primary> msgid "Sony" msgstr "Sony" #. type: Content of: <book><part><chapter><section><indexterm><secondary> msgid "Aibo robotic dog produced by" msgstr "Aibo robothund produsert av" #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo " "learns tricks, cuddles, and follows you around. It eats only electricity and " "that doesn't leave that much of a mess (at least in your house)." msgstr "" "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)." #. type: Content of: <book><part><chapter><section><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 <beginpage pagenum=" "\"165\"/> 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "<quote>Teach</quote> here has a special meaning. Aibos are just cute " "computers. You teach a computer how to do something by programming it " "differently. So to say that aibopet.com was giving information about how to " "teach the dog to do new tricks is just to say that aibopet.com was giving " "information to users of the Aibo pet about how to hack their computer " "<quote>dog</quote> to make it do new tricks (thus, aibohack.com)." msgstr "" "\"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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "If you're not a programmer or don't know many programmers, the word " "<citetitle>hack</citetitle> has a particularly unfriendly connotation. " "Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " "worse. But to programmers, or coders, as I call them, <citetitle>hack</" "citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " "means code that enables the program to do something it wasn't originally " "intended or enabled to do. If you buy a new printer for an old computer, you " "might find the old computer doesn't run, or <quote>drive,</quote> the " "printer. If you discovered that, you'd later be happy to discover a hack on " "the Net by someone who has written a driver to enable the computer to drive " "the printer you just bought." msgstr "" "Hvis du ikke er 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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, <emphasis>What possible problem could " "there be with teaching a robot dog to dance?</emphasis>" 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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "Let's put the dog to sleep for a minute, and turn to a pony show— 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." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Electronic Frontier Foundation" msgstr "Elektronisk forpost-stiftelsen (EFF)" #. type: Content of: <book><part><chapter><section><para><footnote><para> msgid "" "See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</" "quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, " "<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks," "</quote> <citetitle>American Prospect</citetitle>, January 2002; " "<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> " "<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 " "December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech " "Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, " "<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic " "Frontier Foundation, <quote>Frequently Asked Questions about " "<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " "Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/" "\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><para> msgid "" "But Felten's bravery was really tested in April 2001.<placeholder type=" "\"footnote\" id=\"0\"/> He and a group of colleagues were working on a paper " "to be submitted at conference. The paper was intended to describe the " "weakness in an encryption system being developed by the Secure Digital Music " "Initiative as a technique to control the distribution of music." msgstr "" #. type: Content of: <book><part><chapter><section><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 <quote>this music cannot " "be copied,</quote> and have a computer respect that command. The technology " "was to be part of a <quote>trusted system</quote> of control that would get " "content owners to trust the system of the Internet much more." msgstr "" "sdmi-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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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 idéer kritisert." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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 (<quote>DMCA</quote>)." 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><part><chapter><section><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><part><chapter><section><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— technologies " "to control the replication and distribution of copyrighted material. They " "were designed as <emphasis>code</emphasis> to modify the original " "<emphasis>code</emphasis> of the Internet, to reestablish some protection " "for copyright owners." msgstr "" "dmca 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><part><chapter><section><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, " "<emphasis>legal code</emphasis> intended to buttress <emphasis>software " "code</emphasis> which itself was intended to support the <emphasis>legal " "code of copyright</emphasis>." msgstr "" "dmca 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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><blockquote><para><footnote><para><indexterm><primary> msgid "Rogers, Fred" msgstr "Rogers, Fred" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "Conrad, Paul" msgstr "Conrad, Paul" #. type: Content of: <book><part><chapter><section><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 " "<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified " "in that case that he wanted people to feel free to tape Mr. Rogers' " "Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "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." #. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" "<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal " "City Studios, Inc</citetitle>., 464 U.S. 417, 455 fn. 27 (1984). Rogers " "never changed his view about the VCR. See James Lardner, <citetitle>Fast " "Forward: Hollywood, the Japanese, and the Onslaught of the VCR</citetitle> " "(New York: W. W. Norton, 1987), 270–71. <placeholder type=\"indexterm" "\" id=\"0\"/>" 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><part><chapter><section><blockquote><para> msgid "" "Some public stations, as well as commercial stations, program the " "<quote>Neighborhood</quote> at hours when some children cannot use it. I " "think that it's a real service to families to be able to record such " "programs and show them at appropriate times. I have always felt that with " "the advent of all of this new technology that allows people to tape the " "<quote>Neighborhood</quote> off-the-air, and I'm speaking for the " "<quote>Neighborhood</quote> because that's what I produce, that they then " "become much more active in the programming of their family's television " "life. Very frankly, I am opposed to people being programmed by others. My " "whole approach in broadcasting has always been <quote>You are an important " "person just the way you are. You can make healthy decisions.</quote> Maybe " "I'm going on too long, but I just feel that anything that allows a person to " "be more active in the control of his or her life, in a healthy way, is " "important.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 170 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This led Conrad to draw the cartoon below, which we can adopt to the DMCA. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Dette førte conrad å trekke tegneserie nedenfor, som vi kan vedta å dmca." #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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—a bad end. Or they can be used to enable the use of " "particular copyrighted materials in ways that would be considered fair " "use—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><part><chapter><section><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><part><chapter><section><figure><title> msgid "VCR/handgun cartoon." msgstr "" #. type: Content of: <book><part><chapter><section><figure> msgid "<graphic fileref=\"images/1711.png\"></graphic>" msgstr "<graphic fileref=\"images/1711.png\"></graphic>" #. type: Content of: <book><part><chapter><section><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: <emphasis>No one ever died from copyright " "circumvention</emphasis>. Yet the law bans circumvention technologies " "absolutely, despite the potential that they might do some good, but permits " "guns, despite the obvious and tragic harm they do. <placeholder type=" "\"indexterm\" id=\"0\"/>" 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><part><chapter><section><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><part><chapter><section><para> #, mtrans, fuzzy msgid "" "This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " "controls built into the technology of copy and access protection become " "rules the violation of which is also a violation of the law. In this way, " "the code extends the law—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—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><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal " "Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> " "<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 " "(1997): 651." msgstr "" "for en tidlig og 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><part><chapter><section><para> msgid "" "For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " "club. You gathered every month to share trivia, and maybe to enact a kind of " "fan fiction about the show. One person would play Spock, another, Captain " "Kirk. The characters would begin with a plot from a real story, then simply " "continue it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><part><chapter><section><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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><title> msgid "Market: Concentration" msgstr "Marked: Konsentrasjon" #. PAGE BREAK 173 #. type: Content of: <book><part><chapter><section><para> #, mtrans, fuzzy msgid "" "So copyright's duration has increased dramatically—tripled in the past " "thirty years. And copyright's scope has increased as well—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><part><chapter><section><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><part><chapter><section><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><part><chapter><section><para> msgid "" "These changes are of two sorts: the scope of concentration, and its nature." msgstr "" "Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur." #. f25 #. type: Content of: <book><part><chapter><section><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><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to " "Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002." msgstr "" "lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette å " "skyve,\" new york times, 23 desember 2002." #. f27 #. type: Content of: <book><part><chapter><section><para><footnote><para> #, mtrans, fuzzy msgid "" "Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> " "<citetitle>Charleston Gazette</citetitle>, 31 May 2003." msgstr "" "Molly ivins, \"media konsolidering må stoppes,\" charleston gazette, 31 kan " "2003." #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "BMG" msgstr "BMG" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "EMI" msgstr "" #. type: Content of: <book><part><chapter><section><para><indexterm><primary> msgid "McCain, John" msgstr "McCain, John" #. type: Content of: <book><part><chapter><secti